Phillip Buehler Available Works in Gadgets, Gizmos and Machines
Phillip Buehler, unframed photograph
16 × 20 in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Phillip Buehler, unframed photograph
16 × 20 in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Phillip Buehler, unframed photograph
16 × 20in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Phillip Buehler, unframed photograph
16 × 20 in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Phillip Buehler, unframed photograph
16 × 20in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Phillip Buehler, unframed photograph
16 × 20 in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Phillip Buehler, unframed photograph
16 × 20 in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Gadgets, Gizmos and Machines
curated by Daniel Aycock
featuring works by Mark Andreas, Thomas Broadbent, Phillip Buehler, Ken Butler, Stephen Mallon, Ken Ragsdale, Paul Raphaelson
June 17, 2022, Online Exclusive
Front Room is proud to present Gadgets, Gizmos and Machines, a group exhibition dedicated to the spinning, folding, floating, blowing, flying, fascinating objects and machinery that sustain and entertain us. The artists in the show all share an affinity for these moving Miracles of design. The gadget has long enjoyed a place in high art, as in Marcel Duchamp’s emphasis on objects like “The Coffee Mill,” the Ukrainian avant-garde artist Vladimir Tatlin’s human-powered ornithopter, and Lásló Moholy-Nagy’s kinetic sculptures. Automatons and Rube Goldberg devices have captivated the popular imagination for years. These animated objects are precise, purposeful, and mesmerize us with their own personalities.
The artists in this show represent different aspects of this fascination with geared apparatus, and there could easily be whole exhibitions composed of each aspect: kinetic art, functional instruments, diagrams, and photographs of cars/planes/industrial equipment. This exhibition focuses on the shared appreciation of the magic of these moving machines, across the spectrum.
Mark Andreas’s work is informed by his past experiences as a craftsman, carpenter, furniture maker, blacksmith, boat builder and designer. His environmentally reactive sculptures move and act with forces of nature. They combine traditional hand-crafted woodworking and metal smithing methods with modern construction techniques.
Andreas’s “Dragon” is a wall-mounted sculpture that explores the relationship between time and transformation, as well as the interaction of water, air, and solid materials which cause the sculpture to react. The viewer fills a reservoir with approximately 16 ounces of water and slowly funnels the water into the dragon’s tail. The weight of the water in the tail lifts the wings. After a few days or so, the water in the tail is drawn out through a process known as capillary action. In this piece, the capillary action will ultimately cause the water in the tail to evaporate and, as a result, the wings are slowly lowered until they reach their resting point.
Thomas Broadbent’s large-scale watercolors have an absurdity to them that borders on the surreal: they are plausible scenarios, but the unlikely combination of elements, objects, and animals are otherworldly and common at the same time. Broadbent’s thoughtful, introspective watercolors touch on the relationship between man and nature, sometimes broaching more existential questions.
Broadbent’s paintings of human forays into space exploration look at the machinations of the space program from the point of view that John James Audubon might have looked at a swallow-tailed flycatcher. Broadbent’s close attention indicates that these things are part of something greater, which we will never fully understand.
Phillip Buehler’s interest in modern ruins started in 1973 when he rowed out to the then-abandoned Ellis Island. He has continued to document twentieth-century ruins around the world, seeking to rescue the past, one step ahead of the wrecking ball.
In Buehler’s aerial photographs from a military airplane storage yard in Arizona,, the repetition of the same model of bomber is so abstractly pattern-based that the overall effect begins to look like a Middle Eastern tapestry.
Ken Butler, hybrid musical instrument sculptures explore the interaction and transformation of common and uncommon objects, sounds, and altered images. Function and form collide in the intersections of art and music.
Created primarily from urban detritus, the hybrid instruments express a poetic spirit of re-invention and hyper-utility as hidden meanings and associations momentarily create a striking and re-animated cultural identity for common objects.
Stephen Mallon is known for his photographs of big (with a capital “B”) things crashing, sinking, levitating, being dismantled or constructed. In “American Reclamation” many of the subjects are small bails, stacks, compressed cubes, mounds, random/shapeless units, and swirling vortexes. Light gleams off the corners and facets of gears and chrome strips or fades indistinctly into bails of office papers that have been squished into abstract forms.
In this series of photographs, Mallon includes images of industrial recycling in the United States. His photographs capture images of the salvage and repurposing of immense machinery, from the overwhelming accumulation of stripped metal components to intact vessels being sunk to make artificial reefs.
