Rose Is A Rose Is A Rose Is A Rose

Curated by Nikki Maloof & Louis Fratino

June 28 – August 3, 2018

Installation view of Rose Is A Rose Is A Rose Is A Rose

Installation view of Rose Is A Rose Is A Rose Is A Rose

Installation view of Rose Is A Rose Is A Rose Is A Rose

Installation view of Rose Is A Rose Is A Rose Is A Rose

Installation view of Rose Is A Rose Is A Rose Is A Rose

Daniel Gordon

Poppies, Pitcher and Fruits, 2018

Pigment prints, glue and wire

41 x 51 x 18 inches

Allison Schulnik

Lace Leaf #2, 2018

Gouache and acrylic on paper

18 x 44 3/4 inches

Emily Mullin

Double Happiness, 2017

Ceramic vessel, painted steel, foliage

30 x 18 x 8 inches

Sally Saul 

Ophelia's Flowers, 2018

Clay, glaze and fabric

2 1/2 x 16 x 18 inches

Rose Is A Rose Is A Rose Is A Rose

Curated by Nikki Maloof and Louis Fratino

Sarah Bedford, Holly Coulis, Ann Craven, Ralph Delia, Lois Dodd, Daniel Gordon, Jenna Gribbon, Anthony Iacono, Hein Koh, John McAllister, Emily Mullin, Shota Nakamura, Danielle Orchard, Sally Saul, Allison Schulnik, Michael Stamm, Tim Wilson

 

June 28th - August 3rd, 2018

Opening reception

Thursday, June 28th, 6-8pm

 

 

“Rose is a rose is a rose is a rose.

Loveliness extreme.

Extra gaiters.

Loveliness extreme.

Sweetest ice-cream.“

 

Sacred Emily, Getrude Stein

 

A flower is a promise of a moment free of cynicism, a flower is a flower is a symbol of comfort. It doesn’t ask for much, doesn’t demand explanation. Just a little water. Some painters need relief from unanswerable questions. Herein lies the thorn. By painting a flower, do we free ourselves from the demand for answers? Is it an act of distancing oneself from the world? Maybe painting something you truly care about is a way to be close to and a part of the world. Flowers ask many small questions. Flowers are amazing and flowers are for everyone.

 

We wanted to make a show about this perennial subject. Painting a flower is both revelatory and embarrassing. That a common object can speak to concerns and themes beyond its simple appearance– complex themes like love, death, rebirth, and purity–belies that object’s commonness. Why are we embarrassed to paint flowers, and yet give in to the desire to do so again and again? Maybe what is embarrassing is, in this case, right. Flowers are not too tender, too lovely, too beautiful, and neither is the world. At times, we need to celebrate what is good. Painting is about the senses–surely we have good enough sense to paint about what feels, looks, smells, and tastes good?

- Nikki Maloof and Louis Fratino