Joan Linder Cost of Living

22.04.2010 - 28.05.2010
We are pleased to present Cost of Living, Joan Linder’s fourth solo exhibition with Mixed Greens. In this exhibition, her recent drawings coalesce into an overall meditation on the mundane facets of life. Using a labor-intensive process and traditional materials, such as pen and ink or colored pencil on paper, Linder meticulously observes her daily surroundings—junk mail, weeds, resumes, even cadavers—and in doing so records the remnants of living. These seemingly unrelated subjects are all sources of Linder’s daily anxiety: bills to pay; a career to advance; weeds to pull. And despite the fact that all are past their point of being useful, they have found a prolonged and elevated existence in Linder’s visual diary.

In association with:

Joseph Smolinski Beginning of the End

18.03.2010 - 17.04.2010
Mixed Greens is thrilled to present Joseph Smolinski’s second solo exhibition with the gallery. He will exhibit drawing, sculpture, and video related to the environment and the power struggles between nature and technology. This new body of work marks the expansion of Smolinski’s focus. Over the past few years, Smolinski created a world in which cellular communication towers disguised as trees infiltrated the landscape. There, technology proved victorious through these hybrid forms. In the new works, Smolinski visualizes a turning of the tide, where animals and nature play more active roles in their fate. A new series of drawings, titled Disconnected, directly pits animals against the parasitic cell-tower trees. Smolinski questions both the history and preservation of art and the environment as we exhaust our supply of cheap fuel. "Beginning of the End" brings these projects together to reflect on our current interactions with the landscape. It poses questions related to our constant struggle to control the environment and imagines an optimistic, though sometimes apocalyptic, view of the future.

In association with:

Christina Mazzalupo Stomachache

11.02.2010 - 13.03.2010
Mixed Greens is pleased to present Christina Mazzalupo’s fourth solo exhibition with the gallery. Stomachache is a multimedia exhibition quantifying and categorizing the eight weeks leading up to her 40th birthday. For the show, the results of her extensive, pseudoscientific data collection are translated into eight drawings—one to represent each week. These are accompanied by interpretive oil paintings and sketches, along with a video of over one hundred words associated with the endeavor. Charts from the collected data (pie and others) exist as unique clay sculptures. The objective of the project was to determine whether looking so scrupulously at the minutia in her life would provide a logical method of problem solving or become the source of greater disorder. As Mazzalupo puts it, “we often feel a compulsion to plunge into our habits and let the chatter of our minds run wild, to dissect and reassemble in order to figure it all out.” Mazzalupo engages and chronicles this running wild and all of its by-products. The result is a darkly comic look at the act of paying attention.

In association with:

Howard Fonda Squonk’s Tears

07.01.2010 - 06.02.2010
Mixed Greens is pleased to announce Howard Fonda’s fourth solo show with the gallery. In Squonk’s Tears, he will debut new paintings and drawings. The legend of the Squonk began long ago in the rich Hemlock forests of Pennsylvania. A mythical beast covered with warts and blemishes, the Squonk is judged by mankind to be grotesque despite its innate desire for acceptance. Misunderstood, it spends its days hiding and weeping, trapped in its ill-fitting skin. For as long as the legend has existed, the Squonk has been able to evade capture by dissolving into a pool of tears. The insightful metaphor and romantic anthropomorphism of the Squonk’s tale are extremely poignant today. The creature's dilemma functions, as many monster tales do, as a symbol of vulnerability and crisis. Adopting the perspective of the Squonk provides us with an opportunity to experience empathy and hope.

In association with:

Kimberley Hart Scout

12.11.2009 - 23.12.2009
Through drawing and sculpture, Hart exposes her alter ego (a mischievous, irreverent young girl who is noticeably absent from the work) as self-reliant but more vulnerable and suspicious than in years past. Once full of sparkles and glitter, this persona is no longer fantasizing about her hunting prowess or setting traps for inappropriate prey. Instead, we find her hunkered down in an austere outpost with few essentials and a concern for an unknown adversary. There are vestiges of a carefree girlhood, but the tenor has changed—a sense of uncertainty has eroded her daring as she struggles to maintain some bravery in the face of a new, foreboding reality.

