Fruiting Bodies

Exhibition organized for Iceberg Projects, on view there from February 18, 2017 – March 18, 2017, featuring work by Dana DeGiulio, Jo Hormuth, Cauleen Smith, and Vincent Tiley, accompanied by a catalogue with forward by the curator, and additional text by Jeremy Biles, Ph.D.

header image: Charles Demuth, “Pink Tulips,” (1930) watercolor and graphite on paper. [Collection of the Demuth Museum (Lancaster, PA)]


about the exhibition
“Pink Tulips” (1930) is said to have been found on the easel of Charles Demuth at the time of his death. The American Modernist, a son of Lancaster, Pennsylvania, is inurned at the City’s namesake cemetery, where pink tulips grow on his grave in the Spring. “Pink Tulips” counts itself among a number of simple while inspired compositions of flowers in stark contrast with the artist’s precisionist masterworks.

These intimate departures for Demuth’s Modernist ambitions and professional tendency towards geometric abstraction can be read alongside pictures of early 20th century gay life (pissing sailors and homosocial ballroom scenes) as expressions of play and refusal – moments of reprieve from the strict, self-imposed aesthetic framework governing his “serious” projects. In an oeuvre made so famous by its sparseness of bodies (vacant factory scenes or images of purely abstract planes as in “I Saw the Figure 5 in Gold,”) Demuth’s flowers emerge as handsome representations of vivacity and desire. Alongside the sailors, this circuit in Demuth’s work seems an apt outlet for a painter of desire – who famously returned to his hometown of Lancaster in a bold effort to “speak for vice” – and for a desirous painter – who spent his final years with diabetes chaste and bedridden.

catalogue page 1

catalogue page 2Fruiting Bodies Page 1

The full .pdf catalogue broadsheets can be downloaded here.

from left to right: Cauleen Smith, “Black and Blue Over You (After Bas Jan Ader)” Video (2016); Dana DeGiulio, “Pina Bausch,” Oil on canvas (2015); Dana DeGiulio, “You Were Early,” Oil on canvas (2015); Dana DeGiulio, “No Flag,” Oil on canvas (2016); Dana DeGiulio, “Hurl Us Down Something,” Oil on canvas (2016)
from left to right: Jo Hormuth, selection from “The Pansies,” Wood, felt and resin (1996); Jo Hormuth, selections from “Endgame,” Cast Hydrocal (1993); Vincent Tiley, “The Bees Know What To Do,” Video (2014) [ft. Hunter Reynolds, Joshua Patterson, Fred Attenborough, and Jasper Colorado]
from left to right [in the fore]: Dana DeGiulio, “Attendant,” Oil on canvas (2015); Jo Hormuth, selection from “Endgame,” Cast hydrocal (1993); Dana DeGiulio, “Belly,” Oil on canvas (2016)
from left to right: Dana DeGiulio, “You Were Early,” Oil on canvas (2015); Dana DeGiulio, “No Flag,” Oil on canvas (2016); Dana DeGiulio, “Hurl Us Down Something,” Oil on canvas (2016); Dana DeGiulio, [Untitled], Oil on canvas (2016[?]); Dana DeGiulio, “Family Photo (Mater)” Oil on canvas (2016)
Dana DeGiulio, “Pina Bausch,” Oil on canvas (2015) [Collection of Daniel S. Berger, MD (Chicago, IL)]
Jo Hormuth, selection from “The Pansies,” Wood, felt, and resin (1996)
Cauleen Smith, “Black and Blue Over You (After Bas Jan Ader)” Video (2016) [Still Frame]
Vincent Tiley, “The Bees Know What To Do,” Video (2014) [ft. Hunter Reynolds, Joshua Patterson, Fred Attenborough, and Jasper Colorado] [Still Frame]