ARTICLE PROJECTS

PAINTING WITH PICTURES 2

2011-03-27T23:00:00.013-04:00

APRIL 7 - MAY 17, 2011

Opening Reception: Thursday, April 7, 7-10 PM

ARTJAIL
50 Eldridge Street 6th floor
between Canal and Hester Streets

Open 10:30 am to 6:30 pm Monday to Friday

Margie Black, Sarah Bliss, Marcy Brafman, Amanda Browder, Elisabeth Condon, Vince Contarino, Beata Drozd, Gabert Farrar, Sophia Flood, Alicia Gibson, Chambliss Giobbi, Rachael Gorchov, Susan Hamburger, Deb Karpman, Yuliya Lanina, Liz-N-Val, Paul Loughney, Cybele Lyle, Norma Markley, Christina Massey, Joel Morrison, Mary Murphy, Guy Nelson, Jeremy Olson, Steve Page, Leemour Pelli, Lilliana Pereira, Mary Pinto, Mark Power, Grace Roselli, Hagar Sadan, Pierre St. Jacques, Meghann Snow, Claudia Sperry, Ginna Triplett

This exhibition explores the use of collage as an artistic medium, dissecting its impulses and agendas while providing a wide cross-spectrum of its usage in contemporary art. It addresses the role of material culture in mediating our shared view of reality, the notion of a borrowed aesthetic, and how specific visual agendas express differing cultural attitudes. It includes a variety of mediums and aesthetic agendas, presenting not only traditional collage, but works which establish a collage mentality in the liminal forms of photography, video, digital manipulation, painting, sculpture, printmaking, children’s books, commercial signage, portraiture, and others. In the end, it will posit collage as a cause, rather than a symptom, of both artistic style and generational meaning.

MARGIE BLACK-STEINMANN

SARAH BLISS


MARCY BRAFMAN


ELISABETH CONDON

VINCE CONTARINO

BEATA DROZD

GABERT FARRAR

ALICIA GIBSON

CHAMBLISS GIOBBI

RACHEL GORCHOV

SUSAN HAMBURGER

DEB KARPMAN

PAUL LOUGHNEY

CYBELE LYLE

NORMA MARKLEY

CHRISTINA MASSEY

JOEL MORRISON

MARY MURPHY

JEREMY OLSON

LEEMOUR PELLI

LILLIANNA PEREIRA

MARY PINTO

HAGAR SADAN

CLAUDIA SPERRY

GINNA TRIPLETT

LOST HORIZON

2010-10-05T10:59:00.013-04:00

MICHAEL ZANSKY

Courtesy Nicholas Robinson Gallery

Curated by David Gibson

October 14 - November 13, 2010

ARTJAIL 50 Eldridge Street, floor 6, New York NY 10002, (646) 666-8550

Gallery Hours: Monday to Friday from 10 am to 6 pm. Curator will be in the gallery select weekdays from 3 to 6 pm possibly joined by gallery artists, call ahead to check: (347) 265-9858

Erik Benson, John Berens. Monika Bravo, Eduardo Cervantes, Sally Curcio, Jonathan Feldschuh, Laura Harrison, Madeleine Hatz, Jeff Konigsberg, Michelle Mackey, Dana Melamed, Dean Monogenis, Ross Racine, Asya Reznikov, Kristen Schiele, Kimberly Sexton, Philip Simmons, Mary Ann Strandell, Miryana Todorova, Michael Zansky, J.G. Zimmerman

“Lost Horizon” represents a critique of themes related to the professional practice and socialized ideal of architecture, its enveloping culture of construction, and the ironic ideals that emerge from assumptions of progress. Any context related to architecture is also related to urbanism or to the iconic status of buildings as well as to the transient nature of city living. The city is a landscape in a state of constant flux, first in terms of outward appearance or beauty, second in the power systems supported by these appearances, and third by the sense of space that is transmuted by the interaction of so many disparate forms of expression. The approach to an identifiable reality represented by the title of this exhibition is intentionally misleading. A play on words, the Lost in Lost Horizon is meant to imply an obscuring of truth rather than its being misplaced or misrepresented. There’s an old expression that “truth is in the details” but I believe that the details can lie and that truth in often hidden amongst them. The same is true of a city, it is such a large place or context that it hides many truths while seeming to signify one large truth about progress and what it means to us.

ERIK BENSON

JOHN BERENS

MONIKA BRAVO
Courtesy Bryce Wolkowitz Gallery

EDUARDO CERVANTES

SALLY CURCIO

JONATHAN FELDSCHUH

MADELEINE HATZ

JEFF KONIGSBERG
Courtesy Artist Pension Trust

MICHELLE MACKEY

DANA MELAMED
Courtesy Priska C. Juschka Fine Art

DEAN MONOGENIS

Courtesy Collette Blanchard Gallery

ROSS RACINE
Courtesy Like the Spice Gallery

ASYA REZNIKOV
Courtesy Nancy Hoffman Gallery

KRISTEN SCHIELE

Courtesy Sloan Fine Art

KIMBERLY SEXTON

MARY ANN STRANDELL

MIRYANA TODOROVA

J.G. ZIMMERMAN

ABSTRACT INTENTIONS

2010-08-28T22:58:00.004-04:00

CURATED BY DAVID GIBSON and KEREN MOSCOVITCH

The School of Visual Arts,141 West 21st Street

August 7 - August 21, 2010

Christie Blizard and Steven Page, Stephanie Halmos, Cate Holt, Mary Murphy,

Max Razdow. Adrianne Rubenstein, Hagar Sadan, Pam Saturday, Jennifer Shepard, Gabriel Shuldiner, Meg Thompson, Miryana Todorova and Ashley Omahne, Tyler Vipond, Sarah Vollman, Cay Yoon

School of Visual Arts (SVA) presents “Abstract Intentions,” an exhibition of work by former participants in the Summer Residency Programs in the Division of Continuing Education. Curated by David Gibson, faculty member, and Keren Moscovitch, coordinator of the Summer Residency Programs.

“Abstraction is a verb, an activity, an action,” says Moscovitch in elaborating on the exhibition’s title. “These artists all use their materials in new and unexpected ways and create tools out of substance. The camera no longer captures what exists in the world, but takes advantage of optic and chemical processes to fool the eye into seeing pattern where none previously existed. Paint jumps off the canvas and contorts itself into sculpture. Object becomes line. Form opens up into meaning that is understood on a deep visceral level.”

Co-curator Gibson explains: “This is an exhibition about the idiosyncrasies of studio practice, about going into an empty room and gestating a work of art?something that did not exist before, something inspired, possibly elegant and unintended, before the moment that a space for creativity was available. The studio acts like a blank page in a typewriter, creating a void into which ideas can flow. The fact that it is both spatial and tactile creates a psychological directness which encourages innovation. This occurred to me in considering how so many people could enter the same space and see completely different things. Everywhere else in the city we are at the mercy of our senses, overwhelmed by noise, people moving about, sounds, smells. But the artist has a special way of looking at the world, an indirect and ambiguous way, devoid of sensibleness, looking into dark corners. The studio makes this possible.”

The exhibition includes a collaborative acrylic-on-wood work by Christie Blizzard and Steven Page that is the result of a long-distance correspondence between the two artists which began in 2007. Also on view is Stephanie Halmos’ photographic series Color Studies, in which the artist, inspired by the minimalist painters of the 1960s and 1970s, explores the basic elements of traditional photography: time and light. Cate Holt’s oil-and-charcoal painting Snogged is composed of layers of paint meant to give the viewer a sense of flesh and the body. Madison Omahne and Miryana Todorova’s video Cake Delivery chronicles a 2009 performance by the artists that engages the constant movement of New York City’s streets. Cay Yoon’s archival ink jet print Maladaptive examines identity in contemporary culture.

Among the other participating artists, Max Razdow makes paintings to explore psychic states, mining imagery from comic books, myth, dreams and fantasies. Hagar Sadan’s work takes the detritus of everyday life - such as garbage, shopping bags and receipts - and transforms it into a gestural and idiomatic language of form. Gabriel Shuldiner uses oil paint as his primary medium, either slathered over objects or applied to surfaces, with the intention of giving an earthy flesh to all manner of found objects, so that they can be viewed as fine art or trash. Meg Thompson mines the material folklore of so-called “Big Sky” country, a region in the Western U.S. characterized by the seasonal activities of animal husbandry and harvesting of crops, to build scenarios inside Mason jars that ask what it means to be American. Tyler Vipond makes collages that combine the abstract and decorative elements found in comic books and skateboards with taped lines that call attention to the negative space surrounding randomly selected and generally anonymous images of friends at parties.

The exhibition also includes work by Orla Campbell, Bill Durgin, Emily Henretta, Daniel Kayne, Mary Murphy, Cadine Navarro, Adrianne Rubenstein, Pam Saturday, Jennifer Shepard, and Sarah Vollman.

Now in its third decade, SVA’s Summer Residency Programs offer emerging and mid-career artists time, space and a supportive community in which to develop ideas and focus on their artistic direction. This internationally recognized program’s unique combination of creative and professional resources provides a rich environment for growth and opportunity in the current vibrant art scene.

