NEW YORK, NY.- Holly Coulis’s upcoming solo show at Klaus Gallery, titled Rubber Band, will feature glowing new explorations of color and line, two areas in which Coulis has fiercely pushed her work over the past 20 years. This show, her fifth with the gallery, will open May 17, 2024 and will run through June 21.

Outlines serve as unreliable guides in Coulis’s new work. Here, long, colorfully painted strokes adopt a cursive quality, departing from the still life representations they have previously delineated. Squiggles and loops press against each other, moving mischievously through broader fields of layered chromatic brushstrokes. At times, these lines rush like rivulets across the canvas, while elsewhere they form an array of dynamically curving shapes within confined areas. The lines prove unpredictable, veering around hairpin curves and playfully wobbling after crafting graceful arcs. Following their trajectory leads us on detours that challenge our initial perceptions. Glimpses of familiar silhouettes—vases, bowls, fruits—vanish as swiftly as they materialize, as if the line refuses to complete the thought, instead eagerly moving on to the next loop, curl, or helix.

Holly Coulis (b. 1968, Toronto, Ontario) lives and works in Athens, Georgia. She holds an MFA from the School of the Museum of Fine Arts, Boston, and a BFA from the Ontario College of Art and Design in Toronto. Her work has been reviewed in the New York Times, Los Angeles Times, the New Yorker, Artforum, Art in America, Brooklyn Rail, and Hyperallergic among others. The Blanton Museum of Art in Austin, Texas and Nerman Museum of Contemporary Art in Kansas City, Kansas include Coulis’s work in their permanent collections.

Barry Stone
Porch Swing Orchestra
May 17 - June 22, 2024

Klaus von Nichtssagend Gallery presents a new solo exhibition of Barry Stone’s photographic work based on his ongoing web project Porch Swing Orchestra, which explores the interplay between images, music, and field recordings. The framed photographs, wall vinyls, and sound recordings included in this exhibition provide a window into the project’s history.

Since 2018, Stone has published images paired with sound on the Porch Swing Orchestra website. Each post consists of an audio field recording of Stone’s guitar melodies plus ambient sounds (conversations of passersby, the rattle of air conditioners, birdsong, sirens of cicadas) and a photograph taken at the time and place of the recording. The photographs are often “databent,” which involves hacking the code that makes up digital images to glitch the picture.

For the show, large databent images have been printed as vinyls and adhered directly to the wall, providing a layered backdrop for nine framed works. Sounds collaged from the original recordings play on speakers in the gallery.

During the show, a special edition, 12-inch LP of the original PSO sound pieces will be available at the gallery. In addition, the gallery will make a weekly post of new PSO pieces on the website.

Barry Stone’s work has been nationally and internationally exhibited, including institutes such as the Center for Art and Media, (ZKM) in Karlsruhe, Germany, Pinakothek der Moderne in Munich, Germany, The Lianzhou Photography Festival in China, Museum for Design, Zurich, Switzerland. Recent gallery exhibitions include Klaus von Nichtssagend Gallery, Lora Reynolds, and GAA Gallery. Stone/Porch Swing Orchestra curated a series of performances and presentations at Co-Lab Projects in Austin earlier this year. Stone is a founding member of the artist collective, Lakes Were Rivers. There are three monographs of Stone’s photographs; Daily in a Nimble Sea, published by Silas Finch, Drift, and Lost Pines. His photographs have been acquired by many public and private collections including the Cleveland Clinic, Fidelity Mutual Corporation Collection, The Center for Art and Media (ZKM), The Henry Art Gallery in Seattle, The Athenaeum of the University of Georgia, The Beinecke Rare Book & Manuscript Library at Yale University, University of Texas at Austin, and the Museum of Fine Arts Houston. His work has been reviewed or featured in publications including Harper’s Magazine, Glasstire, Artforum, and The New York Times.