March 11, 2017
War Games uses reimagined children's toys to examine the American fascination with weapons of war. The work is made from toys that allow children to pretend to be soldiers or police officers- both professions that are involved in state sanctioned violence. Browning began this series after the horrific shooting of 12-year-old Tamir Rice, who was killed by police while he played with a toy gun in a public park. This tragedy and the national conversation surrounding it sparked a series of unsettling realizations. While childhood play is seen as a separate, safe space, it is clear that real violence and play violence overlap and influence one another, creating a murky line between safety and danger. In the United States today, we are witnessing the politicization of play; pretend violence is often regulated very closely, and in many cities, it is more difficult to obtain a toy gun than a real gun. Regardless of where one stands on the second amendment, this startling state of affairs can lead us to the frightening conclusion that make believe can be more dangerous than reality.
Submissive Exhibitions is pleased to announce the opening for Erik Salgado's solo exhibition Action Painting.
The series Action Painting is inspired by an insider experience in the underground subculture of graffiti in Chicago. The digitally printed movie stills were created to capture the adolescent, civil
disobedient and the ephemeral moments from these short movie clips. The video stills are taken from footage collected from Chicago graffiti writers.
Erik Salgado is a Chicago based interdisciplinary artist. Born from Mexican immigrant parents and raised in Chicago, Erik grew an interest in graffiti culture and hip hop culture and both themes are often seen his work.
Submissive Exhibitions is pleased to announce the opening for Dylan Cale Jone's solo exhibition Observation Devices.
A note from the artist:
The Chicago Police Department calls its public surveillance cameras Police Observation Devices (PODs). The PODs look down from the tops of telephone poles or street lights. Many make themselves visible with a flashing blue light that resembles a police car siren. Others, flat-black and subdued, blend covertly into the everyday infrastructure that supports them. Their aesthetic qualities anticipate ways that publics might behave and observe within a surveilled environment. I employ direct observational drawing, sculptural replication, and 35mm slide photography in an ongoing practice of representing the Police surveillance cameras in Chicago’s Humboldt Park neighborhood. This multidisciplinary framework documents multiple ways of seeing and a plurality of articulated positions relative to the PODs. The resulting works can be thought of like performance artifacts—material documents of deliberately returning the camera’s gaze.
This body of work searches for ways of seeing and being seen in surveilled public spaces. I would like to encourage reciprocal gazes. As an individual, looking back means actively electing
presence, visibility and vulnerability. It ambiguates the roles of observer and observed. At its best, it creates space for me, and ideally others, to participate creatively and consciously with the presence of police surveillance in Chicago.
Dylan Cale Jones is a visual artist and educator living and working in Chicago, IL. He is currently represented by Galleri Urbane Marfa/Dallas.
Submissive Exhibitions is pleased to announce the opening for Margie Criner's solo exhibition The Space Between.
Statement from the artist:
As members of contemporary society, we spend much of our time between a starting point and a destination. We often prioritize the goal, while sometimes ignoring or disengaging from what the moments in between may offer. The Space Between is part of a series that explores this idea of transition, and honors that we all share similar experiences, while the majority of our time is spent in what many of us view as the banal.
Submissive Exhibitions is pleased to announce the opening for Kevin Blake's solo exhibition The Fisherman's Fables.
Statement from the artist:
All the novelty of history coalesces in the present moment–as a distillation of that which preceded it. This pastiche, or visual cuing of past narratives, has arrived on a platform unrecognizable to the history it propagates. I use a traditionally beheld painting vernacular as a means of synthesizing this collage with the use of recycled imagery from our collective past. The characters in my paintings are developed from the hardworking, strong, but nevertheless remote controlled heroes of the post World War II fringes and subsequently, post World War II American idealism, which seem to infiltrate the cumulative psychology. I look to film noir, pulp fiction, advertising, etc, as a platform for projecting the viewer into a dialogue about time and the affect of language on the human operating system from a generational vantage point. I make books and sculptures that represent my attempt to engage these ideas in different ways–to push the envelope of my own understanding of what an idea can be with the hands to shape it.
Submissive Exhibitions is pleased to announce the opening for Nancy Wisti Grayson's solo exhibition landscapes of a fictional past.
Referencing landscape, memory and discovery, my paintings simulate archaeological artifacts or found mementos. A sense of mystery and nostalgia about the past is evoked through the tropes of the fragment, ruin and souvenir.