Displayed at Revelry during July 2024
Revelry Gallery proudly presents the long-awaited return of ALT, our signature annual art show now celebrating its 5th year!
ALT pushes the boundaries of creativity with this conceptual group exhibition, challenging artists to craft original masterpieces using alternative materials. For this milestone anniversary, we've summoned artists to draw inspiration from the timeless treasures of pre-contemporary art and its revered masters.
Embark on a journey through reinterpretations of iconic works by luminaries like Vincent Van Gogh, Gustav Klimt, Mary Cassatt, Pablo Picasso, and more. Witness these timeless classics reborn through the visionary lens of today's local avant-garde artists, each infusing their creations with a unique and captivating essence.
Don't miss your chance to experience the extraordinary at ALT — where art transcends boundaries and imagination knows no limits!
Featured Artists: Ada Asenjo, Amber Thieneman, Harrison Fogle, Irene Mudd, Ashley Stewart, Barbara Sonnheim, Clay Mata, Grace Henderson, Gretchen Leachman, Imani Burns, Irene Mudd, Jenna Gordon, Jesenia Avila, Kasey Curtis, Needa Hameed, Sarah Zimmerman, Tiny Art Lady
Furry Night; by Ashley Stewart, made of faux fur "When I heard that we would be recreating pre contemporary art pieces for ALT this year I knew I had to re imagine Vincent Van Gogh’s iconic “Starry Night.” While “Furry Night” is more minimal in the placement of color, the fur acts as the brush strokes and moves the eye through the piece. Manipulation of the fur by the viewer makes Furry Night a fun and ever changing work of art." -Ashley Stewart |
Mona Leafsa; by Ada Asenjo, made of foliage and flower petals. "This is Mona 'Leafsa.' Her essence is Nature itself! She is created/collaged from foliage and vegetables (think lettuce), and pressed flower petals." -Ada Asenjo |
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Frida Kahlo; found objects, beads and toys on canvas, by Clay Mata This portrait of Frida Kahlo is created with beads, tiny toys, some lego pieces, screws, glitter, buttons and sequins by artist Clay Mata. Proud of their own Mexican heritage, Mata chose to do this piece to highlight the famous photograph of one of the most iconic artists. Clay wanted this Frida self portrait to shine and show the bright colors that she usually loves to demonstrate in her work. |
Paperquill Kiss; framed paper quilled artwork, by Michelle Armstrong Inspired by Gustav Klimt's "The Kiss" (1908) |
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Study of Sumair; loose fibers, thread and beads on a wooden panel, by Needa Hameed Amrita Sheri Gil was a Hungarian-Indian Painter, and was known for her blending of traditional and western art styles to depict the lives of Indian women during her lifetime (1913-1941), which was during the British occupation. The girl in the piece is wearing red and gold, and clutching a bouquet of wilting white flowers; in South Asian traditions, red and gold are wedding colors, and white is the color worn at funerals/when one is grieving a loss. |
Tennisball Bench (2003); Tejo Remy and Rene Veenhuizen; On Loan from KYCAD You may think tennis balls have limited use — but innovative Dutch design duo Tejo Remy and Rene Veenhuizen find another use for the bright felt material. Initially part of a project for the digital art depot of Museum Boijmans van Beuningen in Rotterdam, the design of the benches are linked to the appearance of micro-organisms. The colorful, clever design of the bench is fashioned from a steel frame and dozens of tennis balls. When displayed at the digital art depot, the collection of benches formed a giant, public sofa. In 2008, new museum management discarded the benches— the original pieces were lost to archival memory. This is one of the five benches produced outside of the museum project. Like ALT, the integration of found and repurposed vernacular objects challenges the modern trend of corporate mass production and overconsumption. |
Medusa; made of a mannequin head and holding a live plant, by GLee "The Gorgon Medusa was both a fascinating and intimidating figure in Greek mythology, known for seducing gods and turning brave men into stone. For the 5th annual ALT art show at Revelry, I chose to create a modern day take on Bernini’s Medusa Bust using a mannequin to represent her decapitated head and a living, vining plant to represent the surly snakes that made up her hair." -GLee |
The Dance of Detritus: My Apologies to Henrí; toys, beads, and found materials, by Tiny Art Lady
"Matisse's work has been something I've more recently grown infatuated with. His paper cut outs, from late in his life, really captured me in a surprising way at a exhibit a few years ago. His simplicity of shape and color belies how much thought he puts into all of it. He makes it look so easy.
I do love a contradiction. So I decided to honor him with something cluttered and busy and a bit of a mess. I find such beauty in gatherings of things. I love the cacophony of color, size, material, and texture."
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Our Tradition, My Story; embroidery on sausage casings by Sarah Zimmerman. "Our Tradition, My Story" weaves traditional art making techniques associated with women such as sewing and embroidery with a print by Mary Cassatt titled "Women Bathing" (1890-1891). I recreate this image on sausage casings, intentionally unveiling my process to complement Cassatt's honest depiction of a routine private moment of care. The dangling threads indicate the start and stopping of my sewing machine and use pig intestines as a metaphor of labor invisibility women have performed throughout centuries. The soft translucency of the material is a quiet, submissive, and honest approach to the trying efforts of routine and care." -Sarah Zimmerman |
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La Última Cena; mixed media art using cola cans in a vintage shelf by local artist Jesenia Avila-Ugalde "La Ultima Cena" is a transformative artwork inspired by the cultural heritage and resourcefulness prevalent in Mexican homes. Growing up surrounded by depictions of Leonardo Da Vinci's "The Last Supper," often found in kitchens and living rooms across Mexican households, I was constantly reminded of its profound significance. This scene symbolizes unity, faith, and the deep-rooted traditions of family gatherings and communal meals. It represents the moment of communion, reflecting the collective faith and spirituality that is central to many Mexican families. Through this piece, I aimed to reinterpret this iconic scene through a contemporary lens. Utilizing discarded aluminum Coca-Cola cans, each meticulously punctured to form the silhouettes of Jesus and his disciples, this piece serves as a testament to the ingenuity found within everyday materials. This artwork is not only a celebration of creativity but also a homage to my uncles in Mexico City, whose own artistic expressions illuminated the night. By employing found materials from my home, I seek to honor the Mexican tradition of repurposing and reinventing, reflecting the resilience and vibrancy of our cultural heritage. Through "La Ultima Cena," I invite viewers to reconsider the boundaries of artistry and the profound beauty that emerges from the fusion of tradition and innovation. It stands as a tribute to the overlooked artistic expressions that enrich our communities and embody the spirit of resourcefulness and creativity inherent within them. |