Apr
11
to May 6

Abstraction At Large

Juried by Eleanor Heartney

About the Juror:

Eleanor Heartney is a contributing Editor to Art in America and Artnews and has written extensively on contemporary art issues for such other publications as Artpress, Art and Auction, The New Art Examiner, the Washington Post and The New York Times. She received the College Art Association’s Frank Jewett Mather Award for distinction in art criticism in 1992. Her books include: Critical Condition: American Culture at the Crossroads; Postmodernism; Postmodern Heretics: The Catholic Imagination in Contemporary Art; Defending Complexity: Art, Politics and the New World Order; and Art and Today, a survey of contemporary art of the last 25 years from Phaidon. She is a co-author of After the Revolution: Women who Transformed Contemporary Art which won the Susan Koppelman Award. Heartney is a past President of AICA-USA, the American section of the International Art Critics Association. In 2008 she was honored by the French government as a Chevalier dans l’Ordre des Arts et des Lettres.


Abstraction, one of the most radical innovations of art history, stripped away the easily recognizable, threw it to the winds, and laid bare the schematic and essential. The course of 20th century art can be read, from one angle, as the conquest of abstraction over representation. Nevertheless, from its beginning, abstraction has been accompanied by declarations of its demise.

This exhibition brings into view how abstraction shapes contemporary artistic practice, not simply as a part of art history but as a living visual language. Specifically, it draws on the creative tension between medium and abstraction, and seeks to bring figuration and representation back into conversation with the abstract. This show pushes beyond both the strategies of minimalism and the massing of volume and shape, which so often defines the boundaries of the abstract in art.


Artists

Jenny Balisle, Donald Matheson, John Gallagher, Douglas Barrett, Ajean Ryan, John Catania, Sarah McKenzie, Tony Schwensen, Joseph Ostraff, Libby Saylor, Helen Glazer, David Brewster, Matthew Scheatzle, Adam Goldman, Yu-Ting Cheng, Ken Konchel, Gary Mesa-Gaido, Buster Graybill, Jennifer de Mello e Souza, Ben Utigard, Faye Bell, Robin Apple, Virginia Bradley, Rachel Sager, Daniel Brewer, Kristina Key, Sabre Esler, Anthony Clune, Miron Abramovici, Judi Altman, Khanh Le, Ellen Burnett, Farima Fooladi, Tom Wheeler, Darcy Dangremond, John Adelman, Chellis Baird, Joan Weiss, Andrew Prieto, Fehmida Chipty, Al Denyer, Sarupa Sidaarth, McCormick Brubaker, Alan Crockett, Claudia Renfro, Leigh Blanchard, Guntis Lauzums, John Sproul, Brent Dedas, Lauren Gohara, Sarah Kreuter

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Feb
16
to Mar 11

Black and White

From 16th century Biblical engravings to the chalky lines of Cy Twombly, black and white visual art has been a vital, though often neglected part of art history. Black and White explores the dialectic of freedom and restraint arising from the absence of color. Removing color schemes and only permitting variations of monochrome, this exhibition forces the viewer to focus their attention on things often passed over. It lends prominence to material, surface and light, bringing out what is often lost to color. In doing so, it forces the viewer to consider the depth and dynamism of color’s absence. A number of artists in the show elaborated various shades of grey, while others were stringently committed to using only black and white. These artists represent a diversity of approaches and identities, providing a unparalleled looking into the living legacy of monochromatic art.  

About the Juror: 

Site:Brooklyn is grateful to have the Rosario Güiraldes jurying this show. Güiraldes is Assistant Curator and co-curator of the Open Sessions artist program at The Drawing Center. She has organized curatorial projects and public programs at Barcelona Museum of Contemporary Art, Barcelona; University Museum of Contemporary Art, Mexico City; Hessel Museum, Annandale-on-Hudson; Fundación Proa, Buenos Aires; Judd Foundation, New York City; Consulate General of Argentina in New York; and Peña, Buenos Aires. Her most recent project Forensic Architecture: Towards an Investigative Aesthetics was presented in different versions at the Barcelona Museum of Contemporary Art, Barcelona (2017), and at the University Museum of Contemporary Art, Mexico City (2017).

