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Seeing is Forgetting
Brett Amory, Robert Jankowski and Noah Krell

March 12 - April 4, 2010
Reception: March 12, 2010 / 7-10 p.m.

Featuring a special event "Hi Performance" with featured
performers Noah Krell, T. Joseph Enos and Scottie Hall

March 26, 2010 / 7-10 p.m.

"The book is soft and heavy like a living thing, its pages slightly silkier than paper. It is called Seeing Is Forgetting the Name of the Thing One Sees. It was published in 1982. On the cover is a photograph of a building with an arched brick overhang on an empty street. Two people in rich black silhouette stand under the archway with their backs to us, peering at a foggy area on the building where a picture window ought to be. They lean in, seeing something we can't make out."
- Review of "Seeing is Forgetting the Name of the Thing one Sees," Jen Gray, Seattle Stranger

The exhibition "Seeing is Forgetting," makes direct reference to the 1982 Robert Irwin autobiography/conversation with art critic Laurence Weschler. In particular, the artists in "Seeing is Forgetting," make work that is memorable for its elliptical nature. The images and forms in this exhibition are presented on the canvas, screen and pictorial plane in a manner that suggests that action is either prescient or suspended, having occurred before or after the viewer arrived at the artwork.

Brett’s finely tuned paintings hover between abstraction and representation, setting up a conversation about the way in which reality and emotion might be afforded equal opportunity within a painting. Figures emerge and are then subsumed beneath broad, seductive swashes of paint, flailing amongst brush strokes to get themselves noticed. Appropriately titled "Waiting," the series is devoid of "on-screen" drama but is made all the more urgent as the viewer identifies with the loss of self made palpable when agency is not an option.

Robert Jankowski’s beautiful and haunting black and white photographs evoke the work of both Diane Arbus and Dorothea Lange in their intimate strangeness and conversation about American Life. Jankowski uses his immediate family as a frequent source but is able to step back to find that element of universality, be it a quirk or a fundamental expression, that somehow connects the viewer to the photograph. Understanding that the history of black and white photography is built upon the precision and abstraction of these virtues, Jankowski’s humbly scaled images are unforgettable glimpses into contemporary life and the myths we are currently building in an effort to explain the world we live in now.

Noah Krell is primarily a performance artist whose work frequently uses time as a specific element. By incorporating entropy into the work through duration, Krell can let a narrative unfold naturally, even though his situations are very often intentionally artificial. It is this contrast between hyper-reality of environment and the supposed normality of himself and others as subjects that creates the tension in the work. His vibrant, seductive photographs exist as the relics of each performance and document the very particular placement of each "actor" within the work. As part of the exhibition, Noah Krell will be presenting a new performance work on March 26th in conjunction with an evening of performance art.

For more information, please contact Amy George, Gallery and Event Director, at 510.865.2608, or at

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Brett Amory
Brett Amory