The 2014 Keeler & Co. Holiday Gift. Not kidding
This store combines two things we love: candy and Filson. Located at 17 W. 19th Street NYC across from the ACE hotel, Amé Amé is one of those rare gems left in the city. Gorge on candy from around the world while plotting and outfitting your next travel adventure. Filson and candy - a perfect combo, who knew?
PS: The owner is super sweet and really loves what she does and that is so fucking refreshing and awesome.
We love us some Jill Silverberg. These paintings combine our love of pop culture and trashy television. They are like little Ricki Lake jewels. They are the perfect blend irreverence and wit that makes them just the right amount of high and low. Now back to watching Maury.
We are loving the work of NY based artist Yichi Liu. Not only is his work great but he is one of the sweetest guys we have met in a long while. He has work up right now as part of The Grey Area: Group Exhibition at Lura (949 Columbus Ave). Go and check it out before July 14th - and check his prints available on Society 6.
It is now officially summer and we here at Keeler & Co. like to check out and hit the beach with a stack of magazines, some good books, and a pitcher of margarita. In our beach bag is SEXY PERSON(s), Brice Peterson's first poetry collection. The 60 poems were composed as "translations" of selected text from Camille Paglia's controversial book, Sexual Personae, read through Google voice recognition software. As Peterson puts it, " The resulting poems are records of the digital interface with the divine. They exist at the crossroads between inspiration and failure, between technology and myth." And they are really fucking funny, redic, and brilliant.
Just a few days away from from the opening of PULSE. Scallion With Scrunchie is a work that I live with in my own home and am excited to have at the fair. Busy prepping for the fair and not much time to write so I will let Courtney's work speak for itself. Hint: It is hilariously brilliant.
Next up in our PULSE NYC artists is Jacob Rhodes. Rhodes' work explores codes of masculinity, class and the inherent violence in homo-social interaction. The middle child of three boys born to a car mechanic and a school cafeteria cook, Jacob spent his youth touring in punk bands, publishing zines, and self producing records. He received his BFA in New Genre and Photography from Otis College of Art and Design in Los Angeles where he studied under Larry Johnson, Bruce Hainley, and Richard Hawkins. After graduating, he joined the US Army, spending three years in Alaska at Fort Wainwright’s 172nd Arctic Infantry Brigade. In 2005, he returned to school attending Skowhegan School of Painting and then earned his MFA in Sculpture at Yale School of Art in 2007. Jacob has shown at the Bronx Museum, Alona Kagan Gallery, New York, Federal Art Project, Los Angeles, Galerie Im Regierungsviertel, Berlin, and Bart Wells Institute, London. He currently lives and works in Brooklyn, NY.
To inquire about the artist or the work shoot us an email at email@example.com.
I could live in the colors in this painting. It will be a part of our booth at the PUSLE Fair NYC NEXT WEEK. Come by and see us in booth b3! If you need passes to the fair shoot us an email and we will be happy to get you one. From Laura Newman's statement:
My studio windows look out over an open expanse of sky where flocks of pigeons rise up and circle around each other, catching the light as they turn. Depending upon the time of day, the birds look like holes in the fabric of the sky, or firework displays, but in reality they are participants in a competitive game in which each flock's owner tries to capture members of another flock by confusing them into returning to the wrong home.
I am interested in a kind of space which is fresh, airy, vast and open. The paintings are architectural in scale. They describe simple, theatrical places where geometry is heightened and there is play between flatness and spatial illusion. Each painting suggests a model or diagram, even as it evokes a particular, fictional place. When the paintings are grouped together, the viewer moves from one stagelike, abstract space to another.
I want my paintings to exist at the point where form takes on meaning--where a triangle can be read as a road in perspective, for example. Color is saturated and matte; space is warped; lines are active and almost three-dimensional. The scenes are reduced to sets, pressed against the picture plane, but at the same time imply a frictionless, vast landscape space. Suggestions of compression and restriction contrast with a sense of breaking free and soaring in thin air.
For more information about the artist or about the work shoot us an email at firstname.lastname@example.org.
I think one of the most exciting parts of working with artists is watching the shifts as they push their practice. It can be so easy for an artist to stand still, and working with Sarah McKenzie for the past fews years I have come to know that she is always pushing herself as an art maker. I wish I had time to say more, but I am in LA and off to a meeting. Excited to be able to include new work from Sarah in the PULSE booth and to see this new project expand.
Nora Burnett Abrams, the Associate Curator, Museum of Contemporary Art Denver wrote a forward for Sarah's recent exhibition with David B Smith Gallery in Denver. I am including it below to give a bit more context to Sarah's work since I am so rushed this morning.
