BARRY STONE Collector’s Preview Fall 2013
Sun Sun Set 2013 Archival Inkjet Print 34” x 51” Edition of 3
Chandelier, Roanoke Hotel 2013 Archival Inkjet Print 34” x 51” Edition of 3
The Gallant Garnishes of 1760 (remnants) 2011 Archival Inkjet Print 34” x 51” Edition of 3
Bouquet 3487_5 2013 Archival Inkjet Print 24” x 16” Edition of 3
Bouquet 3487_1 2013 Archival Inkjet Print 24” x 16” Edition of 3
Bouquet 3487_2 2013 Archival Inkjet Print 24” x 16” Edition of 10
Super Moon at a Distance 2013 Archival Inkjet Print 34” x 51” Edition of 3
Sunset 5794 B2 2013 Archival Inkjet Print 24” x 16” Edition of 3
Sunset 5794 B4 2013 Archival Inkjet Print 24” x 16” Edition of 3
Sunset 5794 B3 2013 Archival Inkjet Print 24” x 16” Edition of 3
Wishing Well 2013 Archival Inkjet Print 34” x 51” Edition of 3
Distortia 2012 Acrylic on canvas 40” x 30”
An Interview with Barry Stone Excerpted from Pastelegram No. 1: The sun had not risen yet / Now the sun had sunk ! ! !“We could talk about the process of doing it or talk about the circularity issue. But perhaps that would be being too transparent; I don’t know,” I began. ! ! !“It’s hard to know how much to reveal and how much to conceal.” Barry laughed; we had discussed this several times before. “How do the images go together?” Barry continued. “Well, I was thinking of the idea of circularity, that we repeat ourselves over and over again through history, not only art history but also social history. And I put the images together so that there’s a mirroring of image types. The first and the last picture echo one another and they build inward as the sequences go. So I think in that sense, there’s a kind of loop in the pictures, although it’s read left to right or in a linear fashion, but I hope that it becomes apparent to maybe the careful reader.” ! ! !“You could conceivably go backward to forward,” I said. ! ! !Barry answered, “You could, ’cause it’s a loop. Absolooply. But it starts off with that still life of flowers and ends with the tape flower. Both are more or less the same floral image, but one manifests as a collage and the other manifests as a still life. There’s a kind of interruption in the images.” ! ! !“Okay,” I paused. “I guess two questions come to mind, but they’re very different. The first is: When did you start thinking about circularity; how did this all begin?” Barry answered, “I think a lot of it tumbles out of a long grappling with ideas of photography and what makes an image interesting. Or if there’s anything intrinsic to the process of photography, be that its indexicality or its fidelity. What that dovetailed into was thinking about photography’s relationship to painting. For example, how we create photographic images along the 2 x 3 ratio, which comes from an average drawn from Renaissance painting.” ! ! !“It’s the golden rectangle,” I noted. ! ! “The golden rectangle, the golden ratio,” Barry agreed, “That and all these other
ideas are recapitulated over and over again. Not just in art or art historical processes but in a social sense, too.” Barry stopped to think before continuing: “I’ve been thinking a lot about what we value as a society in the face of so many budget cuts— specifically education—the things that I value aren’t being valued. So I think about alternatives to a market economy, maybe a gift economy. … I think about other visions: utopias, Marxist visions of how the world can work or other modes of exchange. I think about how many times we’ve re-envisioned the world and how many times that circles around and succeeds or fails, over and over again. So that’s kind of how the magazine’s theme coalesced. There’s the visual thinking, then there is—and I’m not sure how related it comes out in the pictures—there is a kind of social or political dimension to it as well.” ! ! !“Well, I guess the one place where that kind of social dimension would come out is in the excerpt from Sir Thomas More’s Utopia, and perhaps even in Maria Bustillos’ article on David Foster Wallace,” I responded. “It seems to me that Wallace was looking for a utopia that didn’t occur. For Wallace, perhaps utopia was just plain old ‘normalcy,’ but for whatever reason he felt that that was unattainable for him. Accordingly he committed suicide, and then Bustillos goes through his archive at the Harry Ransom Center in an attempt to grapple with that herself.” • !At this point, Barry and I talked of this and that before finally returning to the topic at hand. I returned to the question of photography’s relationship to painting, beginning, “Well I was thinking of examples to these issues that you’ve delineated. One being how to think about photography as a medium but also as a specific history, a history that makes certain requirements of its practitioners ... and many of those requirements have to do with painting.” ! ! !Barry answered, “One of the main things that ties it together is this idea of fantasy and fidelity, and photography has a foot in both camps.” ! ! !“Right.”
!
!
