BETTER HALF: PUBLIC PROGRAMS

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

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

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

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

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

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

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

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

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

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

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

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

(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

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

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

Nancy Friedemann

Nancy Friedemann

Flavia Souza

Flavia Souza

Garden Confrontations @ Dam Stuhltrager

"Garden Confrontations"

June 29-August 19,2007

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

By Invitation Only @ Kinz, Tillou + Feigen

"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

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

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

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

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

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

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

VICTORIA CALABRO

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”

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

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

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

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

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

HOLLY LYNTON

DIANA SHPUNGIN & NICOLE ENGELMANN
Far from Lost, Close to Found, 2005



This exhibition explores the common disparity between the classical and conceptual uses for the body and its actual use in everyday life. The body has typically been isolated and idealized through art, whether to provide a model for representational scale and beauty, or to show how the body belongs to the person, as do all of the significations attached to it. Useful as both of these approaches may be, they also push us away from any comprehension of how the body exists as a means of social expression. In most cases, we cannot help but contribute to the context of social expression which the body controls. From an early age, we are made superconscious of the type of body that we have, how we perceive its merits and its shortcomings, and how others perceive them as well. The disparity between one manner of perception and the latter fills in many of the gaps of early socialization. Bodies have a language all of their own, which may be a product of ethnic or sexual identity, a response to the population in which we move, and to a sense of our innate self-worth.

PREVIOUS PROJECTS

2006

HOME BASE
126 GREENPOINT AVE

Curated by Anat Litwin, Peter Dudek & David Gibson

Featuring Diane Apostolacus, Marcy Brafman
Peter Dudek, Merav Ezer, Robert Grant, Anat Litwin
Raffael Lomas, Arik Miranda, Mark Power, Shiri Sandler
Emily Silver, Monika Sosnowski, Joshua Strauss
Shirley Wegner

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.

DIANE APOSTOLACUS

MARCY BRAFMAN

ROBERT GRANT



MARK POWER

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.

GAE SAVANNAH: A FOOL AND HIS FROTH ARE SOON PARTED at Dam Stuhltrager Gallery, 38 Marcy Avenue, Brooklyn, New York, January 7-February 12, 2006.

Gae Savannah is a contemporary sculptor whose subject is the idiosyncratic face of beauty in a world where there are no moral absolutes. She builds works which are on their face lush and sumptuous, totemic forms that are the product of commercially manufactured textiles, decorative beads, feathers, even Christmas ornaments. They are monuments to the joy in building a complex and ambivalent impression, as is often present in fanciful scenes of natural beauty, in the emotional reaction one has to the presence of a loved one, or to an emotion that is as new, and therefore relevant, as the event which determines it. For Savannah the intellect and the senses are on equal footing. Her sculptures are lovingly and obsessively constructed. They possess a lush dynamic which combines aesthetic fascination and ironic ridicule--in what amounts to a foolishness of intention, a love of kitsch and a value for materials that are on their face fashionable and even trite. Totemic they are, and symbolic of a belief in beauty that is infinite yet also ambivalent. They are not perfect monuments, morally and conceptually pure, but are constructed from a variety of sensate impressions that connect directly with the transience of fashion and its tangent to the psychology of ornament. Each section of a single sculptural work is either purchased or decorated before the process of sampling and building commences to create the works as sculptural wholes. They are stacked and stuffed, embroidered and incandescent, vertical and layered. She wants to communicate the quality inspiration that originates in the difference between--and esthetic marriage of--a mysterious emotional interior and a glorious and sublime exterior. Finally, Savannah wants to fascinate the viewer with a multitude of sensations, to make them think about her works as products of a foolish consistency that has left them with many meanings instead of just one.

_________________________________________________________

2005

PHOTO NEW YORK 2005, collaboration with Creative Thriftshop, The Metropolitan Pavilion, Booth 18, 125 West 18th Street, New York, October 6-9, 2005


BEAUTIFUL DREAMER, Spaces Inc., Cleveland, Ohio, September 9–October 23, 2005

EVERLAND, Annina Nosei Gallery, 530 West 22nd Street, New York, June 10-July 23, 2005

NURTURING THE NEW 2005, Benefit Exhibition, Spike Gallery, New York, June 6, 2005.

CULTURE VULTURE, Jack The Pelican Presents, 487 Driggs Avenue, Brooklyn, New York, April 1–May 1, 2005


LOST IN PLACE, Planet Thai, 177 North 7th Street, Brooklyn, New York, January 12–March 27, 2005

2004


INTIMACY, Brooklyn Fireproof, 101 Richardson Street, Brooklyn, New York, September 23–October 24, 2004

DIANA SHPUNGIN & NICOLE ENGELMANN: SECOND GENERATION EGO, Central Gallery, University of Massachusetts, Amherst, MA. September 16–October 14, 2004

BEAUTIFUL GROTESQUE curated with Anjali Suneja. Riva Gallery, 529 West 20th Street, New York. June 24-July 31, 2004



BEAUTIFUL GROTESQUE curated with Anjali Suneja

JUNE 24 – JULY 31, 2004
Opening reception: Thursday, June 24, 6-9 pm.

Reed Anderson, Hans Bellmer, Jeanne Dunning, Philip Guston, Mike Kelley, Tony Matelli, David Nicholson, Leemour Pelli, Andres Serrano, Cindy Sherman, Rotem Tashach, Ginna Triplett, Joel-Peter Witkin

This exhibition is about the ambivalent nature of desire, and addresses a common fascination with the range of psychological associations attached to the body, complicated by the theme of otherness. This involves both our acceptance of mundane physical appearance versus another as yet unheralded presence, a dream body, through which we may project either an idealistic or a depraved version of our own self-image. Otherness occupies a world beyond sensation that is contingent to both death and decay and to a sort of totemic reality which overrides the spectator's ability to see themselves in the work of art. The degree of fascination inherent in the aesthetic event is qualified equally by the subject at hand and our ability to comprehend the overwhelming force of its idiosyncrasy.

