Dogs of Future Earth (2018) is a series of digitally created images of the aftermath of ecological disaster, in which humans have become extinct. In these pieces, which combine photo collage and digital drawing, packs of stray dogs inhabit landscapes strewn with human artifacts such as mountains of CRT monitors and pleasure boats fossilizing in a dry lake bed. The dogs in these works are inspired by the real life stray dogs that live in the exclusion zone of the Chernobyl nuclear disaster in Ukraine, inhabiting abandoned buildings and dilapidated playgrounds.Read More
David Howe | Tent Field : Contested Territory
Artist David Howe brings his outdoor sculpture project to an secluded forest in rural Connecticut.
David Howe’s Tent Field project began as an effort to conjure a physical artwork from a descriptive passage found in Albert Camus’ The Plague. The project now numbers over 100 red rip-stop nylon tents, varying in scale but all considerably less than life-size. River stones placed inside secure them, while careful observation reveals that they are fully enclosed, without entrances or exits.
In cultures with an immersive connection to their natural surroundings, tents and tent-like structures provide moveable shelter and temporary grounding. In societies defined by buildings and housing, tents have long sheltered the unwanted, the unwashed, the forlorn, refugees, the diseased, the wounded, the captured, the homeless.
Tent Field: Contested Territory, 2019, is an installation designed specifically for the 42 Social Club location in Lyme, Connecticut. On this site embedded with the histories of the Pequot tribal people and the arrival of the English colonists, the tents populate the woods and act as mute interrogators of the invisible histories of the land. The ground becomes content.Read More
42 Social Club is pleased to present a summer group exhibition, FORCED COLLABORATION: COUPLES EDITION, curated by the fabulous Jacob Rhodes (director of Field Projects Gallery NYC). In his work, as well as in his life, Jacob examines codes of masculinity, class and the inherent violence in homo-social interaction. For this show, Jacob asked artist couples (who normally don’t work together) to collaborate on an artwork for this show! The results are surprising, whimsical, and anything but “forced”.
Caroline Wells Chandler & Manal Abu-Shaheen | Maureen Drennan & Paul Gagner | Amanda Nedham & Kyle Hittmeier | Lisa Schilling & Eric LoPresti | Harriet Salmon & Jesse David Penridge | McKendree Keys & Shaun Leonardo & Anaís McKendree Leonardo | Jac Lahav & Nora Lynn
SATURDAY, JUNE 15, 3PM - 5PM
JUNE 15 - SEPT 13
(or by appointment)
This exhibitions pairs sixteen artists with distinctly different practices resulting in eight collaborations. The artists are not strangers but couples/partners outside the studio.
In the highly competitive contemporary art world, both success and failure are continually on display and are often signaled by proximity to known successes or failures. A single group show with a known success can make a career. An unfortunate collaboration can break it.
Our novel form of interaction raises questions about the nature of collaboration and competition, success and failure. Is competition inherent in collaboration? Will the artists move toward unity and resolution, merging opposed disciplines, practices, and aesthetic sensibilities, or will they subjugate and corrupt the other artist’s work? And which would be best for each artist? Should they trust the other artist to treat their work in a collaborative way or should they forcibly impose their vision to dominate the collaboration?
Jacob Rhodes was born in Oxnard, California, to a junior-high cafeteria cook and a car mechanic. He played drums in various Nard Core bands for 7 years after high school at which point he joined the ranks of art students at Otis College of Art and Design in Los Angeles. Upon receiving his BFA in New Genres, Rhodes joined the US Army 172 Infantry Brigade. After 3 years of service (2002-2005) he put back on his student uniform to attend Yale School of Art, earning an MFA from the sculpture department. In his work, as well as in his life, Rhodes explores codes of masculinity, class and the inherent violence in homo-social interaction.
The 42 Social Club is pleased to present Glyptotek, a solo exhibition by NY-based artist Alexandra Zsigmond. The show features recent paintings and prints that explore the intersection of sculpture, typography, and semiotics.