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Jan
11
to Feb 11

Between the Color

Emily Berger / Hovey Brock / Karen Nielsen-Fried / Miriam Ancis / Fred Bendheim / Wendy Letven

As the title suggests, the six abstract artists in this show rely on color as a primary constituent in their pictorial gambits for engaging the viewer. The risk, as is always the case with color, is to short-circuit the viewer’s experience with a reflexively pleasurable experience that is pleasing but goes no further. The artists whose art skews toward sculpture—Miriam Ancis, Fred Bendheim, and Wendy Letven—have less to worry about on that score given how three-dimensional works assertively engage the viewer’s space. The artists whose work principally addresses painterly issues—Emily Berger, Hovey Brock, and Karen Nielsen-Fried—all rely to a greater or lesser degree on the illusion of space to move the viewer’s experience of color in their work beyond the simply decorative. Yet, all six artists bring in color to their work as metonymic rather than metaphorical propositions, which is to say that color in these artists’ works are part of something larger in the works themselves rather than indices to something beyond the works.

No surprises here, as abstract art since Minimalism has never strayed far from the viewer’s actual experience of the object. Which brings us to the ellipsis in the title itself, as the word “between” requires a pairing, but here has only one element—color. The other element, or elements, do not get named, because the artists in this show are interested in leaving open that “something larger” that color introduces in each work. Certainly that could include the viewer’s actual experience, as Minimalism would have it, but could also include the viewer’s memories that color his or her experience, what happened that day in the news, the weather, and all the other myriad influences that color our perceptions. Consider color as not only the opening gambit for these artists but their axial metaphor for encompassing how the experience of the object intuitively shifts over time according to a number of influences that defy ready normalization, as summed up in color’s extraordinary sensitivity to light and mood. Each artist brings his or her own series of operations to bear on this process.

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Nov
3
to Dec 3

Color: Primary to Tertiary

About the Juror:

We are fortunate to have the highly respected Lilly Wei as the juror. Lilly Wei is a New York-based independent curator, writer, journalist and critic whose area of interest is global contemporary art and emerging art and artists, reporting frequently on international exhibitions and biennials. Her writings have appeared in dozens of publications here and abroad and is a longtime contributor to Art in America, a contributing editor at ARTnews and a former contributing editor at Art Asia Pacific. She is the author of numerous artists’ catalogues and monographs and has curated exhibitions in the United States, Europe and Asia. She lectures frequently on critical and curatorial practices and sits on the board of several non-profit art institutions and organizations including AICA/USA (the International Association of Art Critics), Bowery Arts & Sciences, and Art Omi International. She was a former longtime board member of Art in General, and is a fellow of the CUE Foundation. Wei was born in Chengdu, China and has an MA in art history from Columbia University, New York.

 

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Sep
22
to Oct 22

3rd Annual Hand Pulled Prints: The Current Practice in Printmaking

About the Juror:

We are fortunate to have the highly respected Marina Ancona as the juror. Master Printer Marina Ancona founded 10 Grand Press, an independent print shop that specializes in fine art printing processes and techniques located in Brooklyn, New York and an additional location Santa Fe, New Mexico. Marina Ancona’s publishing and collaborative projects have been exhibited internationally, including the Guggenheim Museum, Museum of Modern Art, Whitney Museum of American Art, Leo Koenig Gallery, Art in General, and Museo Nacional Centro de Arte Reina Sofía, Institute of Contemporary Art.

She has conducted lectures and workshops at Bard College, Sarah Lawrence College, SUNY Purchase, and Pratt Institute, Park Avenue Armory Print Fair, among other institutions. Ancona has collaborated with a range of artists, such as Nicole Eisenman, Jose Maria Sicilia, Jeff Gibson, Karen Heagle, Nicola Lopez, Carrie Moyer, Emily Roysdon, Angela Dufresne, and Harmony Hammond and more. Before opening 10 Grand Press, Marina Ancona worked in print shops in Santa Fe, Paris, and New York. She has studied at the Boston Museum School and taken master classes with Helen Frankenthaler, Ken Noland, and Susan Rothenberg at the Santa Fe Institute of Fine Arts.

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Jun
16
to Jul 16

Text & Image

About the Juror:

We are fortunate to have the highly respected critic Edith Newhall jurying the showNewhall is the art critic for the Philadelphia Inquirer, where she has been since 2005. Her previous positions include staff writer and editor for New York Magazine. Her articles on the arts and travel have also been published in ARTnews, the Washington Post, Travel & Leisure and Condé-Nast Traveler.  

