Tuesday, May 20, 2014

ITNESS @ Trestle Gallery, 168 7th Street, floor 3, Brooklyn | May 23-July 2, 2014


ITNESS explores the artwork as a source of mystery rather than beauty, as source for questions and quandaries surrounding how we approach an object, image, or event that has been cultivated for the distinct purpose of expanding our relationship with the world, with its myriad forms and their related meanings.

Since the beginning of the 20th century, and the revolutionary aims that accompanied many of its initial movements, such as Futurism, Dada, and Surrealism, it has become nearly impossible to remain ignorant that the concept of Beauty was ready to be transformed. The most radical of these was simply to stop using the word 'Beauty' completely. Do not say Beautiful. Just say "this is this" and present the object, the image, or the event as a self-justified vessel for meaning. Each of these presents an experience loaded with attendant meaning.

Art is one part invention and one part artifact. The ‘invention’ part suggests a degree of industry, a working toward the creation of something new, while the artifact part suggests a mining in the recesses of knowledge or imagination, of discovering something once lost. The word itself is suggestively vague and incomplete, and seems like part of a larger and more complex definition. Its specious incompleteness hints at aspects yet unassigned. It pushes us toward something new.

The 'it' of the title refers to a quality, sometimes discovered and often invented, that characterizes an event in which we see something new for the first time. Sometimes new territories are not beyond the outer boundaries of our experience, but are to be found in a different way of looking at what we already know. Take the most commonplace of objects, or a gesture, or the idea of a way of doing something, and turn it just slightly, so that it resembles a version that you would not have imagined, and the world is reversed in all values. Beauty ceases to be the appreciation of a socially demarcated appearance and becomes instead the smile on your face when a new fact enters the world.

Saturday, March 22, 2014

THE PRESENCE OF ABSENCE @ Skylight Gallery, 538 West 29th Street, New York, April 10-May 9, 2014

Michele Basora, Patty Cateura
 Marcella Hackbardt, Jen Hitchings
Iris Klein, Paul Loughney
Dean Monogenis, Raphael Zollinger

Reception: Thurs, April 10, 6-9 p.m.

Directions: M23 bus to 11th Ave & 24th street, cross 11th ave to east side, walk 5 blocks, turn right OR M34 bus to 11th Ave, south on 11th ave for 4 blocks, turn left

Gallery Hours: Monday to Friday from 10:00 am to 4:00 pm and Saturdays from 12:00 to 5:00 pm (Curator and some artists gallery sitting every Saturday, come by to look and chat!)

In essence, this exhibition is an exploration of existence through dislocation and negation. It incorporates art works that utilize symbolism and narrative in addition to what might be termed the static object. Too much of what we perceive in art has to fall into categories of traditional terminology, such as "works on paper," "the portrait," or "the still life" and these very couched approaches only serve to undermine how we connect what is in life with what is in art. In the earliest years of the 20th century, artists began to experiment with limiting the use of active figures, and with stripping down the environmental context of the works. If there was less of value in everyday life, well then it would be reflected in art. This reduction in values was a negation. and it was typified by the paintings of Yves Tanguy and Joan Miro, and the relief sculptures of Hans Arp. What these artists gave to the practice of creative endeavor was a freedom to release art from categories, and a willingness to leap into the precincts of the obscure and the idiosyncratic. Spaces did not have to contain "things" and narratives or portraits became superfluous. Each of the artists in THE PRESENCE OF ABSENCE has achieved something similar, and it is the range of their expression, as well as the depth and breadth of their affinities, that qualify them in a contemporary context.

Michele Basora
Raphael Zollinger

Saturday, December 07, 2013


Hello Everyone!

Over the years since I first began curating I have worked with a lot of people, with whom I have explored many venues as well as curatorial themes. Coming into the new year I have new galleries and new ideas to present, and I hope that I can count on many of you to join me. Please post these dates where you will see them every day!

APRIL 10-MAY 9, 2014
The Presence of Absence at The Skylight Gallery (538 West 29th Street, New York) featuring Michele Basora, Patty Cateura, Marcella Hackbardt, Jen Hitchings, Iris Klein, Paul LoughneyDean Monogenis, Raphael Zollinger

MAY 23-JULY 3, 2014
Itness at Trestle Gallery (168 Seventh Street, Gowanus) featuring Madora Frey, Nicola Ginzel, Heide Hatry, Seren Morey, Fawn Krieger

JUNE 6-JULY 3, 2014
The Realform Project presents Eun Hye Kang at Court Tree Collective (371 Court Street near Carroll Street, Brooklyn). For more information visit http://realform.blogspot.com 

Monday, September 23, 2013

EARTHWARD @ Skylight Gallery, 538 West 29th Street, New York, October 24-November 30, 2013

Honey comb, crystallized honey, acrylic 
paint, plastic / 20 1/2 x 26 1/2 inches

Alysha Colangeli / Elisabeth Condon
Thomas Frontini / Peter Hutchinson
Charles Koegel / Sandy Litchfield 

Reception: Thurs, October 24, 6-9 p.m.

