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On view through March 17th (Note date change!)

Artist's Reception and Gallery Talk: Wednesday, March 17th, 5:00pm

The Liebowitz Gallery

(red barn across from the main entrance to the College)
Free and open to the public Friday - Sunday 12:00-5:00pm

Ann Daly, Antimonuments, 2

Ann Daly, Antimonuments, 2009

Melissa Gwyn, untitled

Melissa Gwyn, Untitled, 2010

Gwyn's painting and Daly's interdisciplinary art practices vary widely in approach and media, yet there are shared interests in the traditionally feminized and hence denigrated 'lesser arts' of landscape, garden, decoration and ornament. Both artists utilize exaggeration or excess as visual tropes and foster dialog with the legacies of surrealism and Duchamp through a feminist vantage. The   exhibition was conceptualized around the notion that these   associations along with intersecting and contrasting engagements would be held in play through the pairing of their current projects. Gwyn and Daly met while graduate students at Yale and have maintained a dialog over time.

Artist Biographies

Melissa Gwyn

Melissa Gwyn’s work was recently featured in a traveling group exhibition organized by the Tang Museum at Skidmore College. She’s has had one person shows at Feigen Contemporary, Stux Gallery, White Columns in New York, the Kohler Art Center in Wisconsin, and group shows in New York, Chicago, San Francisco, Philadelphia, London and   Japan. Her work has been reviewed in Art Forum, Time Out, Village Voice, Art News, New York Times, Arts Magazine, Chemistry World and other publications. Gwyn currently teaches at the University of California at Santa Cruz. Her core practice is oil painting. Gwyn’s abstract and image-based paintings reference the excess materiality of 1950’s American Abstract Expressionists, the verisimilitude of   17th century Dutch still-life painting and the opulence of artists associated with late 19th century decadence such as Gustave Moreau. For this show Gwyn is exhibiting two oil paintings in addition to twelve watercolor and gouache sketches she created while traveling in Nepal and Indonesia. These works, begun in 2006 and most completed in   2010 represent a departure from her oil practice. In these paintings Gwyn comes to terms with the relative permanence of the mark in water medium, a contrast from the greasy malleability of oil paint. In each abstract sketch flows of watery puddles merge with broken bits and skins of pigment and renderings of agglomerating organic life. 

Ann Daly

Ann Daly is the recent recipient of a John Anson Kittredge Fund grant supporting work on Anti-monuments: Versailles (A Stereoscopic Vision, A-view, A-wry) and Anti-monuments: In and around Felipe's Country Haunt (re-staging Grandpa's Garden). Daly is an alum of the Yale School of Art and the Whitney Museum Independent Study Program.  She lives and works in Queens, New York and has exhibited in the US,   Canada, Germany, France, and Sweden. For late 2010, she is preparing a one-person exhibition of Anti-monuments in Pais Vasco, Spain. Her interdisciplinary practice has included Photography, Video, Sound, and Sculptural Installations and Projects. Earlier portions of Anti-monuments were published in Cabinet Magazine and as part of Jochen Gerz’s Anthology of Art (exhibitions, catalog, book and web project). Her work has been written about or reviewed in Artforum, Cabinet Magazine, The Los Angeles Times, Artpress International, PAJ/Performing Arts Journal, World Art, The Village Voice, Multiplier, The Art Journal, The New York Times, and other publications. Her work was included in Catsou Roberts' Narrative Urge exhibitions in New York (Lombard-Fried Fine Arts) and Sweden (Uppsala Konstmuseum), and she is the recipient of a grant from Art Matters (NY). Daly's recent photographs and videos investigate a haptic and distorted spatiality in garden and landscape architecture at Versailles and related 18th century sites, emphasizing contradiction, excess, melancholy, and ruin. Daly articulates a view of the garden as the Cabinet of Curiosities turned inside out, a place where collecting, taxonomy, and self-making occur through ordering, display and the inevitable failure of these systems to contain or domesticate their objects.