Exhibiting Artists: Kim Lakin, Andrew Neumann, Brooke Jana, Kirk Miller, Zackary Petot, Richard Gabriele, Annette Barbier Jeremy Boyle, Julia Wilson, Jennifer Garza-Cuen, Allan Bealy, Ruth Owens, Abby Goldstein Trudy Borenstein-Sugiura, Jacqueline Dee Parker, Leslie Smith, J.L. Abraham, Maria Vasconcelos, Charles Shields, Moises Hergueta, Dirk Hagner, Karen Oremus, Dare Boles, Ginny O'Brien, Michael Basinski, Lara Nasser, Bruce Campbell, S. Tudyk, Denis Sivack, William Clark, Ian Campbell, Emily Schilling, Tom Whitton, Francine Gintoff Anda Dubinskis, Kara Dunne, Peter Bushell, Tony Dougherty, Nancy Lasar, Mauro Zamora, Hannah Duggan, Gail Rothschild, Christopher Taylor, Barbara Lekus, Melissa Schappell, Sarah Fukami, Marlo Saucedo, Jung Eun Park, Drew Justice, Tanya Yeremeyeva, Aurélien Couput, Rebecca Spilecki, Laurie Kanyer, Katherine Jackson, Steven Solomon

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May
11
to Jun 11

Degenerate Work

Works by Mike Berg

The exhibition Degenerate Work is comprised of a variety of media including tapestry, drawing, and sculpture, extending Berg’s investigations into materiality, cultural hybridity, and irony. Berg’s work is created in the space between chance and order. Berg sets up the formal parameters by using a number system to determine colors and their placement he introduces an element of randomness. Texturally, these woven tapestries leave a flat surface by using tightly knit warp and weft. His work negotiates the physicality of the killim with the conceptual inheritance of artists such as Sol Lewitt, William de Kooning, and Piet Mondrian—using the weaving process, to create abstract works that play with material, structure, and color.

In conversation with these are a series of color and black and white studies in gouache, which consider the inevitability of disintegration. Usually this process is understood as being synonymous with destruction; however, the conscious quality of Berg’s works is that they deal with this process in their very origins by engaging with and questioning our senses of chaos and order.

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Mar
24
to Apr 30

Crush

A Solo Exhibition of New Works by Rebecca Leveille
In Collaboration with R.Michelson Galleries

"Crush” is a rich investigation into how the artist falls in love with a subject. In Leveille’s work, the notion of a “crush” takes on multiple and interconnected meanings: the deeply personal feeling of intimacy with, but also being overwhelmed by, the artistic subject. Her painting expands on these themes by negotiating the in uence of a number of artists such as Jim Shaw,Alice Neel,Walter Robinson, and Gerda Wegener.This notion of intimacy is further explored by the equal power she invests in symbolic, personal, and pop cultural images, bringing into question the viewer’s relationship with emotion and artistic subject matter. Her uses of pattern bring complex cultural associations of domesticity and colonial exoticism while also intimating the duality that occurs within the same memory or relationship.

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Feb
25
to Mar 19

Cut and Paste: Contemporary Collage

Artists:

Beatriz Pinheiro, Troy Campbell, Meikel Church, Anne Bascove, Miriam Ancis, Jingmei Han, Elizabeth Emery, David Sheskin, Alisha Shiflet, Yuna Ikegami, Mariah Doren, Ryan Burns, Tamara Kostianovsky, Brenda Giegerich, Jose Baez, James Prez, Trudy Borenstein-Sugiura, Jessica Alazraki, Wendy Kawabata, Deborah Salomon, Brian Bober, Jessica Wohl, Steven Palumbo, Liz Innvar, Marlene Weisman, Jacqueline Dee Parker, Laurie Kanyer, Chris Pelletiere, Galen Cheney, Cindy Maguire, Ai Krasner, John Hundt, Axelle Kieffer, John Paradiso, Kathleen Caprario, Marissa Raglin, Ryota Matsumoto, Nancy Lasar, Emily Lazarre, Dara Cerv, Cory Peeke, Gail Flanery, Conny Goelz- Schmitt, Sean Fleckenstein, Dahlia Elsayed, Danielle Garza, Lynsey Nelson, Phyllis Gorsen, John Lawler, Michelle Saffran, Jonathan Lee, Leslie Adler, Cheryl Dawdy, Emma Hadzi Antich, Donny Gettinger, Niki Haynes, Alexis Hilliard

 

About the Juror:

We are fortunate to have the highly respected Metropolitan Museum of Art Specialist Jared Ash. Jared Ash is the Slavic and Special Collections Librarian at the Thomas J. Watson Library, The Metropolitan Museum of Art, New York. His former positions include Curator and Librarian of Special Collections at the Newark Public Library (Newark, NJ), and Curator of the Judith Rothschild Foundation, for which he developed a collection of Russian avant-garde books and works on paper that was donated to the Museum of Modern Art, New York, and featured in the 2002 MoMA exhibition, “The Russian Avant-Garde Book 1910-1934.” He has written essays for publications by MoMA, the Art Institute of Chicago, and the library of the Van Abbemuseum, and for the journals, Central Booking and Art Documentation.