In cooperation with:

Adia Millett The Birth of Bardo

08.10.2009 - 07.11.2009
Mixed Greens is pleased to present their third solo exhibition of new works by Adia Millett. In "The Birth of Bardo" she will introduce her first film, photographs selected from her most recent installations, and a new life-sized installation. Visitors are invited to participate in the scene, sit, contemplate, and implicate themselves in a dream-like environment teetering between fantasy and reality.

Millett’s focus from miniature spaces to large-scale structures began two years ago with a series of installations entitled Change, housed in her LA-based garage, where shadows, found objects, light, and space were used to compose visual poetry. Since her garage project, Millett has produced installations in New Orleans, Riverside, Santa Cruz, as well as a series of groundbreaking pieces at The Nest residency in Oakland.

Millett’s current body of work, deeply embedded in metaphor, suggests a story of transition from loss to potential love. Her work examines the beauty of impermanence, the power of the unknown, and the illusion of innocence. She uses gestures, objects and sounds to convey an abstracted reality where the viewer is asked to put together pieces of a mysterious puzzle.

In her first film, The Birth of Bardo, enigmatic figures appear. But, similar to the installations and photographs, much is left to the imagination. Seesaws, wings, chairs, and even a coffin reappear and expand Millett’s vast lexicon of imagery.

In cooperation with:

Zane Lewis Watch Me Slowly Death

20.08.2009 - 03.10.2009
Mixed greens is pleased to present his second solo exhibition of new works by Zane Lewis. in "Watch Me Slowly Death", Lewis juxtaposes religious imagery with high-fashion advertisements to create portrait and still life paintings that modernize and recontextualize their historic roots. Lewis creates still life pieces out of fashion posters, ads and mirrors, rather than the fruits and flowers used in 17th and 18th century Vanitas paintings. in one series, chanel posters appear to be ripped from cosmetic counters, crackling and wilting in their frames. the result is a reinterpretation of the genre. Instead of capturing a moment in time and alluding to inevitable decay, Lewis creates a situation that not only references decay, but participates in it. All of the posters and ads in his work are distressed; their sexy, slick images are crumbling and defaced by Lewis’ hand.

In cooperation with:

10th anniversary exhibition Group Show

09.07.2009 - 14.08.2009
Mixed Greens is thrilled to present X, our tenth anniversary exhibition. Back in 1999, Paige West (our Neo) founded Mixed Greens as a place to support emerging artists. What began as an online-only entity has, over the last decade, organically morphed into a traditional gallery. We’ve pioneered gallery e-commerce, traveled shows, organized panel discussions, hosted events, and produced educational catalogs in an effort to push the boundaries of what a gallery can do.

We currently represent 22 artists, but over the years, we’ve worked with over 100 artists at varying stages in their careers, and (call us crazy!) we’ve decided to put them all in one BIG anniversary show. With X, we present a large selection of the many amazing artists with whom we’ve been privileged to work. Their techniques and subject matter vary widely, but all of these artists captured our attention either by their extraor- dinary use of materials or through their deep examination and investigation of their subjects. There is no theme uniting the 84 participating artists—the only common denominator is Mixed Greens. Some might call it narcissistic. Others nostalgic. We consider it to be a celebration of some of the best artists working today.