The “Morgue” photographs of Andres Serrano present dead bodies as objects of aesthetic delectation, and though we may feel an immediate repulsion when faced with them, it is either the absence of vitality or the presence of death which affronts us, and we keep looking to see what remains to make them so compelling as images. This is also the case with “Food” by Jeanne Dunning, in which the artist presents us with an image of visceral matter that resembles intestines, but does so in such a ritualized and tender, almost elegiac manner that we are hard pressed to respond merely with disgust, but must admit that she had made them beautiful. In an image of Cindy Sherman, we are presented with a large dining table set for an elaborate meal though surrounded by a foreboding darkness. At the seat directly before us, the plate is filled with a squirming mass of fleshy earthworms. If this were our meal, clearly we would be unable to partake. But Sherman means to portray a situation in which the unconscious is tapped through reference to a powerful animistic symbol, a burrower in the deep earth, and therefore in the subconscious.

Alternately, we may be challenged by images of a symbolic nature which do not naturally reduce themselves into a logical form. Reed Anderson develops a visually complex image with multiple associations, at once connected to nightmares, mining the unconscious. While presenting its imagery as a pastiche of the fanciful and the decorative, he denies the order of perspective by creating one object as a combination of all visual events in a picture at once. Tony Matelli’s “The Wanderer” presents us with autobiography as fabulation, with the body of the artist on a quest through barren lands, accompanied by his anthropological familiars, a pack of small monkeys. Though the scene may seem mundane in detail, the manner of depiction, a life-sized golem of the artist’s own appearance, narrating an experience well beyond the bounds of his role as an artist, and therefore injects our sense of reality with an absurdity that compels us to regard it as grotesque. The same is true of Philip Guston, whose hooded figures are found driving a roll top auto on a serene day trip, the details of their humdrum existence a foil to the mystery of their identities.

The images in this exhibition incite a sensation that reaches us on a level far deeper than reason. The efficacy of their existence as art works is proof of their power over us.

VISIONARIES curated with Anat Litwin. Makor-Steinhardt Center of the 92nd Street Y, 35 West 67th Street, New York, June 13–August 1, 2004

LEEMOUR PELLI: FROM THE HEART, Annina Sandra Bermudez, Amy Chaiklin, Chrissy Conant, Veronica Cross, Carla Gannis, Tina La Porta, Joan Linder, Norma Markley, Leemour Pelli, Catya Plate, Gae Savannah, Diana Shpungin & Nicole Engelmann, Maria Spector, Ginna Triplett, Marina Tsesarskaya, Deborah Wasserman.
Nosei Galllery, 530 West 22nd Street, New York, May 26–June 26, 2004

MARKET VALUE, Cuchifritos, 120 Essex Street, New York. May 15-July 26, 2004.



(B) LONGING curated with Anat Litwin. Makor-Steinhardt Center of the 92nd Street Y, 35 West 67th Street, New York, April 27-June 6, 2004



VOID, Educational Alliance Gallery, 197 East Broadway, New York. Feb 5-March 20, 2004

AILLINN BRENNAN: DYSTOPIAN PAINTINGS, Lifespace, Long Island City, New York, January 31-February 28, 2004


2003

ERWIN REDL: LIGHT INSTALLATIONS & DRAWINGS, Riva Gallery, 529 West 20th Street, New York, November 21, 2003–January 7, 2004







ID_ENTITY, Nurture Art, 475 Keap Street, Brooklyn, New York. September 19-November 16, 2003

CARTOON, Riva Gallery, 529 West 20th Street, New York. June 12–August 9, 2003

CURATORS CHOICE, Curated with Nicola Jasek Lorenz, Artists Alliance Inc, 107 Suffolk Street, Studio 410, New York. May 17-May 31, 2003

LIMINAL, University of Massachusetts at Amherst. March 27–April 30, 2003.

PRESENCE, Scope Art Fair, The Dylan Hotel, 52 East 41st Street, New York, March 7-March 10, 2003



2002

SOME (ARE) PAINTING II, The Educational Alliance, 197 East Broadway, New York. December 21, 2002–January 24, 2003


ANYWHERE BUT HERE Curated with Pete Lasell at MediaMerge, 450 West 41 #414, New York, November 15–December 13, 2002.

SOCIAL SPACE, Cuchifritos, 120 Essex Street, New York, October 26–November 30, 2002

OPEN VIEW, Artists Alliance, 107 Suffolk Street, New York, October 19–November 30, 2002.

BODIES & FORMS, John Eicher Studio, 68 Jay Street, Brooklyn NY, October 19-20, 2002.

EROTIKA, Riva Gallery, 529 West 20th Street, New York, July 11-Aug 10, 2002.


2001

THE BODY OR THE LANDSCAPE, Artists Alliance, 107 Rivington Street, New York, October 13-November 18, 2001.

LIMINAL, The Space @ Media Triangle, 640 Broadway, New York, September 21–October 13, 2001.

SELECTED AFFINITIES, Planet Thailand, 133 North 7th Street, Brooklyn, New York, June 18–October 18, 2001.

SOME (ARE) PAINTING, John Gibson Gallery, 568 Broadway, New York, June 9–July 21, 2001


2000

SUGAR+SPICE, The Space @ Media Triangle, 640 Broadway, New York, Nov 17–December 10, 2000.

BEAUTIFUL DREAMER

SOME BEAUTIFUL DREAMERS, Clockwise from center: David Gibson, Mary Ann Strandell, Ruth Waldman, Drew Shiflett, Tara Giannini, Mark Power, Karen Marston, Leemour Pelli, and Conrad Vogel



Elizabeth Huey: The Cyclothmic Forest, 2005, Courtesy Feigen Contemporary, New York


Catalogue essay accompanying the exhibition "Beautiful Dreamer" at SPACES, 2220 Superior Viaduct, Cleveland, Ohio, September 9 to October 23, 2005


The purpose of Beautiful Dreamer is to discover the inherent truths contained in art work that explores the fantastic, the ambiguous, the obscure, and the fanciful in order to gain perspective on agendas of contemporary art production and the contingencies of meaning which they share. This exhibition explores the context of romanticism in the situation of contemporary art, its roots in certain historical tendencies, its cultivation of a genre of inspiration, and the resulting variety of forms which emerge from it. A nearly paradigmatic sensibility serves not only as the means for creative expression in the arts, but also as the basis for revolutions in scientific, social, or political change. The "beautiful dreamer" of the title is both an archetype and a person, directed by a divine wish to connect with the inspirational elements in both conscious and unconscious endeavor that feed our dreams, and alternately, our ability to dream.







