James Esber
Hipster, 2021
Acrylic and paper mounted to PVC panel
14 x 11 inches
James Esber
Sleeper, 2021
Acrylic on PVC panel
48 x 62 1/2 inches
James Esber
Smoker with Bow, 2021
Acrylic on PVC panel
40 1/2 x 32 inches
Chie Fueki
Josh (Energy Version (Solar Eclipse (Up Up Up))), 2021
Acrylic and mixed media on mulberry paper on wood
84 x 60 inches
Tom Burckhardt
New York Herald, 2019
Oil on linen
48 x 46 inches
Tom Burckhardt
Contrafactum, 2022
Oil on linen
20 x 16 inches
Tom Burckhardt
No Longer With Us, 2022
Oil on linen
20 x 16 inches
Alexi Worth
Ladder, 2022
Mixed media on mesh
82 x 46/45 inches
Alexi Worth
Renovation Doorway, 2017
Acrylic on nylon mesh
54 x 18 inches
Alexi Worth
Still Life with Staple Gun and Bliss Potatoes (AS), 2020
Acrylic on paper
24 x 16 inches
Barbara Takenaga
Surfacing (blue with orange edge), 2021
Acrylic on linen
54 x 45 inches
Barbara Takenaga
Into the Blue Again, 2021
Acrylic on linen
60 x 70 inches
Lisha Bai
Sunset in two parts, 2020
Cast sand
42 x 5 x 16 inches
Carrie Moyer
Spectacular Heart Craze, 2021
Acrylic, glitter, mica, graphite on canvas
78 x 96 inches
Carrie Moyer
Arrangement #12, 2022
Mixed media and collage on paper
20 15/16 x 15 inches
Suzanne Joelson
Aggregated Madonna, 2021-2022
Acrylic paint on wood panel with vinyl mesh print
48 x 36 inches
Leah Tacha
Midnight Profile, 2019
Ceramic with digital decals
21 x 11 x 9 inches
Leah Tacha
Cigar Paper, 2019
Ceramic with digital decals
19 x 7 x 6 inches
Leah Tacha
Midnight Textures, 2019
Ceramic with digital decals
20 x 14 x 9 inches
Leah Tacha
Puffer Track Jacket, 2020
Ceramic with digital decals and luster
14 1/2 x 8 x 5 inches
Katia Santibañez
An Ideal Place, 2016
Gouache on paper
17 x 14 inches (paper); 24 x 21 inches (frame)
Katia Santibañez
Another Place, 2020
Acrylic on canvas
42 x 42 inches
Yvonne Jacquette
Delirious Manhattan, 2014
Oil on linen
34 1/2 x 63 5/8 inches.
Yvonne Jacquette
Above Augusta, From Helicopter I, 2006
Pastel on paper
22 1/4 x 29 3/4 inches (each); 26 1/2 x 106 inches (overall)
Duane Michals
Why Did He Burn the Letter?, c. 1980
Photograph with hand-applied oil paint, mounted on illustration board
13 1/4 x 19 3/8 inches (image); 15 7/8 x 19 3/4 inches (paper)
Duane Michals
Jasper Johns, 1972
Collage of four gelatin prints
11 1/2 x 8 3/4 inches
Duane Michals
Nora Barnacle, 2012
Tintype with hand-applied oil paint
14 x 10 inches
Duane Michals
Self-Portrait, c. 1962
Oil on canvas
10 x 8 inches
Duane Michals
The Vain Politician, 2013
Tintype with hand-applied oil paint
10 x 7 3/4 inches
Mark Innerst
Beacon, 2019
Oil on canvas in the artist's handmade frame
60 x 36 inches (canvas) 67 1/2 x 43 inches (frame)
Mark Innerst
Encore, 2018
Acrylic on panel in the artist's handmade frame
10 x 8 inches (panel); 15 x 13 inches (frame)
Karen Schifano
Life During Wartime, 2021
Flashe on canvas, 28 x 36 inches
Karen Schifano
Hard Won, 2022
Flashe on canvas
28 x 36 inches
Karen Schifano
Home Free All, 2021
Flashe on canvas, 28 x 36 inches
Karen Schifano
Slippery, 2022
Flashe and watercolor pencil on canvas
28 x 36 inches
Sharon Horvath
Channels and Drops, 2022
Pigment, polymer, photo collage mounts on paper mounted on canvas
30 x 22 inches
Sharon Horvath
Remembrance 3, 2022
Pigment, polymer, photo collage mounts on paper mounted on canvas
30 x 22 inches
Mary Frank
Migration VIII, 2015-2017
Archival pigment print on bamboo paper, mounted on aluminum
16 1/2 x 21 1/2 inches
Mary Frank
Where?, 2015-2017
Archival pigment print on bamboo paper, mounted on aluminum
16 1/2 x 21 1/2 inches
Mary Frank
Skies in Blossom II, 2015-2017
Archival pigment print on bamboo paper, mounted on aluminum
21 1/2 x 16 1/2 inches
DC Moore Gallery is pleased to present A S K E W, a group exhibition featuring works by Lisha Bai, Tom Burckhardt, James Esber, Chie Fueki, Mary Frank, Sharon Horvath, Mark Innerst, Yvonne Jacquette, Suzanne Joelson, Duane Michals, Carrie Moyer, Katia Santibañez, Karen Schifano, Leah Tacha, Barbara Takenaga, and Alexi Worth.
Over the past years, there has been a globally-shared unsettling of what we have understood as “normal” everyday life. As ideologies and supply chains become more fractured, and too many in power lead with misinformation, truth and fact seem to have taken on a strange flexibility, destabilizing our habits and assumptions in ways that can feel minor one day, overwhelming the next.
The paintings, photographs, and sculptures in the exhibition reflect the many ways in which we have felt this unsettling, and been forced to look inside ourselves, attempting to reset. They suggest the discomfort—and precarious vitality— that can come from the state of being thrown off, of feeling askew.
The connections between these works are strengthened by what is absent: groups gathered, realistic portraiture, naturalistic landscapes. Instead, the artists here create abstract or coded meditations on our inner selves, our bodies, the cosmos, and the immediate environment. Like pieces of a puzzle, each fills in some of the subjective contours of our still-assembling sense of this uncomfortable time.