A glyptotek is a collection of sculptures; the word is derived from the Greek verb γλύφω glýphō (to carve, sculpt, engrave) and the word θήκη thḗkē (a storage place). Glýphō is also the root of ‘glyph,’ a word whose meaning hovers between two and three-dimensional space. In typography, a ‘glyph’ refers to a unique symbol, unit, or mark within a larger set; collectively, these symbols form a written language. And yet ‘glyph’ also means ‘a sculpted figure,’ lending it an innate connection to the three-dimensional that is easily forgotten in an era of digital word processing. This etymological connection hearkens back to the origins of both writing and printing. Petroglyphs carved into rocks are considered proto-writing; ancient languages such as Sumerian cuneiform and Egyptian hieroglyphics were inscribed into clay or carved into stone. And the first printing presses in Asia and Europe relied on small porcelain, wood, or metal sculptures of individual letters that could be endlessly rearranged to form any text.
Glyptotek meditates on this obscured connection between sculpture and written language. It reimagines the three-dimensional work of three modern sculptors—Fernando Botero, Constantin Brâncuși, and Alberto Giacometti—as collections of two-dimensional glyphs. Each of these artists were inspired by ancient cultures, and Botero and Giacometti drew directly from Egyptian hieroglyphics in the creation of their work. This exhibition illuminates those influences. Zsigmond’s paintings and prints rearrange these artists’ sculptures into a visual glyptotek of alphabets, charts, type specimens, and manuscripts. In doing so, they challenge us to consider the sculptor as scribe, carving written languages that follow visible yet enigmatic rules.
Alexandra Zsigmond (b. 1982) is a New York-based visual artist, originally from San Francisco. Her paintings and drawings visualize semiotic systems in philosophy, art history, and cognitive science. Alexandra is also a curator and designer of exhibitions, books, and newspapers, and from 2010-17 was an art director for The New York Times’ Opinion and Sunday Review sections. She is a recipient of the Public Scholars Fellowship from Humanities New York in 2015, and has been a resident at Spruceton Inn (Catskills, NY, 2019) and Casa Tres Patios (Medellín, Colombia, 2017). Alexandra is a frequent public speaker and has given talks and workshops on editorial art worldwide.
We are pleased to announce our first exhibition of the summer season. In Locus Of Crossed Destinies artist Max Razdow will present a suite of intimate and magical watercolor paintings. In these paper menageries Razdow introduces us to a world of mysticism, mythology, and fantastical creatures combining the spiritualism William Blake with the playful creepiness Edward Gorey.
OPENS: SATURDAY APRIL 13, 2PM- 4PM
42 SOCIAL CLUB
42 GUNGY RD, LYME CT
Max Razdow’s recent solo and two person exhibitions include Metropolis Drawings at VOLTA NY 2016 and SEDIMENT Arts, Richmond VA; True Corpus (2015), Future Myths of the Surface (2011) and We Wait as Banshees Wait (2010) at Galerie Jan Dhaese in Ghent, Belgium, Dusk Drawings (2012) at Trailer Park Proyect, San Juan, Puerto Rico, The Veil of Dreams (2015) with Jesse Bransford at IDIO Gallery in Brooklyn and Through Every Leaf, with JJ Manford at Freight+Volume NYC (2012). His work has been included in the group shows at Andrew Edlin Gallery, SouthFirst in NYC, UKS Oslo, and Torrence Art Museum, CA among many other exhibitions in the U.S. and internationally. Razdow’s work has been discussed in the New York Times, Art F City, L Magazine and KunstHart (BE), and included in K48 and N+1. He curates independently with The Sphinx Northeast, edits the journal Speculative Arts Research and teaches as UMass Boston. Max received his MFA from New York University in 2008 and a BFA from the University of Wisconsin-Madison, and lives and works in Boston MA.