An interest in the fanciful and the fantastic leads into areas of introspection and wild conjecture that cultivate our desire to escape from the demands of quotidian existence. The artist creates a version of the world that can be laid over the real world, deceptively replacing it with a version which incorporates genres of ambiguity and agendas of aesthetic inquiry which both critique and subvert reality itself. These two terms--the fanciful and the fantastic--illustrate a variety of forms and expressions available to us in the realm of the unconscious where dreams and reveries first occur. Our memory of dreams, and the texture of that sort of experience, inspires us to reflect upon our conscious endeavor. The fanciful can best be described as that order which compares to an experience of beauty, of its tendency to charm and compel us, and is realized in scenes where a romantic sensibility finds its most facile, nearly kitsch interest (i.e. scenes from a bygone past, ranging from Medieval to Victorian models) which encourages a form of escapism from the mundane that finds its best response in a fulfillment of such ends. The fantastic, on the other hand, refers to a forward-looking worldview, in which vistas of unknown character and dimension are sought out, and all that holds them together is the moral aspect with which we conduct ourselves. This genre of inspiration is best illustrated in terms of science fiction and the metaphysical continuum which radically intertwines in this specific context with the quality of adventurous experience that it makes possible.





The ambiguous and the obscure also contribute heavily to our understanding of the nature of inspiration, yet in fairly oblique ways. Their immediate effect is one of being overwhelmed by mystery, or by the details, whether the forms communicating them emerge from the unconscious, as in the paintings of Salvador Dali, or travel to us from faraway lands, as in the exotic influences of Asian or Middle-Eastern palaces and landscapes. The artists I have chosen for this exhibition all express a rigor of reverie-a formal focus combined with and constrained by an intensity of vision which is unencumbered by ulterior agendas whether they be personal, political, or unconscious.





Themes and agendas consistent to the many bodies of work comprising this exhibition include: an engagement with the unknown; the imposition of aesthetic absolutes; the dramatization of psychological landscapes; and building a visual context to the collective unconscious. Such themes are both process and product, and alternately they contribute to the same source from which they draw their initial energies. The overall agenda of romanticism holds sway in each case, emboldened by the separate goals which independent artists provide for its envisioning. In order to better comprehend the utility of each of these themes, one can view the artists participating in Beautiful Dreamer as active practitioners in expanding the influence of romanticism, though it may radically depart from its original meaning in art history.

Use of the body as a means of experiencing the realm of the senses leads us directly into confrontations with nature and its capacity to charm and even befuddle the senses, contrasted with its equal capacity to overwhelm and awe us with its random complexity and power. We have at our disposal a highly idiosyncratic sense of body-image, through which various artistic expressions may seem manifest or merely suggestive of common powers. What we encounter depends upon our perspective. The poured acrylic paintings of Peggy Bates, for instance, recall experiences with various naturally occurring bodies of water. The process of making these paintings is heavily invested in the liquid qualities of her medium, as well as in an evocation of the sensory engagement with the natural environment and the intuitive response which it triggers in us. The digital collages of Sandra Bermudez combine the visceral quality of the female body with its reflection in the workings of organic nature. Subtly illustrated human forms (the artist as a Latino burlesque dancer in full regalia of boa feathers) stand in for the flower or fruit on a tree limb. The drawings of Ruth Waldman create a tapestry of bodies that interact to produce a state of tension, with biomorphic creatures whose relationships are simultaneously symbiotic and antagonistic. These precariously balanced creatures are subject to forces on a larger, unseen scale. Similarly symbolic, though also didactic, the word paintings of Liz-N-Val represent a form of idealism approaching a metaphysical sublime. With words traveling along all lines of sight to the distant horizon, they symbolize the role of language in passing through time and space to a great yet unknown destiny.

Another theme is characterized by the use of textile or media-influenced constructions, in which artists such as Katherine Daniels, Tara Giannini, Gae Savannah, Alexander Reyna, and Tim Rollins impart a web of sensations that connect us to knowledge through beauty or adornment. Materials such as: Indian and Asian cloth; immense beaded structures;curiosity cabinets filled with taxidermied animals; feathers and glitter; a pastiche of media-inflected events and comic book styles; all are indicative of an attempt to overwhelm our naturally intuitive disposition with details and aesthetic associations that are more often than not unconscious in nature. Despite our tendency to react to such stimuli with pleasure or circumspection, we are at the mercy of a range of impressions that precede conscious enjoinder between the facts and the appreciation of sublime reality.

Narratives are often the best way to relate to the expressions of romantic nature, as truth easily emerges from the process of storytelling as well as in the structure or rhythm of the facts, which alternate between the specific and the ineffable. A narrative may be mainly emotional and yet by the range of imagery or the tone of its presentation may also fulfill initial expectations on the part of the witness. Artists such as Amy Chaiklin, Carla Gannis, Elizabeth Huey, Kim Keever, Dean Monogenis, Leemour Pelli, and Conrad Vogel all invest their work highly within the context of narrative, whether to impart a mediated symbolic order in the place of idiosyncratic meaning, or to layer personal experience alongside or within images that have been psychologically acquired from mass media, other artists, and the manifestation of experiential landscapes. Despite the absence of human figures (whether describing real places, agglomerations of linked and culturally loaded imagery or scenes out of the ether of memory) the process of their development from image to fact enlarges the context of our introspective understanding of how narratives succeed.

Finally and cumulatively, the realizations of visual manifestations that allow us to peer into the collective unconscious are at hand in the work of artists such as Maureen Connor, Marcella Hackbardt, Karen Marston, Russell Nachman, Mark Power, Raven Schlossberg, and Drew Shiflett. Each of these artists generates a body of work that is different from the others, but shares a commonality in their formal concerns operating in the direction of the unconscious rather than at the expense of it. The works themselves may utilize a variety of methods, such as: theater sets and video; digital or manual collage; paintings depicting characters from childhood stories made palpably adult; highly concentrated and metaphysically intense scenes that contain a multitude of cross-referenced cultural motifs; and sculptures which alternately sample and illustrate the formal recognition that accompany loaded architectural or utilitarian objects. Yet what they maintain is a distinct imperative grounded in a trust of unconscious accrual of meaning dependent solely upon the range of applicable allegory in any given interpretation.