CADINE NAVARRO

MAX RAZDOW

HAGAR SADAN

SARAH VOLLMAN

CAY YOON

SOME (ARE) PAINTING

2010-06-29T11:46:00.019-04:00

July 8 – July 31, 2010
Reception: Thursday, July 8, 6-8 PM

JAECKEL GALLERY, 532 West 25th Street, floor 2, New York, NY 10001

Peggy Bates, Barbara Campisi, Sean Greene, Halsey Hathaway, Cate Holt, Madeleine Hatz, Tricia Keightley, Jesse Lambert, Michelle Mackey, John Mullen, Hendrik Smit, Claudia Sperry

The promise of painting, especially abstract painting, has to do with its ability to take us into various models of the world. Each painter attempts to delineate a specific perspective on how matter is organized, how space is allotted, how color and light, depth and viscosity work to establish standards for understanding how the universe affects us. Each of the artists participating in “Some (Are) Painting” has achieved a level of mature investigation into such matters. Peggy Bates samples the constancy and depth of movement in natural bodies of water, manifesting how interior or elemental vibrations meet the specificity of mark-making; Barbara Campisi uses a landscaper’s tool to create spirit lines, not on a segment of physical territory, but on white boards and sheets of vellum, creating chromatically dynamic intervals with the syntactical quality of a musical caesura; Sean Greene mines the awkwardness and inherent frustration of youth to take gestures out of subversive activities such as graffiti tagging and skateboarding and gives them the mellifluous quality of calligraphy; Halsey Hathaway draws the vestigial space of the body into the void of the visual perception and esthetic space; Madeleine Hatz finds in real world materials such as oil, gold, brick, and the green dyes of dollar bills, creating heavy and allegorically overwhelmed abstract folds that reflect the chaos of contemporary society as well as its inherently obscure economic reality; these artists and the others whose works fill out this exhibition all succeed in manifesting a reality which accrues while it adds both truth and beauty to the already known, making the sensible fantastic and the useful a dream on its own terms.

PEGGY BATES

BARBARA CAMPISI

SEAN GREENE

HALSEY HATHAWAY

MADELEINE HATZ

TRICIA KEIGHTLEY

JESSE LAMBERT

MICHELLE MACKEY

JOHN MULLEN

HENDRIK SMIT

CLAUDIA SPERRY

PAINTING WITH PICTURES

2010-05-14T08:24:00.015-04:00

MICHAEL ANDERSON: Chinese Cell Phone Mafia, 2005

Collage from street posters, 32 x 24 inches

{Courtesy Marlborough Gallery}

Curated by David Gibson, Savannah Spirit, and Asya Geisberg

May 21 - July 21, 2010

Reception: Friday, May 21, 6-9 PM

THE CASITA GALLERY

Casita Maria Center for Arts and Education

928 Simpson Street, Between Barretto and 163rd Streets

Gallery Director: Lyla Rose, 212-989-2230 x 6191
Gallery Hours: Mon-Fri 9 am to 6 pm

Michael Anderson, Melissa Barrett, Chris Bors, Lesly Canossi
Amelie Chunleau, Nancy Drew, Chris Fennell, Carla Gannis
Liam Hanna-Lloyd, Halsey Hathaway, Daniel Kayne, Scott Kiernan
Isolde Kille, Elissa Levy, D. Dominick Lombardi, Hector Madera-Gonzalez
Leah Oates, Sarah Olson, Deborah Pohl, Alexander Reyna, Elizabeth Riley
Ron Rocheleau, Pam Saturday, Raven Schlossberg, Kaeko Shabana
Jennifer Shepard, Mary Ann Strandell thefactory101, Austin Thomas
Conrad Vogel, Michael Zansky

Collage has been a part of artistic practice since the advent of Cubism in 1907. It continued to be used in Dada and Surrealism, and became another way of looking at process that did not exist before the 20th century. It’s difficult to trace its usage in the vernacular of artistic practice, but Surrealism did last through the 1930’s, and then following the end of World War II, many important Surrealist artists did move to America, settling in or around New York. There they came into contact with artist of the emerging movement of Abstract Expressionism whose members, including Jackson Pollock and Mark Rothko, incorporated their ideas into painting. In the 1960’s there emerged a new movement called ‘Pop Art’ which took the concept of collage to new heights; and which in many ways inherited the use of the real from Surrealism.

Michael Anderson is a scavenger with cultural purpose, much like the Affichiste artist Jacques Villeglé. Anderson spends his days finding street posters that he can sample so that he can build the images that he does. His “Chinese Cell Phone Mafia” describes the theme of social connectivity as determined by conspicuous consumption, and via historical and ethnic styles and landmarks, a transparency between the past and the present.

The word collages of Chris Bors likewise sample from popular culture, taking the stylized names of famous Hard Core Rock bands like Bad Religion, Gang Green, and The Exploited and massing them together to show us how image is everything.

Using the digital process of photo-shop, Carla Gannis creates loaded metaphorical scenarios in which social criticism becomes a new kind of reality. Her work “Electronic Graveyard” presents us with a scene out of the New York social fabric, a crowd of people sitting in Bryant Park to watch movies. Except that in her image, every citizen has been transformed into a head and shoulders portrait on a flat computer screen; they do not need to look at movies, for they have each become one.

The photographic collages of Daniel Kayne were organized to reflect the layered and illusory elements of his recent trip to Iran, where a people rich with history are caged beneath a repressive regime that keeps traveling foreigners from witnessing the real city and people.

Isolde Kille’s collages utilize a totemic form, in which successive pages torn from volumes of Vogue magazine are pasted into vertical layers, alternating with mirrors that show the viewer reading them.

Alternately, the quiet optical arrangements of Halsey Hathaway seem passive to the point of decoration when, after training ourselves to look at them, we realize that all the images are culled from events of extreme violence. Beauty is invaded by the grotesque of human emotional excess.

These artists, and many others, present us with the continued cultural legacy of collage, which exposes he finite politic of art to the issues of the larger world while at the same it opens us to the possibilities for creative expression in an age that needs to keep its options open.

MICHAEL ANDERSON
{Courtesy of Marlborough Gallery}

MELISSA BARRETT

CHRIS BORS: Hardcore Still Lives! (2008)
Digital C-print on aluminum, 30 x 40 inches

NANCY DREW: Extreme Associates (2005)

CARLA GANNIS

HALSEY HATHAWAY: Untitled

DANIEL KAYNE: Iran, Dialogue Thru a Lens

SCOTT KIERNAN: EXITIXE
Photocollage on MDF, 44 x 60 inches

ISOLDE KILLE: 'Objects of desire' or how to jump over
your own shadow when you no longer have one (2010)
Glass, mirror, R-print, aluminum, wood
8 x 76 inches each, 8 works

D. DOMINIC LOMBARDI

HECTOR MADERA-GONZALEZ

LEAH OATES

SARAH OLSON

ELIZABETH RILEY

PAMELA SATURDAY

JENNIFER SHEPARD

CONRAD VOGEL

MICHAEL ZANSKY

TWO-WAY MIRROR

2010-05-07T02:52:00.006-04:00

JOAN DIX BLAIR

Zea Mays Printmaking
221 Pine Street, Florence MA

MAY 8 - JUNE 18, 2010
Reception: Sat, May 8, 7-9 PM

Joan Dix Blair, Meredith Broberg, Victoria Burge, Anne Burton
Victoria Calabro, Amy Chaiklin, Peggy Cyphers, Anita Hunt
Louise Kohrman, Jolynn Krystosek, Lilly Periera, Joyce Silverstone
Claudia Sperry, Fumiko Toda, Nancy Van Deren, Carolyn Webb

VICTORIA BURGE

VICTORIA CALABRO

AMY CHAIKLIN

ANITA HUNT

LOUISE KOHRMAN

JOLYNN KRYSTOSEK

LILLIANA PEREIRA

CLAUDIA SPERRY

NANCY VAN DEREN

CAROLYN WEBB

THE BACK ROOM BIENNIAL

2010-03-31T22:57:00.011-04:00

LZ PROJECT SPACE | 164 SUFFOLK STREET, NEW YORK

APRIL 16 – MAY 8, 2010
RECEPTION: FRIDAY, APRIL 16, 6-8 PM

CURATORS: Lynn Del Sol, David Gibson, Linda Griggs, Jennifer Junkermeier, Savannah Spirit

ARTISTS: Tom Bogaert, Marcy Brafman, Sally Curcio, Gabert Farrar, Amy Greenfield, Debra Jenks, Moira McDonald, Annysa Ng, Kaeko Shabana, Michael Zansky

When I first saw the space which was to become LZ Project Space, it made me think of little back rooms in galleries everywhere, which are sometimes offices and sometimes storage facilities, but which always hold the evidence of future achievement. Whether packed up in crates and bubble wrap or hanging just above the gallery director’s desk, what is found in back rooms is the next thing to grace the gallery walls. I thought, what if this became a motif for a group exhibition, even a biennial? Using the rarified territory of the back room as a model for organized visions of current and future talent seemed very interesting. I have invited other curators to add to the mix, filling a small space on a side street and making it into a curiosity cabinet of curatorial approaches to the ‘new’ and the ‘next’. What interests me as a curator is the act of translation, and the varieties of presentation which make it possible. All art does this, but group exhibitions do it in a way that makes us super-conscious of how it’s being achieved. I chose to call this exhibition a “biennial” because I wanted to draw the visitor’s attention to the spectacle, or paradox, of looking at art and thinking not just about each work, but the intentions of the curators, who were merely asked to suggest two great contemporary artists. Here they are in their own words:

