Tuesday, May 20, 2014

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



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

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

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

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

Saturday, March 22, 2014

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





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







Monday, September 23, 2013

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


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

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





















Thursday, April 04, 2013

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



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


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

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





































































Wednesday, January 23, 2013

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



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

Reception: Friday, March 1, 6-9 PM

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



SAMIRA ABBASSY



CHRISTINA DALLAS







HEIDI ELBERS







PIPPIP FERNER







LISA A. FOSTER







HILDE FRANTZEN




JENNY GRANBERRY






SOL KJOK







PIA KRABBEROD







HANNE LYDIA O. KRISTOFFERSEN 




HANNE LILLEE






ELISABETH FEROY LUND







MATTHEW LUSK











REBECCA MORGAN









LEEMOUR PELLI







MARK POWER










MARGRETA STOLEN








SARA TANDERO AND TINE ISACHSEN







JOHN TOMLINSON





SARAH VOGWILL

Saturday, October 06, 2012

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

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

Reception: Friday, Nov 30, 7-10 pm


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

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

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


Jonathan Feldschuh






MaDora Frey







Thomas Frontini





Carter Hodgkin





Elissa Levy







Anne Arden McDonald










Jeanne Tremel






Michael Zansky




















Thursday, June 21, 2012

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

Katherine Daniels / Tine Kindermann / Meghann Snow


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

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

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

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


MEGHANN SNOW





TINE KINDERMANN







KATHERINE DANIELS

Monday, June 11, 2012

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

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

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

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








AMANDA BROWDER









MEGAN HAYS







RACHEL DWAN

Friday, March 30, 2012

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

Marcy Brafman / Carrie Elston-Tunick / Lindsay Packer


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

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

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

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



CARRIE ELSTON TUNICK










LINDSAY PACKER









MARCY BRAFMAN


Thursday, April 07, 2011

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

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

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

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


MARGIE BLACK-STEINMANN


SARAH BLISS






MARCY BRAFMAN

ELISABETH CONDON


VINCE CONTARINO
BEATA DROZD
GABERT FARRAR
ALICIA GIBSON
CHAMBLISS GIOBBI
RACHEL GORCHOV

SUSAN HAMBURGER
DEB KARPMAN

PAUL LOUGHNEY

CYBELE LYLE

NORMA MARKLEY

CHRISTINA MASSEY

JOEL MORRISON

MARY MURPHY

JEREMY OLSON


LEEMOUR PELLI
LILLIANNA PEREIRA

MARY PINTO

HAGAR SADAN


CLAUDIA SPERRY


GINNA TRIPLETT