Alison Blickle
Sigil Skirt, 2020
Oil on Canvas
70h x 42w in
Lamar Peterson
Untitled, 2005
Oil on canvas
34 1/2h x 40w in
Danica Lundy
Kiss the Clock, 2020
Oil on Canvas
72 1/2h x 48 1/2w in
Todd Bienvenu
Hammock, 2019
Oil on canvas
45h x 53w in
Haley Josephs
Susanna, 2019
Oil on canvas
48h x 36w in
Cristina de Miguel
The Creation of Eve (After Blake), 2019
Oil on canvas
72h x 60w in
Cristina BanBan
Canto XXIV. La Casa De Las Ladronas, 2020
Acrylic on canvas
71h x 59w in
Orkideh Torabi
Where are all the houries?, 2018
Fabric dye on stretched cotton
37h x 43w in
Jamea Richmond-Edwards
Fur Trader, 2020
Ink, acrylic, cut paper collage, and glitter on canvas
72h x 48w in
Todd Bienvenu
Seashell, 2019
Oil on canvas
35h x 40w in
Kelli Williams
The Wise Virgins, 2019
Oil on panel
18h x 30w in
Cristina de Miguel
The Centaur, 2019
Acrylic on canvas
72h x 60w in
Auguries of Innocence
January 23 through February 22, 2020
Opening Reception: Thursday, January 23, 6-8pm
Cristina BanBan
Todd Bienvenu
Alison Blickle
Haley Josephs
Danica Lundy
Cristina de Miguel
Lamar Peterson
Jamea Richmond-Edwards
Orkideh Torabi
Kelli Williams
“A dog starvd at his Masters Gate
Predicts the ruin of the State…”
-- William Blake, Auguries of Innocence
Lately, we’ve been thinking about the artist and poet William Blake. He looms large over this moment. With his blockbuster show at the Tate Britain, he seems to be a fitting touchstone to highlight the new strain of Romanticism that runs through much of today’s figurative painting.
The ten painters in this exhibition were presented with the idea of William Blake as an organizing principle. Blake’s poem, for which this show lifts its title, tracks the fate of innocence in a corrupt world. It provides a unifying context for a varied group of painters who depict deeply human figures emblematic of a world, like Blake’s, where vice sits side by side with virtue and mankind is on the verge of chaos.