SHORT ESSAY BY MAX RAZDOW:
Locus of Crossed Destinies
In 1969, Italo Calvino wrote The Castle of Crossed Destinies and The Tavern of Crossed Destinies by using tarot cards as generative agents for his tales. In these collections of stories, supernaturally silent travelers struggle to reveal the details of their journeys by selecting cards from two different renaissance decks. In the castle and tavern, where these travelers meet, tarot’s deeply layered and much studied images become illustrations to their untold tales, which the narrator unravels for the reader. Calvino wrote an epigraphic note at the books’ end where he remarks that he’d once planned to write a third location into his book, with more contemporary sets of archetypes perhaps sourced from comic strips rather than tarot cards:
“I thought of comic strips, of the most dramatic, adventurous, frightening ones: gangsters, terrified women, spacecraft, vamps, war in the air, mad scientists … The Motel of Crossed Destinies.”[i]
Calvino goes on to provide a scenario for his unwritten Motel. A catastrophe has occurred, and the travelers have gathered in a half-destroyed motel. Unable to speak, as was the case in his previous Crossed Destinies books, they resort to pointing at images in the comic sections of scorched newspapers in an attempt to convey to each other the horrors they’d witnessed outside. I am struck by the prescience of this scene, for this seems akin to our own experience in the highly mediated information age we find ourselves inhabiting, where we gesture at images presented on our screens to reflect our stories, and those of the world at large, to both friends and strangers.
In my own attempt at creating a set of archetypal drawings, with the interactive presentation of an oracle deck, I find myself grasping not at a way to consider the here and now, but rather an implicit utopia. The Mage Cards, which reach into a cloudy space of multivalent myth, contemporary folk tales, emotions, elementals and layers of poetics reframed as pantheons, seem to hint at a future in which we are again tightly bound to our own psychologies and aspects of nature, as the tarot manifests. In the Mage Cards, magical power is implicit, and the individual is assumed to be an empowered agent of magical will. While inclusive of both positive and negative forms of this magic, the set of liminal images’ general tilt seems opposed to a vision of antagonistic structures (i.e. war, technology) looming in Calvino’s unwritten Motel. Rather, in the Mage Cards, humanity wields artistry, wears costume and keeps one foot in liminal spaces where nature and creativity unite the mundane with the divine.
What, then, could be a better setting in which travelers may encounter these Mage Cards imagoes than a garden shed, such as that which forms the gallery walls of 42 Social Club? The shed is a place that is meant to keep tools, and to engage directly with the earth as gardener, farmer, bird watcher, animal feeder, wood cutter, mushroom hunter, etc. It’s a locus of interaction with nature. The eight organizing idioms of magic (which the Mage Cards use as their color wheel) are Gnosis, Order, Nature, Chaos, Numina, Tulpa, Apeiron and Techne – elemental monads of thought structuring and action that do not require or pay much heed to the futurological echoes of a rocket ship leaving our atmosphere, or the implicit hierarchies of man. The usage of Mage Cards requires quiet and insight, and gathering to meet them in the shed, as Calvino’s travelers may have, would be appropriate. There, observers might find words by the tongues of the cards, seeking labyrinthine ways of being before taking places by the ancient, surrounding trees.
-Max Razdow, 2019
[i] P. 128, Italo Calvino, The Castle of Crossed Destinies, Harcourt Brace Jovanovich, New York and London, 1969.
Cave Dwellers is a theatrical presentation of cuddly yet spooky anamorphic soft sculpture and textile paintings made with a combination of traditional and modern techniques such as cutting, sewing, stuffing, digital weaving, and hand-embroidery. Installed in an environment resembling something between a cave and the holodeck, the works evoke a cavern of curiosities belonging to a speculative future where machines and organic beings have merged. Inspired by the language of science fiction films and nostalgic Natural History Museum dioramas, Smith presents an open-ended narrative of a diverse community of bio-technological beings living underground as the earth’s atmosphere surface has become inhospitable.Read More
Join us for some fall, foliage fun with a show curated by the fantastic Kari Adelaide and Max Razdow (The Sphinx Northeast). The show, Gungywamp, takes its name and inspiration from a local controversial archaeological site of natural and man-made stone structures in Groton, CT. This exhibition brings together 4 magical artists, all dealing with aspects of architecture and psycho-geography.
