Josh Reames

May 24, 2016, 10:05am

New American Paintings: Midwest Edition at the Elmhurst Museum

For the second year in a row, EAM is organizing the exhibition New American Paintings: Midwest Edition. Based on the acclaimed juried publication, an exhibition-in-print, this year’s version was selected by Kelly Schindler, associate curator at the St. Louis Contemporary Art Museum, and features an equally diverse group of artists and practices from across the Midwest. The thirty-nine artists participating in this year’s NAP broadly span the spectrum of varying themes in contemporary painting, including figural representation, material studies, optical abstraction and spatial depictions, while continually redefining the limits of formal categorization. EAM’s exhibition includes a combination of works featured in the catalogue and new works by selected artists in an effort to expand our understanding of this most traditional and fluid of artistic mediums.


Issue #119...Cover Artist, Alex Jackson

Listed under: NAP News

September 16, 2013, 8:30am

MAKING [IN] DALLAS: VOLUME 3

Volume III: JOSH REAMES BRINGS TRIPPER TO CIRCUIT 12

Located in the Dallas Design District, Circuit 12 is run by husband and wife team Dustin & Gina Orlando. The Orlando’s sharp and ever searching eye brings a national and international freshness to a sweltering  arts community that’s thirsty for a new flavor. What sets Circuit 12 apart is what could be thought of as the “cult of color” that the gallery presents.  The space offers a crisp, brash and theatrical flair to a community that, at times, treads lightly. The gallery extends invitations to curators for their Regional Quarterly series that opens the space to experimental exercises from Texas based artists, exposing work that might not otherwise make it to Dallas. For their current show, Circuit 12 mounted Tripper, a solo show from Chicago based artist Josh Reames. The paintings in Tripper flicker light and are full of an absent neon glow that references your local corner stores cheap beer signage. Unlike the trap of a promised R&R scenario that those signs offer, Reames’ work never takes a break. It’s in constant motion and only interrupted by abrupt, painfully ordinary images. In their blatant dumbness the works beg to be dismissed as trite, formulaic approaches to painting. But Reames’ masterful sense of space and line pull these out of the naïve conversation. After recognizing their formal power, the paintings reminded me how Sean Penn’s understanding of his craft allowed for Spicoli to exist. Reames, like Spicoli challenging the oncoming wave, surfs abstraction; “Surfing's not a sport, it's a way of life, it's no hobby. It's a way of looking at that wave and saying, ‘Hey bud, let's party!’" Indeed. Arthur Peña, Dallas Contributor

Listed under: Interview

August 07, 2013, 9:00am

Timeshares at LVL3

Is the myth of paradise all that compelling? The resort paradise, the motel bliss, dreams of tropical shores and youthful ocean air – are these the same dated visions of vacationing we still cling to, or has anything supplanted their modern aspirations? Do we really delight in a shallow image of shared retreat locations, or long to buy our piece of time from out of a brochure or agency – just another one of many touristic occupants? The theme of the temporary vacation and all its shortcomings has garnered quite a lot of attention by contemporary artists over the past few years. An exhibition by this very namesake, Timeshares, currently on view at LVL3, pictures three artists preoccupations with the idealism the term represents – if not the effects that summer tends to have on more “relaxed” thematic group shows, as well. Paintings and objects by Josh Reames (NAP #89, #95), Calvin Ross Carl, and Maria Walker prod at this artificial fabrication of time as it relates to art and practice; while some pieces directly picture seascapes, palm trees, and other brochure-ready visual ephemera, others take the spirit of vacation as a material cue ­­­– works that deal with pattern, perhaps belonging to a swimsuit, a lawn chair, or mosaic brickwork, and detritus wrapped in colored fabrics, the idea of something less refined simply wrapped into a higher context, masking themselves as paintings. – Stephanie Cristello, Chicago Contributor

Calvin Ross Carl and Josh Reames, “Mañana,” 2013. Sand, 136” x 54”

Listed under: Review