Artists: Noriko Ambe, Chris Ballantyne, Luke Barber-Smith, Rachel Beach, Sonya Blesofsky, Rob Carter, Zoë Charlton & Rick Delaney, Soyeon Cho, Jinkee Choi, Rob Conger, David Coyle, Lisa Coulson, Shoshana Dentz, Andy Diaz Hope, Thomas Doyle, Alessandra Exposito, Ken Fandell, Howard Fonda, Linda Ganjian, Tamara Gayer, Susan Graham, Susan Hamburger, Kimberley Hart, Krista Hoefle, James Hyde, Brian Jobe, Sarah Kabot, Marguerite Kahrl, Kim Keever, Sun K. Kwak, Jim Lee, Drew Leshko, Zane Lewis, Joan Linder, Holly Lynton, Giles Lyon, Virgil Marti, Yumiko Matsui, Christina Mazzalupo, Ryan McGinness, Adia Millett, Mark Mulroney, Russell Nachman, Rob Nadeau, Frank Olive, Coke Wisdom O’Neal, Soner Ön, Stas Orlovski, Eric Payson, Mia Pearlman, Paul Plante, Anne Polashenski, Don Porcella, Amy Pryor, David Rathman, Trevor Reese, Andrew Scott Ross, Laurel Roth, Kammy Roulner, AA Rucci, Carol Salmanson, Jason Severs, Rudy Shepherd, Jean Shin, Alyson Shotz, John Slaby, Joseph Smolinski, Zoe Sonenberg, Amy Stein, Lee Stoetzel, Julianne Swartz, Ann Tarantino, Craig Taylor, Dannielle Tegeder, Mary Temple, Austin Thomas, Leah Tinari, Kako Ueda, Carlo Vialu, Connie Walsh, Daniel Wiener, Dina Weiss, Dirk Westphal.

In cooperation with:

[

Brian Jobe Tuft vs Turf

28.05.2009 - 02.07.2009
Mixed greens is thrilled to announce Brian Jobe’s first project with Mixed greens and his first solo project in New York City. since the fall of 2008, Mixed greens’ exterior windows have functioned as a project space. this time the installation will move beyond the windows, to highlight the fire escape.

Jobe’s Tuft vs. Turf series uses industrial zip-ties to cover surface elements of preexisting objects. his Minimalist approach to mark-making utilizes these brightly colored, mass-produced ties in a repetitive, controlled, and obsessive manner. thousands of tightly queued plastic ties emphasize otherwise overlooked structures, such as a log of rotting timber, a roadside marker, or even an iron cattle guard.

For this installation, Jobe re-imagines the Mixed greens fire escape (on the façade of the gallery building) as an architectural element recently overtaken by this industrial “growth.” it is as if a yellow moss crept over the structure in a sneak attack. However, Jobe’s unnaturally occurring organism is non-threaten-ing. Much like nina Katchadourian’s Uninvited Collaborations with Nature, Tuft vs. Turf (Fire escape) achieves playful results.

In cooperation with:

A.A.Rucci A(My)Midnight Sun

28.05.2009 - 02.07.2009
Mixed greens is thrilled to present "A(My)Midnight Sun", A.A.Rucci’s third solo exhibition with the gallery. This show is a departure from the figurative mini-epics that have dominated rucci’s oeuvre and exhibitions for the past ten years. in this new body of work, rucci engages abstraction and offers us unadulterated access into his private celebration of life.

Over the last year, rucci has focused on symbolic, hard-edge abstraction, full of interwoven shape and color, to induce an immediate emotional response. The open-ended experience is created by his use of palette, pattern and surface sheen. The relationships, however, are not loose and go beyond the formal. Every wedge and color is referential to both a specific space and time. amusement parks, bridges, vineyards, palaces and a restaurant are sources for the intensely personal narrative.

Rucci’s use of pattern is inspired by the shifting perspectives of late Medieval and early renaissance art, and, more importantly, is directly rooted in his embrace of the urban landscape of New York, the grandeur of the austrian countryside and his absolute delight in meeting and marrying his wife, amy, last year. he openly states that this show is a love letter to her.

