Conduit Gallery -- Dallas, TX

April 2 - April 30, 2005

James Sullivan
Natural Histories

Drawing, an inherent part of Mr. Sullivan's art practice, has a more central position in this exhibition. Largely inspired by a 2004 artist residence in Wyoming, the drawings represent extremely diverse themes; single rocks and objects, some still life, small dense landscapes and self-portraits "that stem in large part from sustained, but off to the side, investigations of the past few years." Four large sculptures, each in reference to the figure, will also be included in the exhibition. The exhibition title, Natural Histories, refernces the process of accretion and the role of material change in both the drawings and the sculpture.

Stephen Lapthisophon
Strategy

Stephen Lapthisophon explores, in various media, social memory and idealogical hybrids. His text based paintings, sound installations, ink transfer prints, books and found objects serve almost as a biography of history itself. Devoid of subjectivity, Lapthisophon's works become a direct reflection of mass culture in all its glory as well as in folly. Strategy refers both to the particular historical moment when an exhibition is situated and the political associations carried by the word, "strategy." Much of the work in the exhibition takes place within the idiom of public display and address: street signs, advertising placards, protest signs and the sound of public address speakers.

PROJECT ROOM

Justin Quinn
Chapter 44 or 78,774 times E

Chapter 44 or 78,774 times E is Justin Quinn's remarkable continuation of his transcription of Herman Melville's epic novel Moby Dick into the letter "E." The exhibition, a combination of graphite drawings on hemp paper repeatedly explore chapter 44 of the novel, called "the chart". In this chapter, Captain Ahab's monomaniac quest for the white whale is demonstrated nightly by his compulsive drawing and redrawing of nautical charts. By repeating a spiraling, swirling labyrinthian structure, Quinn places himself in the role of Ahab who continually redraws his charts which travel nowhere and only to go into themselves. Quinn cites a direct quote from chapter 44 as "Almost every night some pencil marks were effaced and others were substituted. For with the charts of all four oceans before him, Ahab was threading a maze of currents and eddies, with a view to the more certain accomplishment of that monomaniac thought of his soul" [Melville, 1851.]

Justin Quinn received a Master of Art in Art History and a Graduate Certificate from Center for the Book from the University of Iowa in 2001. Since graduating Quinn has been Printmaking coordinator and Associate Professor of Printmaking at the University of North Texas in Denton since 2001. Forthcoming exhibitions for 2005 include the 5th Biennial of Engraving, Cabinet des Estampes, Liège, Belgium and The Boston Printmakers 2005 North American Print Biennial, 808 Gallery, Boston University, Boston, Massachusetts. Exhibitions since 2001 include the International Print Center of New York, NY, NY; Arka Gallery, Vilnius, Lithuania; Rotermann Salt Storage Arts Centre, Tallinn, Estonia; Le Locle Print Triennial, Musée des Beaux-Arts, Le Locle, Switzerland; Umbrella Studios, Queensville, Australia; Gallery 32, London England; A Ramona Studio, NY, NY; Washington Printmakers Gallery, Washington, D. C and Galerie im Fenster, Osnabrück, Germany.



			April 2 - April 30, 2005 James Sullivan Natural Histories Drawing, an inherent part of Mr. Sullivan's art practice, has a more central position in this exhibition. Largely inspired by a 2004 artist residence in Wyoming, the drawings represent extremely diverse themes; single rocks and objects, some still life, small dense landscapes and self-portraits "that stem in large part from sustained, but off to the side, investigations of the past few years." Four large sculptures, each in reference to the figure, will also be included in the exhibition. The exhibition title, Natural Histories, refernces the process of accretion and the role of material change in both the drawings and the sculpture. Stephen Lapthisophon *Strategy* Stephen Lapthisophon explores, in various media, social memory and idealogical hybrids. His text based paintings, sound installations, ink transfer prints, books and found objects serve almost as a biography of history itself. Devoid of subjectivity, Lapthisophon's works become a direct reflection of mass culture in all its glory as well as in folly. Strategy refers both to the particular historical moment when an exhibition is situated and the political associations carried by the word, "strategy." Much of the work in the exhibition takes place within the idiom of public display and address: street signs, advertising placards, protest signs and the sound of public address speakers. PROJECT ROOM Justin Quinn Chapter 44 or 78,774 times E Chapter 44 or 78,774 times E is Justin Quinn's remarkable continuation of his transcription of Herman Melville's epic novel Moby Dick into the letter "E." The exhibition, a combination of graphite drawings on hemp paper repeatedly explore chapter 44 of the novel, called "the chart". In this chapter, Captain Ahab's monomaniac quest for the white whale is demonstrated nightly by his compulsive drawing and redrawing of nautical charts. By repeating a spiraling, swirling labyrinthian structure, Quinn places himself in the role of Ahab who continually redraws his charts which travel nowhere and only to go into themselves. Quinn cites a direct quote from chapter 44 as "Almost every night some pencil marks were effaced and others were substituted. For with the charts of all four oceans before him, Ahab was threading a maze of currents and eddies, with a view to the more certain accomplishment of that monomaniac thought of his soul" [Melville, 1851.] Justin Quinn received a Master of Art in Art History and a Graduate Certificate from Center for the Book from the University of Iowa in 2001. Since graduating Quinn has been Printmaking coordinator and Associate Professor of Printmaking at the University of North Texas in Denton since 2001. Forthcoming exhibitions for 2005 include the 5th Biennial of Engraving, Cabinet des Estampes, Liège, Belgium and The Boston Printmakers 2005 North American Print Biennial, 808 Gallery, Boston University, Boston, Massachusetts. Exhibitions since 2001 include the International Print Center of New York, NY, NY; Arka Gallery, Vilnius, Lithuania; Rotermann Salt Storage Arts Centre, Tallinn, Estonia; Le Locle Print Triennial, Musée des Beaux-Arts, Le Locle, Switzerland; Umbrella Studios, Queensville, Australia; Gallery 32, London England; A Ramona Studio, NY, NY; Washington Printmakers Gallery, Washington, D. C and Galerie im Fenster, Osnabrück, Germany.