The romantic spirit infuses a broad range of expressions in contemporary art practice responding to the current era both in terms of art history and actual history, and all of the currents which run between them. It inhabits the tenor of its own age, in which artists may act as arbiters of social justice or aesthetic critique yet maintain the integrity of the creative act as a means for personal expression. The idiosyncrasy of these artists is reflective of the idiosyncrasy of the current era, in which many visions combine to form the world. The dreamers are beautiful and because of them, our future remains bright.





KIM KEEVER

MARY ANN STRANDELL

AMY CHAIKLIN

Reviews of exhibition during its run

“On View” by Zachary Lewis, CLEVELAND SCENE

“Perchance to Dream: Nocturnal fantasies enchant in Spaces’ Beautiful Dreamer” by Lyz Bly, CLEVELAND FREE TIMES

“Beautiful Dreamer awakens Romantics” by Dan Tranberg, THE PLAIN DEALER

EXHIBITION & EVENT ARCHIVE

EXHIBITIONS

104. I’D LIKE TO TEACH THE WORLD TO PLAY curated by Playspace Projects. September 11-October 31, 2009. Brooklyn Artillery at The Castle Braid Lofts, 114 Troutman Street, Brooklyn, New York. Dianne Bowen, Marcy Brafman, Jennifer Burbank, Amy Chaiklin, Vincent Ciniglio, Barrie Cline, Katherine Daniels, Linda Griggs, Moira McDonald, Meggan Thompson

103. BETTER HALF. September 10-October 26, 2009. The Educational Alliance, 197 East Broadway, New York. Chris Bors and Ketta Ioannidou, Jennifer Burbank and Chris Coffin, Daniel Davidson and Tricia Keightley, Linda Ganjian and Jesse Lambert, Liz-N-Val, LoVid, Don Porcaro and Leslie Wayne

102. PAPER IN THE WIND. July 9-July 31, 2009, 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

101. MY HEROES. June 26 - July 12, 2009, Jack The Pelican Presents, 487 Driggs Avenue, Brooklyn, New York. Zac Braun, Amy Chaiklin, Alicia Gibson, James Gilroy, Rebecca Goyette, Scott Kiernan, Tine Kindermann, Liz-N-Val, Rachelle Mozman, Grace Roselli, Rosemary Taylor

100. POOL ART FAIR 2009. March 6-March 8, 2009. The Wyndam Garden Hotel, 37 West 24th Street, New York. 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

99. SIGHT MAPPING curated with Trevor Richardson. January 30-March 1, 2009. Herter Gallery, University of Massachusetts, 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, Danielle Tegeder, Dan Zeller.

98. TALENT SHOW 2008. Juried exhibition with Klaus Postler. November 8-December 7, 2008. Hampden Gallery, University of Massachusetts, Amherst. Cortney Andrews, Matt Bollinger, Liz Chalfin, Willson Cummer, Lisa Elmaleh, Meghan Gordon, Asia Ingalls, Deb Karpman, Sara Klar, Elizabeth Kellogg, Jamie M. Lee, Dot Szemiot, Ruth Waldman, Angela Zamarelli.

97. PEGGY BATES. October 16-November 9, 2008. Gallery Thomas Jaeckel, 532 West 25th Street, New York

96. BEAUTY’S BURDEN curated by David Gibson & Jennifer Junkermeier. September 18-October 28, 2008, Ernest Rubenstein Gallery, The Educational Alliance, 197 East Broadway, New York. Bethany Bristow, Bonnie Collura, Gabert Farrar, Limor Gasko, Scott Kiernan, Karen Marston, John O’Brien, Sono Osato, Meridith Pingree, Richard Schort, Fumiko Toda

95. SCOTT KIERNAN: Very Special Ops, curated by Jenny Junkermeier. September 13-30, 2008. Realform Project Space, 218 Bedford Avenue, Brooklyn.

94. BOUNDLESS: John Berens and Abshalom Jac Lahav. September 4-October 4, 2008. 532 Gallery Thomas Jaeckel, 532 West 25th Street, New York

93. PAPER IN THE WIND 2. August 9-September 7, 2008. Realform Project Space, 218 Bedford Avenue, Brooklyn. Susan Breitsch, Caroline Burton, Amy Chaiklin, Veronica Cross, Katherine Daniels, Alicia Gibson, Isolde Kille, Jac Lahav, Yuliya Lanina, Norma Markley, Mary Murphy, Sandra Mack-Valencia, Geoffrey Miller, Grace Roselli

92. PAPER IN THE WIND. July 5-August 3, 2008. Realform Project Space, 218 Bedford Avenue, Brooklyn. Christie Blizard, Jordan Buschur, Gulsen Calik, Cathleen Cueto, Sophia Flood, Deb Karpman, Sarah Olson, Steve Page, Richard Schort, Jenn Sitron, Austin Thomas, Fumiko Toda, Kathleen Vance

91. LING CHANG: The Curious Lore of Precious Stones, May 31-June 30, 2008. Realform Project Space, 218 Bedford Avenue, Brooklyn

90. MARCY BRAFMAN: Truth or Consequences, May 15-June 15, 2008. Gallery Thomas Jaeckel, 532 East 25th Street, New York.

89. MARY MURPHY: Fools for Lust, April 26-May 25, 2008. Realform Project Space, 218 Bedford Avenue, Brooklyn

88. DAVID ASKEVOLD / PETER HUTCHINSON, March 27-April 20, 2008. Gallery Thomas Jaeckel, 532 East 25th Street, New York.

87. MICHAEL YINGER: Another Drink And I Won't Miss Her, March 22-April 20, 2008. Realform Project Space, 218 Bedford Avenue, Brooklyn

86. JORDAN BUSCHUR: Idle Hands, February 16-March 16, 2008. Realform Project Space, 218 Bedford Avenue, Brooklyn

85. LOST HORIZON February 4-March 4, 2008. Herter Gallery, University of Massachusetts, Amherst. 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

84. TRUE TO FORM: Marcy Brafman, Jenny Carpenter, Mary Murphy. January 18-February 10, 2008. 532 Gallery/ Thomas Jaeckel, 532 East 25th Street, New York.

