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 W 29th Street, New York | April 10-May 9, 2014





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.







Monday, September 23, 2013

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



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.





















Thursday, April 04, 2013

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



JENNY CARPENTER
CARRIE ELSTON
MARCELLA HACKBARDT 

SANDY LITCHFIELD 
KAREN MARSTON   
RACHELLE MOZMAN 
JULIE SCHENKELBERG 
MARY ANN STRANDELL


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
TANDERO + ISACHSEN  /  JOHN TOMLINSON  /  SARAH VOGWILL

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


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. 














Thursday, June 21, 2012

THE PUBLIC SECRET 3 @ Dino Eli Gallery, 81 Hester Street, New York, June 22-30, 2012


KATHERINE DANIELS / TINE KINDERMANN / MEGHANN SNOW


These days there are no more secrets. Everyone announces everything that’s on their mind, whether on a Facebook status, a Tweet, or an IM. The very texture of our lives has become the basis for both communication and entertainment, and art is left waiting its turn in line. Any form of organized artifice is immediately suspect, like TV shows, media coverage of political and social events, and even the humble novel. 

Yet even as we seek to expose ourselves, we do so in a fashion that is revelatory of only the most accessible and mainstream aspects of human character; like the bawdy shows of the Victorian Era that became Vaudeville—overacting and slapstick—the everyday can only show what wants to be shown. Every one of us contains secrets that can never be public, and it takes an artifice born in secret to express this.

The artist traffics in versions of truth, such as an image that is presented or an object dramatizing an action, or a gesture that creates a design or image that in turn suggests another image or design. The gesture or object are both culturally important, but their symbolic repercussions are idiosyncratically poignant in different ways to different people.

So the secret becomes more than a mystery, it becomes a clue to its own answer. What are the questions here, and how do we address them? 


















Monday, June 11, 2012

THE PUBLIC SECRET 2 @ Dino Eli Gallery, 81 Hester Street, New York, June 15-21, 2012


AMANDA BROWDER / RACHEL DWAN / MEGAN HAYS

These days there are no more secrets. Everyone announces everything that’s on their mind, whether on a Facebook status, a Tweet, or an IM. The very texture of our lives has become the basis for both communication and entertainment, and art is left waiting its turn in line. Any form of organized artifice is immediately suspect, like TV shows, media coverage of political and social events, and even the humble novel. 
Yet even as we seek to expose ourselves, we do so in a fashion that is revelatory of only the most accessible and mainstream aspects of human character; like the bawdy shows of the Victorian Era that became Vaudeville—overacting and slapstick—the everyday can only show what wants to be shown. Every one of us contains secrets that can never be public, and it takes an artifice born in secret to express this.

The artist traffics in versions of truth, such as an image that is presented or an object dramatizing an action, or a gesture that creates a design or image that in turn suggests another image or design. The gesture or object are both culturally important, but their symbolic repercussions are idiosyncratically poignant in different ways to different people.

So the secret becomes more than a mystery, it becomes a clue to its own answer. What are the questions here, and how do we address them?  


























Friday, March 30, 2012

THE PUBLIC SECRET @ Dino Eli Gallery, 81 Hester Street, New York, June 8-14, 2012


MARCY BRAFMAN / CARRIE ELSTON TUNICK / LINDSAY PACKER

These days there are no more secrets. Everyone announces everything that’s on their mind, whether on a Facebook status, a Tweet, or an IM. The very texture of our lives has become the basis for both communication and entertainment, and art is left waiting its turn in line. Any form of organized artifice is immediately suspect, like TV shows, media coverage of political and social events, and even the humble novel.

Yet even as we seek to expose ourselves, we do so in a fashion that is revelatory of only the most accessible and mainstream aspects of human character; like the bawdy shows of the Victorian Era that became Vaudeville—overacting and slapstick—the everyday can only show what wants to be shown. Every one of us contains secrets that can never be public, and it takes an artifice born in secret to express this.

The artist traffics in versions of truth, such as an image that is presented or an object dramatizing an action, or a gesture that creates a design or image that in turn suggests another image or design. The gesture or object are both culturally important, but their symbolic repercussions are idiosyncratically poignant in different ways to different people.

So the secret becomes more than a mystery, it becomes a clue to its own answer. What are the questions here, and how do we address them? 
























Thursday, April 07, 2011

PAINTING WITH PICTURES 2 @ ARTJAIL, 50 Eldridge Street, New York, April 7-May 17, 2011

 

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.



Tuesday, October 05, 2010

LOST HORIZON @ ARTJAIL 50 Eldridge Street, New York, October 14 - November 13, 2010


MICHAEL ZANSKY
Courtesy Nicholas Robinson Gallery



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




Saturday, August 28, 2010

ABSTRACT INTENTIONS @ The School of Visual Arts,141 West 21st Street, New York, August 7-August 21, 2010



CURATED BY DAVID GIBSON and KEREN MOSCOVITCH

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




CADINE NAVARRO







MAX RAZDOW




HAGAR SADAN




SARAH VOLLMAN




CAY YOON

Tuesday, June 29, 2010

SOME (ARE) PAINTING @ THOMAS JAECKEL GALLERY, 532 West 25th Street, New York, July 8 – July 31, 2010

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

Reception: Thursday, July 8, 6-8 PM

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


Friday, May 14, 2010

PAINTING WITH PICTURES @ The Casita Gallery, 928 Simpson Street, Bronx NY, May 21-July 21, 2010






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: 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


-->
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.

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