Kirsten Deirup, Alessandro Keegan,
Karsten Krejcarek, Paola Oxoa
Curated by Kari Adelaide and Max Razdow
Opening: Saturday November 3rd from 2 pm - 4 pm.
Show runs until Dec 15th, so come visit! (by appointment only please)
NOTE: There will be in conjunction a two hour guided hike at Gungywamp on November 4th, 1-3pm, RSVP for information
GUNGYWAMP celebrates an instantiation of spirit in place and location, taking its name and inspiration from a nearby mystery site of natural and man-made stone structures: Gungywamp, in Groton, CT. Psychogeography, a term coined by Guy Debord to illustrate the human tendency to gather emotion from sites in the world, provides a welcome footing from which to inspect this territory. In gathering four artists who may herald its structures or engage in different ways, we hope to explore an architectural presence as well as the hidden edifices of a landscape. This show, in addition to being an honorific tribute to a site inhabited by several cultures through the vagaries of time, aims to explore the manner in which the artist can summon a spiritual energy into location. These echoes may be traced by physical traits as well as lingering memory images, perhaps traversing unseen borders like tulpas from the fog.
Gungywamp's most weird feature might be its "Cliff of Tears", an overhanging rock structure claimed by some to create overwhelming emotion in passersby. Like a baleful version of Sedona's vortexes, its gray mass leers from romantic tangles of southern New England woods, and has caused wild speculation about nearby petroglyphs' ties to far flung cultures like the Egyptians and Celts. Ezra Haber Glenn notes that while real geographic constituents articulate human desires, its mediums of understanding include things as diverse as "travelogues, real and invented biographies, opium-induced confessions, playful and surreal works of art, and other literary, poetic, and geographical flights of fanciful reality (and realistic fantasy)" (1). Gungywamp's story emanates not solely from the physical places that engender its presence, but just as strongly in the murmurs and smoky breaths of the wanderers in its groves.
Ezra Haber Glenn. (2017). Wanderings in Psychogeography: Exploring Landscapes of History, Biography, Memory, Culture, Nature, Poetry, Surreality, Fantasy, and Madness [Syllabus]. Cambridge, Massachussetts: Department of Urban Studies and Planning MIT. PDF.
Opening Saturday November 3rd, 2pm-4pm
Situated on Cedar Lake in a traditional straw bale and stucco farmhouse, 42 Social Club is a privately run artist residency and gallery space. Just as the first straw bale houses were built in the late 19th century out of necessity and with little capital, 42 Social Club continues a tradition of DIY culture. Allowing creatives and intellectuals a contemplative space and the freedom to engage nature or introspection in this unique setting, The 42 Social Club's goal is to foster discussion while engaging the greater Lyme community.
Presenting the mythical sculptures of Sue Kovach at the 42 Social Club.Read More
The 42 Social Club is pleased to present proxies, surrogates or decoys - a solo exhibition by Brooklyn based artist Jeremy Olson.
OPENING JUNE 23, 2pm-6pm
Born in Ojai, CA; Jeremy Olson is a Brooklyn-based artist working in painting, sculpture and video. These practices are linked by a common interest in the built environment, animist objects, and the various ways that images shape desire. His work has been exhibited in New York as well as Antwerp, Baltimore, Berlin, Melbourne, and Seoul. He has participated in residency programs in Florida, New York, Nebraska, Oslo, and Michigan.
Please join us September 16th for a HUGE show by the amazing Rachel Rampleman. This will be our final exhibition of the season, SAD!
The 42 Social Club is pleased to present TORRENT - a solo exhibition by NYC-based multimedia artist Rachel Rampleman. In this exhibition Rampleman examines the notion of a torrent: defined as both a rushing, violent, unceasing flow and the modern method of pirating digital information. Rampleman will premiere a new multi-channel video installation continuing her explorations into the fascinating world of Youtube makeup tutorials. This time the lens is focused on a strange, politically satirical, trend that has come to be known as "Trumping".