83. PAMELA GORDON: Mise-en-Scene. January 11-February 9, 2008. Realform Project Space, 218 Bedford Avenue, Brooklyn

82. MEGAN O’CONNOR: The Big Boat. November 16-December 29, 2007. Realform Project Space, 218 Bedford Avenue, Brooklyn

81. VICTORIA CALABRO: Orange. October 12-November 11, 2007. Realform Project Space, 218 Bedford Avenue, Brooklyn

80. MADE IN THE USA September 18-November 23, 2007. The Educational Alliance, 197 East Broadway, New York. Shelly Bahl, Ula Einstein, Nancy Friedemann, Tine Kindermann, Chang-jin Lee, Juri Morioka, Hannes Priesch, Flavia Souza, Yona Verwer.

79. LIZ-N-VAL: Of Cabbages and Kings September 7-October 7, 2007. Realform Project Space, 218 Bedford Avenue, Brooklyn,

78. MICHAEL NORKIN: Transparent July 8-August 26, 2007, Realform Project Space, 218 Bedford Avenue, Brooklyn, New York

77. GARDEN CONFRONTATIONS June 29-August 19, 2007, Dam Stuhltrager, 38 Marcy Avenue, Brooklyn, New York with Victoria Calabro, Chrissy Conant, Julianna Dail, Katherine Daniels, Mark Power

76. KAREN MARSTON: Breathing Room June 29-August 19, 2007, Dam Stuhltrager, 38 Marcy Avenue, Brooklyn, New York

75. BY INVITATION ONLY May 19-July 21, 2007, Kinz, Tillou & Feigen, 529 West 20th Street, 11th floor, New York with Marcy Brafman, Leemour Pelli, Mark Power, Raven Schlossberg, Conrad Vogel

74. JENNY CARPENTER: Madagascar May 11-July 1, 2007, Realform Project Spacem, 218 Bedford Avenue, Brooklyn, New York

73. JULIANNA DAIL: When Dorothy Met Alice March 30-April 29, 2007, Realform Project Space, 218 Bedford Avenue, Brooklyn, New York

72. SIGNS OF LIFE March 6-June 30, 2007, Article Projects at Planet Thailand, 133 North 7th Street, Brooklyn, New York with Jeanine Anthony, Jordan Buschur, Jamie Chiarello, Langdon Graves, Jesse Martin, John Monteith, Jac Lahav, Jeremy Olson, Purdy Eaton, Colette Robbins

71. EDUARDO CERVANTES: A New Man February 16-March 18, 2007, Realform Project Space, 218 Bedford Avenue, Brooklyn, New York.

70. TWILIGHT TIME January 6-February 11, 2007, Realform Project Space, 218 Bedford Avenue, Brooklyn, New York with Jamie Chiarello, Emmanuelle Gauthier, Liz Insogna, Michael Norkin, Jeremy Olson, Deborah Pohl, Grace Roselli, Michael Schall, Conrad Vogel

69. SQUARED December 6, 2006-January 11, 2007, The Educational Alliance, 197 East Broadway, New York with Peter Barrett, Caroline Burton, Jeff Feld, Danielle Mysliwiec, Keiko Narahashi, Mary Ann Strandell, Bradley Wester, John Zinsser

68. YULIYA LANINA: Play With Me October 27-December 31, 2006, Realform Project Space, 218 Bedford Avenue, Brooklyn

67. SUSAN HAMBURGER/CONRAD VOGEL: Recent Work September 27-October 21, 2006, Allen Priebe Gallery, The University of Wisconsin in Oshkosh

66. THE RAW AND THE COOKED September 21-October 29, 2006, Central & Hampden Galleries, The University of Massachusetts in Amherst with Victoria Calabro, Katherine Daniels, Marilla Palmer, Anna Pedersen, Mark Power, Diana Puntar, Carol Salmanson, Gae Savannah

65. JENNY CARPENTER: Branded July 21-September 30, 2006, Realform Project Space, 218 Bedford Avenue, Brooklyn

64. REBECCA HACKEMANN: Peek July 7-August 20, 2006, Dabora Gallery, 1080 Manhattan Avenue, Brooklyn

63. DEBRA STECKLER: Ordinary People April 21-May 21, 2006, Realform Project Space, 218 Bedford Avenue, Brooklyn

62. THE SOCIAL BODY April 8-May 21, 2006, Rocket Projects, 3440 North Miami Avenue, Miami with Kristin Anderson, Sandra Bermudez, Fritz Chesnut, Feral Childe, Carla Gannis, Morgan Hughes, Jennifer Karady, Holly Lynton, Leemour Pelli, Alexander Reyna, Raven Schlossberg, Diana Shpungin and Nicole Engelmann

61. NATIVE SPIRIT March 24-April 29, 2006, Supreme Trading, 213 North 8th Street, Brooklyn with 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.

60. HOME BASE Curated with Anat Litwin, March 1-March 30, 2006, 126 Greenpoint Avenue, Brooklyn with Diane Apostolacus, Marcy Brafman, Robert Grant, Mark Power

59. TARA GIANNINI: Little Vanities, February 24-April 9, 2006, Realform Project Space, 218 Bedford Avenue, Brooklyn

58. ROBERT GRANT: Roberta's Revenge, January 20–February 19, 2006, Realform Project Space, 218 Bedford Avenue, Brooklyn

57. GAE SAVANNAH: A Fool and his Froth Are Soon Parted January 6-February 12, 2006, Dam Stuhltrager Gallery, 38 Marcy Avenue, Brooklyn

56. LINDA BYRNE: Recycling Nature December 9, 2005-January 15, 2006, Realform Project Space, 218 Bedford Avenue, Brooklyn

55. CONRAD VOGEL: Adventures from the Past November 4–December 4, 2005, Realform Project Space, 218 Bedford Avenue, Brooklyn

54. PHOTO NEW YORK October 6-9, 2005, The Metropolitan Pavilion, 125 West 18th Street, New York with Elizabeth Hendler, Les Joynes, Jennifer Karady, Keren Moscovitch, Jenn Miller.

