Wednesday, February 08, 2017

Feb 18, 3-5 pm: ARTIST TALK "What's Your Thicket? -- Abstraction and Crisis: A Conversation"


What's Your Thicket? 
Abstraction and Crisis: A Conversation  

Peter Bonner, Dianne Bowen
Claire Corey, Kylie Heidenheimer
Becky Yazdan, Raphael Zollinger
Moderated by David Gibson

Saturday, Friday the 18th from 3:00 to 5:00 PM

Concurrent with "Thicket" curated by David Gibson 
Station Independent Projects through February 26th, 2017
138 Eldridge Street, 2F,  NYC 10002

website / email

Gallery hours: Thursday to Sunday, Noon-6pm

Thursday, January 05, 2017

February 5-February 26, 2017: THICKET

"Calm" by Sophie Plimpton (2016)

featuring Peter Bonner, Dianne Bowen
Claire Corey, Roya Farassat, Kylie Heidenheimer
Seren Morey, Sophie Plimpton, Richard Rivera
Becky Yazdan, Raphael Zollinger

Station Independent Projects
138 Eldridge Street, New York
Opening Reception: Sunday, February 5, 6-8 PM

In the middle of the journey of our life
I found myself astray in a dark wood
where the straight road had been lost sight of.
How hard it is to say what it was like
in the thick of thickets, in a wood so dense and gnarled
the very thought of it renews my panic.
It is bitter almost as death itself is bitter.
But to rehearse the good it also brought me
I will speak about the other things I saw there.
--The Inferno by Dante Aligheri 

Uncertainty is the measure of engagement that people who grapple with the struggles of life undergo. The feeling of being trapped in difficulties, our strength lessened by limits imposed. Yet uncertainty can also make us question what matters, and those questions emerge as expressions of identity. These expressions are a chance to be daring. So Dante is daring when he enters Hell to search for his beloved Beatrice.

The forest is supposed to symbolize innocence, a primeval space hidden from the peering eyes of civilized authority. It has also been the stage of rituals by Druidic priests, early celtic religions that preceded Christianity by a millennium. Man did not come down from the mountains but out of the forests, and in a thicket we have mysterious exceptions to the cleared lands that became farms, towns, and cities. The aesthetic of thickness or lushness originates out of an experience, less and less common, of nature in excess. These days, as reality TV interacts with the journalistic genre of wilderness, with sociologically diverse communities that are consistent to wildlife communities, and with the subsequent international crisis of climate change, the theme of nature as a direct model for artistic expression has become widespread.

THICKET engages with visual complexity and obscurity as an expression of a connection with the primeval depths of origin. I have been thinking about where we come from, as individuals, as a species, and mythically. We are constantly emerging from the darkness of identity. It explores abstract or ambiguous space as traditionally defined by late Modern Abstraction from Kandinsky to Pollock. This is typically characterized by the use of either expressive marking or layers of opacity, creating either a dense or diffuse palimpsest of detail and meaning. At some point it also departs from the painterly into mixed media assemblage, sculpture, and digital media, expanding upon the reception of denseness while at the same time accruing its cultural value.

David Gibson is a curator of thematic group exhibitions since 2000 and a writer on the visual arts and literature since 1996. He has a personal history in the New York professional art world, and has curated, taught, and lectured at a number of nationally located art galleries and state universities. He currently holds forth at THE GIBSON REPORT at








Wednesday, May 11, 2016

May 11-June 5, 2016: PHOTO-FINISH

HOLLY LYNTON: Shorn (2011), C-print, 30 x 40 inches

featuring Kristin Anderson, Christine 
Callahan, Bil Durgin, and Holly Lynton

Station Independent Projects
138 Eldridge Street, Suite 2N.

Reception: Wednesday, May 11, 6-9 PM

Photographs tell the truth. That has always been their role, and their burden at times when art needed them to do otherwise. In order to tell a story the photograph often has to diverge from its prosaic role as the purveyor of straightforward meaning. What we view in a photograph may often seem to present a situation or scene in which we could easily place ourselves, yet their very details—facts to an untrained eye—are chosen because they fulfill an aesthetic idea that is not stated. As the artistic practice of photography has evolved, with technological advancements filtering into the presentational mode of exhibitions, it has become more common to read the topical fabric of the picture as a poetically driven moment captured first by the camera itself, second by its author’s creative pruning, and finally by the responsive intelligence of the viewer. 

The artists in PHOTO-FINISH each have reasons or objectives that mold the sense of purpose inherent to their work. Their oeuvres are not limited to a single message, but to the texture of meaning fulfilled by the veracity of their indivdual visions. Kristin Anderson documents the hidden realm of appearances by which tourists seeking to obsessively document relics or sites in the Holy Land are reduced to a single motive: devotion. Christine Callahan mines the lost register of emotional reflection in her series “Edge of Happiness” in which chance encounters with spaces and perspectives open up the potential for discovery so that form, light, and connection to place can bring knowledge and joy simultaneously. Bill Durgin explores the loaded genre of the human nude in set pieces that explode perception, heightening sensuality while complicating the voyeuristic aspects so that beauty becomes part of an equation whose solution is obscure at best. Holly Lynton explores rural communities that struggle to maintain their agarian traditions, balancing both a domination of, and a surrender to, the natural life all around them.   

