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

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

MARCELLA HACKBARDT

Jenny Carpenter
Carrie Elston-Tunick

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. 

JENNY CARPENTER

CARRIE ELSTON-TUNICK: 

SANDY LITCHFIELD

KAREN MARSTON

RACHELLE MOZMAN

JULIE SCHENKELBERG

MARY ANN STRANDELL

I AM MY WORLD

NOoSphere Arts

251 East Houston Street, New York, NY 10002

March 1 - March 31, 2013

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.

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

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 STOLEN

SARA TANDERO AND TINE ISACHSEN

JOHN TOMLINSON

SARAH VOGWILL

THE QUANTUM EFFECT

Jonathan Feldschuh, MaDora Frey, Thomas Frontini, Carter Hodgkin 

Elissa Levy, Anne Arden McDonald, Jeanne Tremel, Michael Zansky

November 30, 2012 - January 13, 2013 / Reception: Friday, Nov 30, 7-10 pm

The Active Space / 566 Johnson Avenue, Brooklyn, New York

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

THE PUBLIC SECRET 3

Dino Eli Gallery, 81 Hester Street, 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? 

MEGHANN SNOW

TINE KINDERMANN

KATHERINE DANIELS

THE PUBLIC SECRET 2

Dino Eli Gallery, 81 Hester Street, 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?  

AMANDA BROWDER

MEGAN HAYS

RACHEL DWAN

THE PUBLIC SECRET

Dino Eli Gallery, 81 Hester Street,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? 

CARRIE ELSTON TUNICK

LINDSAY PACKER

MARCY BRAFMAN

PAINTING WITH PICTURES 2

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