With that in mind, rucci’s move away from illustrative and nostalgic figures to emotionally charged patterns and colors is an overt expression of the immediacy and beauty of life. standing among the dimensional paintings, with their tailored spaces and rhythmic colors, the viewer finds him/herself physically and emotionally situated. and the single perspective multiplies. A gentle melancholy grounds the paintings in reality, while the more playful and romantic passages highlight an exuberant sincerity and optimism.

In cooperation with:

Lee Stoetzel Big Fall

23.04.2009 - 23.05.2009
Mixed Greens is thrilled to announce Big Fall, Lee Stoetzel’s fourth solo show with the gallery. All of the sculptural works are instantly recognizable icons rendered in wood.

For nearly a decade, Stoetzel has reworked memorable icons— like the VW bus and the “Captain America” chopper from Easy Rider—out of Pecky cypress, a naturally degraded wood from his home state of Florida. Each piece was created at a scale of 1:1. As the viewer investigated the craftsmanship, the familiar object was transformed and rediscovered.

In this show, Stoetzel increases his range of materials to include fractured mesquite, veneer, and spalted maple (where the naturally occurring lines in the wood appear to be graphite drawings). He broadens his range of subjects to include McDonald’s food, a Chuck Close catalog, a single-speed bicycle, and a system of gutters and leaves. The scale of each piece is warped often to ‘Oldenburgian’ proportions. For example, Stoetzel’s forty-eight-inch French fry sculpture, Hard Fries, becomes a conceptually fitting counterpart to Oldenburg’s Soft Hamburger from 1962.

Big Fall derives its title from Stoetzel’s largest installation to date—a winding lattice of oversized veneer gutters wrapping around the gallery, spilling oversized leaves onto the floor. Big Fall also refers to the failure and re-imagining of cultural emblems. Each of Stoetzel’s iconic subjects is purposefully built with harshly formed, degraded wood so that the pieces look fossil-like and frozen in time—tired and nostalgic, yet instantly recognizable. The power of the natural materials calls attention to the temporary predicament of the manmade, while the iconic nature of each piece fights to remain vital.

In cooperation with:

Coke Wisdom O’Neal The Box

23.04.2009 - 23.05.2009
Mixed Greens is thrilled to announce The Box (Texas), Coke Wisdom O’Neal’s fourth solo exhibition with the gallery. In a continuation of his Box Series, begun in New York City in 2005, O’Neal and his turn-of-the-century camera traveled to the rural border town of San Isidro, Texas, to document its denizens inside a colossal 22-foot-tall sculpture. The result is a photographic study in identity and identification.

In the isolation of South Texas, O’Neal collaborated with the San Isidro community to build and activate his large-scale specimen box. They constructed the sculpture on a ranch and then moved it to the local school grounds, where O’Neal fostered an immersive and interactive art experience. O’Neal taught photography to students and invited local residents to be photographed. Later, the Box returned to the ranch, where workers and livestock were invited in.

Ultimately, O’Neal’s Box exists as a sculpture (combining Claes Oldenburg’s scale and Donald Judd’s form to absurd effect), a performance, and a series of photographs. O’Neal uses the Box as a framing device—a blank canvas that obliterates geographic location, leaving the viewer to carefully observe light, pose, expression, and attire to envision a narrative. Together, the subjects’ vignettes uniquely represent their community, without direction or digital manipulation by the artist. O’Neal has set the stage and invited San Isidro to join him.

In cooperation with:

Dirk Westphal Super Über

19.03.2009 - 18.04.2009
Mixed Greens is thrilled to announce a solo exhibition by Dirk Westphal. This show will mark the completion of Westphal’s fish series and serve as a swan song to the body of work with which he is most associated. Almost a decade ago, Mixed Greens began working with Westphal’s bizarre and irresistible photographs of mutant goldfish (“fish porn”). Each photo commented on different perceptions of natural and manmade beauty with wit and virtuosity. Subsequently, Westphal staged shark sightings, built surfboards, made sculptures from snack cakes, participated in gladiator brawls, and explored the brilliance of medicinal fluids. However, despite the various bodies of work in which Westphal investigated artificiality, he consistently returned to fish collecting, husbandry, wrangling, and documenting, each time with a different point of view.