LYNN DEL SOL: Throughout Amy Greenfield’s films she focuses on the innate dignity of the human body. The themes of identity and meaning emerge in our common movements. Walking, falling, embracing, rolling, running, lifting, sliding are what she and her performers do in her films. For Greenfield the body, moving with, and against, the close up camera, can be the concrete image of inner human nature, an instrument for its expression, and a vessel containing images and actions that crystallize the meaning and mysteries of experience: memory and movement, the past and the present moment. This is depicted in her film Element through her attempt to move across the trenches of wet mud--trying to run to and away from the weight of the malleable earth. There is a sense of struggle, a sense of urgency, as her body falls, rolls, and sinks into the folds of the silt. An escape as well as a surrender. The viewer is drawn in, not only because the camera is set only a few feet from the artist-- the camera man Hilary Harris knee deep in the mud--but there is this immediacy, this understanding of sensuality and the need to touch our beginnings to be accepted by our spirituality. As the artist brings herself to her physical limits there is a moment. It's a curious thing to envision how a filmmaker may revisit the editing process after a decade of having already perceived its’ completion. In this case, Amy maintains her pioneering technique of stringing the human body and camera together by taking advantage of the modern day high-definition video format to further engross the viewer in the rawness of her appeal. This film reveals continuity the experimental aesthetics that articulate Amy's common blend of the extreme physicality of emotional tug-of-war. Her films are an exercise in the body being pulled here and there and ultimately, seducing us. Debra Jenks grew up in Niagara Falls which was famous for honeymoons and Houdini. Which influenced a general interest in oddities and “flaws.” She’s a compulsive collector of books of all kinds—paperbacks, pulp fiction science fiction, encyclopedias, poetry, art books, odd self-help titles… And is attracted to the type of language used in them (especially that bordering on the ridiculous), the ideas (more often the bad ones) to be gleaned from them, and the physical or tactile quality of the book as a compact object. She began “rewriting” The Strange Woman after finding a copy in the trash (the book was written in 1941 by Ben Ames Williams). Retitled The Strange Woman and Seven Diamond Miners, her translation is a 600-page erasure (transposed to a series of double-page prints), written by selecting words from the “original” text, resulting in a new and subverted narrative. The Strange Woman and Seven Diamond Miners is, in part, an attempt to synthesize text and image (and her own work as both an artist and writer). The pages may be read sequentially as a linear narrative, and as a series of singular poetic locutions which is how we have it displayed. The “Strange Woman” is revealed to the reader through the stories of seven men. Each man is a section of the book, and each becomes a stand-in for one of the seven dwarfs (from Snow White). Two rules have been followed thus far in re-writing. The first is to use only the words available on the page. The second is to use the word bed whenever it appears in the text (or at least once per page if there is more than one occurrence of the word on a page). The project will eventually comprise a series of 22”x 30” prints. Currently she has complete 300 pages of text or 150 double page spreads (there are 16 double-paged prints thus far in this series), and a video book (projected onto a bed as part of an installation).

DAVID GIBSON: What I have always loved about painting is the way in which it provides an ever-changing model for how we can view the world. This is of course always dependent upon the art work we are viewing, its vision and the talent inherent in it. Marcy Brafman and Michael Zansky each approach the world in very specific terms, and their styles of painting, though radically different, enrich our understanding of how it can be seen, qualified, and summarized. Marcy Brafman is overtly influenced by Pop Art, having in her professional background an affiliation with pop culture, the music world, and advertising. She chooses motifs from the media, characters who have become popular via the sheer aggregate of repetition, and because they were chosen by their creators for possessing a value beyond the momentary. Each of her subjects emerges from the ether of myth and folklore, and in this painting, we are assured of its specific identity. “Astigmatic Mermaid” (2008) is obviously inspired by the Disney film of similar name. But Brafman takes our perception of a mermaid further, beyond the blurred lines of imagination and myth, into a context where we see her physically manifested as the ambiguous figure she really is: one part male fantasy, one part female role model. In both roles she is a grotesque, sexually indeterminate, and unable to travel beyond the waves. She is a finite symbol of the ocean, which is sexuality incarnate—continually roiling, with unknown and infinite depths. Brafman takes her mythology, mixing it together with a certain feminist assignation, and plays still more with the charged nature of her appearance, making her into a painter’s idea more than anything else. Michael Zansky comes to the practice of painting through various other genres of image-making, in which he creates a dark and twisted reality that is comparable to that of Bosch or Goya, in that every painting is a different fragment of a larger dream in which portents of reality, or some arcane vision of the future, are being portrayed. In his painting “Crossing 5” we are presented with the image of a large face (not a skull, but a visage, a consciousness) sits aboard a raft in the middle of a huge storm at sea, waiting to reach the other side. Zansky’s work is about the movement of consciousness and the movement of ideas in paint: both attempt to create with the knowledge that only fact of movement itself is possible. What guides the artist's hand is not some new world waiting to be depicted, it's the old world yawning behind us, driving us forward, into new states of manifest destiny.

LINDA GRIGGS: I've always loved exciting looking art that tells a story and then stands alone without it. These two pieces do that beautifully. In Sally Curcio's piece, "Jack Johnson's Fight" I saw a story about a man who fought every racial convention. For a lesser artist, control of the optical illusion would have been enough. For Curcio it becomes a part of a vocabulary of story telling with Jack Johnson punching holes through the bars of a cage. JM Wilson viewed the work and wrote, “Jack Johnson’s Fight” has the fighter dimly in the background while a grid of white superposes the image like a cage. The intersections of the grid dance with the optical illusion of the colors black and white, appearing and disappearing in the interstices suggesting the ephemeral existence of “color.” (JM Wilson III, Ph.D). When I first saw Tom Bogaert's piece I admired the beautiful patterning. But a week after seeing it, I kept thinking, why mice? He could have used any shiny, black material; roofing tar, black caulk... I had to contact LMAK Gallery and ask. They (get better citation) replied, "Tom Bogaert's 'Until My Darkness Goes" is based on the Malthusian theory that genocide comes forth from poverty and overpopulation. The mice licorice are a national pride of Belgium and considering Europeans part in Africa, the symbol is fitting." I now find myself surprised that the two pieces I've chosen are political. I've never thought of myself as someone interested in political art. For me, this is an excellent example of art's ability to slip around habitual thinking.

JENNIFER JUNKERMEIER: The Sun by Gabert Farrar and Leveler by Annysa Ng are the two artworks I am pleased to present for inclusion in the Back Room Biennial at LZ Project Space organized by David Gibson. Each of the works, while evoking a conceptual dialogue, border on the poetic. They hint at personal narratives that reveal universal truths and commentary about the current state of being within contemporary culture. The Sun is a 28.5" x 28.5" acrylic on wood wall relief created by Gabert Farrar. It makes reference to iconography found on wall reliefs from Mesopotamia, considered by some to be the first known civilization. At the same time, The Sun calls attention to current branding icons and there subsequent similarities to the Mesopotamian icons, evoking questions about the history and future of visual language and communication. The spray painted palette of The Sun, grey, black and yellow, reference colors once seen illuminating the Empire State Building on a foggy night. Leveler is a small, 12” x 2.2”, mixed media sculpture by Annysa Ng. The sculpture is steeped in the dichotomies between formal and informal, masculine and feminine, high and low to yin and yang. The sculpture could also be conceived as a metaphor for the 21st century woman. Leveler is functional, reliable and effective while being sexy; simple, sleek, cloaked in black and adorned in Channel.

SAVANNAH SPIRIT: Moira McDonald creates imagery that comments on a childhood she wished she had growing up. These dioramas from the series “Along the Dog Fence” instantly take on a fantasy world due to the materials used and the way in which she photographs them. Her titles describe only the month and year of which her imaginary childhood takes place. I chose April 1987 to represent this series since it truly describes in one photograph the need for something different than what is real. Kaeko Shabana also works in the realm of childhood as a theme in her photography yet in a different way than Moira. This series titled “Obsession” is about the transition from girlhood to womanhood. For some females it is a painful process to change into the woman you want to be and the fear of leaving behind the child. Kaeko’s photographs give the subject a certain ambiguity so as to make the viewer relate in his/her own way. The piece chosen from this series “Samantha” is a woman who wants to have her own child though is torn between becoming an actress (a lifelong dream) or a mother. Both photographers compare and contrast yet have different methods. It almost seems the 2 works could be from the same photographer but a separate series. As emerging photographers who should have more “exposure,” they work well in the Back Room Biennial.

TOM BOGAERT

MARCY BRAFMAN

SALLY CURCIO

GABERT FARRAR

AMY GREENFIELD

DEBRA JENKS

MOIRA McDONALD

ANNYSA NG

KAEKO SHABANA

MICHAEL ZANSKY

BETTER HALF: PUBLIC PROGRAMS

2009-10-03T16:12:00.007-04:00

2 Programs at The Mazer Theater
Curated by David Gibson

Thursday, Oct 15th 7:30pm
(doors open at 7:00pm)
The Mazer Theater of The Education Alliance
197 East Broadway, NY, NY 10002
(take F to "East Broadway" and walk 1 block east,
entrance on the south side of East Broadway)
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Program 1: "Polkadot" - an excerpt from work-in-progress by Mayumi Ishino and Each Way Station Using familiar objects and the body as accessible metaphors, "Polkadot" comprises at once art installation, experimental music and elements of theater to push the boundaries of live narrative. The line is blurred between what is prepared and what is improvised, between fiction and reality. The audience is free to take a side. Interdisciplinary artist, Mayumi Ishino combines sculpture, drawing, installation, video, and performance. Her recent role as a director of theatrical performances led her to collaborate with a wide range of artists from various disciplines. Find more info at www.mayumiishino.com

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Program 2: "WORLD WITHOUT A HEAD"

A collaboration between Sarah Olson and members of the Wendy Osserman Dance Company Visual Artist, Sarah Olson will perform and co-direct with Wendy Osserman a piece from their ongoing collaborative work, WORLD WITHOUT A HEAD. Utilizing a freestanding set as both scrim and canvas, Olson and dancers, Cori Kresge and Cara Heerdt will create illusions of shadow, movement, sound and painted line. They will develop elements from their previous works on stage, in a gallery, and in a public garden, combining sculptural components and costumes comprised almost entirely of recycled materials. World Without a Head, involving both visual art and dance, reflects the cross-pollination of these different practices. The performance speaks to the nature of our being 'headless', mindless, and thoughtless when it comes to our daily interactions with the very world that sustains us.

