gentling
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David SurmanMan is the Measure, 2022Acrylic and charcoal on canvas39 3/8 x 47 1/4 in
100 x 120 cm -
Jane TardoCatgirlfriend Ranch, 2023Quilted textile collage24 1/2 x 36 in
62.2 x 91.4 cm -
Tommy MalekoffGulfstream Park, 2019Digital C Print17 x 11 in
43.2 x 27.9 cmEdition of 3(Edition record) -
Susan BowersHorse I, 2005Cast bronze7 x 5 1/2 x 3 1/2 in
17.8 x 14 x 8.9 cm -
Susan BowersHorse VI, 2005Cast bronze8 x 7 x 4 in
20.3 x 17.8 x 10.2 cm -
Susan BowersSphinx, 2005Cast bronze6 x 8 1/2 x 3 in
15.2 x 21.6 x 7.6 cm -
Nicole CharbonnetRange Life No. 13 (White Rider), 2023Acrylic, plaster, and paper on canvas72 x 60 in
182.9 x 152.4 cm -
Mac BallRiverbend StablesOil on canvas36 x 48 in
91.4 x 121.9 cm -
Jen KeltosAppaloosa Dream, 2023Oil on panel10 x 12 in
25.4 x 30.5 cm -
Carlie TrosclairEncore, 2023Emulsion, water, glass16 1/2 x 20 1/2 in
41.9 x 52.1 cm -
Bianca WalkerForeman, 2023House paint on drop cloth with black rope and palm48 x 36 in
121.9 x 91.4 cm -
Tessa Greene O’BrienBrown Sugar, 2023Oil on canvas36 x 36 in
91.4 x 91.4 cm -
Rebecca Lowber CollinsThunder Pony, 2005Oil and handmade Japanese paper on canvas33 x 33 in
83.8 x 83.8 cm -
Maddie StrattonSpectator Sport (Groucho, Harpo, Catalina and me), 2023Acrylic on canvas48 x 48 in
121.9 x 121.9 cm -
Emily DiPaloBoxed Mares Recollection, 2023Oil on primed canvas16 x 12 in
40.6 x 30.5 cm -
Colin TomW.F.H., 2023Ink on paper14 3/4 x 12 in (framed)
37.5 x 30.5 cm -
Hoi ChanTrot, 2023Digital color and charcoal on paper24 x 16 in
61 x 40.6 cm -
Hoi ChanBack, 2023Digital color and charcoal on paper24 x 16 in
61 x 40.6 cm -
Ariel ClabornSomething like the chariot, 2023Ceramic, glaze, mirror6 1/4 x 8 x 8 in
15.9 x 20.3 x 20.3 cm -
Colin TomCouldn't Drag Me Away, 2023Ink on paper21 x 26 3/4 in
53.3 x 67.9 cm -
Colin TomConnection, 2023Ink on paper21 x 26 3/4 in
53.3 x 67.9 cm -
Erica WestenbergerSleepwalker's Parade, 2020Graphite on paper18 x 15 in (framed)
45.7 x 38.1 cm -
Shawn CampbellBuster, 2021Plywood, acrylic paint, PLA, metallic paint, miscellaneous hardware49 x 50 x 11 in
124.5 x 127 x 27.9 cm -
Tessa Greene O’BrienMinty, 2023Oil on canvas12 x 12 in
30.5 x 30.5 cm -
E MarshallNothing Is Too Precious, 2020Stickers, ink, pen and marker on paper22 x 30 in
55.9 x 76.2 cm -
David SurmanCrusader, 2022Acrylic and charcoal on canvas26 x 20 in
66 x 50.8 cm -
David SurmanDante, 2022Acrylic and charcoal on canvas26 x 20 in
66 x 50.8 cm -
David SurmanHorse I, 2023Etched lino relief print on Arches 88 300 gsm 100% cotton paper, printed by Deptford Editions, London24 x 18 in
61 x 45.7 cmEdition 24 of 25(Edition record) -
David SurmanHorse II, 2023Etched lino relief print on Arches 88 300 gsm 100% cotton paper, printed by Deptford Editions, London24 x 18 in
61 x 45.7 cmEdition 24 of 25(Edition record) -
David SurmanHorse III, 2023Etched lino relief print on Arches 88 300 gsm 100% cotton paper, printed by Deptford Editions, London24 x 18 in
61 x 45.7 cmEdition 24 of 25(Edition record) -
David SurmanHorse IV, 2023Etched lino relief print on Arches 88 300 gsm 100% cotton paper, printed by Deptford Editions, London24 x 18 in
61 x 45.7 cmEdition 24 of 25(Edition record) -
David SurmanHorse V, 2023Etched lino relief print on Arches 88 300 gsm 100% cotton paper, printed by Deptford Editions, London24 x 18 in
61 x 45.7 cmEdition 24 of 25(Edition record) -
Aron John DuboisSoil, 2023Graphite, watercolor, ink, gouache, and colored pencil on archival rag paper17 x 17 in (framed)
43.2 x 43.2 cm -
Paige DevriesHorse Girl (Abra), 2017Oil and beading on canvas50 x 24 in
127 x 61 cm -
Kjelshus CollinsDer Pokal, 2023Stoneware and glaze10 x 7 1/2 x 7 1/2 in
25.4 x 19.1 x 19.1 cm -
Shawn CampbellPonies, 2023Glass bottle, handmade label5 1/2 x 3 1/2 x 3 1/2 in
14 x 8.9 x 8.9 cm -
Akasha RabutSunday afternoon on Claiborne AveArchival digital print mounted to matboard25 x 31 in
63.5 x 78.7 cm -
Akasha RabutTrail Rider at Sunset, 2014Archival digital print mounted to mat board31 x 25 in
78.7 x 63.5 cm -
HP DenhamLuck Imposing, 2023Oil on canvas58 x 52 x 2 3/4 in
147.3 x 132.1 x 7 cm -
HP DenhamStudy for a Hoof, 2023Oil on canvas, horsehair hem, antique bit &
