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Exhibitions & Collections


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Exhibitions announcements coming soon.
For art work available for sale visit Bailin Studio Gallery.

M2 EXPERIENCE

35 Artists 300 Works of Art

The general idea is to create something unexpected. Something different for Little Rock. Something exciting. It’s the only show where we close the gallery for a week, cover the windows, and unveil its opening night. As I did a final walkthrough, I was amazed at the sheer volume of talent and amazing work. As you experience EXP, know that a tremendous amount of time went into every aspect from the moment you enter to the moment you reach the very back room upstairs. Placement is always intentional. A story is told. Each artist put countless hours into the work created. I feel honored each time that they trust me to showcase their work where and how it makes sense.

–Mac Murphy, Director, M2 Gallery


M2 Gallery
9 September — 13 October, 2023

1300 Main Street
Little Rock, Arkansas 72202

Tuesday-Saturday 10am-5pm
By Appointment

Back wall top to bottom:
FOUNTAINHEAD • 2004 • Charcoal on Paper • 26 x 30 inches
ENCIRCLE • 2007 • Charcoal on Paper • 26 x 31 inches
CACHE • 2004 • Charcoal on Paper • 26 x 30 inches
Front wall top to bottom:
CRAWL • 2015 • Charcoal, Pastel and Coffee on Prepared Paper • 52 x 54 inches
TREE • 2003 • Charcoal on Paper • 26 × 29 inches

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News


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Workshops

Upcoming Workshops

Fall 2023 and Winter 2024

Stay in touch for more information.

Provincetown Art Association And Museum
460 Commercial Street Provincetown MA 02657

Exhibition Catalogs


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2000 – 2009

The Gatherings, 2023

David Bailin
with Essay by Kimberly Clark

This catalog is published in connection with the exhibitions Gatherings at the Art of Paper Fair in New York City [September 2022] and on line at The Viewing Room, Artsy.com [July 2023]. © 2023 by David Bailin • Essay © Kimberly Clark

A printed catalog is available for $35 (PDF version $5.99) through Blurb Books, or purchase a signed copy through the Studio Gallery for $40.

The Gatherings • 2023
Drawings by David Bailin
Essay by Kimberly Clark
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gatheringsintroduction
gatherings artist
gatherings ocean tide
gatherings Throwback
gatherings Burnt field
gatherings The Watch
gatherings Windows
gatherings Interruption
gatherings Ravine
gatherings Intrusion
gatherings Restrain
gatherings Stride
gatherings Introduction and ocean tide info
gatherings throwback and burnt fiield Introduction
gatherings the watch and windows Introduction
gatherings intrusion and ravine Introduction
gatherings intrusion and restrain ntroduction
gatherings stride info
gatherings About David Bailin
gatherings back cover

21st Century Abstraction:
From Roots to Celebration of the New, 2019

Essay by Peter Frank

21st Century Abstraction • 2019
Ledbetter, Ellis, Connally, Bailin, Peter, Liu
Essay by Peter Frank



Selected pages
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21st C Abstraction BC

For more information about the artists, please visit 21st Century Abstraction. This catalog can be requested by contacting the studio or directly from Abstraction21c.

The written material presented on this site is the intellectual property of the respective authors/publication.

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The Erasing, 2018

David Bailin
with Essays by Ellis Widner and Leslie Peacock

This catalog is published in connection with the exhibitions The Erasings (May 2017) Boswell Mourot Gallery, Little Rock, AR; The Erasing (1 December - 26 January 2018) University of Arkansas-FS, Fort Smith, AR; The Erasing (October 2018) Koplin Del Rio Gallery, Seattle, WA © 2018 by David Bailin • Essay © Arkansas Democrat-Gazette by Ellis Widner • Essay © Leslie Peacock

A printed catalog is available for $55 (PDF version $10) through Blurb Books, or purchase a copy through the Studio Gallery for $60.