BETTER HALF

2009-07-28T02:35:00.031-04:00

Chris Bors and Ketta Ioannidou

Chris Bors, Jennifer Burbank, Chris Coffin
Daniel Davidson, Linda Ganjian, Ketta Ioannidou
Tricia Keightley, Jesse Lambert Liz-N-Val, LoVid
Donald Porcaro, Leslie Wayne

Opening: Thursday, Sept 10, 6-8 PM

The Educational Alliance Gallery
197 East Broadway New York
September 10-October 29, 2009

JENNIFER BURBANK

CHRIS COFFIN

DANIEL DAVIDSON

LINDA GANJIAN AND JESSE LAMBERT

TRICIA KEIGHTLEY

LIZ-N-VAL

TALI HINKIS & KYLE LAPIDUS aka LoViD

DONALD PORCARO

LESLIE WAYNE

PAPER IN THE WIND III

2009-06-22T22:35:00.026-04:00

Grace Roselli

July 9 - July 31, 2009

Reception: Thursday, July 9, 6-8 PM

Gallery Thomas Jaeckel
532 West 25th Street, New York

Rosa Almeida, Marcy Brafman, Zac Braun, Amy Chaiklin
Chrissy Conant, Veronica Cross, Alicia Gibson, James Gilroy
Ian Hughes, Liz Insogna, Yuliya Lanina, D. Dominick Lombardi
Sandra Mack-Valencia, Norma Markley, Jesse McCloskey
John Monteith, Mary Murphy, Mark Power, Grace Roselli
Mary Ann Strandell, Roya Tabib, Adam Thompson, Ginna Triplett
Chris Twomey, Kathleen Vance, Ruth Waldman, Deborah Wasserman

Rosa Almeida

Marcy Brafman

Zac Braun

Amy Chaiklin

Veronica Cross

Alicia Gibson

James Gilroy

Ian Hughes

Elizabeth Insogna
Courtesy Winston Wachter Gallery

Yuliya Lanina

D. Dominick Lombardi

Sandra Mack-Valencia

Norma Markley

Jesse McCloskey
Courtesy Christopher Henry Gallery

John Monteith

Mark Power

Grace Roselli

Mary Ann Strandell

Roya Tabib

Adam Thompson

Chris Twomey

Kathleen Vance

Ruth Waldman

Deborah Wasserman

MY HEROES

2009-06-11T21:34:00.019-04:00

Jack The Pelican Presents
487 Driggs Avenue, Brooklyn NY 11211

June 26 - July 12, 2009

Reception: Friday, June 26, 7-9 PM

Zac Braun

Amy Chaiklin

Alicia Gibson

James Gilroy

Rebecca Goyette

Scott Kiernan

Tine Kindermann

Liz-N-Val

Rachelle Mozman

Grace Roselli

Rosemary Taylor

These artists are my heroes because they attempt to make art (create vision, communicate with society, speak for a community) in a world that doesn’t need it, doesn’t ask for it, and only benefits from what they can give. Each of them grapples with the demands of their craft, their thematic agendas, and with how they feel their work will be received within the art world, knowing full well that the cards can easily be stacked against them. Yet they persevere. They strive, and sometimes they thrive. I have selected artists who come from vastly different generations, and whose work generally speaks to an edgy urban quality; to a sense of perverted idealism; to sensory overload and transient reflection; to innocence, intimacy, and its place within the building of community values; to abstractions that become landscapes and vice versa; to images of real people emerging from or becoming lost in the overwhelming vibrancy and squalor of the street; to effigies of forbearance; to caricatures of presence; to the intersection of humor, sexuality, and the poignant quality generated between them; and to the randomness of language as both found and made. These are some of the many possible perspectives which artists provide us with. If some of my statements about them seem abstruse, it’s because I feel that each of them restyles the concept of knowledge, and I am like a babe in the woods, learning at their feet.

ME, ME, ME: POOL ART FAIR NEW YORK

2009-02-04T21:17:00.029-05:00

The Wyndam Garden Hotel
37 West 24th Street, Rooms 301 & 302
March 6 to March 8, 2009 / 3-10 p.m. each day

Shelly Bahl, Peggy Bates, Christie Blizard, Marcy Brafman, Amy Chaiklin
Chrissy Conant, Katherine Daniels, Gregory De La Haba, Romain Erkiletlian
Carla Gannis, Sean Greene, Joanna Hoar-Vea, Isolde Kille, Marni Kotak
Mary Murphy, Leah Oates, Sarah Olson, Sono Osato, Pierre St. Jacques
Margie Steinmann, Mary Ann Strandell, Teressa Valla, Mimi Wlodarczyk

In most cases, names below are links to individual artist websites

Shelly Bahl

Peggy Bates

Christie Blizard

Marcy Brafman

Amy Chaiklin

Chrissy Conant

Katherine Daniels

Gregory De La Haba

Romain Erkiletlian

Carla Gannis

Sean Greene

Joanna Hoar-Vea

Isolde Kille

Marni Kotak

Mary Murphy

Leah Oates

Sarah Olson

Sono Osato

Pierre St. Jacques

Margie Steinmann

Teressa Valla

Mimi Wlodarczyk

Zeeman

SIGHT MAPPING

2009-02-03T13:54:00.007-05:00

January 31-March 1, 2009

Curated by David Gibson and Trevor Richardson
Herter Gallery The University of Massachusetts in Amherst

David Brody, Joomi Chung, Diana Cooper, Vernon Fisher, Richard Garrison, Emily Ginsburg, Barry Le Va, Mark Lombardi, Marco Maggi, Dominic McGill, Rebecca Riley, Jane South, Dannielle Tegeder, Dan Zeller

JOOMI CHUNG, Vertigo, ink drawing
on acetate roll, 20" x 100" © 2008

DIANA COOPER, Experiments in 3D, ink, acrylic
and felt pen on canvas, 88" x 142" © 2005

VERNON FISHER, The Way of Zen, oil and
acrylic on canvas, 84" x 96" © 2007

Dominic McGill, Master of Bad Trips
graphite on paper, 51.75" x 64" © 2005

NEW TALENT EXHIBITION 2008

2008-11-15T10:03:00.004-05:00

Curated by David Gibson
Matt Bollinger, Liz Chalfin, Meghan Gordon, Deb Karpman
Elizabeth Kellogg, Ruth Waldman, Angela Zamarelli

Curated by Klaus Postler
Courtney Andrews, Wilson Cummer, Lisa Elmaleh
Asia Ingalls, Sara Klar, Jamie M. Lee, Dot Szemiot

Hampden Gallery / University of Massachusetts
16 Curry Hicks Building, 100 Hicks Way
Amherst, MA 01003

November 7 – December 7, 2008
Reception: Friday, November 7, 4-6 PM

MATT BOLLINGER

LIZ CHALFIN

MEGHAN GORDON

DEB KARPMAN

ELIZABETH KELLOGG

RUTH WALDMAN

ANGELA ZAMMARELLI

PEGGY BATES: BARACHOIS

2008-10-09T23:07:00.004-04:00

October 16 – November 9, 2008
Opens Thursday, October 16, 6-9 PM

GALLERY THOMAS JAECKEL
532 West 25th Street, 2nd floor
New York, New York 10001

Thomas Jaeckel and David Gibson are proud to present “Barachois” a series of new paintings by Peggy Bates in which the artist continues her fascination with the signification and expressivity of organic form as a direct charismatic link to the natural world. Her most recent body of work has taken on a chromatic tone of coolness which ranges from the icy blue associated with the first days of a new winter season, to day-glo yellow and fuschia, purple, aquamarine, and sea green. The forms which appear in this work are characterized by a scriptlike furtiveness, in which broad swaths of bright colors wade amid a light blue background, just like the eddies of tides which are caught against the sandbars of tidal pools before being swept out to sea. But despite their sensitive chromatic touch, and the antic forms in their foreground, they are characterized by a sense of aesthetic polarity suggesting chiaroscuro. Beyond the demonstrative flow of her marks, there is an intimation that Bates is exploring new ways to signify form, and her new gestures suggest hieroglyphics, LED signals on heart monitors or lie detectors, or brightly colored flags waving in a fresh wind.

The source for Bates's art lies in a desire to embrace landscape within contemporary culture. She explores notions of travel, dislocation, and the human desire to traverse through paintings that reflect places she's visited. To create the works, Bates relies on memory, sensory recollection, and ephemera that she collects along the way. Her usual focus is the peculiarities of each location's topography and the boundaries between land and bodies of water. What resonates in Bates's paintings is an underlying emotional relationship between exterior landscapes and the impressions of the human interior. Reflections of travel are captured in the flow of paint, its direction determined by real or imagined experience. To create the pieces, she pours liquid paint in layers on the canvas, a process that involves a continuous interplay of manipulation and chance. The paintings develop into an arrangement of metaphorical elements: sensual, surrealistic shapes, sometimes in highly charged hues; soft, floating masses; or large pools of paint spilled across the ground. Perception is exaggerated in an organic play of paint as shapes and forms are stretched and pulled. To create the pieces, Bates considers both details observed during her travels and factual details from maps of each location, setting off the experience of the personal with cultural data. Each painting is titled with the name of the place that was its inspiration. Bates encourages viewers to uncover their own sense of the power of fantasy and dream through an exploration of the work.

BEAUTY’S BURDEN

2008-09-17T14:31:00.004-04:00

BETHANY BRISTOW

Curated by David Gibson and Jennifer Junkermeier

Bethany Bristow, Bonnie Collura, Gabert Farrar, Limor Gasko
Scott Kiernan, Karen Marston, John O’Brien, Sono Osato
Meridith Pingree, Richard Schort, Fumiko Toda

Ernest Rubenstein Gallery of The Educational Alliance
197 East Broadway, New York NY 10002

September 18 – October 31, 2008
Reception: Thursday, Sept 18, 6-8 PM

Beauty's Burden explores our predetermined attitudes toward art as a means of personal and cultural expression. In a museum-style exhibition that is directed only by its theme, we hope to show how beauty operates in collusion with the specific dictates of image and form, occurring randomly across mediums, flowing through the cracks in our understanding of each artist's process. Beauty in this case does not represent an idealized standard, but an element of culturally determined content that collaborates in the moment (or process) of creation with ideas specific to each artist's formal aim. The artists in this exhibition were chosen because their work contained ideas about the vestigial origin of creativity. Each artist's specific achievement was neither dependent upon a realization of form that was pleasing to the eye, nor signified a form of idealism beyond individual concerns: obscure or ambiguous references to architecture, mathematics, biology, computer image sampling, and the obsolescence of the machine age. Yet each has brought us a little closer to finding a way back to beauty, and forward in time to a new place for aesthetic discovery.

