DODGEgallery
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Sundays (Like the Brightest Light in the Theatre Shining on an Empty Stage), 2014, installation view. Photo: Martin Parsekian
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Sundays (Like the Brightest Light in the Theatre Shining on an Empty Stage), 2014, installation view. Photo: Martin Parsekian
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Sundays (Like the Brightest Light in the Theatre Shining on an Empty Stage), 2014, installation view. Photo: Martin Parsekian
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Sundays (Like the Brightest Light in the Theatre Shining on an Empty Stage), 2014, installation view. Photo: Martin Parsekian
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Sundays (Like the Brightest Light in the Theatre Shining on an Empty Stage), 2014, installation view. Photo: Martin Parsekian
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Ted Gahl, 78500 Beverly Boulevard, 2013, acrylic and graphite on canvas, 14 x 11 inches. Photo: Martin Parsekian
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Ted Gahl, Blinky/Walking Away, 2013, acrylic, wood, colored pencil, 2 x 4 and staples on primed and unprimed canvas, artist frame, 86.25 x 30.75 x 1.5 inches. Photo: Martin Parsekian
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Ted Gahl, Ladder 4, 2013, acrylic and graphite on primed and unprimed canvas, artist frame, 21 x 10.5 inches. Photo: Martin Parsekian
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Ted Gahl, Ladder 1, 2013, acrylic and stretcher keys on unprimed canvas and linen, artist frame, 21 x 10.5 inches. Photo: Martin Parsekian
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Ted Gahl, Desert (After Tanner), 2013, acrylic, colored pencil and charcoal on canvas, 40.75 x 30.75 inches. Photo: Martin Parsekian
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Ted Gahl, For G.M., 2013, acrylic, charcoal and colored pencil on unprimed canvas, 84 x 60 inches. Photo: Martin Parsekian
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Ted Gahl, Self Portrait (Painting at Night), 2013, acrylic on unprimed canvas, 10 x 8 inches. Photo: Martin Parsekian
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Ted Gahl, Münter (After P.D.), 2013, acrylic and graphite on canvas, artist frame, 72 x 60 inches. Photo: Martin Parsekian
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Ted Gahl, The Relentless Pursuit of Perfection (Drawing of House Painting), 2013, acrylic, graphite on unprimed canvas, artist frame, 48 x 24 inches
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Ted Gahl, The Cultured House Painter, 2013, acrylic, graphite and colored pencil on unprimed canvas, artist frame, 48 x 24 inches. Photo: Martin Parsekian
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Ted Gahl, 860/203 (House Painter), 2013, acrylic and graphite on unprimed canvas, artist frame, 48 x 24 inches. Photo: Martin Parsekian
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Ted Gahl, Jail for Brushes, 2013, paintbrushes and wood 13.75 x 8.5 x 2 inches. Photo: Martin Parsekian
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Ted Gahl, Red Danes (Sun Comes Up), 2013, acrylic and graphite on unprimed canvas, 84 x 60 inches. Photo: Martin Parsekian
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Ted Gahl, Need Your House Painted? (Construction), 2013, acrylic and stretcher keys on unprimed canvas (2 parts), artist frame, 15 x 20 inches. Photo: Martin Parsekian
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Ted Gahl, Sights (3), 2013, acrylic and graphite on unprimed canvas 84 x 60 inches. Photo: Martin Parsekian
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| Blackbook Magazine, "Ted Gahl Offers Further Proof That Painting Ain’t Dead Yet" - Scott Indrisek |
| READ ONLINE | | Hyperallergic, "Points of Contact: Small Works, Giant Steps" - Thomas Micchelli |
READ ONLINE  DOWNLOAD | | The Huffington Post, "Must-See Painting Shows" - Steven Zevitas |
| READ ONLINE | | bmore art, "What Alex Saw" - Alex Ebstein |
| READ ONLINE DOWNLOAD | | ART HAPS, "Ted Gahl" - Corydon Cowansage |
| READ ONLINE | | Artspace, "7 Artists to Watch this January" - Andrew Goldstein |
| READ ONLINE DOWNLOAD |
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SUNDAYS (LIKE THE BRIGHTEST LIGHT IN THE THEATRE SHINING ON AN EMPTY STAGE): TED GAHL
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| IMAGE: Sundays (Like the Brightest Light in the Theatre Shining on an Empty Stage), 2014, installation view. Photo: Martin Parsekian |
 HI-RES |  |
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On View: January 11 — February 23, 2014
Reception: January 11, 2014 6-8pm | |
DOWNLOAD PRESS RELEASE AS PDF
| 2:14 am, Norfolk, CT, 2013
Paintings talking to each other, 18 Stories by Heinrich Boll, hunter green mixed with a muddy orange, immigration, 5.7 liter Hemi engines, the darkest blue the eye can distinguish from black, RED DANES, the idea of Victor Maitland, Hudson lighting, grey/gray, the Highland Park exit to 61823 Buena Vista Terrace, Oma, Mom’s drawings, absence of Nikita, Branford, CT, M. Avery, the presence/awareness of healthy limbs, Man Bites Dog, Popular Mechanics, trickle down aesthetics and supporters none the wiser, the corner of Myrtle and Tompkins, Der Blaue Reiter, forks in the road, 30/.38, “Gone With, Caught With, Hanged With”, Wythe/Kent exit, ‘98/’99, Sky Burial for Blinky/Walking Away, T.K. always, keys as sails, sails as keys, Henry Ossawa Tanner, heavy dialogue/slander, Lorinsers on Yokohamas, Elmore Leonard, cursive, Gabriele Münter, Horseshoe Patterns, .40, Real Schadenfreude, and so on and so and so…
DODGEgallery is pleased to present Ted Gahl’s second solo exhibition with the gallery, Sundays (Like the Brightest Light in the Theatre Shining On An Empty Stage). The title alludes to the unexplainable feel of Sundays, the melancholy state of being “at odds”, and the inevitable nostalgia that the passing of days and seasons brings.Incorporating his own childhood drawings into several canvases, Gahl intimately toys with appropriation. His work pays homage to painters of the past, while putting them in dialogue with the here and now. The influence of painters like Gabriel Münter, Blinky Palermo and Henry Ossawa Tanner, along with authors Heinrich Boll and other assorted heroes, weave in and out of canvases and constructions that vary in scale.
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