Friday, January 08, 2016

January 8-February 7, 2016: THE ANGEL OF HISTORY

  featuring Michael Alan, Michele Basora
Vincent Ciniglio, Roya Farassat, Gentleman's Game
Norma Minkowitz, Alfred Steiner

Station Independent Projects
138 Eldridge Street, Suite 2N

I have consistently observed how artists are fascinated by the models of antiquity, and how they each in their own way engage with the iconology of the past as a means of creating the future. Cumulatively they fill the current historical moment with a wealth of imagery culled from the depth and breadth of their personal influences, their passion for figure, form, color, and detail, and their perspective on how the past builds the present with the future always a sidelong glance. Making work that is both historically significant, idiosyncratic enough to be considered a personal signature, and accruing meaning in a contemporary context are all part of the appeal of such work. Establishing the appeal of timeless genres such as narrative or iconological representation that are inherently mythical, either in a scene or the depiction of an effigy or symbol, collaged, drawn, etc.

The artist has repeatedly been caricatured as a sneering rebel, living an existence parallel to but remarkably different from everyday society. What truly differentiates the artist from others is their ability to penetrate the fabric of the real or the normal and perceive its connection to myriad influences, many of which can only be found by looking into the past. So much has been made, via Modernism, of the concept that the artist just necessarily be concerned with, as Ezra  Pound said, "making it new," that what is left unobserved in their cumulative oeuvres is where their influences, and their very specific affinities, originate. Each of us brings a legacy from our background to bear upon our aspirations and accomplishments. But the artist is able to look beyond personal drives to seed the field of imagination with subjects and methods that set them apart from other creative individuals. The ferment of communal or epochal values leads each one through a labyrinth of means versus ends.  

Friday, May 23, 2014

May 23 to July 2, 2014: ITNESS

featuring Madora Frey, Nicola Ginzel
Heide Hatry, Seren Morey, and Fawn Krieger

Trestle Gallery, 168 Seventh Street 3rd Fl, Brooklyn

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.

Thursday, April 10, 2014

April 10-May 9, 2014: THE PRESENCE OF ABSENCE

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

Skylight Gallery

538 West 29th Street, New York 

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.

Thursday, October 24, 2013

October 24-November 30, 2013: EARTHWARD

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

 Skylight Gallery
538 West 29th Street, New York
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.

Wednesday, May 22, 2013

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

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

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

Friday, March 01, 2013

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

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

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

Saturday, October 06, 2012

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


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. 

Friday, June 08, 2012

THE PUBLIC SECRET @ Dino Eli Gallery, 81 Hester Street | New York, June 8-June 30, 2012

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?

June 8-14: Marcy Brafman, Carrie Elston-Tunick, Lindsay Packer

June 15-21: Amanda Browder, Rachel Dwan, Megan Hays

June 22-30: Katherine Daniels, Tine Kindermann, Meghann Snow

Thursday, April 07, 2011

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


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

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

Tuesday, October 05, 2010

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

Courtesy Nicholas Robinson Gallery

Erik Benson, John Berens. Monika Bravo, Eduardo Cervantes, Sally Curcio, Jonathan Feldschuh, Laura Harrison, Madeleine Hatz, Jeff Konigsberg, Michelle Mackey, Dana Melamed, Dean Monogenis, Ross Racine, Asya Reznikov, Kristen Schiele, Kimberly Sexton, Philip Simmons, Mary Ann Strandell, Miryana Todorova, Michael Zansky, J.G. Zimmerman

“Lost Horizon” represents a critique of themes related to the professional practice and socialized ideal of architecture, its enveloping culture of construction, and the ironic ideals that emerge from assumptions of progress. Any context related to architecture is also related to urbanism or to the iconic status of buildings as well as to the transient nature of city living. The city is a landscape in a state of constant flux, first in terms of outward appearance or beauty, second in the power systems supported by these appearances, and third by the sense of space that is transmuted by the interaction of so many disparate forms of expression. The approach to an identifiable reality represented by the title of this exhibition is intentionally misleading. A play on words, the Lost in Lost Horizon is meant to imply an obscuring of truth rather than its being misplaced or misrepresented. There’s an old expression that “truth is in the details” but I believe that the details can lie and that truth in often hidden amongst them. The same is true of a city, it is such a large place or context that it hides many truths while seeming to signify one large truth about progress and what it means to us. 



Courtesy Bryce Wolkowitz Gallery





Courtesy Artist Pension Trust


Courtesy Priska C. Juschka Fine Art

Courtesy Collette Blanchard Gallery

Courtesy Like the Spice Gallery

Courtesy Nancy Hoffman Gallery

Courtesy Sloan Fine Art





Saturday, August 28, 2010

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


Christie Blizard and Steven Page, Stephanie Halmos, Cate Holt, Mary Murphy,Max Razdow, Adrianne Rubenstein, Hagar Sadan, Pam Saturday, Jennifer Shepard, Gabriel Shuldiner, Meg Thompson, Miryana Todorova and Ashley Omahne, Tyler Vipond, Sarah Vollman, Cay Yoon

School of Visual Arts (SVA) presents “Abstract Intentions,” an exhibition of work by former participants in the Summer Residency Programs in the Division of Continuing Education.  Curated by David Gibson, faculty member, and Keren Moscovitch, coordinator of the Summer Residency Programs.