53. MELANIE VOTE: The Lap-Top Series September 30–October 30, 2005, Realform Project Space, 218 Bedford Avenue, Brooklyn

52. BEAUTIFUL DREAMER September 9–October 21, 2005, SPACES Inc, 2220 Superior Viaduct, Cleveland, Ohio with Peggy Bates, Sandra Bermudez, Amy Chaiklin, Maureen Connor, Katherine Daniels, Michelle Dicello, Jonathan Feldschuh, Carla Gannis, Tara Giannini, Marcella Hackbardt, Elizabeth Huey, Kim Keever, Craig Kucia, Liz-N-Val, Karen Marston, Dean Monogenis, Russell Nachman, Anna Pedersen, Leemour Pelli, Mark Power, Alexander Reyna, Tim Rollins, Gae Savannah, Raven Schlossberg, Drew Shiflett, Mary Ann Strandell, Conrad Vogel, Ruth Waldman

51. MARCY BRAFMAN: Face Value August 26–September 25, 2005, Realform Project Space, 218 Bedford Avenue, Brooklyn

50. VERONICA CROSS: Homecoming July 22–August 21, 2005, Realform Project Space, 218 Bedford Avenue, Brooklyn

49. SARAH TRIGG: Some Economic Tissues June 17–July 17, 2005, Realform Project Space, 218 Bedford Avenue, Brooklyn

48. EVERLAND June 10-July 23, 2005, Annina Nosei Gallery, 530 West 22nd Street, New York with Peggy Bates, Erik Benson, Sandra Bermudez, Nancy Friedemann, Linda Ganjian, Kim Keever, Dean Monogenis, Russell Nachman, Mark Power, Raven Schlossberg, Ruth Waldman.

47. NURTURING THE NEW 2005 June 6, 2005, Nurture Art Annual Benefit at Spike Gallery, 547 West 20th Street, New York with Amy Chaiklin, Carla Gannis, Norma Markley, Leemour Pelli, Catya Plate, Maria Spector, Ginna Triplett, Marina Tsesarskaya, Deborah Wasserman

46. KATHERINE DANIELS: Window Box Arabesque May 13–June 12, 2005, Realform Project Space, 218 Bedford Avenue, Brooklyn

45. GELAH PENN: On Dangerous Ground April 8–May 8, 2005, Realform Project Space, 218 Bedford Avenue, Brooklyn

44. CULTURE VULTURE April 1–May 1, 2005, Jack The Pelican Presents, 487 Driggs Avenue, Brooklyn with Sandra Bermudez, Marcy Brafman, David Henry Brown Jr, Amie Cunningham, Katherine Daniels, Emanuelle Gauthier, Susan Hamburger, Karen Heagle, Elizabeth Huey, Dean Monogenis, Russell Nachman, Diana Puntar, Alexander Reyna, Gae Savannah, Raven Schlossberg, Philip Simmons, Cindy Tower, Ginna Triplett, Conrad Vogel

43. MARY ANN STRANDELL: The Moving Wall February 25–March 27, 2005, Realform Project Space, 218 Bedford Avenue, Brooklyn

42. CINDY TOWER: Road Show January 21–February 20, 2005, Realform Project Space, 218 Bedford Avenue, Brooklyn

41. LOST IN PLACE January 12–March 27, 2005, Planet Thailand, 133 North 7th Street, Brooklyn with Aillinn Brennan, Patty Cateura, Mariestella Colon-Astacio, Karen Marston, Juri Morioka, John Mullen, Carol Salmanson

40. KIM CONNERTON: Nico December 17, 2004–January 16, 2005, Realform Project Space, 218 Bedford Avenue, Brooklyn

39. KRISTIN ANDERSON: The Block Where I Grew Up November 12–December 12, 2004, Realform, 218 Bedford Avenue, Brooklyn

38. FLAVIA SOUZA: Struggle in Paradise Curated by Kim Connerton, November 12–December 12, 2004, Realform, 218 Bedford Avenue, Brooklyn

37. RUTH WALDMAN: Drawings October 8–November 7, 2004, Realform Project Space, 218 Bedford Avenue, Brooklyn

36. INTIMACY September 23–October 24, 2004, Brooklyn Fireproof, 101 Richardson Street, Brooklyn with Sandra Bermudez, China Blue, Kim Connerton, Annette Cyr, Jen Denike, Carla Gannis, Elizabeth Hendler, Amy Jenkins, Jennifer Karady, Alexis Karl, Norma Markley, Leemour Pelli, Gae Savannah, Raven Schlossberg, Roxanne Wolanczyk

35. DIANA SHPUNGIN & NICOLE ENGELMANN: Second Generation Ego September 16–October 14, 2004, Hampden and Central Galleries, University of Massachusetts, Amherst

34. LIZ-N-VAL: Downpour September 3–October 3, 2004, Realform Project Space, 218 Bedford Avenue, Brooklyn

33. BEAUTIFUL GROTESQUE Curated with Anjali Suneja, June 24-July 31, 2004
Riva Gallery, 529 West 20th Street, New York with Reed Anderson, Hans Bellmer, Jeanne Dunning, Philip Guston, Mike Kelley, Tony Matelli, David Nicholson, Leemour Pelli, Andres Serrano, Ginna Triplett, Joel-Peter Witkin.

32. NATASHA SWEETEN: A Mini Retrospective June 18-July 25, 2004, Realform Project Space, 218 Bedford Avenue, Brooklyn

31. VISIONARIES Curated with Anat Litwin, June 13-August 1, 2004, Makor Gallery, 35 West 67th Street, New York with Miriam Cabessa, Offri Cnaani, Zachary Harris, Raffael Lomas

30. LEEMOUR PELLI: From The Heart May 26–June 26, 2004, Annina Nosei Galllery, 530 West 22nd Street, New York

29. MARKET VALUE May 15-July 26, 2004, Cuchifritos Art Space, 120 Essex Street, New York with Kristin Anderson, Marcy Brafman, David Henry Brown Jr, Heidi Cody, Rainer Ganahl, Susan Hamburger, Marni Kotak, Lisa Levy, Daniel Mirer, Ester Partegas, Alexander Reyna, Tom Schreiber.