horseshoe nails13 x 9 1/2 in
33 x 24.1 cm -
Aimée Farnet SiegelYou/Me, 2023Acrylic on found paper15 x 20 in (each)
38.1 x 50.8 cm -
Ariel ClabornThe Spiral Holiday, 2023Oil, ceramic and acrylic on canvas48 x 60 in
121.9 x 152.4 cm -
Sarah SchlesingerGarden Duel, 2023Oil on panel11 x 14 in
27.9 x 35.6 cm -
Sarah SchlesingerHidden Horse, 2022Oil on canvas16 x 32 in
40.6 x 81.3 cm -
Aron John DuboisShepherd's Hook, 2021Acrylic, ink and gouache on handmade cotton rag paper30 3/4 x 22 in (framed)
78.1 x 55.9 cm -
NH DePassJoan & Snoopy, 2022Found equestrian tack trunk, vintage Patrick Nagel lithograph, birch plywood, acrylic sheet, mirror, stainless steel fixtures, formica, wheat straw, vintage steel horse bit, steel chain, found horse brush, sterling silver ring, vintage postcard74 x 36 x 24 in
188 x 91.4 x 61 cm -
E MarshallRacing, 2023Textiles and found objects56 x 70 in
142.2 x 177.8 cm
What he loved in horses was what he loved in men, the blood and the heat of the blood that ran them. All his reverence and all his fondness and all the leanings of his life were for the ardenthearted and they would always be so and never be otherwise.
–Cormac McCarthy, All the Pretty Horses
Sibyl is pleased to present Gentling, a group exhibition organized around horses as subject matter. The exhibition includes works by 27 artists from New Orleans and elsewhere.
Looking out the windows of Sibyl Gallery, past the traffic of Leake Avenue and the train tracks, out onto the verdant levee that separates the city from the Mississippi River, one is often graced with the almost mystical image of horses meandering by. These horses live at the Riverbend Stables and their ubiquity makes them feel somehow part of Sibyl. Even for those who have no emotional connection to horses, their presence bears notice.
The horse as a subject has fascinated humanity for millennia as a symbol of war, peace, pleasure, and necessity. They have held an unparalleled prevalence in our visual language, from the earliest petroglyphs to the very first film, a series of sequential images of a galloping horse filmed by Eadweard Muybridge. Even as technology progressed and humanity’s labor and movement no longer relied on horses, they remained a fixture in our society. They embody both the masculine and the feminine, intertwined with the myth of the American cowboy, and foundational in the modern pink and purple lore of the Horse Girl. They fit as well in the idylls of farms and rural communities, as in the urban streets of New Orleans with Social Aid and Pleasure Clubs, as in the elite world of show jumping and dressage. Though the horse may be obsolete as a tool, they remain fixed as an icon embedded in humanity’s past and present.
The exhibition’s title denotes the act of nonviolently acclimating a wild horse to human contact. Gentling a horse requires that it feels safe, and learns to trust the human familiar as they bond. Gentling is a conversation; “listening” to the horse is every bit as important as leading it. It is a slow, patient process of approach and retreat that mirrors the relationship between an artist and any subject. Horses hold their space within an art historical canon, an ongoing conversation as contemporary artists continue to explore their symbolism and form.
Gentling features work by Mac Ball, Susan Bowers, Shawn Campbell, Hoi Chan, Nicole Charbonnet, Ariel Claborn, Kjelshus Collins, HP Denham, NH DePass, Paige DeVries, Emily DiPalo, Aron Dubois, Jennifer Keltos, Rebecca Lowber-Collins, Tommy Malekoff, E Marshall, Tessa Greene O’Brien, Akasha Rabut, Sarah Schlesinger, Aimée Farnet Siegel, Maddie Stratton, David Surman, Jane Tardo, Colin Tom, Carlie Trosclair, Bianca Walker, and Erica Westenberger.
ABOUT SIBYL GALLERY
Founded by Katherine Lauricella Ainsley in 2022, Sibyl Gallery is a contemporary art space in New Orleans dedicated to promoting emerging artists and art practices. Collaborating with artists, patrons, and institutions alike, the gallery aims to continue to diversify and strengthen the New Orleans art community and connect it with the broader international art world. Ainsley previously spent 10 years in New York City, working at Venus Over Manhattan and Tina Kim Gallery.