“Abstraction is a verb, an activity, an action,” says Moscovitch in elaborating on the exhibition’s title. “These artists all use their materials in new and unexpected ways and create tools out of substance. The camera no longer captures what exists in the world, but takes advantage of optic and chemical processes to fool the eye into seeing pattern where none previously existed. Paint jumps off the canvas and contorts itself into sculpture. Object becomes line. Form opens up into meaning that is understood on a deep visceral level.”

Co-curator Gibson explains: “This is an exhibition about the idiosyncrasies of studio practice, about going into an empty room and gestating a work of art?something that did not exist before, something inspired, possibly elegant and unintended, before the moment that a space for creativity was available. The studio acts like a blank page in a typewriter, creating a void into which ideas can flow. The fact that it is both spatial and tactile creates a psychological directness which encourages innovation. This occurred to me in considering how so many people could enter the same space and see completely different things. Everywhere else in the city we are at the mercy of our senses, overwhelmed by noise, people moving about, sounds, smells. But the artist has a special way of looking at the world, an indirect and ambiguous way, devoid of sensibleness, looking into dark corners. The studio makes this possible.”

The exhibition includes a collaborative acrylic-on-wood work by Christie Blizzard and Steven Page that is the result of a long-distance correspondence between the two artists which began in 2007. Also on view is Stephanie Halmos’ photographic series Color Studies, in which the artist, inspired by the minimalist painters of the 1960s and 1970s, explores the basic elements of traditional photography: time and light. Cate Holt’s oil-and-charcoal painting Snogged is composed of layers of paint meant to give the viewer a sense of flesh and the body. Madison Omahne and Miryana Todorova’s video Cake Delivery chronicles a 2009 performance by the artists that engages the constant movement of New York City’s streets. Cay Yoon’s archival ink jet print Maladaptive examines identity in contemporary culture.

Among the other participating artists, Max Razdow makes paintings to explore psychic states, mining imagery from comic books, myth, dreams and fantasies. Hagar Sadan’s work takes the detritus of everyday life - such as garbage, shopping bags and receipts - and transforms it into a gestural and idiomatic language of form. Gabriel Shuldiner uses oil paint as his primary medium, either slathered over objects or applied to surfaces, with the intention of giving an earthy flesh to all manner of found objects, so that they can be viewed as fine art or trash. Meg Thompson mines the material folklore of so-called “Big Sky” country, a region in the Western U.S. characterized by the seasonal activities of animal husbandry and harvesting of crops, to build scenarios inside Mason jars that ask what it means to be American. Tyler Vipond makes collages that combine the abstract and decorative elements found in comic books and skateboards with taped lines that call attention to the negative space surrounding randomly selected and generally anonymous images of friends at parties.

The exhibition also includes work by Orla Campbell, Bill Durgin, Emily Henretta, Daniel Kayne, Mary Murphy, Cadine Navarro, Adrianne Rubenstein, Pam Saturday, Jennifer Shepard, and Sarah Vollman.

Now in its third decade, SVA’s Summer Residency Programs offer emerging and mid-career artists time, space and a supportive community in which to develop ideas and focus on their artistic direction. This internationally recognized program’s unique combination of creative and professional resources provides a rich environment for growth and opportunity in the current vibrant art scene.







Tuesday, June 29, 2010

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

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

Reception: Thursday, July 8, 6-8 PM

The promise of painting, especially abstract painting, has to do with its ability to take us into various models of the world. Each painter attempts to delineate a specific perspective on how matter is organized, how space is allotted, how color and light, depth and viscosity work to establish standards for understanding how the universe affects us. Each of the artists participating in “Some (Are) Painting” has achieved a level of mature investigation into such matters. Peggy Bates samples the constancy and depth of movement in natural bodies of water, manifesting how interior or elemental vibrations meet the specificity of mark-making; Barbara Campisi uses a landscaper’s tool to create spirit lines, not on a segment of physical territory, but on white boards and sheets of vellum, creating chromatically dynamic intervals with the syntactical quality of a musical caesura; Sean Greene mines the awkwardness and inherent frustration of youth to take gestures out of subversive activities such as graffiti tagging and skateboarding and gives them the mellifluous quality of calligraphy; Halsey Hathaway draws the vestigial space of the body into the void of the visual perception and esthetic space; Madeleine Hatz finds in real world materials such as oil, gold, brick, and the green dyes of dollar bills, creating heavy and allegorically overwhelmed abstract folds that reflect the chaos of contemporary society as well as its inherently obscure economic reality; these artists and the others whose works fill out this exhibition all succeed in manifesting a reality which accrues while it adds both truth and beauty to the already known, making the sensible fantastic and the useful a dream on its own terms.