28. LAURA FAYER: Rapt May 7-June 13, 2004, Realform Project Space, 218 Bedford Avenue, Brooklyn

27. B-LONGING Curated with Anat Litwin, April 27-June 6, 2004, Makor Gallery, 35 West 67th Street, New York with Janice Caswell, Ralph Hassard, Deborah Wasserman

26. MARCY BRAFMAN: Negative Reciprocal April 2-May 2, 2004, Realform Project Space, 218 Bedford Avenue, Brooklyn

25. CAROLINE BURTON: Window Works February 13–March 21, 2004, Realform Project Space, 218 Bedford Avenue, Brooklyn

24. VOID February 5-March 20, 2004, The Educational Alliance, 197 East Broadway, New York with John Beech, Erik Benson, John Berens, Janice Caswell, Takuya Chikushi, Tamara Gayer, Claire Moore, Patrick Meagher & Dave Shim, John Mullen, Lizzie Scott, Jenny Vogel, Mark Woods.

23. AILLINN BRENNAN: Dystopian Paintings January 31-February 28, 2004, Lifespace Gallery, Long Island City, New York

22. MICHAEL NORKIN: Varying Expanses January 9–February 8, 2004, Realform Project Space, 218 Bedford Avenue, Brooklyn

21. AMY CHAIKLIN: Portals of Truth December 5, 2003–January 4, 2004, Realform Project Space, 218 Bedford Avenue, Brooklyn

20. ERWIN REDL: Light Installations and Drawings November 21, 2003–January 7, 2004, Riva Gallery, 529 West 20th Street, New York

19. CYNTHIA HARTLING: Paintings October 24-November 30, 2003, Realform Project Space, 218 Bedford Avenue, Brooklyn

18. ID_ENTITY September 19-November 16, 2003, Nurture Art Inc, 475 Keap Street, Brooklyn with Sandra Bermudez, Amy Chaiklin, Chrissy Conant, Veronica Cross, Carla Gannis, Tina La Porta, Joan Linder, Norma Markley, Leemour Pelli, Catya Plate, Gae Savannah, Diana Shpungin & Nicole Engelmann, Maria Spector, Ginna Triplett, Marina Tsesarskaya, Deborah Wasserman.

17. MARK POWER: New Sculpture September 12-October 19, 2003, Realform Project Space, 218 Bedford Avenue, Brooklyn

16. GRACE ROSELLI: Drawings August 9-September 6, 2003, Realform Project Space, 218 Bedford Avenue, Brooklyn

15. CARTOON June 12-August 9, 2003, Curated with Charles Riva, Riva Gallery, 529 West 20th Street, New York with Henry Darger, James Esber, Wayne Gonzales, Ray Johnson, Mark Kostabi, Joan Linder, Bernhard Martin, Takashi Murakami, Tom Sachs, Kenny Scharf, Flavia Souza, Ginna Triplett, Marc Dean Veca, Andy Warhol.

14. CURATORS CHOICE May 17-May 31, 2003, Curated with Nicola Jasek, Artists Alliance Inc, 107 Suffolk Street, New York with Carla Gannis, Mandy Morrison, Diana Puntar, Jeff Feld, Robyn Jordan

13. LIMINAL II March 27–April 30, 2003, Hampden Gallery, University of Massachusetts in Amherst. Peggy Bates, Miriam Cabessa, Janice Caswell, Carter Hodgkin, Laura Lobdell, Anna Pedersen, Erwin Redl, Drew Shiflett, Sonita Singwi, Lisa Stefanelli

12. PRESENCE March 7-March 10, 2003, Scope Art Fair at The Dylan Hotel, 52 East 41st Street, New York with Andi Archer, Miriam Cabessa, Andrea Champlin, Amanda Church, Suzan Dionne, Carla Gannis, Cynthia Hartling, Carter Hodgkin, Alexis Karl, Masayuki Kawai, Tina La Porta, Elissa Levy, Laura Lobdell, Holly Lynton, Margalit Mannor, Michael Norkin, Sharon Paz, Anna Pedersen, Leemour Pelli, Mark Power, Diana Puntar, Alexander Reyna, Ginna Triplett

11. SOME (ARE) PAINTING II December 21, 2002–January 24, 2003, The Educational Alliance, 197 East Broadway, New York with Peggy Bates, Aillinn Brennan, Andrea Champlin, Andrew Chesler, Amanda Church, Elizabeth Cooper, Laura Fayer, Jonathan Feldschuh, Bob Griffin, Joyce Kim, John Mullen, Anna Pedersen, Lisa Stefanelli, Sarah Trigg

10. ANYWHERE BUT HERE November 15–December 13, 2002, Curated with Peter Lasell at MediaMerge, 450 West 41st Street, New York with Andrea Champlin, Bob Griffin, Pete Lasell, Sharilyn Neidhardt, Mark Power, Katherine Powers, Gae Savannah, Julio Soto, Zander Reyna

9. SOCIAL SPACE October 26–November 30, 2002, Cuchifritos Art Space, 120 Essex Street, New York with Carrie Dashow, Devon Dikeou, Jill Epstein, Matthias Geiger, Tali Hinkis, Joni Lane, Susan Leopold, Mandy Morrison, Coralee Rose, Lizzie Scott, Patricia Smith

8. OPEN VIEW October 19–November 30, 2002, Artists Alliance Inc, 107 Suffolk Street, New York with Leah Bendahan, Marcy Brafman, Diane Lowy, Sharilyn Neidhardt, Linda Obuschuska.