Directions: M23 bus to 11th Ave & 24th street, cross 11th ave to east side, walk 5 blocks, turn right OR M34 bus to 11th Ave, south on 11th ave for 4 blocks, turn left

Gallery Hours: Monday to Friday from 10:00 am to 4:00 pm and Saturdays from 12:00 to 5:00 pm (Curator and some artists gallery sitting every Saturday, come by to look and chat!)

On some very basic level we all connect to nature. How we acquire this connection differs from one person to the next, but it is there. No one is such a complete urban character that the wind, the sun, the presence of greenery, and the space and shape of the landscape does not in some way impose an aesthetic degree of encounter upon them. The shape that these elements take in art is another matter altogether. Throughout human history nature has always had a role in how and what we do.

ELISABETH CONDON: Looking East, I Felt You With Me, 2010-11
 Acrylic on linen / 20 x 24 inches / Courtesy Lesley Heller Workspace

THOMAS FRONTINI: Near the Glacier, 2013 
 Oil on panel / 33 x 45 inches

CHARLES KOEGEL: Lah, la, la, 2012    
Acrylic, oil, newsprint, and  grass on canvas / 46 x 48 inches

SANDY LITCHFIELD: Thicket, 2010 
Gouache, paper, foam core, wood
32 x 36 x 2 inches

Thursday, April 04, 2013

IN THE ZONE @ Station Independent Projects 164 Suffolk St, New York, May 22 - June 23, 2013


Jenny Carpenter, Carrie Elston-Tunick,Marcella Hackbardt, Sandy Litchfield, Karen Marston, Rachelle Mozman, Julie Schenkelberg, 
Mary Ann Strandell

Opening Reception: Wed, May 22, 6-8 PM

This exhibition explores the various emotional territories that have become a popular way of expressing who we are, and how we live, at any given moment. Zones, which began to be used in the mainstream press, became popular after WWII (“Occupation Zones”) and the Korean War (Demilitarized Zone”) when it became necessary to demarcate areas along a boundary that were either shared by many groups or were summarily off-limits to any one group. They existed previously in areas of study such as Geography and Sports. This particular version refers to an athlete who is so immersed in the moment, that like an actor he ceases to be a person and becomes a cog in system of ultimate purpose.

Being “in the moment” is a quality of experience common to artists; beyond mere dedication to craft or idiosyncratic vision, it becomes necessary to project our immersion in subject matter, background context, and formal intentions so that the spectator can share in our degree of portent equally. The artwork will infect them, creating a state of contingency between its own qualities an aspect of their own experience. They may walk away bemused or challenged, but in the end they will have had their own moment; they will have been transported to a new zone. The strongest art does this well. 








Wednesday, January 23, 2013

I AM MY WORLD @ NOoSphere Arts, 251 East Houston Street, New York, March 1-March 31, 2013

Samira Abbassy, Christina Dallas, Heidi Elbers, Pippip Ferner, Lisa A. Foster, Hilde Frantzen, Jenny Granberry, Sol Kjok, Pia Krabberod, Hanne Lydia O. Kristoffersen, Hanne Lillee, Elisabeth Feroy Lund, Matthew Lusk, Rebecca Morgan, Leemour Pelli, Mark Power, Margreta Stølen, Sara Tandero and Tine Isachsen John Tomlinson, Sarah Vogwill

Reception: Friday, March 1, 6-9 PM

The process of individuation that generates personality in the early years of childhood and the engagement with identity in the process of art making are closely related. Both depend heavily upon the quantification of the Ego. Ever since Descartes stated, “I think, therefore I am,” all manner of thinking individuals have been focusing as much upon the ‘I am’ part of the equation. After all, we live in a society predicated by the primacy of sole agency, by the freedom of the individual to affect his or her own fate. Even artists, who profess to exist outside of mainstream circles in socialized society, spend vast amounts of time defining who they are, so that eventually, their personality becomes the focus of creative endeavor. I am interested to explore the specific depiction of the exterior self, either visage, body, or interior persona materially manifested, to create an accrual of images and myths of the self.





















Saturday, October 06, 2012

THE QUANTUM EFFECT @ The Active Space, 566 Johnson Avenue, Brooklyn, November 30, 2012 - January 13, 2013

Jonathan Feldschuh, MaDora Frey, Thomas Frontini, Carter Hodgkin, Elissa Levy, Anne Arden McDonald, Jeanne Tremel, Michael Zansky

Reception: Friday, Nov 30, 7-10 pm

There are three questions that occur to anyone who looks at a work of art: What?...Why?...How? 

The work of art has a purpose in informing our view of the world, and perhaps, if it is successful enough, in effecting the world itself by adding a layer of meaning to what is known. “The Quantum Effect” explores the relationship between beauty, the known, and the unknown. It relates to a shared understanding through the standards of scale and perspective, parsing the degree to which art represents a paradoxical view of reality. 

Looking at any work of art, we at first have to render it as real, and then as beautiful, or at least useful. If it is both real and beautiful, then its use is predetermined as making the world beautiful and giving praise to real things. If it is neither, then we will have to ask the other two questions. If we get to how then we are looking at it in an entirely different manner, because our questions have entered into the metaphysical, into definitions of reality and utility, and through layers of paradox. 

Jonathan Feldschuh

MaDora Frey

Thomas Frontini

Carter Hodgkin

Elissa Levy

Anne Arden McDonald

Jeanne Tremel

Michael Zansky