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    July 17 - 21
    Hudson, New York
  • The inaugural edition will take place in Hudson at The Caboose during Upstate Art Week, July 17 – 21 Bringing...

    The inaugural edition will take place in Hudson at The Caboose during Upstate Art Week, July 17 – 21

    Bringing together a select group of New York City galleries: Abri Mars, Dutton, Franklin Parrasch, and Post Times.

     

    Dutton is pleased to exhibit works by:

     

    Lauriston Avery

    Colin Brant

    Adam Fowler

    Rose deSmith Greenman

  • Lauriston Avery (b. 1968, Norwich, CT), lives and works in New York, having studied at the San Francisco Art Institute,...

    Lauriston Avery, Lover, 2025, Concrete and wire with oxidized metals, 33.5 x 23 x 16.5 inches

    Lauriston Avery (b. 1968, Norwich, CT), lives and works in New York, having studied at the San Francisco Art Institute, he received a BFA from the Maryland Institute College of Art in 1990. Avery’s selected solo exhibitions include Full Moon, Platform Project Space, Brooklyn, NY; Deaf Bats Blind Shepards, Wildpalms, Düsseldorf, Germany; and To be Continued, The Hogar Collection, Brooklyn, NY. Recent group exhibitions include Embers, Platform Project Space, Brooklyn, NY; Magical Operations, Wildpalms, Düsseldorf, Germany; Zip City, Left Field Gallery, Los Osos, CA; Walk the Line, Platform Project Space, Brooklyn, NY; Big Ringer, Andrew Edlin Gallery, NY; Come a Little Closer, DC Moore, NY; and After the End, NADA. His work has been featured at the Bridge Art Fair, Miami; NEXT Art Fair, Chicago; Untitled Art Fair, Miami; and NADA, New York.

     

    For Avery, this practice can be interpreted as conjuring. Alternating between feverishly building and impulsively excavating, he champions intuition as an interface with the metaphysical. His obsessive process and transmutation of material on the picture plane and in space summons that which is hidden within the tangible. Shimmering between the fantastical and the objective, Avery draws upon his attraction to the mystical and esoteric, where the laws governing what is visible are influenced by what is not.

  • Colin Brant makes oil paintings on canvas, in a range of sizes from handheld to the scale of his outstretched...

    Colin Brant, Fireweed, 2025, Oil on canvas, 30 x 34 inches

    Colin Brant makes oil paintings on canvas, in a range of sizes from handheld to the scale of his outstretched arms. Beginning with thin washes of color, the pigment deposits in the grooves of the weave and emphasizes the texture of the fabric. Using reference materials such as linen postcards and 19 th century colorized stereoscope images, the layered colors are reminiscent of these old printing methods. Overlapping tones of dusty pinks and violets tinged with orange suggest things seen through grainy atmospheric distance as well as across the distance of time. Scumbled marks of thicker paint over these thinner layers coalesce into images. Brant isinspired by artists who use representation as a starting point for the imagination to wander, including Post Impressionists like Pierre Bonnard, early American self-taught artists, and Chinese landscape painters.


    Although landscape is a recuring motif, there are a variety of subjects that he paints including animals, minerals, and celestial phenomenon. A certain range in the Canadian Rockies has been the subject of a series of paintings. Using a variety of vintage postcards which show the range from slightly different angles with different light and color situations, the paintings become a study of mutability and subjectivity. No matter the subject, things are constantly in flux or shifting between one state and another. Mountains fracture and dissolve in light, animals appear then vanish, reflections turn a landscape upside down, everything is in transformation and slipping between the recognizable and fantastical. Whether the subject is plankton or a vast fjord, the painting becomes a meditative exploration of how he sees and understands the natural world.

  • Adam Fowler (b 1979 Fairfax, Virginia), draws on multiple hand-colored sheets of paper with a gestural line before painstakingly cutting...

    Adam Fowler, Untitled C, 2012, Graphite on hand cut paper, 14 x 11 inches

    Adam Fowler (b 1979 Fairfax, Virginia), draws on multiple hand-colored sheets of paper with a gestural line before painstakingly cutting the negative spaces, the work is then constructed by layering the sheets of cut drawings together one on top of another. The polar actions speak to materiality and physicality of highly refined processes and long stretches of time. In relation to these works, he explains: "In these new works I'm introducing color as compositional elements and thinking about optical mixing, that is to say how our eyes mix color together while seeing. I have always been interested in line, movement, and space but while the introduction of color seems simple it has proven to change how I think about these ideas and put them into action in fundamental ways. This body represents some small scale, almost sketch-like approaches that act as exercises in how I consider material while the larger pieces are fully formed works that pull from highly refined processes and long stretches of time."

  • Orphaned at a young age, Rose deSmith Greenman was severely hearing impaired and lived her life in Boston and Newton,...

    Rose deSmith Greenman, Untitled (R. Greenman), n.d., Pen on paper, 4 x 6 inches

    Orphaned at a young age, Rose deSmith Greenman was severely hearing impaired and lived her life in Boston and Newton, MA. Greenman married a pharmacist and had one daughter, Betty, and was a home-maker until her husband died suddenly in 1956. To make ends meet, she became a clerk at the Mass. Division of Banking and Insurance until her retirement in 1970. Seemingly out of nowhere, Greenman began drawing at age 72, the same time she began struggling with Alzheimer’s disease. Over a period of the next seven years, Greenman drew obsessively, making work with increasing intensity as a struggle with Alzheimer’s disease progressed.

    Spending most hours alone, Greenman used pencils, pens, crayons, and markers on scavenged scraps of paper saved from family members to interpret her world virtuosically – creating demure, mesmerizing, constrained drawings — alongside others that capture a tongue-in-cheek wit — of her home, garden, and family life in Boston as well as transformative and invented scenes from her imagination. Greenman’s drawings embody a mark-making which is woven as tightly and expressively as it possesses an all-encompassing reverence of observation and boundlessness. Her inquiry into memory and deep sense of imagined, anchored and often times idealized home, place, family, an observer in oneself, is charged with longing and wonder.

    Greenman never acknowledged the making or reflected on her work though she silently tucked away carefully stacked bundles of drawings deep in her closet and under her bedskirt. When asked about her work she would dismissively respond, “What? Those are just my doodles.” Sixteen years after Greenman’s death in 1983, Frank and Betty Avruch discovered a trove of Greenman’s drawings in their attic and together set about creating an archive of Greenman’s works. Greenman’s daughter Betty, now 92 years old and herself an artist has since made it her life’s work to preserve her mother’s legacy. This effort began after Betty saw a revelatory museum exhibition of James Castle’s work for the first time and recognized striking parallels with her mother’s work.