The Erasing • 2018
Drawings by David Bailin
Essays by Ellis Widner and Leslie Peacock
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Disparate Acts Redux, 2015

David Bailin, Warren Criswell and Sammy Peters
Foreword by Colin Thompson and Essay by Leslie Peacock

David Bailin, Warren Criswell and Sammy Peters
with Foreword by Colin Thompson and Essay by Leslie Peacock
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This catalog is published in connection with the exhibitions Disparate Acts Redux (14 August - 3 October 2015) Butler Center of Arkansas Studies, Little Rock, AR; Disparate Acts (13 March - 16 April 2014) Arkansas State University, Jonesboro, AR

A printed catalog is available for $45 (PDF version $10) through Blurb Books, or purchase a copy through the Studio Gallery for $45.

Large Drawings, 2010-2013

David Bailin
with introduction by Philip Martin

Large Drawings • 2010-2013
by David Bailin with introduction by Philip Martin
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Published for the exhibitions C and Dreams & Disasters at Koplin Del Rio Gallery, Culver City, in 2012 and the exhibition Dreams & Disaster at The Arts and Science Center in Pine Bluff, Arkansas and Dreams & Disasters the Arkansas Tech University in Russellville, Arkansas. Text and images © 2013 by David Bailin • Introduction © 2013 Philip Martin

This softcover catalog is available for $25 through Blurb Books, order a signed copy through the Studio Gallery for $35.

Paper Trails, 2010

David Bailin
with introduction by Ruth Pasquine
Quoted material by Leah Ollman and Peter Frank

Paper Trails
Drawings by David Bailin with introduction by Ruth Pasquine
Quoted material by Leah Ollman and Peter Frank
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Paper Trails was published in connection with the 2010 exhibition Paper Trails: Drawings by David Bailin at the Fine Arts Center Gallery, University of Arkansas at Fayetteville.

This softcover catalog is available for $20 through Blurb Books, order a signed copy through the Studio Gallery for $30.

Washington's Profile, 2010

David Bailin
with essay by Leah Ollman

Washington’s Profile
Drawings by David Bailin with
essay by Leah Ollman
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This catalog is published in connection with the exhibition Washington' Profile: Drawings by David Bailin (December 12, 2008 through March 15, 2009) at the Washington Pavilion of Arts and Science, Sioux Falls, SD.

This softcover catalog is available for $35 through Blurb Books, order a signed copy through the Studio Gallery for $40.

Prophets, Parables, Paradoxes, 2000

David Bailin
Preface by Townsend Wolfe with essays by Ruth Pasquine and Warren Criswell

David Bailin
Recent works: Prophets, Parables, Paradoxes


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Published in connection with the 2000 exhibition of the Midrash Drawings and Prophet series at the Arkansas Arts Center, Little Rock, AR.

This softcover catalog is available as a signed copy through the Studio Gallery for $30.

Newsletters


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2013 +

Drawing Conclusions

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Websites


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Observation


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Epiphany from the studio

The Anxiety of Style

Reflections from an old artist

DB painting in 1974
Young Artist with paintings, 1974
I just found some photographs of paintings I created in college. It reminded me of how artists come to develop a style. Students use negation and hybridization as a method to come to grips with the anxiety of creating something new and personal. Negation is the easiest way to create a semblance of uniqueness. Take the current practice and do everything opposite. I am reminded of Mannerist artists during the 16th century, who in the face of the great masters of the Renaissance, produced work that turned the rational approach of their mentors upside down (perspective, local color, rational composition, etc.). For me, it was playing with color field painting and gesture painting.

Field Painting 1974
Field Painting, oil & shoes on canvas, 6' x 6', 1974
Another way that the anxiety of style is handled in student work is through synthesis and hybridization. In the painting on the right, I combined the rough edged matte-knife strokes of Clifford Still with the lyrical abstract paintings of Philip Guston. The anxiety is apparent in the scratchy, nervous and agitated painting surface created by using my fingers to apply the paint and made all the more so by deliberately and self-consciously dumbing down the subject matter into child-like diagrammatic imagery.

First Meeting, 1976
First Meeting, oil on canvas, 6' x 9', 1976

Whether the work was successful, it does contain my subsequent interest in humor and narrative (see my early work here). But style can't be forced even by the most competitive art student. And with what style mature artists end up can't be justified or avoided. To paraphrase the rhetorical and wonderfully post-modernist riddle posed by that old Blackglama ad campaign: What becomes a style most? Insert your work here.