Neue Welt
info@neuewelt.xyz / @neueweltxyz
newsletter / patreon
On view:
Chambers: Lindsey Kennedy and Katie Ford
July 6th - August 18th, 2024
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Neue Welt is pleased to present Chambers, an interdisciplinary collaboration between artists Lindsey Kennedy and Katie Ford. Their new body of work joins photographic images with sculptural objects, as the artists draw upon patterns of repetition and mutation in natural structures. The included works make reference to geology, plant life, and the human body. They are experiments in translation—between object and image, between fractal forms, between makers—inviting instances of connection and distortion.
Lindsey Kennedy is a photographer whose practice examines the human-nature relationship in the Anthropocene and the psychological experience of climate doom. She holds a bachelor’s degree in political science from the University of Wisconsin and earned her MFA in studio art at the University of Georgia in 2024.
Katie Ford is an interdisciplinary artist considering the potential of instability through the lenses of digital culture and queer theory. She has exhibited nationally, and her work has been supported by residencies at the Icelandic Textile Center, the Women’s Studio Workshop, Elsewhere, and 100W Corsicana, among others. She holds a BFA in Printmaking and Drawing from Washington University in St. Louis and an MFA in Visual Art from the University of Georgia.
On view during Wedgewood-Houston First Saturdays and by appointment, email info@neuewelt.xyz
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Past exhibitions:
Austin Reavis: Red State
June 1st - June 26th, 2024
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![Untitled, oil paint, collage, plywood, arcylic paint, 18” x 13“; Untitled, automotive wrap over aluminum cake pan placed into an electric oven at 450° for 1 minute, 14" x 12", 2024; Untitled, work floor mat trim, aluminum cake pan, 2024]()
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![Untitled, fan blower, Tennessee ancestry publications, bookends, 16” x 10” x 13”, 2024]()
![Untitled, propane tank, novelty mug, Gorilla tape, 22“ x 6” x 3“, 2024]()
![Untitled, found metal objects heated with a blow torch and pressed into a foam work mat, 24” by 24” by 12”, 2024]()
![Untitled, Manila folders, cannonball, brass bugle, book on Tennessee prisons, PVA glue, 30” x 12“ x 12” , 2024]()
![Untitled, steel calipers, string, 12”x 8”x 1”, 2024]()
![Untitled, wood glue, camo pants, work lights, smiley face keychain, 48” x 12”’ x 1’’, 2023; Untitled, wood glue, camo pants, work lights, rabbit‘s foot keychain, 48” x 12”’ x 1’’, 2023; Red Pill, vacuum formed plastic, flocking, plywood, veneer, aluminum frame, plexi, glass, casters, 72” x 42” x 24 , 2023]()
![Untitled, wood glue, camo pants, work lights, rabbit‘s foot keychain, 48” x 12”’ x 1’’, 2023]()
Neue Welt is pleased to present Red State, a solo exhibition by Sewanee, Tennessee-based artist Austin Reavis.
I feel compelled to dislodge the things in front of me and place them back into the world askew. This impulse comes from my dissatisfaction with most methods for witnessing what is in front of me, but also from feeling askew myself to the things that I see.
Something as immeasurable and fluid as a landscape is what I am currently interested in understanding, but oftentimes fail to comprehend through language or pictorial depiction. Instead, my most recent work is made of found objects collected from this landscape - my rural, southern hometown in Tennessee - via flea markets, grocery stores, Craigslist, yard sales, trashcans, dumpsters, or simply off the ground. These objects are like keyholes to see through; simple silhouettes opening out onto great panoramas of place and thingyness.
In combination with other disparate objects, I have been altering these found artifacts with minimal intervention; oftentimes only with glue - or even just gravity - holding the works together. In this way, I feel that the sculptures remain close to the world they come from, while reflecting a sideways logic of parallel otherness. I like to think of myself as a beachcomber; scavenging what washes up, rubbing those materials together, and starting fires that transcribe the inner mainland, while still signaling out from the beachfront.
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Attention: Liza Clement, Allie Horick, and Ripley Whiteside
May 4th - 26th, 2024
![Ripley Whiteside, Allie Horick, Liza Clement]()
![Ripley Whiteside, Thirteen Things (Lemon), watercolor, 23" x 30" (in 28" x 35" frame), 2024]()
![Ripley Whiteside, Thirteen Things (Lure), watercolor, 23" x 30" (in 28" x 35" frame), 2024]()
![Allie Horick and Liza Clement]()
![Allie Horick, Memorial for Felled Tree, wood (walnut), beeswax, oil, sawdust, dimensions variable, 2024]()
![Liza Clement, Vernal Devotional (3/19/24), oil, wood, found objects, natural materials, 30” x 32“, 2024]()
![Liza Clement, Vernal Devotional (3/19/24), oil, wood, found objects, natural materials, 30” x 32“, 2024]()
![Liza Clement, Vernal Devotional (remnants), found natural materials, 2024]()
![Allie Horick, Kneeler, wood (walnut), beeswax, oil, found photographs, dimensions variable, 2024]()
![Allie Horick, Kneeler, wood (walnut), beeswax, oil, found photographs, dimensions variable, 2024]()
![Ripley Whiteside and Allie Horick]()
Neue Welt is pleased to present Attention, a group show by Liza Clement, Allie Horick, and Ripley Whiteside. Across watercolor, painting, and sculpture, the artists invite us to consider what we deem worthy of attention in our anthropocentric world. Each artist addresses this question from a different ecological point of view: what we leave behind, what we consider sacred, and what we mourn.