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Jan
19
to Feb 19

The Figure: Interpreted Through Contemporary Mediums

This exhibition examines the various complexities and interpretations of the figure in contemporary art. The exhibition, selected by Barbara McAdam, succeeds in representing the most interesting and exciting reaches of contemporary figurative work. From Raphael’s “The School of Athens” to Willem de Kooning’s abstract renderings of the human body, the figure has held a central, though now, increasingly contested place in art history. With the advent of photography and mass imagery, artists have had to continually reimagine their relationship with the human form. This show exhibits a wide array of work— all of it technically masterful and visually resonant—that fruitfully engages with such a relationship. 

About the Juror:

We are fortunate to have the highly respected Co-Executive Editor of ARTNews Barbara A. MacAdam. She has worked as executive editor of Art + Auction, and was an editor of Review: Latin American Literature and Arts and New York Magazine. She has written on art and design, reviewed books on art and literature for the LA Times Book Review, Newsday, and The New York Times Book Review, among others. She has been co-president of AICA-USA (the International Art Critics Association)

 

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Nov
18
to Dec 17

The History of the World

Paintings by Tom Judd

om Judd’s paintings are acts of accumulation. They reclaim visions from the past. The show, comprised of Judd’s recent paintings, explores the mythic patterns of post-war American society. More specifically it probes our uneasy relationships with nature and culture, and the memory of modernism. Drawing on influences such as Chicago Imagist Jim Nutt and the early work of David Hockney, his painting call attention to the interplay of narratives, both historical and artistic. What stories do we create to make sense of the past? What are the interactions between myth, memory, and painting? This show invites the viewer to bring his or her own meaning, understanding and associations to bear when interpreting the work. As Judd says, “ask a stranger what his life is about and he will talk about your life. Alas, the history of the world!”

Tom Judd was born in Utah and was studied at University of Utah and the Philadelphia College of Art. For his first show, he was part of a survey of contemporary drawing at the Philadelphia Museum of Art. He has since shown both paintings and installations internationally, is part of the permanent collections of the Philadelphia Museum of Art, and has received fellowships from Tandem Press and MacDowell Colony. He lives in Philadelphia.

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Oct
14
to Nov 13

2nd Annual Hand Pulled Prints: The Current Practice in Printmaking

Opening Reception: Wednesday, October 19, 2016 6-9PM

Exhibition Juried by Kathy Caraccio

Artists:

Kellyann Monaghan, Maryanna Williams, Linda Whitney, Aaron Coleman, Bill Farran, Mark Sisson, Elenore Goldstein,Yuji Hiratsuka, Bernard Zalon, Bill Murphy, Joan Lane, Mark Bischel, Gail Flanery, Peach Tao, Phyllis Trout, Bob Tomolillo, Jim Nickel, Elizabeth Gourlay, Sarah Smelser, Rhea Nowak, Jo-Ann Acey, Adam Pitt, Jos Stumpe Florence Alfano McEwin, Eduardo Fausti, Chad Andrews, Lisa Bigalke, Marilyn Propp, Ricardo Roig, David Curcio, Linda Adato, Dirk Hagner, David Klein, Midori Curtis, Mary Teichman, Diana Behl, Denise Amses, Nikki Thompson, Karen Whitman, Johnny Plastini, Chris Warot, Kate Fleming, Donna Charging, Ellen Weider, Jon Goebel, John Cizmar, Colleen Pike- Blair, Michele Messenger, Becky Marie, Peter Baczek, Cynthia Marsh, Robert Schwieger, Leon Loughridge, Harold Wortsman, Enrique Leal, Polly Yim, William Waitzman, Evgenia Kim,Carrie Lingscheit, Elzbieta Sikorska, Lindsey Clark-Ryan

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Sep
9
to Oct 8

Up from Under – Video Art by Madeleine Altmann

Madeleine Altmann’s work interrogates the intersection of nature, technological change, and visual representation. Her video installations, created with reclaimed analog video monitors, re-appropriate seemingly obsolete objects, using them to explore the question of value in modern society. Often, Altmann inserts herself into the frame, disrupting the all too easy notion of a separation between nature and humanity.

