Lucy mitchell innes biography of christopher

As he spins, the figure clasps his knees in perpetual fetal-positioned prayer. Lost in a space of contemplation, he becomes a kind of everyman who quietly reaches out to the great beyond. The music, recorded by Miner, is a reinvented southern spiritual whose song becomes incantation: No harm have I done on my knees When you see me on my knees Come here, Jesus, if you please.

The searcher takes comfort in this act of petition, though his waiting, like the silence of the answer, is infinite. Every Day, 12 - pm Sept. Thurs - Fri. Born: , Jackson, Tennessee. On Saturdays, my husband watched the gallery, while I was there on Sundays and Mondays. After almost a year, I realized that I wanted to focus on building my own program with the artists that I cherished and wanted to spend all my time working with—and for.

In January of , Chapter officially became a full-time gallery, with a small roster of artists. Over the past 10 years, it has grown to 19 artists. Some of the shows lead into representation and others are only a one-time project. It had no light, and it was the dead of winter. It was an intense experience, but so rewarding because I was able to eavesdrop on people's conversations while in the show and get their true reactions.

Since the space on Houston Street was up a flight of stairs, and accessibility is important to Tourmaline, we created a pop-up space. This allowed us to create a screening room for her video Salacia , , while also showing her photographs for the first time. The show was absolute magic, so many visitors spent real time with her work and the film.

You could only see slivers of them through holes in the floor. It was incredible to see how many people were excited to participate in her work. Russo: When I decide to work with an artist, it sometimes happens really fast, while other times it takes a moment and I will do multiple studio visits.

Lucy mitchell innes biography of christopher

When looking at artists and their practices, I try to find what I think needs to be in the world. I also have to consider what the gallery can do to help them and whether it is the best context and platform for them. A thread that runs throughout the program at Chapter NY is the way each artist approaches their practice. I tend to be drawn to works that focus on the microcosm, the banal, and the everyday [things] that are often overlooked or not considered.

There is also a strong foundation in photography—both direct and indirect—as well as in sculpture, particularly that which puts an expectation on the viewer to move around to fully experience the work. I love when art rewards you for looking at—and spending time with it. I would like the gallery to become better known internationally: next year, we are doing Art Basel Hong Kong, which will be my first time showing in Asia.

I like to work slowly and carefully, letting each step feel organic and not forced. Rene prints images of their friends, family, and daily travels, while combining them with personal notes and designed ephemera. Christopher, on the other hand, uses his photographs as a jumping off point for his detailed and haunting works on paper. They each bring to focus that which is not often seen and allow the viewer access to their lived experiences, ways of working which are very much grounded within the gallery program.

As for Christopher, this is his second solo exhibition, but his first in our main gallery he previously showed in our side room. He was brought to the gallery by our director Alison Dillulio.