Context is critical in showing art. The preferred setting is typically spare and white. When we acquired the building that now houses the Bullseye Gallery, it was anything but. It is what it was: the raw bones of an old fish-smoking plant.
The Upper Gallery waiting for e-merge.
In the basement the registrar and preparator are still unpacking and entering data on the e-merge pieces that continue to arrive from around the world.
(Mary Kay’s group will soon publish images of all the finalists’ works. For now, here’s a peek at a few pieces from as far away as Italy, England and Ireland)
I’ve always liked the Upper Gallery as a space to show glass. Its rough crude walls work as a foil to the natural shine, delicacy and “prettiness” of much glass.
Except that in recent years a lot of artists have also been challenging these qualities in the art they make with the material.
Nothing foreign about this work: I recognize it from my old neighborhood.
So there’s the new challenge for the installers: white cube meets brick wall.
Ryan, Michael, I can’t wait to see what goes where!
This is the first year that e-merge will be mounted at the Bullseye Gallery. In prior years the exhibition has shown at the smaller Resource Center gallery adjacent to the Bullseye factory.
We decided that 2010 was time for e-merge to emerge into the Pearl District, to leave the semi-industrial neighborhood where it spent its adolescence and join the grown-up gallery scene with its chi-chi restaurants and First Thursday mobs.
So, here it is: out of a semi-industrial neighborhood – into a semi-industrial cube.