! Barry continued: “And the idea that photography offers these highly detailed
descriptions of the world which are taken for truth in some sense, at least in terms of an observed happenstance. But they’re also contingent on all kinds of other subjectivities, which makes them fantasy.” ! ! !“And we’ve cycled between holding photography up to either of those two poles,” I suggested. “Despite the enthusiasm over photography’s documentary capabilities in its early years—and its uses for police mug shots and journalism—there were still plenty of people doing photomontage and painting on photographs, even in the nineteenth century.” ! ! !“That’s why I think the Coburn was interesting in the magazine,” Barry mentioned. “It references that circularity, in terms of showing ideas privileged in a zeitgeist. As Bernard Yenelouis showed, the American trajectory of photography was a strictly materialist or modernist methodology that Szarkowski definitely championed and molded.” ! ! !“He glommed on to Stieglitz’s aestheticism and formalism … ” I drifted off. ! ! !“Well definitely,” Barry responded. “Seeing things as a camera would see them, a documentary style meant seeing them democratically. That’s definitely what was privileged in America, but at the same time there’s these Pictorialists like Coburn who love soft-focus and amorphous shapes. There’s this moment that I love where some of these hardcore Pictorialism adherents do an about-face and say ‘Wait a minute—to capture the grandeur of nature it’s not about a kind of petroleum-jelly haze on the lens, it’s about acuity and it’s gotta be f/64!’ Suddenly that becomes the modus operandi. Then whole groups of folks call themselves ‘f/64’ to champion this new clarity and this objective vision. All the while in Europe, there’s Moholy-Nagy and Hans Bellmer, and all these other characters that have this kind of parallel history, which now I think has become more the prevalent model, even in America, and has become more the prevalent interest in digital photography.” Barry paused. “It comes off as the challenging of established dogmas,” he suggested. “For example, just the other day, my wife was saying that they’ve come out against situps all of the sudden.”
! ! !“What?!” I was surprised. ! ! !“All of the sudden,” Barry explained, “there’s no measurable difference between the ab strength of a dedicated sit-up person and somebody who doesn’t do any sit-ups at all. So all these sit-ups have been done for naught, because we’ve assumed for many years that sit-ups are beneficial.” ! ! !“Because they hurt!” ! ! ! “They hurt, exactly, you’re sore afterward and I guess you could become ripped afterwards. But there’s always this kind of challenge to these established orthodoxies, just because one has to write a PhD I guess, or what have you.” Barry continued, “I see it also in ideas of child-rearing. At first you weren’t supposed to give the kid peanuts until he was seven years old, and now it’s actually imperative that you give the kids peanuts in their first six months.” ! ! !“Well, it gets back to utopianism,” I responded. “Because of capitalism we are glutted with things; people have to come up with something new; old things don’t sell for whatever reason. So new ideas fuel the market and create new needs. And that’s one notion of progress, whereas this utopian rejection of capitalism is this other notion of progress (or a step forward), but both veins keep coming back up and up and up.” ! ! !Barry said, “I love also that this definition of utopia as always an unrealized paradise. Within the idea of utopia is dystopia in some way. We as human beings can’t be satisfied. In some ways that makes sense, because what if you just said ‘hey, everything’s cool!’ and stopped working.” ! ! !“Smoke weed urry day!” I joked. “Well we did exist for tens of thousands of years …" ! ! !“Millions!” Barry interjected. ! ! !“ … being perfectly happy with what we had,” I finished. ! ! !“Yea, what happened?” ! ! !“Some dude coveted his neighbor’s wife, I guess.”
.
Tidal Moon, Bailey Island Maine 2013 Archival Inkjet Print 34” x 51” Edition of 3
Quilted Sky 4644 2013 Archival Inkjet Print 24” x 16” Edition of 3
Tidal Crease 6016_2 2013 Archival Inkjet Print 34” x 51” Edition of 3
Screened View 4735 2013 Archival Inkjet Print 24” x 16” Edition of 3
Purple Chasm 3606 2013 Archival Inkjet Print 34” x 51” Edition of 3
Arctic Tableau with Seal Fin 2013 Archival Inkjet Print 34” x 51” Edition of 3
BARRY STONE Barry Stone lives in Austin, Texas. He is an Associate! Professor of Photography in the School of Art and Design at Texas State University-San Marcos.