Ken Ragsdale’s magical photographs are achieved through the artist's composition of fabricated paper structures, which depict memories and landscapes of Middle to Northwest United States. Ragsdale’s forced-perspective paper diorama photographs are clear descendants of the Hudson River School of painting.
Within Ragsdale’s wistful landscapes his love of equipment is self-evident. His lush landscapes are interspersed with trucks, tractors and classic cars. These machines become the subject of the compositions and are stand-ins in the absence of their owners.
Paul Raphaelson’s series, entitled "Sweet Ruin," features photographs taken at the site of Brooklyn's Domino Sugar Refinery. Raphaelson's images chronicle the final state of the once-bustling industrial complex before its dismantling and demolition.
WORKS INCLUDED IN “GADGETS, GISMOS AND MACHINES”:
STEPHEN MALLON
Stephen Mallon, limited edition C-Print photograph from the “American Reclamation” series
signed and editioned on reverse.
available as:
20"x30" (1-5/5 available) unframed
30"x45" (3-5/5 available) unframed
40"x60" (3-5/5 available) unframed
Pricing Structure:
20x30 prints: #1-3, $2150; #4, $3225; #5, $4300
30x45 prints: #1-3, $4200; #4, $6300; #5, $8400
40x60 prints: #1-3 , $6000; #4, $9000; #5, $12000
Stephen Mallon, limited edition C-Print photograph from the “USS Radford” series
signed and editioned on reverse.
available as:
20"x30" (1-5/5 available) unframed
30"x45" (3-5/5 available) unframed
40"x60" (3-5/5 available) unframed
Pricing Structure:
20x30 prints: #1-3, $2150; #4, $3225; #5, $4300
30x45 prints: #1-3, $4200; #4, $6300; #5, $8400
40x60 prints: #1-3 , $6000; #4, $9000; #5, $12000
Stephen Mallon, limited edition C-Print photograph from the “Flight 1549” series
signed and editioned on reverse.
available as:
30"x45" (5/5 available framed) FINAL PRINT
40"x60" (4-5/5 available) unframed
Pricing Structure:
30x45 prints: #1-3, $4,200; #4, $6,300; #5, $8,400
40x60 prints: #1-3 , $6,000; #4, $9,000; #5, $12,000
Stephen Mallon, limited edition C-Print photograph from the “Flight 1549” series
signed and editioned on reverse.
available as:
30"x45" (1/5 available framed)
30"x45" (2-5/5 available) unframed
40"x60" (1-5/5 available) unframed
Pricing Structure:
30x45 prints: #1-3, $4,200; #4, $6,300; #5, $8,400
40x60 prints: #1-3 , $6,000; #4, $9,000; #5, $12,000
Stephen Mallon, limited edition C-Print photograph from the “Flight 1549” series
signed and editioned on reverse.
available as:
30"x45" (1/5 available framed)
30"x45" (3/5 available unframed)
40"x60" (1/5 available framed)
40"x60" (2-5/5 available unframed)
Pricing Structure:
30x45 prints: #1-3, $4,200; #4, $6,300; #5, $8,400
40x60 prints: #1-3 , $6,000; #4, $9,000; #5, $12,000
Stephen Mallon, limited edition C-Print photograph from the “USS Radford” series
signed and editioned on reverse.
available as:
20"x30" (1-5/5 available) unframed
30"x45" (3-5/5 available) unframed
40"x60" (3-5/5 available) unframed
Pricing Structure:
20x30 prints: #1-3, $2150; #4, $3225; #5, $4300
30x45 prints: #1-3, $4200; #4, $6300; #5, $8400
40x60 prints: #1-3 , $6000; #4, $9000; #5, $12000
THOMAS BROADBENT
MARK ANDREAS
Mark Andreas
Material: Douglas Fir, Steel,
36"H X 48"L X 12" D
This wall mounted sculpture explores the relationship between time and transformation as well as the interaction of water, air, and solid materials which cause the sculpture to react. The viewer fills a reservoir with approximately 16 ounces of water and slowly funnels the water into the dragon’s tail. The weight of the water in the tail lifts the wings. After a few days or so, the water in the tail is drawn out through a process known as capillary action. Capillary action (sometimes called capillary motion or wicking) is the ability of a liquid to flow into narrow spaces without the assistance of, or even in opposition to, external forces like gravity. In this piece, the capillary action will ultimately cause the water in the tail to evaporate and, as a result, the wings are slowly lowered until they reach their resting point. In this fast paced high intensity world with lightning fast data streams, Dragon harkens back to a time where the days, seconds, and minutes seemed more gradual and slow-footed. It also puts a spotlight on how some of the most powerful changes that exist in the nature of things often can be creeping, protracted, and nearly imperceptible.
