caroline – essence

1995

Signed, dated, and numbered, verso

Gelatin silver print

20 x 16 inches, sheet
15 x 15 inches, image
(Edition of 10)
$4,500

14 x 11 inches, sheet
10 x 10 inches, image
(Edition of 10)
$2,600

10 x 8 inches, sheet
7 x 7 inches, image
(Edition of 10)
$2,800

Please note that prices increase as editions sell.

Rowing Machine

1999

Stamped and numbered, verso

Gelatin silver print

24 x 20 inches, sheet
(Edition of 10)
$2200.00

20 x 16 inches, sheet
(Edition of 10)
$1800.00

14 x 11 inches, sheet
(Edition of 15)
$1500.00

Please note that prices increase as editions sell.

Literature:
Smalley, Luke, Gymnasium (Twin Palms: Santa Fe, New Mexico, 2001), full-page illus., n.p.
Szalay, David, All That Man Is (Milan, Italy: Adelphi Edizioni, 2017), cover illus.

ClampArt will be exhibiting at the Houston Fine Art Fair, September 14 – 16, 2012

ClampArt will be exhibiting at the Houston Fine Art Fair, September 14 – 1
We are pleased to announce that ClampArt will be exhibiting in the Houston Fine Art Fair, September 14 – 16, 2012.

This will be the second year of the fair. Last year, over 10,000 enthusiastic art lovers explored the offerings of 83 dealers.

Houston is home to many major museums, a thriving gallery scene, and a strong base of passionate collectors and patrons. For 2012, the fair will be held in the Reliant Center – – the leading entertainment complex in the state. The fair site is adjacent to Reliant Park, home stadium of the popular NFL Houston Texans. Reliant Center is also a neighbor of the world respected Houston Medical Center.

Show Times:
Thursday, September 13, 6 – 7:30pm (Opening Preview Party)
Friday, September 14, 11am – 7pm
Saturday, September 15, 11am – 7pm
Sunday, September 16, 11am – 6pm


Blog post by:
Brian Paul Clamp, Director

Ensnared: Butterflies

Informed by major events in his own life, Gaz’s “Ensnared” series explores themes of loss, memory, transition, and transformation. Throughout these images ensnarement is allegorized by the actions and effects of the archetypes of hunter and hunted. Gaz finds these roles to be oddly interchangeable, caught up in a cycle in which each is trapped by the other – – where neither is ever free of the other’s influence, but nevertheless transformation still takes place.

Ensnared: Astronauts

Informed by major events in his own life, Gaz’s “Ensnared” series explores themes of loss, memory, transition, and transformation. Throughout these images ensnarement is allegorized by the actions and effects of the archetypes of hunter and hunted. Gaz finds these roles to be oddly interchangeable, caught up in a cycle in which each is trapped by the other – – where neither is ever free of the other’s influence, but nevertheless transformation still takes place.

Ensnared: Hunters

Informed by major events in his own life, Gaz’s “Ensnared” series explores themes of loss, memory, transition, and transformation. Throughout these images ensnarement is allegorized by the actions and effects of the archetypes of hunter and hunted. Gaz finds these roles to be oddly interchangeable, caught up in a cycle in which each is trapped by the other – – where neither is ever free of the other’s influence, but nevertheless transformation still takes place.

Impact: Images

During his youth, artist Stan Gaz was fascinated by the notion of meteorites. Thus, as an adult he began to photograph meteorite impact structures and their surrounding landscapes. Many of these locations are sacred to various tribal communities and have a variety of stories and beliefs attributed to them. Although many versions exist, most relate to the notion of the craters possessing secrets of mankind’s origin.

Craters are simultaneously destruction, creation, life, and death. They are examples of life both environmentally and visually. The “Impact” series is not only an exploration of these landscapes, but it also serves a metaphor for our world’s tenuous position in the larger universe.

Impact: Sculpture

During his youth, artist Stan Gaz was fascinated by the notion of meteorites. Thus, as an adult he began to photograph meteorite impact structures and their surrounding landscapes. Many of these locations are sacred to various tribal communities and have a variety of stories and beliefs attributed to them. Although many versions exist, most relate to the notion of the craters possessing secrets of mankind’s origin.

Craters are simultaneously destruction, creation, life, and death. They are examples of life both environmentally and visually. The “Impact” series is not only an exploration of these landscapes, but it also serves a metaphor for our world’s tenuous position in the larger universe.

Ash: Images

Growing up in the Mohave Desert, photographer Stan Gaz was exposed to an extreme, harsh environment. The images in the “Ash” series are photographic drawings, which combine symbolic imagery with ash to communicate issues of fragility, morality, and memory. Gaz brings into play processes, materials, and events that represent the tenuous nature in which we exist.

The wide breadth of Gaz’s subjects encompasses personal experiences, hate crimes, and historical art pieces, among others.

Ash: Sculpture

Growing up in the Mohave Desert, photographer Stan Gaz was exposed to an extreme, harsh environment. The artworks in the “Ash” series combine symbolic imagery with ash to communicate issues of fragility, morality, and memory. Gaz brings into play processes, materials, and events that represent the tenuous nature in which we exist.

The wide breadth of Gaz’s subjects encompasses personal experiences, hate crimes, and historical art pieces, among others.

Mark Beard | “Master & Apprentice,” On-Verge

From On-Verge:

Propelled by the desire to work through different mediums and historical tropes, Mark Beard has formulated a variety of artistic personalities that allow for legitimate immersion.

View the original article

View the exhibition
Browse all of Mark Beard’s work at ClampArt

Ghost Dance

May 17 – June 23, 2012

Opening reception:
Thursday, May 17, 2012
6:00 – 8:00 p.m.

ClampArt is pleased to announce “Ghost Dance,” Scott Daniel Ellison’s third solo exhibition at the gallery.

Inspired by Scandinavian folklore, contemporary horror films, and early goth/heavy metal imagery (such as album covers, photographs, and ephemera), Ellison paints heavily layered panels which ultimately function as much as sculptural objects as simple images.

The artist was raised in a suburban development in upstate New York that was surrounded by cornfields, woodlands, and meadows. Ellison writes: “I remember running through a pine forest at night when I was about ten imagining I was being chased by creatures in the dark that I couldn’t see, just to scare myself.” His paintings thus reflect his fascination with darkness, mystery, and the anxiety of a story only half told. Ellison wants us to stop and ask questions: “What am I doing in this place?” “Am I in trouble here?” “Is that a friend or foe?” He explains that his attraction to that which might inspire fear or awe was perhaps a way for him to cope with feelings of true terror in real life.

Ellison first learned to paint by looking at such “outsider” artists as Bill Traylor, Henry Darger, and Henri Rousseau. “I always tend to enjoy the rougher stuff,” he says. “I’m a huge admirer of Mamma Andersson and Philip Guston’s later work.” The surface of Ellison’s pieces are irregular and lumpy, intentionally built up by the artist over time.

And in that vein, Ellison also releases music on his own record label. With song titles such as “Strange Weather” and “Wilderness,” the complexity that results from the meeting of his visual and musical output enhances both.