SOLO EXHIBITIONS 2013 TBA, Art Palace, Houston, TX 2013 Many Worlds If Any, Klaus von Nichtssagend Gallery, NY, NY 2011 Darkside of the Rainbow, Art Palace, Houston, TX 2011 Hum, SOFA Gallery, Austin, TX 2010 I Met a Unicorn, Klaus von Nichtssagend Gallery, Brooklyn, NY 2010 One Swallow Doesn't Make a Summer, Ruud and Cook with the Austin Art Alliance, Austin, TX 2009 Highway 71 Revisited, Lawndale Art Center, Houston, TX 2008 Decking the Path to Blessedness, Buffalo Bayou Art Park !!!!!!!! in conjunction with Fotofest, Houston, TX! 2008 Highway 71 Revisited, Klaus von Nichtssagend Gallery, Brooklyn, NY 2005 Your Name and Mine, Klaus von Nichtssagend Gallery, Brooklyn, NY !!!! SELECTED GROUP EXHIBITIONS 2013 Contemporary Photographic Practice and the Archive, Harry Ransom Center, " University of Texas at Austin 2013 Naturalia: Beverly Penn and Barry Stone, Co-Lab Projects, Austin, TX 2013 Of a Technical Nature, Austin Museum of Art / Arthouse at Laguna Gloria, Austin, " TX 2012 Walled Garden, Klaus von Nichtssagend Gallery, New York, NY 2012 Dark Matter, (with Lakes Were Rivers), Vanderbilt University, TN 2012 Long Shadows, Inman Gallery, Houston, TX 2011 (Re)Collection (with Lakes Were Rivers), 1309 Rosewood, Austin, TX 2011 The Ambiguous Object, Cantanker Gallery at Pump Projects, Austin, TX 2011 Texas Biennial 2011, Austin, TX, Curated by Virginia Routledge 2011 Selections from My Musent Touch It, Champion Contemporary, Austin, TX 2011 New Art in Austin, 15 to Watch, Austin Museum of Art, Austin, TX 2010 It Is Better To Regret Something You Have Done, Art Palace, Houston, TX 2010 Interrupted Landscapes, Champion Contemporary, Austin, TX 2010 One Swallow Doesn’t Make a Summer, (Re)Kirk, Cook & Ruud Projects in " conjunction with the Austin Arts Council, 2nd Street Business District, Austin 2010 Panta Rei, Box 13 in conjunction with Fotofest 2010, Houston, TX 2009 One on One on One, Art Palace, Austin, TX 2009 Haunts, Privateer Gallery, Brooklyn, NY 2009 Broken Gold, Courtyard Gallery, AT&T Center, University of Texas at Austin, TX 2009 Texas Biennial 2009, Austin, TX, Juried by Michael Duncan 2008 Troposphere, Hampton House, New York, NY 2008 Treat, Apama Mackey Gallery, Houston, TX 2008 The Fifth of July, Okay Mountain, Austin, TX 2008 New Art Dealer Alliance (NADA) Art Fair, Miami with Klaus von
NichtssagendGallery Miami, FL 2007 And Introducing…,Texas State University Gallery, San Marcos, TX 2007 J&L Group Show, OK OK Gallery, Seattle, WA 2007 J&L BOOKS, Marcia Woods Gallery, Atlanta, GA 2007 Pinned Up, Humble Arts Foundation, 3rd Ward, Brooklyn, NY 2007 Queso Frito, Issue #2, http://www.quesofrito.com 2006 Adventura, Moti Hasson Gallery, New York, NY 2006 Group Show No.8, Humble Arts Foundation Online http://www.group-show.com 2006 CRG Presents Klaus von Nichtssagend Gallery, CRG Gallery, New York, NY 2005 Salon, Room, New York, NY PUBLICATIONS 2011 The Sun Had Not Risen Yet/ Now the Sun Had Sunk, Pastelegram, Print Issue " No.1, Pastelegram Publishing, Edited by Ariel Evans, Austin, Texas 2011 Texas Biennial 2011, No.4, Exhibition Catalog by Virginia Routledge, Texas " Biennial, Austin, Texas 2011 New Art in Austin: 15 to Watch, Exhibition Catalog Curated by Kate Bonansinga, " Toby Kamps, and!Andrea Mellard, Austin Museum of Art, Austin, Texas 2011 Lakes Were Rivers Number One, Edited by Barry Stone, Lakes Were Rivers, # Press, Austin, Texas 2010 “Barry Stone,” I Heart Photograph, Laurel Ptak, !!!!!!!!! http://iheartphotograph.blogspot.com/2010/03/barry-stone.html 2009 The Collectors Guide to Emerging Art Photography, Curated by Alana Celii, Jon " Feinstein & Grant Willing, Humble Arts