Sarah McKenzie’s paintings in Transitional depict various architectural sites—private homes, an abandoned factory, a parking garage—many of which seem to be in flux. While the interior spaces of the home reveal the construction process, the paintings of the Gates Rubber factory present a building falling into ruins. McKenzie often depicts spaces of use, but there are never any figures that populate her scenes. This does not mean, however, that her paintings are without a human presence. On the contrary, they teem with details of human use and intervention. Cracked windows, a coil of yellow cord and an opened window shade—these are all the result of human activity. McKenzie’s subject oftentimes seems to be the effects of how we create and occupy the spaces that shelter and protect us. She scrutinizes how we build them up and how we tear them down or abandon them. In this sense, her works make clear that all buildings are continually in a process of transition.
McKenzie does not just address architecture. What makes her paintings so gripping is that they hover between physical documentation of a site and an exploration of pure visual forms. That is to say, she translates these three-dimensional structures into flat images of shapes, lines, and grids. McKenzie’s works are compelling for how they force us to think about how images are constructed or composed.
The windows and door frames of her paintings become a metaphor for the traditional notion that a painting should be a window onto another (better) world. However, McKenzie flips this notion on its head. She shows us the very spaces we inhabit everyday, and she shows how decidedly unglamorous they are. Her paintings captivate with their eerie familiarity and for the striking precision with which they are rendered. Taken together, McKenzie’s recent body of work elegantly balances the rigor of a geometrical composition with a profoundly affecting take on the architecture of contemporary life. To bring those two poles together in a way that forces a reflection on how such spaces are used—and to do so in such a visually compelling manner—is no small achievement.
Sarah McKenzie is represented by Jen Bekman Gallery in NYC. For more information about the artist or the work shoot us an email at email@example.com.
Jay Kaplan refers to his work as humorous and irreverent with appealing aesthetics, simple detail, and a very calibrated craftsmanship. He has been described as a generational representative. Kaplan has worked with Jeff Koons, Paul McCarthy, Barbara Kruger and as a set designer for Stefan Beckman. We will be showing an installation of work from his Cluster Fuck series at the upcoming PULSE fair. These vinyl, enamel, and resin oversized "buttons" are meant to be curated into groupings much like is done with the items they mimic.
The button has had a pretty steady and varied life through many groups and trends over the years. Punks, politicians, and kooky 80's receptionists have employed them as a method to share beliefs, bands, that they love their cat, or simply that you should fuck off. Smiley face, Black Flag, Snoopy for President—Kaplan highlights the myriad of ways that the button has been woven into the fabric of American life.
Like the real thing Kaplan's are funny, pop-y, and witty; but they can also be crude, insulting, and low brow. It makes for an odd reflection into what we choose to represent of ourselves and beliefs to others. What makes the project fascinating to me is looking at the myriad of ways we subtly manipulate others into thinking about us. Humor, irony, and self-deprecation are used to protect and guide others thinking. In each grouping you create a new identity and new story, all of which are nothing but a controlled facade. It is interesting to see who picks what and how many variations can be created by simply changing out and replacing some of the pieces. Take a look on Kaplan's site and pick out which ones you chose.
The first one I chose was, "I'm not real smart, but I can lift heavy things." That says a lot about me.
To inquire about the artist or artwork shoot us an email at firstname.lastname@example.org.
I am so thrilled to be able to include Shawn Huckins in the PULSE booth. The work is so skilled and easily engaged with through its obvious humor. It is hard not to laugh with the work. His practice uses humor as a tool. One not used to condescend, but instead to create a rich and poignant discussion of our contemporary time. I will let Shawn speak on behalf of his own work - all I have left to say is this painting is #bananas.
Robert Hine and John Mack Faragher define the American Frontier as “a tale of conquest, but also one of survival, persistence, and the merging of peoples and cultures that gave birth and continuing life to America.”
With the recent additions of pop culture slang words, such as ‘twerk’ and ‘selfie,’ to the Oxford Dictionary, was this the vision our early ancestors and frontier explorers had in mind as we continue the ‘conquest?’
The American __tier series explores 19th century American painting and photography in context of 21st century lexicons - Facebook status updates, tweets, texting acronyms - that permeate today’s popular culture. The process is a methodical replication of the original work, each painted by hand followed by the superimposition of large white letters, also painted, of social media jargon.
The frontier was conceived through an exchange of a few well-formed ideas communicated in person and by handwritten letters. Imagine what Lewis & Clark could have done with the internet while exploring the American west.