BONNIE COLLURA

GABERT FARRAR

LIMOR GASKO

SCOTT KIERNAN

JOHN O'BRIEN

SONO OSATO

MERIDITH PINGREE

RICHARD SCHORT

FUMIKO TODA

BOUNDLESS: JOHN BERENS and ABSHALOM JAC LAHAV

2008-09-04T14:25:00.000-04:00

Curated by David Gibson and Thomas Jaeckel

532 Gallery Thomas Jaeckel
532 West 25th Street, New York NY 10001

September 4 – September 29, 2008
Reception: Thursday, Sept 4, 6-9 PM

JOHN BERENS: Midtown

JAC LAHAV: Frida Kahlo

Each of these artists has made a traditional practice of painting into a signature motif. Yet they are not merely making rote, reliable, and commonplace versions. They are working in the periphery of that traditional practice, reaching for achievement beyond recognizable limits, making what is usually considered an acceptable form into something rigorous and subtle. Both artists ask the same questions: what is this form, and how far can I take it?

In Berens’s landscapes, we are at first made conscious that he is setting the scene, in terms equal to the theatrical practice of dramaturgy. This is connected to his sense of place, having been brought up in the Midwest, and then studying in California, but soon after moving to New York to pursue his art career, he has lived here for more than two decades. Having resided so consistently in one place has not numbed the artist’s sensitivity to the depictive nuances of place; instead it has produced an alliterative impulse. Berens’s city is not just a place; it is a multitude of places, as many as there are impressions to be had. Shop Window (2002) is one of my favorites. You can just picture the scene in some lost moment of your own experience: the reflection of street lamps in the dead of night, glimmering against the oppressive darkness, silhouetted by the otherwise unseen slope of the avenue. The image is wistful and nostalgic while remaining a real, everyday sensory event. It is a combination of the spatial and metaphysical qualities of the city as only someone with a developed sense of space, scale, and light can perceive it.

Lahav’s portraits certainly have their role in historical practice, though how they fit into such a canon remains to be seen. A recent graduate of Brooklyn College, the artist has devoted himself to a practice, which might be viewed as obsolescent. But in doing so he has broken down all of the familiar associations we have of it. Appearing in his paintings are neither family nor friends, nor images commissioned by specific patrons, but rather a commingling of his Jewish heritage with the efficacies of visual culture, the image usually consigned to press photographs. His “48 Jews” and his “Great Americans” series both depict well known figures who belong in our appreciative regard for their status as individuals and their contributions to culture. Yet their Jewishness is the one factor, which, though it may never have been questioned, was hardly brought to bear. By bringing images of figures ranging from music (Bob Dylan, Slash, Barry Manilow) together with political and corporate figures (Alan Dershowitz, Fidel Castro, Jeffrey Sachs, Leon Trotsky), along with artists and philosophical or critical thinkers (Harold Rosenberg, Clement Greenberg, Cindy Sherman, Lee Krasner, Martin Buber, Noam Chomsky), he creates a continuum of identity which can only be ascertained when we consider something more. Lahav creates a virtual forest of combative identities, the private against the public, the personal of one person versus another. The range of painterly depiction in such portraits, which alternates between the realistic, the impressionistic, and the surreal, creates a fabric of names and images which do not always jibe with what we may think of such figures, but which may forever after inform how we view them: as figments of an imagination that dreams up facts while it invents the idea of culture.

MARCY BRAFMAN / TRUTH OR CONSEQUENCES

2008-05-17T23:42:00.007-04:00

May 15 - June 7, 2008

532 Gallery / Thomas Jaeckel

532 west 25th street, 2nd floor

Marcy Brafman’s paintings deal with the dark and light of the cultural landscape and the nature of character. They reflect on the demons and deities of the memory as seen on television, billboards, boxtops, catechisms, illustrated classic comic books, masterpieces in the Frick, old paperback covers, graffiti and signage on moving vehicles and packaging detritus of every shape and kind. Concern with brand identity as a genuine spiritual state plays a strong role in the work, an examination of painting as a mirror to internal and external states, individual and social intentions. Each painting represents a logo poem, a distillation of an array of ideas into a simple painted statement. Each one plays a character in a private cast alphabet.

These paint driven works portray good and evil, ascension, escape, truth, myth, judgment, consequence and destiny. One Shot oil enamel and spray paint form these works. Glossy in their toxicity, pummeled into image, their root meaning and references allow the viewer access to the idiom of old time sign painters and street artists.

{Statement by Artist}

ASKEVOLD/HUTCHINSON

2008-03-24T03:59:00.008-04:00

PETER HUTCHINSON

DAVID ASKEVOLD

Article Projects at 532 Gallery

532 West 25th Street, 2nd floor 917.701.3338

www.532gallery.com March 27 - April 20, 2007

Opening Reception: Thursday, March 27, 6-9 PM

We are pleased to announce an exhibition featuring two pioneer conceptual artists, David Askevold and Peter Hutchinson, who have established the connections between language, the found photographic moment; and an interaction with nature and the intricacies of the mind between actual and intellectual experience. Though Hutchinson has an ecologic sensibility and Askevold a metaphysical one, both of their oeuvres has added something distinct, useful, and inspired to the practice of Conceptualism.

The actual works, on close inspection, are as different as they can be. Askevold has crafted, in his “Ambit” series, a group of images that combine visual and linguistic meaning—that is, photographic images that evoke phastasmagoria (lights blinking; the shadow of an art being slowly waved; water beading across a surface as it slowly turns into ice; silhouettes of abstract seeming objects projected and then documented) and language that is so unbelievably dense that it approaches mere verbal ambiguity; another form of abstraction that can in a perverse way be appreciated only for its sound and not for its sense. The words are burned into the photographic images, which are zoomed in and therefore indistinct.

On the other hand, Hutchinson’s works are intensely intimate, combining an almost leisurely style of photographic evidence that is combined on large white sections of museum board with drawings and text that is handwritten, resembling a diary. His subjects are man’s position in relation to nature, which he investigates in a number of ways: hiking and eating off the land in his “Foraging” series; laying a path of bread crumbs (actually Wonder bread) on the lip of an active volcano; combining drawings, photographs, and a short text to recount an understanding of pure natural sublimity, when on a hiking trip be is surprised by sudden thunder in the middle of a bright blue sky.

This exhibition provides a simple snapshot of a period preceding our current one which was host to a myriad of approaches to man’s innate nature, his ability to feel and think, and to know meaning despite a confusion of the sensate or the cerebral. It brings the Conceptual back to us in ways that still instruct and inspire.

LOST HORIZON at HERTER GALLERY, UMASS AMHERST

2008-02-04T16:00:00.002-05:00

(Dean Monogenis)
Courtesy of Stux Gallery

FEBRUARY 4-MARCH 4, 2008

Erik Benson, John Berens, Romain Erkiletlian, Michelle Hailey
Laura Harrison, Elizabeth Huey, Rebecca Kolsrud, Jeff Konigsberg
Michelle Mackey, Dana Melamed, Dean Monogenis , Asya Reznikov
Kristen Schiele, Kimberly Sexton, Mary Ann Strandell

“Lost Horizon” represents a critique of themes related to the professional practice and socialized ideal of architecture, its enveloping culture of construction, and the ironic ideals that emerge from assumptions of progress. I perceive these concepts through various artworks, mostly two dimensional and related to the practice of painting, which is mainly illusory in nature, and achieves a visual mythology of the constructed landscape in which the organizing principle of the natural world, its separation of time and place, is denied the chance to manifest in a proper manner. The discursive levels of such imagery aid us in approaching the larger themes at hand.

All of the artists in this exhibition are inhabitants of New York, so that any context related to architecture is also related to urbanism or to the iconic status of buildings as well as to the transient nature of city living. Not all the scenes depicted here are urban ones, and some seem not even to be real in any naturalistic manner. Yet the city does serve a role as a laboratory of such themes: perceiving what it means to live in a landscape that is in a state of constant flux, first in terms of outward appearance or beauty, second in the power systems supported by these appearances, and third by the sense of space that is transmuted by the interaction of so many disparate forms of expression. It’s no surprise that its manifestations in different art-works alternates radically between the real, the surreal, and the abstract.

The approach to an identifiable reality represented by the title of this exhibition is intentionally misleading. A play on words, the Lost in Lost Horizon is meant to imply an obscuring of truth rather than its being misplaced or misrepresented. There’s an old expression that “truth is in the details” but I be-lieve that the details can lie and that truth in often hidden amongst them. The same is true of a city, it is such a large place or context that it hides many truths while seeming to signify one large truth about progress and what it means to us.

