David Baskin

GEORGE, 2020

Cast bronze, silver nitrate patina, polish finish

12h x 20w x 10d in
30.48h x 50.80w x 25.40d cm

DBa021

Bradley Biancardi

Paul, Nomi, Kurt, 2015

paint on canvas

31h x 30w in
78.74h x 76.20w cm

BBi017

Tony Bluestone

We Were Never Lost, 2020

Oil on Canvas

61 x 39 inches

Sam Bornstein

Flag Makers, 2018

Oil on linen

68h x 72w in
172.72h x 182.88w cm

SB002

Becky Brown

Lost in the Digital Swamp, 2020

Digital Print

28h x 18.50w in
71.12h x 46.99w cm

a032

Nicholas Cueva

Full House on Fire, 2020

Acrylic on fabric

36h x 30w in

91.44h x 76.20w cm

Nicholas DiLeo

MARDUK, 2019

Oil on Walnut

26h x 24w x 2d in
66.04h x 60.96w x 5.08d cm

NDL001

Alex Gingrow

Toxic Fucking Rainbow, 2017

Ink,Flashe, Graphite, and Gesso on Paper

22h x 30w in
55.88h x 76.20w cm

00ag004

Rebecca Goyette

Fortuna's Rules, 2020

colored pencil on water color paper

9h x 12w in
22.86h x 30.48w cm

RG068

Bel Fullana

PARADISE BIRDS, 2018

Oil and spray paint on canvas

39.37h x 28.74w in
100h x 73w cm

BF048

Peter Gallo

Smut, 2020

Oil, Acrylic, Jute Twine on Plywood

26h x 30w in

66.04h x 76.20w cm

Nora Griffin

Conspiracy, 2020

Oil and modeling paste on linen

40h x 50w in

101.60h x 127w cm

Anthony Haden-Guest

NEWSCAST (3 drawings, 1 in image), 2020

Ink on paper

14h x 11w in

35.56h x 27.94w cm

Karen Finley

Feel the Bernie

Dreams of Ivanka Trump, 2020

Ink on Paper

9h x 12w in

22.86h x 30.48w cm

Edition of 3

Marcel Hoüppauff

Untitled, 2020

Oil on canvas

39h x 57w in

99.06h x 144.78w cm

Dylan Hurwitz

Rolling, 2020

Oil on canvas

20h x 16w in
50.80h x 40.64w cm

DHU002

Samuel Jablon

Trouble, 2018

acrylic and oil on canvas

50h x 38w in
127h x 96.52w cm

SJ101

Emilia Olsen

Smoker, 2020

Oil and paint tube on linen

10.25h x 9.25w in
26.04h x 23.50w cm

EO019

JJ Manford

Paintings on the Wall, Devil Down the Hall, 2019

Oil pastel on linen

24h x 20w in
60.96h x 50.80w cm

JJM008

Dan Schein

People Who Take off Their Clothes, 2020

Oil on Canvas

66h x 92w in
167.64h x 233.68w cm

DSC004

Michael Scoggins

Right Again?, 2010

marker, colored pencil on paper

10h x 51w in

25.40h x 129.54w cm

Alex Sewell

Hyoomann, 2017

Oil on Canvas

14h x 13w in
35.56h x 33.02w cm

ASe002

Emilie Stark-Manneg

Sucker, 2020

Acrylic and oil on canvas

70h x 70w in
177.80h x 177.80w cm

ESM002

Chris Toepfer

Melania, 2017

Oil on canvas

44h x 36w in
111.76h x 91.44w cm

CT001

Eric WIley

Lurking Near the Face, 2020

Oil on canvas

40h x 30w in
101.60h x 76.20w cm

EWI001

PUNGENT DYSTOPIA

March 19 – April 19, 2020

Pungent Dystopia

March 19th, 2020 through ?