Technology influences how much we know and what we believe, as well as how quickly and intelligently we convey our ideas. But does how we communicate govern the value of what we communicate? The physical act of typing very fast on small devices has undeniably impacted spelling, grammar and punctuation, encouraging a degree of illiteracy that has become the new social norm. As goes our grammatical literacy, do our social and cultural literacies follow? Are we in a continuing state of the debasement of language?
But who are we to say that ‘twerk’ and ‘selfie’ are not valid forms of communication? These additions do not signify the death of the English language, but rather as a growing and evolving method of communication which changes as does our world. However, one may argue that technology and youth associated slang isolates us more, not less, and it is easy to idealize centuries-past life as a simpler, more civil, more intelligent, and ironically, more ‘connected.’ Families exploring the West would go weeks, months, or even years without instantaneous communication, while a text going from Denver to New York takes approximately a few seconds. Those century old methods of communication, intelligently and clearly, exhibit passion, courage, and connection, while today’s digital speak gives only a glimpse into the human psyche.
In any event, we live in a very different time than our Explorers did and we would appear to place our priorities in very different places: what entertains our selves versus what serves our society.
If Lewis & Clark could comment today, would they click the ‘like’ button, or post ‘wtf?’ and then go check their Miley Cyrus tweet?
- Shawn Huckins, 2014
To inquire about the work or the artist shoot us an email at email@example.com
Next up in our PULSE NYC artists is Dan Halm. The wave and its shape is something that is familiar to most but something that in reality something we only know for a fleeting moment before its crash. Halm's sculptures, using a delicate and fragile material, freeze moments of intensity we can never fully experience in reality. The viewer gets an intimacy with, and to revel in a poetic moment that is usually gone in the blink of an eye. They are quiet and delicate but at the same time harness the power of a great force of nature. What I am drawn to is this balance that is created and Halm's ability to very subtly whack you over the head with a extraordinary experience. Dan can most likely speak better about his own work so I will let him.
The Tidal series come from an exploration of a world that holds a mystery to me, the power and beauty of something so fierce and primal. Waves have the power to both delight and destroy, are both a force of nature and something man has spent his life trying to conquer. It is my hope that this series of work will engage the viewer to think of one of our last frontiers in a different way. The work is also meant to reference ukiyo-e, specificallyThe Great Wave of Kanagawa by Hokusai.
To inquire about the artist or about the work shoot us an email at firstname.lastname@example.org.
Jennifer Gustavson creates assemblages of found and hand-made objects. Using a wide variety of materials, they are often ordinary objects that have a history with the artist or the people that surround her in that they are embedded with sentimentality. Gustavson imposes her own taxonomical approach and makes arrangements into hierarchical structures from floor to ceiling that appear in increasing or decreasing order. For the artist, this activity is an integral part of the narrative behind the public display. Gustavson received a BFA in Photography from Illinois State University and an MFA in Studio Art from NYU. She has exhibited in New York City and Brooklyn, NY; Baltimore, Maryland; Chicago, Illinois; Danielson, CT; Santiago, Chile and Berlin, Germany.
Much like with Yael, I am drawn to Gustavson's use of the everyday in the creation of her contemporary totems. Her work is a reminder of how charged with emotion with objects can be, and how by creating pairings and making subtle changes to shape and form, chasms in our thinking and interactions are created. I don't know whether I want to laugh or cry when I see Not Yet Titled.
To inquire about the artist or about the work shoot us an email at email@example.com.
Yael Eban was born in Israel and raised in Indiana. She is currently an MFA candidate in the photo, video, & related media program at SVA. There has been so much great talent coming out of SVA these past few years. Painter Andrew Brischler is another favorite recent graduate who already has a few exhibitions and success under his belt. I expect the same from Yael. I selected the image for PULSE because I was drawn to the Sisyphean undertones. We all drag a form of "weight" around and up a metaphorical hill in our day to day. It can be easy to make this weight into our own Sisyphean struggle. I appreciate the ability of an artist to take the unseen and mundane and infuse a deeper meaning. Yael's image simply captures an epic tale hidden quietly in our everyday.
For more information about the work or the artist shoot us an email at firstname.lastname@example.org.
I have worked with photographer Christian Chaize for many many years. It has been such a pleasure to watch this series and story unfold. Chaize has faithfully returned to the same beach in Portugal, taking photographs from approximately the same elevated angle to create the images in his series Praia Piquinia. Vertically oriented — a departure from the horizontal format traditional to landscape photography — the photographs become, through their repetition, intimate portraits of a place. A counterpoint to seascape greats Massimo Vitali and Richard Misrach, Chaize’s images expose the subtle nuances of this particular beach and playfully render the passage of time through otherwise un-photographed (and therefore unobserved) changes in light, tides, the weather and the beachgoers’ configurations. The photographs become, as Jen Bekman, the founder of Jen Bekman Gallery notes, “less about humanity and more about being human.”