Foundation Publishing, New York, New " York 2008 Landscapes for Art: Contemporary Sculpture Parks, Edited by Glenn Harper and " Twylene Moyer, ISC Press, Hamilton, New Jersey ARTICLES "Barry Stone, Many Worlds if Any," Phases Magazine, March 20, 2013, " http://www.phasesmag.com/many-worlds-if-any/ "Ten Just Opened Gallery Shows You Should See: Barry Stone: Many Worlds If Any,” " by Howard Halle, " http://www.timeout.com/newyork/art/ten-just-opened-shows-you-should-see, " TimeOut New York, January 4, 2013 “Walled Garden at Klaus von Nichtssaggend!Gallery” October 18, 2012, New American " Painting, http://newamericanpaintings.wordpress.com/2012/10/18/ # walled-garden-at-klaus-von-nichtssaggend-gallery/ “BOOKSHELF: Lakes Were Rivers: Number One,” by Shane Lavelett, January 10, " 2012,http://www.shanelavalette.com/journal/2012/01/10/bookshelf-lakes-were # -rivers-number-one/ “Barry Stone, Art Palace, Houston,” by Melissa Venator, ….Might Be Good, November " 11, 2011. http://www.fluentcollab.org/mbg/index.php/reviews/review/178/392 “I Shutter to Think: A Group Portrait of Austin’s Photography Scene by Six of Its Rising " Stars,” by Robert Faires, Austin Chronicle, Volume 30, No. 38, May 20, 2011,
" pp.30-32“Barry Stone: SOFA, Austin,” by S.E. Smith, ...Might Be Good, April 15, 2011 " http://www.fluentcollab.org/mbg/index.php/reviews/review/167/341 “Barry Stone: Man about Town,” by Magaret Mehan, Glasstire , March 3, 2011 " http://glasstire.com/2011/03/18/barry-stone-man-about-town-2/ ! “Barry Stone, Klaus von Nichtssagend Gallery,” by John Ewing, Art Lies, Summer " 2010, No.66, p84 !“Q+A Lucas Blalock Vs Barry Stone”, The Photography Post, Interview by Lucas " Blalock. http://thephotographypost.com/blogs/post/kate/qa-lucas-blalock # -vs-barry-stone-783 “For Art’s Sake: Decking the Path to Blessedness, A Project for BBAP by Artist Barry " Stone,” Evan Garza,! 002 Houston, May 10 2008, Volume 10, Issue 113, p. 22. “En Route Pour Barry Stone,” Eve Therond, Foto, (French), February 2008, p.46 “Road to Nowhere,” New York Sun, February 7, 2008, Arts p.18 “Dateline, Brooklyn,” Stephen Maine, Arnet October 4, 2005 " http://www.artnet.com/magazineus/reviews/maine/maine10-4-05.asp “Dateline, Brooklyn,” Stephen Maine, Arnet, February 3, 2005 " !http://www.artnet.com/Magazine/reviews/maine/maine2-4-05.asp EDUCATION!!! 2001 Master of Fine Art in Studio Art, The University of Texas at Austin !!!!!!!! Concentration in Photography 1993 Bachelor of Arts, Biology, The University of Texas at Austin
CHECKLIST Sun Sun Set, 34” x 51”, Edition of 3, $4000 Chandelier, Roanoke Hotel, 34” x 51”, Edition of 3, $4000 The Gallant Garnishes of 1760 (remnants), 34” x 51”, Edition of 3, $4000 Bouquet 3487_5, 24” x 16”, Edition of 3, $1500 Bouquet 3487_1, 24” x 16”, Edition of 3, $1500 Bouquet 3487_2, 24” x 16”, Edition of 3, $1500 Super Moon at a Distance, 34” x 51”, Edition of 3, $4000 Sunset 5794 B2, 24” x 16”, Edition of 3, $1500 Sunset 5794 B4, 24” x 16”, Edition of 3, $1500 Sunset 5794 B3, 24” x 16”, Edition of 3, $1500 Wishing Well, 34” x 51”, Edition of 3, $4000 Distortia, 40” x 30”, Acrylic on Canvas, $3500 • Tidal Moon, Bailey Island Maine, 34” x 51”, Edition of 3, $4000 Quilted Sky, 24” x 16”, Edition of 3, $1500 Tidal Crease 6016_2, 34” x 51”, Edition of 3, $4000 Screened View 4735, 24” x 16”, Edition of 3, $1500 Purple Chasm 3606, 34” x 51”, Edition of 3, $4000 Arctic Tableau, 34” x 51”, Edition of 3, $4000
« Framed prints are sold on a tiered price structure. Prices listed above are for prints 1 of 3. »
ART PALACE
3913 Main Street Houston, TX 77002
www.artpalacegallery.com info@artpalacegallery.com +1 832 390 1278