7. BODIES & FORMS October 19-20, 2002, John Eicher Studio, 68 Jay Street, Brooklyn with Amy Chaiklin, Veronica Cross, Elissa Levy, Michael Norkin, Leemour Pelli, Rachel Youens

6. EROTIKA July 11-August 10, 2002, Riva Gallery, 529 West 20th Street, New York with Alicia Ackerman, Jane Benson, Joanna Hoar, Tina La Porta, Tracy Nakayama, Raven Schlossberg, Su-en Wong, and curated with Charles Riva: Maryse Alberti, Dinos and Jake Chapman, Augusto Canedo, Katrin Fridriks, Margreet Baltius, David La Chapelle, David Levinthal, Warren Neidich, Kiki Seror, Andres Serrano, Tim Sobieski-White, Wulf Treu

5. THE BODY OR THE LANDSCAPE October 13-November 18, 2001, The Artists Alliance Inc, 107 Rivington Street, New York with Alicia Ackerman, Sandra Bermudez, Amy Chaiklin, Jeanne Costello, Jennifer DeNike, Laura Emrick, Limor Gasko, Alexis Karl, Lisa Kereszi, Peter Matra, Daniel Mirer, Jennifer Nehrbass, Leemour Pelli, Michele Peress, Grace Roselli, Raven Schlossberg, David Schulz, Cheryl Van Hooven, Carol Warner, Jill Waterman, Suzanne Wimmer

4. LIMINAL September 21–October 13, 2001, The Space @ Media Triangle, 640 Broadway, New York with Heike Bartels, Janice Caswell, Laura Lobdell, Christine Perrotta, Erwin Redl, Drew Shiflett

3. SELECTED AFFINITIES June 18–October 18, 2001, Planet Thailand,133 North 7th Street, Brooklyn with Marcy Brafman, Amy Chaiklin, Bob Griffin, Dan Levenson, Michael Norkin, Leemour Pelli, Tina Marie Poulin.

2. SOME (ARE) PAINTING June 9–July 21, 2001, John Gibson Gallery, 568 Broadway New York with Karen Arm, Peggy Bates, Orly Cogan, Elizabeth Cooper, Jonathan Feldschuh, Isolde Kille, Anna Pedersen, Lisa Stefanelli, Rachel Urkowitz

1. SUGAR+SPICE November 17–December 10, 2000, The Space @ Media Triangle, 640 Broadway, New York with Amy Chaiklin, Orly Cogan, Jen DeNike, Carla Gannis, Elissa Levy, Maripol, Norma Markley, Janet Pihlblad, Raven Schlossberg, Carol Warner, Charmaine Wheatley, Jessie Wolk.


EVENTS

1. REAL ART TODAY March 1, 2005 - Makor-Steinhardt Center/92nd Street Y, 35 West 67th Street, New York. Chrissy Conant, Jeff Feld, Charley Friedman, Deborah Garwood

2. REAL ART TODAY April 5, 2005 - Makor-Steinhardt Center of the 92nd Street Y, 35 West 67th Street, New York. Erik Benson, Susan Leopold, Gae Savannah, John Zinsser

3. REAL ART TODAY May 12, 2005 - Makor-Steinhardt Center/ 92nd Street Y, 35 West 67th Street, New York. Alexis Karl, Cheryl Van Hooven, Conrad Vogel, Ruth Waldman

4. REAL ART TODAY September 13, 2005 - Makor-Steinhardt Center/92nd Street Y, 35 West 67th Street, New York. John Berens, Nancy Friedemann, Kim Keever

5. REAL ART TODAY October 11, 2005 - Makor-Steinhardt Center/92nd Street Y, 35 West 67th Street, New York. Adam Cvijanovic, Jonathan Feldschuh, Mark Woods

6. REAL ART TODAY November 8, 2005 - Makor-Steinhardt Center/92nd Street Y, 35 West 67th Street, New York. Orly Cogan, Rebecca Hackemann, Dean Monogenis

7. REAL ART TODAY December 12, 2005 - Makor-Steinhardt Center/92nd Street Y, 35 West 67th Street, New York. Amy Chaiklin, Mike Cockrill, Leemour Pelli

8. REAL ART TODAY January 10, 2006 - Makor-Steinhardt Center/92nd Street Y, 35 West 67th Street, New York. "Identity Aesthetics--Exploring Humanity" with Kristin Anderson, China Blue, Rainer Ganahl, and Richard Humann.

9. REAL ART TODAY February 14, 2006 - Makor-Steinhardt Center/92nd Street Y, 35 West 67th Street, New York. "Significant Other--Collaboration and Collusion" with Feral Childe (Moria Carlson and Alice Wu) Marni Kotak, Lisa Levy, and Tom Schreiber

10. REAL ART TODAY: March 21, 2006 - Makor-Steinhardt Center/92nd Street Y, 35 West 67th Street, New York. "Artifice Analysis--Between Art and Science" with Mark Esper, Carter Hodgkin, and Michael Rees

11. REAL ART TODAY: April 11, 2006 - Makor-Steinhardt Center/92nd Street Y, 35 West 67th Street, New York. "Inner Depth--The Body as Muse" with Andrea Cote, Charley Friedman, Karen Marston, and Oriane Stender

12. REAL ART TODAY: May 9, 2006 - Makor-Steinhardt Center/92nd Street Y, 35 West 67th Street, New York. "Beauty's Burden--The New Romanticism" with Katherine Daniels, Margaret Lanzetta, Marilla Palmer, and Gae Savannah

13. ARTIST SALON: JOSH PETERS June 21, 2007 - Terminal Warehouse Chelsea, 269 Eleventh Avenue, New York

14. MADE IN THE USA: ARTISTS ROUNDTABLE October 16, 2007 - The Educational Alliance, 197 East Broadway, New York. "The American Tapestry--Designing Identity" with Tine Kindermann, Juri Morioka, Flavia Souza, and Yona Verwer.

15. THE SKYLIGHT READING SERIES, October 25, 2007 - The Educational Alliance, 197 East Broadway, New York. Featuring Steve Dalachinsky, Yuko Itamo, Jeff Wright

16. REALITY CHECKED, October 28, 2007. Panel discussion with Jeanette Cole and Tim Maul, Dorsky Gallery, 11-03 45th Avenue, Long Island City, New York.

17. ARTIST SALON: JOSH PETERS November 29, 2007. Thomas Jaeckel Gallery, 532 West 25th Street, New York