Rampleman’s new work unveils a unique subculture of female/femme-identifying makeup artists imitating, and often mocking, Donald Trump. In TORRENT, Rampleman will contrast these Trumping videos with a series of landscape photographs and additional single / multi-channel video works. The result of this juxtaposition is a reflection on the tumultuous state of the nation highlighting the natural and digital effects of a torrent.
Born and raised in the suburbs of the Midwest, Rampleman creates bodies of work that explore subjects like gender, spectacle, and the excesses of popular culture. Part directorial, part curatorial, and part anthropological, she probes into overlooked elements of our culture to reveal an expanded landscape of American life.
Rampleman’s work frequently showcases exuberantly bold and irrepressible female/femme personalities who revel in challenging common clichés associated with masculinity and femininity, and who often assume roles stereotypically associated with men. This is a world where sexual braggadocio, heavy-metal rock stardom, or hyper-muscularity have become characteristic of feminine prowess. Working primarily with lens-based media, Rampleman has made work ranging from documentary style videos and photos (such as Girls Girls Girls, the world’s first and only all female Mötley Crüe tribute band), to experimental video series (such as Busby Berkeley 2.0 - in which nostalgic 1930s routines choreographed by Berkeley are transformed into something more hypnotic, industrial and menacing).
Rampleman's work has been shown in at The Warhol Museum, The Samuel Dorsky Museum of Art, S.M.A.K. (Stedelijk Museum voor Actuele Kunst), Kunstmuseum Bonn, Cleopatra’s, VOLTA NY, Petzel Gallery, Socrates Sculpture Park, SPRING/BREAK Art Show, Flux Factory, the Brooklyn Academy of Music, NP Contemporary Art Center, Envoy Enterprises, among many other venues.
David B. Smith holds an MFA from Bard College and has been awarded residencies by Socrates Sculpture Park, Apex Art, New Zealand; Harold Arts, Ohio; Waterpod, and the BOFFO residency, New York. Smith’s work has appeared in exhibitons at MoMA PS 1, The International Center of Photography, Yancey Richardson Gallery, Asia Song Socitey, John Connelly Presents and Halsey McKay Gallery. He lives and works in Brooklyn, NY.
Rachel Ostrow is a painter/printmaker living in Brooklyn NY. She holds degrees from Wesleyan University CT and Hunter College NY. Her work has been exhibited in museums and galleries including recent shows at BRIC Arts Media (Brooklyn NY), Galerie Rene Blouin (Montreal Canada), Kenan Center (Lockport NY), International Print Center New York, among others.
The 42 Social Club in Lyme, Connecticut is pleased to announce it’s inaugural exhibition, Surface Area, new works from Brooklyn based artist Harriet Salmon.
Hailing from a family of scientists and trained as a sculptor, it seems natural that Salmon’s initial point of departure can be seen as asking the question “how is it made”? This question is played out in various modalities; how objects are made in nature; how human beings aspire to make, and what it means to make. In a selection of drawings and sculptures Salmon interrogates these positions.
Commanding the central gallery space, a luminescent tetrahedron sculpture is the viewers’ first encounter. The minimalist geometric sculpture evokes both the natural and manufactured incarnations of the tetrahedron; a basic shape found in molecular structures as well a form utilized in radar technology, geology, engineering and color space theory.
In a suite of drawings Salmon approaches the scientific etchings of 19th century naturalist Ernst Haeckel, renowned as an innovator in cellular research and an extremely talented draftsman. Salmon deals with Haeckel's monolithic amoeboid’s by conflating their imagery with design elements reminiscent of science fiction illustration and heavy metal album cover art - the hybrid of which is an homage to the language of the absolutism in Victorian thought and modernist design.
Harriet Salmon holds a BFA from California College of the Arts (2001) and an MFA from Yale University School of Art (2006). She participated in Socrates Sculpture Parkʼs Emerging Artist Fellowship in 2008 and attended The MacDowell Colony residency in 2009. She has been included in various group exhibitions in New York at the Journal Gallery, the Elizabeth Foundation for the Arts, and Postmasters Gallery, among others. Salmon currently lives and works in Brooklyn.