From the statement of the work.
“The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.” ― Marcel Proust
In 2004, Portugal presented itself as a new landscape in my life – both literally and metaphorically. Since then, I have photographed exclusively along a very small stretch of its southern coastline. Traveling there from France several times a year, I’ve observed its nuances, noting what changes, what stays constant…the subtle and dramatic shifts in its personality, if you will. Year after year, I not only continue to experience the mystery of its appeal, I find I am more deeply intrigued.
The results of my obsession have developed into two distinct series. This is an image from Praia Piquinia, a body of work focusing on a singular, secluded beachfront in which all of the pictures are taken from what is essentially the same elevated angle. What the still-life was for Morandi, the haystack for Monet…this beach is that for me. From a distance, I observe the variables: light, weather, time of day, the ebb and flow of the ocean and most importantly, the sunbathers, unaware, below my large-format camera. The images are shot vertically, a departure from the traditional, horizontal format in landscape photography. It puts my subject matter in the form of a portrait—an ongoing record of this corner of nature (and human nature), over the minutes, the days, the years. Ultimately, I try to instill an element of time within these captured moment…visceral time, elastic from one image to another.
Praia Piquinia has peeled back layers in how I see and, as a result, in how I experience my journeys there. Together, we are evolving. The place is the same, but as always, I seek to have new eyes
Raised in a small town in northern Massachusetts, Arsenault moved to New York City in 1997 to pursue a degree in photography at the School of Visual Arts. He now resides in Los Angeles. Arsenault’s photographs are represented in the permanent collections of the Nerman Museum of Contemporary Art in Overland Park, Kansas and the Museum of Fine Arts, Houston.
Since first picking up a camera, John Arsenault has routinely been turning his lens back upon himself, producing an outlandish and absurd, wild and erotic account of his life as a young, gay artist. Exploring facets of his personal relationships, his sexuality, and his identity, Arsenault constructs various scenarios that not only tell the story of his experiences, but also comment upon society at large. With a great eye for the strange, the unexpected, and the laugh-out-loud ridiculous, he is not afraid to poke fun at himself, and thus, is able to comment upon matters of broad cultural import without seeming shrill or pedantic. Arsenault’s work is vulnerable and honest. As writer Dan Halm has concluded, “One can learn a lot about oneself through another’s eyes.”
For more information about the work or the artist shoot us an email at email@example.com. Arsenault is represented by Clamp Art in NYC.
Keeler & Co. is pleased to be a part of the upcoming Pulse Art Fair in New York. Jeffrey has curated a salon style booth that brings together emerging and established talent in a range of media. As each collection is the story of the collector, a simple profundity, humor, sex, and a tongue in cheek undercurrent, reflective of Teuton's own collecting style and personality, weaves through many of the pieces. Bold and vibrant pieces juxtapose those that employ a more quiet and subtle palette, just as those that use humor are paralleled by the more academic and reserved. Individually the artists touch upon a variety of contemporary discussions in their own unique manner. Shown together as a collection the works interact to speak a larger and more robust story of contemporary experience.
We are still putting the final touches on the artist roster, with a few more artists coming soon. Currently confirmed are:
John Arsenault, Christian Chaize, Yael Eban, Jennifer Gustavson, Dan Halm, Shawn Huckins, Lladro, Jay Kaplan, Sarah McKenzie, Michelle Muldrow, Laura Newman, Ollanksi, Courtney Reagor, Jacob Rhodes, Kent Rogowski, Brandon Schell, Jill Rose Silverberg, Adam Stamp, Jeffrey Teuton
- Thursday May 8
- Press and VIP Brunch Invite-only 9am–Noon
- Thursday, May 8th Noon–8pm
- Friday, May 9th 11am–6pm
- Saturday, May 10th 11am–8pm
- Sunday, May 11th 11am–7pm
The Metropolitan Pavilion
125 West 18th Street
New York, NY 10011
A complimentary shuttle bus will run between PULSE and the FRIEZE ferry stop.
Welcome to Keeler & Co.
I am incredibly thrilled and honored to announce the formal launch of Keeler & Co. My favorite place growing up was our family ranch and farm, Keeler Land & Cattle Co. I chose to name this venture after the land I love and a place that has been a source of inspiration for years. As an artist myself it has given me such great pleasure that over the last ten years I have been able to work with so many talented artists and bring to life so many projects while at the gallery. As a collector I cannot imagine not being surrounded by artwork. My home with salon walls floor to ceiling can attest to this. I am so honored that I can bring my passion for art and collecting to others and continue to serve the arts community. Fingers crossed and here we go.