Whiting Tennis
October 1 - October 20, 2023
Public Reception: Sunday, October 1st, 6:30-8:30pm
READYMADE is pleased to present Plastic Fantastic, an exhibition of works by Adam Brent, Garrett
Dutton, Peter Schenck, and Whiting Tennis. The melodies of acoustic-electric semi-hollow body guitars,
Gibsons, Gretschs, Dan Electros drift through the early autumn air. The crunch of the first fallen leaves imitate
the vintage tone of an analog speaker amp. Plastic Fantastic brings together the electrifying, otherworldly
abstractions, paintings and assemblages of four visionary, multi-disciplinary artists flushing out the deeply
humanist roots of their practices.
Adam Brent's work combines detailed craftsmanship and fastidious assemblage with explorations of self,
objects, and technology. Through a range of hand-carved elements or food towers as well as parts of his body,
he questions my own worth through weight, force, and scale. He is increasingly interested in how what we
consume can define us. Another side of his work combines new approaches in 3D printing and found objects
with the displacement of painting through a range of domestic domains. In some cases, the work bridges all of
the above means and mediums and aspires to synthesize the many complexities therein.
Garrett Dutton, better known as G. Love, the front man for G. Love & Special Sauce, brings the
synthesis of the modern bard, singer songwriter, and the urban beats of the streets of Philly to his visual
practice mirroring his musical trajectory. His "#lovepaintings" hearken to a mid-century optimism and the fusion
of a pastiche of pop art and graffiti. In the lineage of the great post AbEx painters like Peter Max, the spray
paint hearts of Jim Dine, and the text works of Robert Indiana, Dutton continues the humanist tradition as a
renaissance man wearing his heart on his sleeve.
The artists most obviously in Peter Schenck’s pantheon are Picasso, Philip Guston, Peter Saul and
George Condo. Their patriarchal power is noteworthy in the context of the Oedipal eyeballs repeated from one
painting to the next; Schenck’s work manifests the anxiety of influence, but the ecstasy as well. The fear of
painting in the wake of such magnificent and terrible fathers is palpable, but no less so is Schenck’s obvious
delight in adapting their discoveries to his own purposes. His works demonstrate his mastery over his
idiosyncratic cartoonish language, his personal world of symbols, and his palette, which is all his own.
After more than a decade of automatic-style drawing it’s clear to Whiting Tennis that there are no limits
to neither the number nor the variety of forms that are waiting to be drawn. He questions if these shapes and
lines are in our heads, our hearts, or in our hands? The fact that certain forms sing out, or are mutually
recognizable, points to a source that is not only collective, but ancestral. And if they are both these things then
they must be germane not only to the past and present but to the future. He believes that in art, one cannot
create something out of nothing, since there is no such thing as nothing - stardust.
The exhibition is the eighth in READYMADE Gallery's summer group show series. Every year artists ere
invited to participate in a one or two-week residency in Provincetown, Massachusetts. While on the Cape, artists
create new work inspired by their surroundings or continued from their existing studio practice. The residency
provides housing in Orleans and Eastham, and 2,000 sq feet of studio space in Provincetown.
The artists will be in residence:
Whiting Tennis: September 24 - October 1,2023
Adam Brent: October 1 - 15, 2023
Peter Schenck: October 22 - 29, 2023
October 1 - October 13, 2023
Public Reception: Sunday, October 1st, 6:30-8:30pm
READYMADE is pleased to present Plastic Fantastic, an exhibition of works by Adam Brent, Garrett
Dutton, Peter Schenck, and Whiting Tennis. The melodies of acoustic-electric semi-hollow body guitars,
Gibsons, Gretschs, Dan Electros drift through the early autumn air. The crunch of the first fallen leaves imitate
the vintage tone of an analog speaker amp. Plastic Fantastic brings together the electrifying, otherworldly
abstractions, paintings and assemblages of four visionary, multi-disciplinary artists flushing out the deeply
humanist roots of their practices.
Adam Brent's work combines detailed craftsmanship and fastidious assemblage with explorations of self,
objects, and technology. Through a range of hand-carved elements or food towers as well as parts of his body,
he questions my own worth through weight, force, and scale. He is increasingly interested in how what we
consume can define us. Another side of his work combines new approaches in 3D printing and found objects
with the displacement of painting through a range of domestic domains. In some cases, the work bridges all of
the above means and mediums and aspires to synthesize the many complexities therein.
Garrett Dutton, better known as G. Love, the front man for G. Love & Special Sauce, brings the
synthesis of the modern bard, singer songwriter, and the urban beats of the streets of Philly to his visual
practice mirroring his musical trajectory. His "#lovepaintings" hearken to a mid-century optimism and the fusion
of a pastiche of pop art and graffiti. In the lineage of the great post AbEx painters like Peter Max, the spray
paint hearts of Jim Dine, and the text works of Robert Indiana, Dutton continues the humanist tradition as a
renaissance man wearing his heart on his sleeve.
The artists most obviously in Peter Schenck’s pantheon are Picasso, Philip Guston, Peter Saul and
George Condo. Their patriarchal power is noteworthy in the context of the Oedipal eyeballs repeated from one
painting to the next; Schenck’s work manifests the anxiety of influence, but the ecstasy as well. The fear of
painting in the wake of such magnificent and terrible fathers is palpable, but no less so is Schenck’s obvious
delight in adapting their discoveries to his own purposes. His works demonstrate his mastery over his
idiosyncratic cartoonish language, his personal world of symbols, and his palette, which is all his own.
After more than a decade of automatic-style drawing it’s clear to Whiting Tennis that there are no limits
to neither the number nor the variety of forms that are waiting to be drawn. He questions if these shapes and
lines are in our heads, our hearts, or in our hands? The fact that certain forms sing out, or are mutually
recognizable, points to a source that is not only collective, but ancestral. And if they are both these things then
they must be germane not only to the past and present but to the future. He believes that in art, one cannot
create something out of nothing, since there is no such thing as nothing - stardust.
The exhibition is the eighth in READYMADE Gallery's summer group show series. Every year artists ere
invited to participate in a one or two-week residency in Provincetown, Massachusetts. While on the Cape, artists
create new work inspired by their surroundings or continued from their existing studio practice. The residency
provides housing in Orleans and Eastham, and 2,000 sq feet of studio space in Provincetown.
The artists will be in residence:
Whiting Tennis: September 24 - October 1,2023
Adam Brent: October 1 - 15, 2023
Peter Schenck: October 22 - 29, 2023