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Brian R. Jobe: Pax
March 2nd – April 14th, 2024
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![Pax (Slight) brick, steel 24” x 20” x 20” 2024]()
![Pax (De Rigueur) marble, concrete, steel 16" x 29.75" x 10.75" 2023]()
![Pax (Mountain Tap) glazed brick, marble 17.5" x 22.25" x 14" 2021]()
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Neue Welt is pleased to present the work of Knoxville, Tennessee based artist Brian R. Jobe. Jobe's studio practice is focused on sculpture and installation. His most recent work collages material into assemblages utilizing signifiers of natural and manufactured landscapes. The materials are stacked or held in compression, but without the use of hardware or adhesives. He desires a sort of inevitability to be felt within the viewer’s experience as they consider the material’s history and stream of consciousness associations. He is inspired by the act of construction and the space between reductive minimalism and human touch.
Chambers: Lindsey Kennedy and Katie Ford
July 6th - August 18th, 2024
Neue Welt is pleased to present Chambers, an interdisciplinary collaboration between artists Lindsey Kennedy and Katie Ford. Their new body of work joins photographic images with sculptural objects, as the artists draw upon patterns of repetition and mutation in natural structures. The included works make reference to geology, plant life, and the human body. They are experiments in translation—between object and image, between fractal forms, between makers—inviting instances of connection and distortion.
Lindsey Kennedy is a photographer whose practice examines the human-nature relationship in the Anthropocene and the psychological experience of climate doom. She holds a bachelor’s degree in political science from the University of Wisconsin and earned her MFA in studio art at the University of Georgia in 2024.
Katie Ford is an interdisciplinary artist considering the potential of instability through the lenses of digital culture and queer theory. She has exhibited nationally, and her work has been supported by residencies at the Icelandic Textile Center, the Women’s Studio Workshop, Elsewhere, and 100W Corsicana, among others. She holds a BFA in Printmaking and Drawing from Washington University in St. Louis and an MFA in Visual Art from the University of Georgia.
On view during Wedgewood-Houston First Saturdays and by appointment, email info@neuewelt.xyz
--
Past exhibitions:
Austin Reavis: Red State
June 1st - June 26th, 2024
Neue Welt is pleased to present Red State, a solo exhibition by Sewanee, Tennessee-based artist Austin Reavis.
I feel compelled to dislodge the things in front of me and place them back into the world askew. This impulse comes from my dissatisfaction with most methods for witnessing what is in front of me, but also from feeling askew myself to the things that I see.
Something as immeasurable and fluid as a landscape is what I am currently interested in understanding, but oftentimes fail to comprehend through language or pictorial depiction. Instead, my most recent work is made of found objects collected from this landscape - my rural, southern hometown in Tennessee - via flea markets, grocery stores, Craigslist, yard sales, trashcans, dumpsters, or simply off the ground. These objects are like keyholes to see through; simple silhouettes opening out onto great panoramas of place and thingyness.
In combination with other disparate objects, I have been altering these found artifacts with minimal intervention; oftentimes only with glue - or even just gravity - holding the works together. In this way, I feel that the sculptures remain close to the world they come from, while reflecting a sideways logic of parallel otherness. I like to think of myself as a beachcomber; scavenging what washes up, rubbing those materials together, and starting fires that transcribe the inner mainland, while still signaling out from the beachfront.
--
Attention: Liza Clement, Allie Horick, and Ripley Whiteside
May 4th - 26th, 2024
Neue Welt is pleased to present Attention, a group show by Liza Clement, Allie Horick, and Ripley Whiteside. Across watercolor, painting, and sculpture, the artists invite us to consider what we deem worthy of attention in our anthropocentric world. Each artist addresses this question from a different ecological point of view: what we leave behind, what we consider sacred, and what we mourn.
--
Brian R. Jobe: Pax
March 2nd – April 14th, 2024
Neue Welt is pleased to present the work of Knoxville, Tennessee based artist Brian R. Jobe. Jobe's studio practice is focused on sculpture and installation. His most recent work collages material into assemblages utilizing signifiers of natural and manufactured landscapes. The materials are stacked or held in compression, but without the use of hardware or adhesives. He desires a sort of inevitability to be felt within the viewer’s experience as they consider the material’s history and stream of consciousness associations. He is inspired by the act of construction and the space between reductive minimalism and human touch.