Closing Reception TBD

Freight+Volume is excited to present Pungent Dystopia, a group exhibition of works by David Baskin, Bradley Biancardi, Tony Bluestone, Sam Bornstein, Becky Brown, Nicholas Cueva, Nicholas Dileo, Karen Finley, Bel Fullana, Peter Gallo, Alex Gingrow, Rebecca Goyette, Nora Griffin, Anthony Haden-Guest, Marcel Hüppauff, Dylan Herwitz, Samuel Jablon, JJ Manford, Emilie Stark-Menneg, Emilia Olsen, Dan Schein, Michael Scoggins, Alex Sewell, Chris Toepfer, and Eric Wiley.

Confronting the anxiety, dysfunction, and hysteria of modern society, the works on display embody aspects of escapism and fantasy across alternatingly text-based, figurative, and abstract pieces. Paralleling our “post-truth” political climate, marked by deception, misinformation, and media manipulation, the artists included in the exhibition dive headfirst into their respective aesthetic constructs, deconstructing the precarious state of contemporary society with its own mechanisms. Like an oddly-familiar Bosch landscape, populated by refractions of quotidian life yet innately otherworldly, Pungent Dystopia is rife with imagined IDs and surrogate egos, such as Fullana’s naive, child-like figures and Stark-Menneg’s ethereal avatars, among others. On the other hand, Jablon and DiLeo’s purposely jumbled, disorienting compositions, grounded in text and abstraction, respectively, provide visual analogies of hyper-stimulation and a world in which even journalistic facts are called into doubt. 

With their pastel hues and crude forms, Fullana’s canvases radiate a saccharine, childlike sensibility that is offset by her often garish and explicitly sexual subject matter. In All Inclusive and Fountain, she presents sex as a sort of commodity, detached from emotion, recalling the hyper-sexualization of teens and society as a whole. Paradise Birds presents a surreal scene wherein a disembodied, distorted female head hovers above a jungle; surrounded by glowing white birds, the subject appears simultaneously distressed and transcendent, reflecting Fullana’s ability to draw seemingly mundane imagery into larger dialogues. Juxtaposing sentimental scenes of children playing baseball with apocalyptic backgrounds suggesting nuclear devastation, Hüppauff’s paintings similarly blur the lines between nostalgia and anxiety, obliterating innocence with the extreme outcomes of war, and force the question of whether children coming of age in contemporary society still have the possibility of experiencing a true childhood. 

Weaving abstraction and figurative forms within his geometrically divided panels, DiLeo’s work expresses the vacuous gulf between fact and fiction that has come to define our current political climate. However, he molds this malleability of truth into a creative tool, constructing riddle-like networks of strange, psychedelic forms. In Trouble and Delicious Life (II), Jablon skews the spacing and orientation of individual letters, opening his snatches of text to vastly divergent interpretations. Emphasizing the physical forms of each letter to the point that they take on their own meaning, Jablon’s similarly appears to ruminate on the dissolution of unequivocal meaning and truth in contemporary life. 

Inspired by VR, 3D animation and video game graphics, Wiley’s canvases fixate on a red-haired, avatar-like character. Recalling the notion of the “uncanny valley”, a theory that as robots become more realistic, they reach a point where their human likeness becomes unsettling, his paintings meditate on the increasingly common presence of virtual reality and our haphazard ways of coping with it. 

Amidst the manic, theoretical conjurings and dreamscapes of Pungent Dystopia, Sam Bornstein's Pink Flag stands as a flare of clarity, marking both the exhibition's grounding in day-to-day life as well as reaffirming our individual sovereignty and ability to work as agents for change. Appropriating traditional revolutionary imagery, muted with pink and lavender tones, Pink Flag presents a vision of progress linked to the fundamentally transformative power of the individual. Pungent Dystopia chronicles dysfunction and injustice in the world, but ultimately, as in paintings like Pink Flag, has more than just an apocalyptic message - optimism, love, and hope are manifested, and conveyed by the artists, for the planet, and for mankind.