Home / Previous

January 13 - April 30, 2018

"Almost There"
Aura Rosenberg & John Miller

Teen Party presents a rare dual exhibition between the two artists, who have previously only shown together at the St. Petri Church in Lubeck, Germany in 2014.

Aura Rosenberg will be debuting a series of lenticulars, “Statues Also Fall in Love,” which nods back to a previous body of work, “The Dialectical Porn Rock,” for which she had glued images borrowed from porn magazines onto rocks that she then photographed in natural settings. “Part of what drove me to make that work was the impulse to turn stone into flesh,” she says. “That impulse appears as well in these new lenticular prints, alternating between images of statues and pornographic photos, pointing to the eroticism embedded in classical figuration—and the fantasy that statues could come to life.”

John Miller, meanwhile, is showing two lightbox works that also are in dialogue with earlier phases of his practice. “They’re part of an ongoing series in which I superimpose silhouettes of some of my early brown impasto works over street scenes,” he explains. “The silhouettes refer specifically to small, shaped pieces that invoke body parts and stature. The lightboxes suggest that these modest works have morphed into monuments: a kind of delusion of grandeur. Nonetheless, they offset–and perhaps call into question–given ideas of public space.”

Aura Rosenberg's work installed at Teen Party Gallery

November 8, 2017

"The Recent Future (Strawberries That Taste Like Strawberries)"
Teen Party's 1st Anniversary Party

Artwork by: Joshua Citarella, Yasamin Keshtkar, & Jayson Musson
Reading by: Alissa Bennett
Relational party game by: Ben Davis

On November 8, 2016, the Russians rejoiced over how a creative use of memes helped elect America's first senile, fascist Sun God. A few days before that, in arguably more innocent times, the Brooklyn apartment-gallery Teen Party opened its doors with a show from Peter Halley and Tracy Thomason. This November 8, we gather to mourn the crumbling of the empire, but also to celebrate the creativity and resilience of Teens of all ages. The works on view will slyly interrogate several horrifying people of Canadian descent; the horror movie that is Western civilization; and what happens when art-publishing stops getting real, and starts getting outsourced.

Yasamin Keshtkar's work installed at Teen Party Gallery

Summer 2017

"Various Unfinished Windmills"
Peter, Scott, & Adam Indrisek

Some turtles, a purple ghost, a hospital, another green world.

Peter Indrisek's work installed at Teen Party Gallery

April 1 - May 30, 2017

"No Maine Is An Island"
William Wegman & Matthew Thurber

William Wegman and James Thurber, together at last. What's that? A filing clerk sent the invitation to the wrong Thurber. Too late to retract the invitation now. But when Wegman met Thurber he was crestfallen. That is, he dropped a tube of toothpaste into the toilet. I don't know why they decided to meet in the bathroom. Maybe it seemed like gender-neutral territory. Foolish Thurber left some Wegmans too close to a scented candle and...whoops.

It seems they've started to copy each other's drawings. To become the other's 'evil twin'...but let's not be naive here!...a 'good' drawing? an 'evil drawing'? No such thing exists...we all know that. We...did you close the chimney flue? You fool, don't you know bad drawings can crawl down the chimney like bats, like leopards, like Wegmans and Thurbers???? There is however, possibly at this moment in your unattended studio washroom a witch, laughing at you in the mirror. Come on now...enough is enough. Are you being serious? Or are you just halving Fun?

"No Maine Is An Island" includes new call-and-response drawings by William Wegman (b.1943) and Matthew Thurber (b.1977), as well as a selection of Wegman drawings from the '70s and '80s. The exhibition is made possible in cooperation with Sperone Westwater, New York.

January 17 - March 6, 2017

"Circus of Sour"
Marc Hundley

Circus of Sour,
Holds shows every hour,
The lion is eating the bars, hey the bars.
I was erected,
The poor man is expected
To climb to the stars
Balanced just on one knee.
Look out your window and see,
Look out your window and see.
The clown chases spotlights,
The bear faces hot lights
Pelted with peanuts and coke, hey the coke.
— Donovan, 1965

“Growing up in Canada, I’d heard Donovan through my parents a bit, but not too much,” says Marc Hundley (b. 1971). “I remember his song ‘Mellow Yellow’ from a butter commercial. But it was really only after moving to New York and buying a record player, collecting vinyl, that I got into him. Later, along with a friend and my twin brother, we became members of Donovan’s fan club. He was really generous and very sweet. I’ve always wanted to be like Donovan; it’s intelligent and brave to be thoughtful and kind.”

This exhibition borrows its title from the eccentric Scottish folk star, as expressed through Hundley’s signature poster-style works. Other pieces pay homage to Judy Collins, Vashti Bunyan, Lotte Lenya, and George Orwell’s Animal Farm; an additional large-scale work appropriates a classic 1915 image of Wall Street shot by Paul Strand. When showing in traditional galleries, Hundley often tries to interrupt the ways in which his work is experienced—bringing handmade furniture into the white cube, for instance, in order to make the viewer more comfortable. “Circus of Sour” builds on that impulse by taking advantage of the domestic space in Brooklyn to stage an unconventional show for these unconventional times.

November 2 - December 11, 2016

Peter Halley & Tracy Thomason

Teen Party opens with a cross-generational survey pairing painters Peter Halley (b. 1953) and Tracy Thomason (b. 1984). Both artists work within their own tightly controlled formal vocabularies. Halley has, for decades, continued to develop his iconic grids and cells—“a reminder of the apartment house, the hospital bed, the school desk”—exploiting the nubby, readymade potentials of consumer-grade paint additives. Thomason achieves a similarly textural surface by adding marble dust to oil pigment, and exploring a gestural language indebted to notions of the body, language, and punctuation marks.

The artists’ joint outing will pair Thomason’s mid-sized canvases with a new site-specific wall installation by Halley, who will also present a large Day-Glo canvas from 1981. Let us celebrate Roll-a-Tex and marble dust! Let us ponder the sinuous curve, the unyielding cell, the topography of surfaces begging to be palpated! (But don’t. Really, don’t.)

Tracy Thomason and Peter Halley's work installed at Teen Party Gallery