Mark Andreas
Material: Blak Walnut, Aluminum
Size 48"H X 65"L X 12"D
The sculpture is filled with 8oz of water and open jackknives. Over the next 4 weeks or so it slowly returns to its original shape as the water evaporates through its tail fin.
KEN BUTLER
Ken Butler,
hybrid instrument assemblage,
36 x 12 x 4, 1981, (functional electric guitar),
$4,500
PAUL RAPHAELSON
Paul Raphaelson, unframed photograph
"Bin Distributor", Domino Sugar Refinery, Williamsburg, Brooklyn, New York
available as:
40x60, edition of 10: $4200
27x40, edition of 10: $3300
17x25, open edition: $990
Paul Raphaelson, unframed photograph
"Char Filters", Domino Sugar Refinery, Williamsburg, Brooklyn, New York
available as:
40x60, edition of 10: $4200
27x40, edition of 10: $3300
17x25, open edition: $990
Paul Raphaelson, unframed photograph
"Pipes and Gauges", Domino Sugar Refinery, Williamsburg, Brooklyn, New York
available as:
40x60, edition of 10: $4200
27x40, edition of 10: $3300
17x25, open edition: $990
Paul Raphaelson, unframed photograph
"Boiler Pipes", Domino Sugar Refinery, Williamsburg, Brooklyn, New York
available as:
40x60, edition of 10: $4200
27x40, edition of 10: $3300
17x25, open edition: $990
Paul Raphaelson, unframed photograph
"Catwalks, Vacuum Pan", Domino Sugar Refinery, Williamsburg, Brooklyn, New York
available as:
40x60, edition of 10: $4200
27x40, edition of 10: $3300
17x25, open edition: $990
Paul Raphaelson, unframed photograph
"Catwalks, Vacuum Pan", Domino Sugar Refinery, Williamsburg, Brooklyn, New York
available as:
40x60, edition of 10: $4200
27x40, edition of 10: $3300
17x25, open edition: $990
KEN RAGSDALE
Ken Ragsdale
Archival pigment print
Available as:
16 × 20 in
40.6 × 50.8 cm
Edition of 5
$1,200
20 × 30 in
50.8 × 76.2 cm
Edition of 5
$1,950
Ken Ragsdale
Archival pigment print
Available as:
16 × 20 in
40.6 × 50.8 cm
Edition of 5
$1,200
20 × 30 in
50.8 × 76.2 cm
Edition of 5
$1,950
Ken Ragsdale
Archival pigment print
Available as:
16 × 20 in
40.6 × 50.8 cm
Edition of 5
$1,200
20 × 30 in
50.8 × 76.2 cm
Edition of 5
$1,950
Ken Ragsdale
From the series The Corps of Discovery II
Archival Inkjet Print from Photo of Hand built Paper StructuresImage Size: 12" H x 20"W
Edition of 5 (4 available)
$950
Ken Ragsdale
From the series The Corps of Discovery II
Archival Inkjet Print from Photo of Hand built Paper Structures
Image Size: 12" H x 20"W
Edition of 5 (3 available)
2007
$950
Ken Ragsdale
From the series Lewis and Clark Go Car-CampingArchival Inkjet Print from Photo of Hand built Paper Structures
Image Size: 12" H x 20"W, Edition of 5 (3 available)
$950
2008
PHILLIP BUEHLER
Phillip Buehler, unframed photograph
16 × 20in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Phillip Buehler, unframed photograph
16 × 20 in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Phillip Buehler, unframed photograph
16 × 20 in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Phillip Buehler, unframed photograph
16 × 20in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Phillip Buehler, unframed photograph
16 × 20 in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000
Phillip Buehler, unframed photograph
16 × 20 in (40.6 × 61 cm) Edition 5 $1,050
20 × 24 in (50.8 × 61 cm) Edition 5 $1,600
30 × 40 in (76.2 × 101.6 cm) Edition 5 $3,000