(Michelle Hailey)

(Elizabeth Huey)

(Jeff Konigsberg)

(Kristen Schiele)

(Laura Harrison)
Courtesy of Paul Sharpe Gallery

(John Berens)

(Rebecca Kolsrud)

(Michelle Mackey)
Courtesy of Paul Sharpe Gallery

(Mary Ann Strandell)

(Asya Reznikov)

(Erik Benson)
Courtesy of Roebling Hall

(Romain Erkiletlian)
Courtesy of Gering & Lopez

(Dana Melamed)
Courtesy of Priska C. Juschka Fine Art

(Kimberly Sexton)

"TRUE TO FORM" at 532 GALLERY, JAN 18-FEB 10, 2008

2008-01-18T18:00:00.000-05:00

532 West 25th Street, New York, NY 10001

Marcy Brafman, Jenny Carpenter, and Mary Murphy

MARCY BRAFMAN
"Flying Kewpie" (2006)
Oil enamel and spray paint
on canvas, 36 x 48 inches

JENNY CARPENTER
"Ampangorinana, Nosy Komba" (2007)
Oil on cherry panel, 40 1/8 x 30 1/2 inches

MARY MURPHY
“The Pool Boy Left His Shoes” (2007)
Oil on linen, 59 x 46 inches

MADE IN THE USA

2007-08-17T07:39:00.000-04:00

The Sameness In Us by Juri Morioka

Curated by David Gibson

The Educational Alliance
197 East Broadway, New York

[One block East of where Canal and Essex Streets meet]

September 18-November 23, 2007

Shelly Bahl (Canada/India) Ula Einstein (Switzerland)
Nancy Friedemann (Colombia) Tine Kindermann (Germany)
Chang-jin Lee (Korea) Juri Morioka (Japan) Hannes Priesch (Austria)
Flavia Souza (Brazil) Yona Verwer (Netherlands)

The ‘USA’ of the title is a more rarified territory than one might think. Its area is measured in blocks, not square miles. But more than that, it is measured by the variety of nationalities that make residence here, and the tradition, however altered in recent years, of emigration. This exhibition explores the nature of idiosyncrasy in consideration of ideological and cultural definitions of identity. Who is the individual and how do many disparate entities become a single community? -- How does that community come to embody a meaningful representation of America? -- How do current events on both the local and global stage either affirm or challenge the values which such idiosyncratic entities actively will into existence? These are some of the questions posed by this exhibition, and perhaps answered by a thoughtful consideration of its works on view.

INSTALLATION IMAGES:
Yona Verwer

Yona Verwer

Juri Morioka

Juri Morioka

Ula Einstein

Ula Einstein

Ula Einstein

Hannes Priesch

Hannes Priesch

Chang-jin Lee

Nancy Friedemann

Flavia Souza

Garden Confrontations @ Dam Stuhltrager

2007-07-01T04:02:00.000-04:00

"Garden Confrontations"

June 29-August 19,2007

Victoria Calabro, Chrissy Conant
Julianna Dail, Katherine Daniels, Mark Power

By Invitation Only @ Kinz, Tillou + Feigen

2007-05-21T03:56:00.000-04:00

"By Invitation Only"

May 21-July 21,2007

Marcy Brafman, Leemour Pelli
Mark Power, Raven Schlossberg, Conrad Vogel

Marcy Brafman

Leemour Pelli

Conrad Vogel

SIGNS OF LIFE @ PLANET THAILAND

2007-02-13T03:00:00.000-05:00

SIGNS OF LIFE
March 6–May 20, 2007

Jeanine Anthony, Jordan Buschur, Jamie Chiarello
Langdon Graves, Jac Lahav, Jesse Martin, John Monteith
Jeremy Olson, Purdy Eaton, Colette Robbins

PLANET THAILAND, 133 North 7th Street, Williamsburg
take L train to Bedford Ave and walk ¾ of a block west

Jeanine Anthony

Jordan Buschur

Jamie Chiarello

Langdon Graves

Jac Lahav

Jesse Martin

John Montheith

Jeremy Olson

Purdy-Eaton

Colette Robbins

This exhibition explores a subject matter, a generational attitude, and a population of overt talent all at once. The search for new experience always begins with a search for life, since it is life itself, in vernacular terms, which both defines and gives hope to the prospects of new experience. Life presents itself in a variety of means, and implies the possibility of communication. Each different life form impresses upon us a profound reinvention of what it means to originate, grow, thrive, take on habits and fulfill instincts, and create anew.

Nowhere do we see this as more overtly than in the labors of young artists. That said, all but two of the artists featured in “Signs of Life” are currently studying for their MFA at various New York area schools. Those two are still at a young enough age that their views and abilities match that of their peers in academic programs; they are all searching for meaning, and finding it in diverse sources that are either a result of their individual backgrounds, or which reside, and emerge, from formal and thematic discovery.

Like many artists today, the psychological and fantastic aspects of depiction stand in for the real or sensible, even when (and especially if) the realness of such images overpowers our ability to discern the potential value of the real. The expression in the title is common in science fiction stories when a spaceship first encounters a new world, the first thing they look for is evidence of intelligent life, the most initial suggestion of a human presence. But is there such a thing as a sensible reality, uninflected by irony or psychological complexity?

Leah Oates interviews David Gibson

2007-01-17T10:07:00.000-05:00

What are your favorite shows that you have curated, and why? First I would have to decide what factor made one of my shows a favorite. The ones that seemed least likely to get pulled off, I suppose. These include my first two, SUGAR+SPICE and SOME (ARE) PAINTING; then three exhibitions which I co-curated at the Riva Gallery, EROTIKA, CARTOON, and BEAUTIFUL GROTESQUE. That same year also found me organizing my first exhibition for a university gallery, LIMINAL, and participating in an art fair with PRESENCE at Scope New York. In 2005 I curated EVERLAND for Annina Nosei, an art world legend and old family friend; in September of that year, my first regional nonprofit exhibition at Spaces Inc in Cleveland, Ohio, with BEAUTIFUL DREAMER which included 28 artists and was exhibited in a 3,800 square foot gallery. The entire show was shipped there and back, and a catalogue was also published.

How has your curating evolved from the beginning of your career to now? I don’t know if my curating has evolved so much as my reasons for doing it. The difference between a young dog and an old dog is mainly the value of experience. Though I’m by no means an old dog, I have learned a lot in the last seven years about the role of the curator, about the value of the specific experience linked to this role, and what it’s ultimately good for. What has changed is the nature of my relationship to the specific artists with whom I have become accustomed to dealing, and the galleries as well. My main interest these days is to find prospects for my exhibitions, and individually for some artists, in galleries of note, for critical and professional advancement; and at universities, for teaching and learning, as well as to travel. On a deeper level, I have come to realize the levels at which my reasons for curating connect with my reasons for writing about art, for studying literature and culture, and for writing about human experience in memoir and fiction.

What is your approach to curating? Do you start with an idea first and find artists or do you see art works first and then begin thinking about a show? How do you find artists to work with, in archives or through word or mouth? I don’t have a specific approach. Sometimes the ideas come from the synergy between random studio visits, from an exhibition which I visited and was displeased with, or from literary sources. I have to say that the first of these is my preferred method, because it’s left up to chance, and allows for introspection. I find artists everywhere, in group exhibitions, benefits, open studios, etc. These days I find more people through referrals than I once did. Sometimes I will do several studio visits with an artist before I deciide to include them in a group exhibition, and sometimes it happens right away, dependent upon the availability of circumstance. These days I tend to plan shows first and then sort out, from amongst the artists I already know, whom I would like to include; and then I ask a few of them for referrals to other people I would have considered had I known them at the time. I tend to think of the relationship between artist and curator as a conversation about ability and intentions, rather than as a pale-faced context for success or failure.

You grew up around art and are from a family with a long connection and love for the arts. How has that shaped you and how do you think the art world has changed? It’s not as much of a family in the arts as one might think. I have a father (John Gibson) who was an important gallerist in Soho from the early Sixties up until 2001. He exhibited the work of a number of seminal Conceptual artists, including Joseph Beuys, Marcel Broodthaers, Arman, Christo, Ben Vautier, Peter Hutchinson, James Carpenter, Jean Le Gac, Bill Beckley, William Childress, et al. In the Eighties and Nineties he also introduced the work of a variety of younger talents including John Armleder, Olivier Mosset, Bertrand Lavier, Eve Andree Laramee, Thom Merrick, Matthew McCaslin, Wolfgang Staehle, et al. He also collaborated with important curators of the period such as Collins & Milazzo. Of course, I was away at college during much of this. It was only when visiting home now and then that I would get a glimpse of what was going on. The most good that it did me was to help form the manner of my thinking about art, equivalent to the intellectual level of art graduate school, but without all of the political agendas that such a situation involves. I saw artists as real people, and as artists they were successful, communicative, and often collaborative. My father’s gallery, and the few other galleries showing their work, like Daniel Newburg, Sandra Gering, and Annina Nosei, were the locus of this community, and there was little evidence of the rampant bohemianism, critical of everyone and everything in the upper echelons of the art business, that I find in many artists today. The artist as loser is a very unattractive trait. We have to build communities that operate at all levels of the art world, and artists have to travel and see how things work in other places. They also have to respect the people who run galleries. This is a business in which almost everyone is self-made, and they do it because art inspires them. Of course there are trends in taste, and market forces such as real estate and the power of national currencies, that drive business. But it’s all about relationships, and they have to be nurtured from both sides.

You do a lot of studio visits and actively look at artists work and you are very artist-friendly. Why do you think that other curators are not so artist-friendly and are not accessible to artists? Is there any way for artist to approach such individuals? Many of the younger set of professional people in the art world are in it for their careers. Either they come from a business background or have struggled up from minor gallery jobs to positions of some authority. Their main experience has not been in face-to-face contact with artists, except those who are affiliated with the institution where they work. They possess an institutional mentality which also serves as a defense mechanism against too much experience that is not guided by the right precepts. Also, many curators are also artists, and perhaps there is a creeping criticality that really emerges from competing agendas which they have not surmounted. I wish there were less hyphenated professionals. Everywhere I look there are artist-critics, artist-curators, artist-gallerists. Many gallerists began as artists and gave it up because they found their talents lay in business. This includes a number of individuals whom you might not suspect, such as Robert Miller, Matthew Marks, and Jeffrey Deitch. Also, many young art professionals are in love with what they see as they glamour of the art world, the beautiful people and trends restaurants. This is reinforced by reports in various art publications that celebrate sex, money, parties, and the like. I always say that I’m not a star, I’m a worker, and I want to meet and collaborate with other workers. Stars burn out. I would say that you should keep working and maybe they will contact you. If not, then not. It just wasn’t in the cards.