Westphal renders overbred fish (from his neighborhood in Chinatown, NYC) in brilliant color and hyper detail on glowing white backgrounds. Anachronistic, large-format cameras and custom-made posing tanks allow him to capture features and distinctive markings that elude the naked eye and provide land-bound viewers with a startlingly intimate glimpse into a fish’s private world. To add a level of dark comedy, Westphal employs various titling techniques and adopts classic photographic approaches—from police-style profiles to fat cat tycoon poses. While some images are complete “portraits,” his most recent images verge on the abstract and have more in common with painting than the hard-edged, technical photography that creates them. Final prints are embedded in acrylic, which mimics the sheen of still, clear water and imbues the fish with monu-mental beauty and grace. After much thought, Westphal has decided to turn his attention to other subjects. So Super Über not only represents the “best of” his recent fish photos, but it also marks an end to the subject in this form. Using the play on words from the German ‘über,’ meaning not only ‘above,’ but literally ‘over and or above,’ Westphal is closing this chapter in his artistic career with a large-scale and breathtaking final farewell.

In cooperation with:

Leah Tinari Sneak a Peek

12.02.2009 - 14.03.2009
For years, Tinari has documented the revelry in her personal life. As she has grown, her viewer has been privy to the good times she and her friends have had. Whether or not the viewer can identify with a specific person is irrelevant; the celebrations, birthday parties, weddings, and moments in a photo booth are times to which we can all relate. In this newest body of work, Tinari expands her range to include black and white paintings, along with some of her most scandalous parties to date.

In cooperation with:

Mark Mulroney Follow the Nosebleeds

08.01.2009 - 07.02.2009
Mixed Greens is elated to announce their third exhibition with Mark Mulroney. This time, he uses collage, drawing, painting, sound, and sculpture to expose the viewer to a fascinating, interconnected universe of religious and scatological thought.In Follow the Nosebleeds, Mulroney re-imagines Mixed Greens as a more intimate, studio-like space. He divides the gallery with constructions, furniture, and partitions all made of cardboard (loosely based on the haunted houses he built with his brothers as a child). In this setting, mixed media and diverse content inspire active participation by the viewer.

In cooperation with:

Carol Salmanson Diaphany

13.11.2008 - 22.12.2009
Salmanson’s work combines spatial and color concerns with architectural and theatrical elements. For Diaphany, she utilizes various colors of light to create a visually engaging pattern that mimics existing architecture and uses the space’s permanently installed scrim to its greatest advantage. The resulting piece is reminiscent of a fabric pattern, a map, an architectural plan, a color-coded information system or the back stage of theater.Salmanson’s work is the perfect debut for the project space. As someone with hereditary hearing loss, Salmanson has special interest in the non-verbal communication of emotion and a history of tapping into the energy and intensity of those things we take for granted. Through light, she explores unconscious perception and is the perfect candidate to change the experience of a walk down 26th Street.

In cooperation with:

Alessandra Exposito My First Love

13.11.2008 - 22.12.2008
Mixed Greens is thrilled to announce their third solo show with Alessandra Exposito. For this exhibition, Exposito will present a new series of narrative sculptures, including a life-sized horse skeleton.Exposito has a long-standing fascination with trophy animals and mounted game. Instead of using traditional deer or elk in her work, she chooses farm animals and beloved pets—such as chickens or cats—that lack associations with rugged masculinity. Exposito uses paint, rhinestones, studs and sculpted antlers to elevate their skulls into powerful fetish objects. For this exhibition, she focuses solely on the horse, an animal with complicated and opposing associations: domesticated and wild, leisure and work, the object of affection of both cowboys and little girls.

In cooperation with: