Anat Ebgi is pleased to present a group booth with works by James Bartolacci, Tammi Campbell, Jibade-Khalil Huffman, Greg Ito, Anabel Júarez, Angela Lane, Gwen O’Neil, Pedro Pedro, Neil Rait, Robert Russell, Krzysztof Strzelecki, Jay Stuckey, Constance Tenvik, Samantha Thomas, Fabian Treiber, Sarah Ann Weber, Janet Werner, Faith Wilding, Robert Zehnder

MARISA ADESMAN, TAMMI CAMPBELL, ALEC EGAN, ALANNAH FARRELL, JORDAN NASSAR, JOSHUA PETKER, NEIL RAITT, ROBERT RUSSELL, SIGRID SANDSTRÖM, SAMANTHA THOMAS, SARAH ANN WEBER, JANET WERNER

NOVEMBER 11 – 14, 2021

BOOTH F25

 

Anat Ebgi is pleased to announce a curated selection of works by twelve artists for Dallas Art Fair 2021. This presentation represents a cross-section of our varied and interconnected program that fosters emerging and mid career artists including Marisa Adesman, Tammi Campbell, Alec Egan, Alannah Farrell, Jordan Nassar, Joshua Petker, Neil Raitt, Robert Russell, Sigrid Sandström, Samantha Thomas, Sarah Ann Weber, and Janet Werner.

A percentage of sales will be donated to Planned Parenthood, a nonprofit organization that provides reproductive health care and sex education in the United States and globally.

Marisa Adesman’s surreal still lifes often depict ordinary objects in bizarre contexts and striking states of mystical transformation. Her precise draftsmanship and delicate brushwork draws viewers into the fantasy and challenges our perceptions of reality. Made entirely from acrylic paint, Tammi Campbell’s works are perfectly packed stand-ins for their respective originals. The artist envelopes, secures, and mummifies historical paintings asking viewers to ponder what is valued, paying homage to the past, while simultaneously taking it hostage. Impastoed paintings by Alec Egan are premised on fictitious memory, willfully playing on conceptual tropes of nostalgia as well as formal concerns such as pattern, color, and light. Each of Alannah Farrell’s portraits are a protest, an exercise in safety, community building and nurturing intimacy against the alienation, anxieties, and violences of modern queer life.

Palestinian-American Jordan Nassar, whose work with traditional forms of embroidery and craft ruminates on issues of the diaspora, cultural authenticity, and political activism. Joshua Petker draws inspiration from historical works, which are intentionally kept anonymous. His paintings rely instead on their ability to evoke the familiar and uncanny, teasing and tantalizing. The surreal landscapes of Neil Raitt address the function of painting in an era of digital art, his compositions exist as a suspension of illusionary space and traditional senses of perspective. Robert Russell’s ‘Teacup’ series addresses ideas of memory, iconography, and mortality in a personal language that is attentive to beauty, the history of painting, and the role of photography.

Sigrid Sandström’s elusive abstract paintings of non-inhabited places call forth a range of associations from landscapes to cosmic forms—the raw canvas ground against a playful and expressive color palette. Samantha Thomas’s ‘flower series’ of carefully folded tondos explore the primary building blocks of modernist painting—line, color, space, light, shape, and texture. The monochrome forms appear supple, as they undulate off the wall. With her recent works, Sarah Ann Weber continues to choreograph vegetation through her imaginative stylizations, resulting in psychological and emotional landscapes ripe for exploration. The raw emotion captured in Janet Werner’s fictional portraits appeals to humor, fantasy, and seduction, while addressing issues of gender, representation, ideological conditioning, and vulnerability.

Anat Ebgi is pleased to present new works by Tammi Campbell, Sarah Ann Weber, and Neil Raitt for Dallas Art Fair Online.

Made entirely from acrylic paint—including the bubble wrap, tape, and cardboard—Tammi Campbell’s paintings are perfectly packed stand-ins for their respective originals. Taking trompe l’oeil painting to its hyperrealistic extreme, Campbell’s work literally envelopes, secures, and mummifies historical paintings; it asks viewers to ponder what is valued, paying homage to the past, while simultaneously taking it hostage.

Sarah Ann Weber works primarily with watercolor and colored pencil on paper. Focusing on floral, exotic, and invented organic forms, she bestows her compositions with a distinct sense of psychedelic color, pattern, and dreaminess. Frequently veering into abstraction, Weber explores unstable boundaries of growth, entropy, figure, and ground, intertwining these compositions with personal narratives as well as historical photographs.

Neil Raitt composes paintings of endlessly repeated cabins, mountains, ponds, trees, and motifs inspired by nature. Dispersing with any sense of perspective, his intricate patterns suspend the atmospheric effects of landscape and illusions of space. Addressing notions of kitsch, romanticism, abstraction, and painting in the digital age, Raitt’s labyrinthine patterning leads viewers to an otherworldly infinity in search of the miraculous.

For The Dallas Art Fair 2019, Anat Ebgi presents a solo booth with the work of Los Angeles-based painter Alec Egan. 

Leading viewers through a maze of floral wallpaper, painting-within-painting, and humorous compositions, Egan’s thick impastoed brushwork tackles the psychology of the domestic interior. His lush pastel palette garners strength and intensity despite the mundane status of his subjects—a house plant, hamburger, taxidermy bear, sunglasses, an ashtray. Swatches on swatches, Egan’s canvases produce an infinite number of windows, chambers and corridors, blending the internal with the external, the landscape with the still life, relishing in their own lurid pattern-making and the comfort of déjà vu.

Ethan Cook, An Te Liu, and Nicholas Pilato

Amie Dicke
Marc Horowitz
John Knuth
Nicholas Pilato
Joe Reihsen
Jay Stuckey

April 12 – 14, 2013

Booth D2
Featuring works by Jay Stuckey, Jen DeNike, Amie Dicke, Elias Hansen, and Joe Reihsen