What advice would you give to artists who want to show in New York? Since I’m both a lifelong art world participant and an native New Yorker, I am perhaps not the best person to ask. I am also not an artist. You should write to successful artists through their galleries and ask their advice. Flash Art also publishes a guide called “Art Diary” that includes the home addresses of many well-known artists, critics, etc, around the world. Read “The Art Dealers” by Laura de Coppet and Alan Jones (Soho Press) to introduce you to the mindset of many contemporary, and some historical gallerists. When you visit the city see as much as you can and attend lectures, docent tours, etc. Meet people here and keep up with them when you’re back from wherever else you live. It helps to know people, not only for connections, but to see New York as a real place inhabited by real people.

What do you think of the art market and of the proliferation of art fairs right now? Talking about the art market doesn’t generally help artists in any way. If you want to be a statistic, then live like one. If not, then not. There have always been art fairs, and there are more of them now because an industry exists to maintain them. They also generate a fair amount of talk, and are social events where people from different parts of the world meet to do business.

SQUARED

2006-11-24T11:28:00.000-05:00

The Ernest Rubinstein Gallery at The Educational Alliance

197 East Broadway at Jefferson Street, New York

December 6, 2006 – January 11, 2007

Peter Barrett, Caroline Burton, Jeff Feld
Danielle Mysliwiec, Keiko Narahashi
Mary Ann Strandell, Bradley Wester, John Zinsser

PETER BARRETT

SQUARED engages the cultural significance of the right angle, a supposition of orderliness and authority in all matters intuitive. The artists participating in this exhibition have taken it upon themselves to confront the quality of disinterested hegemony which right-angled forms represent. In some cases, they have attended to the interior area of the square, producing labyrinths, while others have found inspiration in replicating the silhouette of this primary form in quantum varieties and progressions; others still have applied their interest to the visual form of the grid, in which minimal forms intersect with utility and coalesce in each segment with a degree of infinite perception, as if they were measurements of time rather than space. The artist’s role as an interlocutor of cultural aims is made tangent to the compartmentalized mentality of a businesslike society, achingly sensible and orderly yet inherently obsessive. The square forms that inhabit these art works relate to the mathematical syustems responsible for architecture, the internet, and methods of government structure and social control. They are both a fulcrum and a vortex, guarding against mystery while providing it as well.

CAROLINE BURTON

JEFF FELD

DANIELLE MYSLIWIEC

KEIKO NARAHASHI

MARY ANN STRANDELL

BRADLEY WESTER

JOHN ZINSSER

GAE SAVANNAH IN SCULPTURE MAGAZINE

2006-10-06T12:48:00.000-04:00

The following review by D. Dominick Lombardi of Gae Savannah's exhibition at Dam Stuhltrager was published in the September 2006 issue of Sculpture Magazine.

Gae Savannah’s art is precious. It links to a trait that we all seem to have, especially in this day and age—the desire to find treasure. In looking at Savannah’s work, I am reminded of an experience that recently sprang to mind when my 10-year daughter showed me a rock with shiny little flecks of mica and announced with great glee, “Dad, I found gold!” I was transported to my own youth, to the moment when I had found an eerily similar rock and asked my father if I had found gold.

It took a while before I gave up on that rock—and the chance I might stumble upon something of great value has never left me. I relay this story because it relates directly to what I see in Savannah’s works, which have a reverence for the common object, funneled, in this case, through cultural reference and manipulated scale. The cultural reference is easy to see. Just look at Nhanshhe or Niu Kua and you will find distinct Asian properties such as architectural lines, fabric types, and meditative forms. Savannah also tests the viewer’s ability to place these works in time since many eras are loosely referenced.

Her most effective skill is to control scale by massing many examples of a familiar object, such as candy-colored beads and hair clips, into compelling forms and structures. The best example is Laika—an intriguing work made up of an elevated, ceremonial-looking enclosure that has extensive reach of influence by way of ritual procession and regal elevation. The hierarchy here projects a substantive reorientation of form and function based on flexible beliefs and universal appeal.

Works such as Shasta and Nyassa are the most confounding and difficult to read. They subtly suggest the aforementioned visual traits, but they seem more secretive and guarded in their meaning. In fact, Shasta, which is mostly veiled and lit from within, looks more like a stained glass obelisk than any functional structure. Nyassa tends more toward abstraction, even Modernism, by balancing texture, line, form, and color equally. The four segments in Nyassa, for me, create a tension that is hard to make peace with because it has no central focus. Perhaps Savannah is adding a bit of defiance to keep us on our toes.

Kisu, Paroxysm, and Satresine lean more toward the decorative, having a less ritualistic feel. However, they still maintain an appeal because they challenge preconceived notions relative to form and function. I suspect that curator David Gibson had this is mind when you factor in the oddly framed layout of the cigar-store-type gallery space.

Whatever reasons Savannah has for making these works, they achieve two important feats. Her sculptures will forever change the way we look at the connections between ornamentation and function, just as they remind us of how the most common objects have the potential to become treasures.

SUSAN HAMBURGER/CONRAD VOGEL: RECENT WORK

2006-09-30T11:04:00.000-04:00

September 27-October 22, 2006

The Allen Priebe Gallery of The University of Wisconsin in Oshkosh

Co-curated with Yael Lipschutz

Susan Hamburger mines the traditionally female dominion of the home to unearth social and psychological dimensions of decorative objects. Her large and sensuously painted Truss canvases exhibit lavish, bound drapery that advertises seduction yet simmers with inner unease. The beauty and neuroticism of these tethered window treatments allude to the attraction of middle-class women to the endless project of beautifying their domestic surroundings. By contrast the Ongepatchket series depicts archetypes of interior design held up to the American woman as aesthetic models: ornate vases lie coquettishly aside lush velvet curtains in these nimbly painted canvases. That Ongepatchket is a Yiddish word meaning overly done or garish signals that these paintings are time capsules returning us to the home, and design aesthetic, of Hamburger’s immigrant grandmother. Though the modernist viewer may read these flamboyantly decorative paintings as a cultural critique, or even mocking appraisal, of such furniture, the artist’s investment of her customary care in the work’s execution conveys the other side of her intent: a sense of the furniture’s original intimacy and personal meaning. The relationship between decorative objects and socio-economic groups is also at play in the “cut-out” series, in which eighteenth-century porcelain dining sets serve as inspiration for Hamburger’s ersatz dishes. The originals were produced in factories for the British middle-class. Affordable, the plates became ubiquitous household items in the mid-1700s and only hundreds of years later evolved into the high-class collector’s items they are associated with today. Hamburger cunningly transforms and alters the meaning of this original cultural convention by a relatively slight shift in material and decorative emphasis. The faux porcelain plates, rendered in ink on foam board, come to us as simulacra, copies of a decorative tradition that was itself so removed from the original that Hamburger’s transformations register with more handmade vitality than their sources.

Conrad Vogel peoples his vibrant and deftly linear set-pieces with vanquishers and slaves, conquerors and bedraggled masses. His repertoire of gestural, figurative imagery is collected from historical periods, such as the American Civil War, and from his personal travels through the West Indies. Vogel references everything from contemporary cultural clichés and contradictions to the current war in Iraq. An awareness that two of Vogel’s primary inspirations are Candide and Uncle Tom’s Cabin helps one to recognize that his art is an unusually direct and principled cultural critique. But the theatrical nature of his work could not be clearer, as each rectangle is highlighted by a faux-baroque, high-arched frame, within which lurk his landscapes and heroes. Stylistically, the compositions draw upon traditions as diverse as the Japanese woodcut, the American comic book, and nineteenth-century peep-show theater sets. This last tradition, that of early optical entertainment and pre-cinema perspectival experiments, allows Vogel to breathe real life into his paintings, as he transforms thematic concerns into pop-up theatrical compositions. What results are highly beautiful, subtly sculptural reexaminations of the larger, original paintings. Though shrunk and compressed, the enigmatic three-dimensionality of these pieces allows the viewer to slip off the coils of culture and be overcome with actual wonder.

Text by Yael Lipschutz

THE RAW AND THE COOKED

2006-09-30T10:29:00.000-04:00

September 21 – October 29, 2006

Hampden and Central Galleries, University of Massachusetts, Amherst

Victoria Calabro, Katherine Daniels, Marilla Palmer, Anna Pedersen Mark Power, Diana Puntar, Carol Salmanson, Gae Savannah

This exhibition explores the refinement of attitudes and ideas in the formation of a current sculptural aesthetic. It presents a physical argument on the merit of accepting the concept of sophistication as a qualification of artistic talent. How does the look of one art work versus another determine our ability to judge its value?

The title refers to a book by the anthropologist Claude Levi-Strauss, which dictates how a certain degree of sophistication is necessary for wild men to raise themselves into a civilized situation, determined first by the use of language, especially in written forms, and second by whether or not food is cooked or consumed raw.

In art history, the language of sculptural expression has altered radically from its prominent usage as a means of expressing homage to heroes and civic leaders of bygone days, into a vernacular of specific statements on the value of appearance. It has relinquished its iconic status and become expressive, even dramatic.

Forms commonly mislead the viewer from reaching an immediate understanding of culturally tangent meaning. Works may be hard and heavy yet comprised of a substance that is usually regarded as fragile; they may follow the time-honored traditions of regional folk art but also ascribe to a mathematical cleanness and complexity; they may impose organic qualities that alternate discursively between the gestural and the visceral; they may resemble everyday objects yet ruthlessly impose a chaotic view of reality; they may use illumination to first motivate introspection but then dazzle and bemuse the viewer; and they may inspire deep meaning but do so through the use of materials that are transient, and intrinsically frivolous.

