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March 1, 2023: We are happy to announce our move to a new temporary office space at 1732 W. Hubbard Street, Suite 1A, opening to the public on March 1, 2023. Located kitty-corner to our upcoming permanent space at the corner of Hubbard and Wood, this expansive viewing room / meeting space will allow us to work hand-in-hand with our artists, architects and construction crews as together we realize the buildout of our exciting new vision across the street.
During this transitional \"countdown\" period, we will be keeping our standard gallery hours (T-F 10:30-6, Sat 11-5) and will welcome visitors.
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Carrie Secrist Gallery, established in 1992, features contemporary artwork by emerging, mid-career and established artists who work in a variety of mediums. This year marks the gallery’s 30th anniversary.
Represented artists include: Whitney Bedford, Stephen Eichhorn, Shannon Finley, Diana Guerrero-Maciá, Andrew Holmquist, Anne Lindberg, Liliana Porter, Michael Robinson and Dannielle Tegeder.
From Fall 2022: After two years of interruption, transition and reevaluation within all art communities, we are thrilled to announce that Carrie Secrist Gallery has discovered and committed to its new home in West Town – the city’s preeminent gallery district. Located at the corner of Wood and Hubbard Streets, this bow-truss, skylit space is a 10,000 sq. ft. arena featuring an expanded approach to contemporary exhibition experiences.
Our reinvigorated programming will present solo artist exhibitions alongside curated surveys by like-minded creators who will elaborate the dialogue around related topics. Additional programming includes panel discussions, lectures, curatorial invitationals and other events. We intend to ring in CSG’s 30th Year by offering our revitalized mission as a gift to engage our art community locally and at large.
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Exhibition on view: March 17-May 6, 2017
\r\nOpening Reception: Friday, March 17, 2017, 5-8 pm
Featuring Mariano Chavez, Austin Eddy, Andrew Guenther, Brook Hsu, Carmen Price, Brion Nuda Rosch, Adam Scott, and Jenn Smith
\r\n\r\n“Art as an important part of (sic) ceremonial is a conscious and determined effort to make important symbols visible and permanent.”
\r\n\r\n– Phillip H. Lewis, A Definition of Primitive Art, 1961*.
\r\n\r\nVisible and Permanent explores the complex relationship between the concept of civilization and it’s antecedent, so-called primitivism. The artworks presented in this exhibition bring together a group of contemporary artists who are mining the ideologies of origin while firmly entrenched in the now. Cumulatively, these visual representations are not defined by artwork that is socially oriented, political, representational or abstract – but something altogether more visible, authentic and intuitive. Individually, each artist presents his or her individual mark as a permanent gesture that traverses back in time, comments on the now and embraces the future.
\r\n\r\nPrimitive art can be a loaded reference. Primitivism, as an historical paradigm, ultimately finds it’s value in what it is not: civilized. As such, for over a century, artists have mined non-civilized societies for their creative outlets either through the appropriation of forms and symbols (Picasso) or embracing a life style and becoming immersed in a simpler way of life (Gauguin). Ultimately, the implications of defining “primitive” are rooted just as firmly in creativity as it is in exploitation. Whatever the definition of civilization might be, one of the roles of the artist is to place their mark on it while simultaneously challenging it as a construct in an evolving, relentless pursuit.
\r\n\r\nThemes presented in Visible and Permanent include ceremonialism, evolution, mysticism and pointed strains of humor. The variety of mediums on view: painting on canvas (Jenn Smith), drawing (Austin Eddy), collage and photograpy (Michael Robinson), gouache (Carmen Price) – and the strategies for employing that media: poured paint (Adam Scott), simple motors (Brion Nuda Rosch), household rugs (Brook Hsu), UV rays (Mariano Chavez), Picasso’s signature (Andrew Guenther), reveal a complex mix of contemporaneous strategies that have endured. The ideas brought forth by the artists here, firmly rooted in 21st century ideologies intertwined as individuals and artists, take this dirty term and contextualize it as a cultural embrace – a thoroughly modern art sensibility.
\r\n\r\nVisible and Permanent is organized by Britton Bertran.
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