April 5, 2022, by Invitation · 6-24th Register for hours · 6pm to 7:30pm
Arts & Conversations
“Art enables us to find ourselves and lose ourselves at the same time.” – Thomas Merton
Moskowitz Bayse represents artists for whom rigorous formal inquiry serves as the basis for object-based practices across generations, media, and subject matter. Gallery artists consider their work within both contemporary social contexts and broader historical narratives and conversations. Further, each perpetuates an integrity, sincerity, and generosity in both the creation and exhibition of work, and the circumstances of its creation. Fundamental to the gallery’s programming is the demonstrated belief in art’s manifest ability to convey meaning through pointed use of materials and a focus on process and object, alike. Founded in 2015 by Adam Moskowitz and Meredith Bayse, the gallery’s unwavering commitment to artists and their practices continues to drive exhibition programming, special events, and publishing.
Michael Henry Hayden
Throughout, Hayden’s running conceptual conceit remains; his artworks, regardless of their physical sources or real-world counterparts, are inherently fictional and wholly of the studio. In Green House, the leaves are both sculpted and painted in black, white, and shades of green. They are partially obscured and framed by what look like wrought iron fencing, conjuring, once again, an instance of uneasy everyday coexistence. Herein lies, in uncanny unreality, the objective truthfulness in Hayden’s sculpture; they become records of seeing, feeling, and experiencing the world as it exists around us all. Hayden’s sensitivity speaks to a subjective–perhaps collective–truth beyond what can be visually or physically recorded.
In the back office of Moskowitz Bayse, Anthony Lepore’s semi-phallic photographic work, He Kneaded Me For a While (2018), has taken up temporary residence, having been edited out of his solo show, Performance Anxiety. The piece depicts a hand kneading and stretching a ball of dough, pulling it through various circular openings. Despite its relegation to the backroom, the work, with its homophonous title, conveys a notion essential to the exhibition: that when mundane labors like working flour and water into dough are performed in the name of art-making, they return, eventually, to their domestic lives.
Memories fade and a photograph left out in the sun loses its color, prompting a simmering anxiety about the never-ending passage of time. In Anthony Miserendino’s solo exhibition Come Together on view at Moskowitz Bayse objects such as books, postcards and envelopes become important not for the specific content they contain, but for the communication and relationships they symbolize. A tinge of something, maybe sadness, permeates the gallery and culls up images of rough-housing through the halls of childhood homes and rummaging through the dusty boxes of estate sales.