Both a specific choice of materials and effects, as well as the artist’s degree of intentionality in delivering a given aesthetic, have aided them in developing their individual statements. The Raw and The Cooked presents a cumulative perspective on the qualities which determine aesthetic accomplishment as a sui generis gestalt for the current era.

VICTORIA CALABRO

KATHERINE DANIELS

KATHERINE DANIELS

KATHERINE DANIELS

MARILLA PALMER

MARILLA PALMER

MARILLA PALMER

ANNA PEDERSEN

MARK POWER

MARK POWER

MARK POWER

MARK POWER

DIANA PUNTAR

GAE SAVANNAH

GAE SAVANNAH

GAE SAVANNAH

GAE SAVANNAH

GAE SAVANNAH

REBECCA HACKEMANN: “PEEK”

2006-07-12T01:08:00.000-04:00

July 7-August 6, 2006

DABORA GALLERY
1080 Manahttan Avenue, between Dupont
and Eagle Streets, Brooklyn NY, 718. 609.9629

Lynda Mahan: lynda@daboragallery.com
URL: http://www.daboragallery.com

Article Projects and Dabora Gallery are proud to exhibit “Peek” by Rebecca Hackemann, a storefront installation of the artist’s stereoscopes, which make certain participatory demands upon the viewer, to gaze into the twin eyeholes to see the art—and when facing the images contained inside, one is also called upon to read the messages that accompany them, putting together the separate elements of a complicated esthetic event that is both imagistic and linguistic at the same time. Each of the collages in her stereoscopes is part quandary and part parable.

Rebecca Hackemann is a contemporary artist whose pieces stretch the definition of fine art black and white photography as language and formally as flat image on the wall. Photography and sculpture are combined into “photo based” work or optical sculptures that humorously address contemporary political and societal issues as well as language and how it's meaning is constructed. The work most often consists of an installation of handwritten text on the walls as we well as hung white boxes, which the viewer peers into through 2 lensed peepholes. Inside these optical sculptures are stereoscopic black and white constructed photographs (silver gelatin prints)of a fictional world with text. By looking through the lenses the viewer sees the images in 3-D–thus the sculpture acts as both a stereo viewer and a conceptual container with its own inscriptions.

HOME BASE

2006-05-24T01:30:00.000-04:00

126 Greenpoint Avenue, Brooklyn, New York, March 1-30, 2006.

Part of collaborative curatorial project originated by Anat Litwin focusing on themes of nostgalia, domesticity, and origin. Article Projects organized Room #1 with Diane Apostolacus, Marcy Brafman, Robert Grant, and Mark Power.

Rooms 2-6, curated by Anat Litwin, with work by Peter Dudek, Merav Ezer, Anat Litwin, Raffael Lomas, Arik Miranda, Shiri Sandler, Emily Silver, Monika Sosnowski, Joshua Strauss, and Shirley Wegner

I would like to ask this question: what is home? Home is everything that’s familiar to us, the many little things that arrange themselves in the order of our daily experience, which define the state of domestic bliss, that color our first encounters with life in the family abode, and which we remember just as much as the more dramatic events that shape our emotional growth, even though we are apt to take them for granted.

Such encounters are more often than not extremely commonplace, but they reflect the texture of empirical knowledge: that household objects have a given resonance beyond their mere use; that brand names are ornamentations on the unconscious; that places like a bathtub basin or a shiny kitchen countertop are arenas waiting for dramas to unfold; and that the personas of parents are imprinted in the clothes they wore.

All of these experiences lead us to a place that is alternately warm and inviting while also mysterious and foreboding. The same home that we remember to a degree matching nostalgia can also be filled with somberness and menace, the same objects and images can also remind us of the horror a child feels when things are not as they should be; and what we feel as adults when we are forced to put away childish things.

The home becomes a shell of its former memory. We replace old memories with new ones, old dishes and brand names with new ones, and the past fades away like an old photograph.

Here we have art about the home, and though it is new we are older and wiser for seeing in it a semblance of our past lives. We still make use of the same items today, and random memories return to us when we see an older woman in the street, the picture of a lost relative, or we see someone eating a candy bar with a wrapper of a certain color, and we remember what it meant as a child, to feel alive.

Home is a past filled with memories that can only grow into a better future.

BEAUTY’S BURDEN: THE NEW ROMANTICISM

2006-05-07T13:49:00.000-04:00

Tuesday, May 9, 7:00 PM, $10 admission

Makor-Steinhardt Center at 35 West 67th Street near Lincoln Square

The final event in a year-long series of artist lectures brings a panel discussion with sculptors Katherine Daniels, Marilla Palmer and Gae Savannah, and painter Margaret Lanzetta.

All of these artists produce bodies of work that manifest elements of decoration, including ornate beading, flashing lights and crystals, ethnic fabrics and hair accessories, and textile design such as appears on wallpaper or book margins.

How does this renewed interest in visual motifs previously denigraded as merely female represent a progressive view of how marginalized media can be made to reenter and renew the contexts for contemporary art production, its fetishization, and its critical context?

What is really at stake in such work is the dignity of culturally empowered expression, its escape from the margins of creativity that achieves its ends both aesthetically and politically. Join us to see what comes of viewing the art and discussing its origin and its future.

KATHERINE DANIELS

MARGARET LANZETTA

MARILLA PALMER

GAE SAVANNAH

NATIVE SPIRIT 2006

2006-04-19T23:27:00.000-04:00

March 24 - April 29, 2006

SUPREME TRADING
213 North 8th Street between
Driggs Avenue and Roebling Street

Michael Anderson, Amy Beecher, Marcy Brafman, Andrew Chesler, Molly Crabapple, Georgia Elrod, Jonathan Feldschuh, Limor Gasko Sara Klar, Liz Magic Laser, Susan Lipper, Dean Monogenis, Andrea Morganstern, Leemour Pelli, Rick Prol, Diana Puntar, Grace Roselli, Dan Rosenbaum, Debra Steckler, Emma Tapley, Ruth Waldman

MICHAEL ANDERSON Chinese Cell Phone Mafia, 2005
Street posters from NYC (Chinatown), 26 x 40 inches

AMY BEECHER Tickle Mountain, 2005.
Latex and cotton, 10 x 5 inches

MARCY BRAFMAN Siamese Facing Brackets, 2005
Oil enamel on canvas, 36 x 48 inches

ANDREW CHESLER Untitled (Blue), 2006. Acrylic on panel, 20 x 16 inches

ANDREW CHESLER Untitled (Orange), 2006.
Acrylic on panel, 20 x 16 inches

MOLLY CRABAPPLE Buck Angel, 2005.
Pen, ink, and watercolor, 11 x 17 inches

GEORGIA ELROD How Long Does it Take, 2005.
Oil on linen, 39 x 29 inches

GEORGIA ELROD You Decide, 2005.
Oil and gold leaf on linen, 48 x 28 inches

LIMOR GASKO Elephants, 2004.
Oil on Canvas, 22 x 18 inches.
Courtesy Ricco Maresca Gallery

LIMOR GASKO Vivisection, 2004.
Oil on canvas, 37 x 33 inches.
Courtesy Ricco Maresca Gallery

SARA KLAR Out of Water's Fire, 2005
Acrylic on canvas, 50 x 78 inches

LIZ MAGIC LASER Back To Nature 26, 2005.
Lambda Print, 30 x 36 inches, Edition 1/6

LIZ MAGIC LASER Back To Nature 32, 2005. Lambda Print
36 x 30 inches, Edition 1/6

SUSAN LIPPER Not Yet Titled No. 3, 1999-2004
Gelatin silver prints on aluminum , 22 x 56 inches

DEAN MONOGENIS Not Here, Not There, but Somewhere, 2006. Acrylic on wood panel,
30 x 40 inches, Courtesy Stux Gallery

ANDREA MORGANSTERN By the Lake, 2005. Oil on canvas, 30 x 36 inches

ANDREA MORGANSTERN Metamorphing, 2005. Oil on canvas, 24 x 20 inches

LEEMOUR PELLI Crows, 2005. Oil on canvas, 40 x 70 inches

RICK PROL Tub at night, 2003-05. Oil on linen and wood, 14 1/2" X 11 ½ inches

RICK PROL Playing the Guitar (Self Portrait), 2005. Pastel and charcoal on paper 12 x 9 inches

GRACE ROSELLI Golden City, 2005. Oil on linen 50 x 70 inches

DEBRA STECKLER Virginia Woolf, 2005. Acrylic on pre-painted paper, 3 x 3 ¾ inches

EMMA TAPLEY Untitled (Brook Myriad), 2004. Oil on Panel 18 x 24 inches, Courtesy Fischbach Gallery

RUTH WALDMAN Spray, 2005. Ink on paper, 30 x 24 inches

THE SOCIAL BODY

2006-03-31T02:39:00.000-05:00

APRIL 8-MAY 21, 2006
Opening Saturday, April 8, 6-9 PM

Rocket Projects
3340 North Miami Avenue
Miami, Florida 33127

KRISTIN ANDERSON
July 4, 2004, Schoolcraft, MI, 2004
Video Installation, 34 minutes

FRITZ CHESNUT
Rockaway Beach, 2006
Charcoal on blue paper, 18 x 24 inches

FRITZ CHESNUT
Back In Black (Blue), 2006
Charcoal on blue paper, 18 x 24 inches

CARLA GANNIS
Sissy Throws A Tantrum at the Dam, 2005
Digital pigment print, 22.5 x 16.5 inches

JENNIFER KARADY
Pageant Talent: Katrina Johnson, Miss Nimrod 2003,
Nimrod, Minnesota, 2004. Chromogenic color print
on Fujiflex mounted on Plexi and framed, 31 x 31 inches

HOLLY LYNTON