The show, comprised of Altmann’s unseen installations, engages with our conflicted relationship between the natural world and technology. Her videoscapes are in a constant dialogue with Henry David Thoreau (Altmann lives a few miles away from Thoreau’s home and works in the same environment). His meditations are the starting point for a number of her themes: solitude, the connection between walking and artistic inspiration, and our conceptions of time. Just as Thoreau could speak of one killing time without injuring eternity, there is a paradoxical element to how this installation conceptualizes and presents time. Altmann’s rows and columns of monitors simultaneously compress and expand our immediate temporal experience. Many of these works took over three years to make, however, they are presented as a series of tightly bound yet simple moving images.

Her video installations are a combination of monitors ranging from old cathode ray tube monitors to the latest generation 4K displays. With the help of German video engineer Andreas Uthoff, the reclaimed video and computer monitors re-appropriate seemingly obsolete objects that explore the question of value in modern society.

Madeleine Altmann was born in São Paolo and has worked in the United States since the 1985. Her work is regularly shown at Petra Rietz Gallery in Berlin, and Gallery 555 in Boston. She has won awards from N.Y.U. and the American Film Institute. Building on a diverse set of influences, from the Edward Muybridge to Rebecca Solnit to Bill Viola, her works strives to present a landscape of both our internal and external worlds.  

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Jul
15
to Aug 12

Point of View: Contemporary Photography

Exhibition Juried by Mitra Abbaspour

Point of View presents the work of 45 artists, whose diverse perspectives indicate the breadth of photographic practices among artists today. Personal and observational, abstract and narrative, digitally-constructed and traditionally- crafted, photography remains a choice medium for artists both to frame the world as they see it and create the world as they wish to see it.Themes run through the selected photographs and draw them into conversations with one another, including: portraits of communities, landscapes rich with the markers of place, figures transformed into expressionist strokes and abstract gestures, the objects and detritus of contemporary consumerism and its anxieties, memorials to self and city, among others.Throughout, the photographs in this exhibition offer viewers an opportunity to look closely and reconsider our own point of view.”

– Mitra Abbaspour

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May
26
to Jun 26

Landscape: A Sense of Place

Exhibition Curated by Annette Rose-Shapiro

How does an artist frame a landscape? Inevitably, it is an act of choosing: what goes in, what goes out? Poussin and Lorraine first brought landscape, which was previously relegated to merely backdrop for other images, into a subject of its own. After the Impressionist revolution, by the 20th century, the definition of "landscape" expanded considerably. Photography became widespread. Also, it included cityscapes and the explosion suburban subjects, conceptualization, abstraction, and gesture. Artists also brought in other materials such as video, collage, or elements earth or city themselves.

Fundamentally, landscape posits the challenge of how we view and engage with the world around us. This exhibition seeks to show how contemporary artists take up this challenge. 

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Mar
22
to Apr 22

Drawing Lines Across Mediums

Drawing Lines Across Mediums, an exhibition of new drawing. Drawing Lines Across Mediums seeks to show the art form at its most dynamic and diverse. These pieces range from those which investigate the potential multi-dimensionality of drawing to conceptual geometric works to monochromatic figurative studies. Olga Valle Tetkowski, our guest curator, is responsible for the selection of the work. She has worked for many years at The Drawing Center, one of the premiere non-for-profit institutions in the world dedicated to the art of drawing. Her work there makes her especially well situated to understand both the classical place of drawing and its most exciting and important developments. We hope that this show gives the viewer the opportunity to encounter drawing in unexpected and challenging ways.

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Dec
1
to Dec 23

Transforming: Street Objects from Your Street to Main Street

With this exhibition, our artists challenge the limitations of one’s perspective, reimagining seemingly banal street objects, into outdoor sculptures. While these images celebrate the crude elegance of the street, they attempt to probe its illusions. The duplicitous nature of the world around us becomes exposed and one is forced to take a closer look. As objects that may appear insignificant strive to make their imprint, our artists revive the old idea, of one’s trash becoming another’s treasure.

Exhibition Curated By Kimberly Marrero

Tony Luib, Blond Jenny, Marne Meisel, Helene Chandiok, Claire Breidenbach, Gina Kingsley, Pnina Gershon,  Chris Lacoste, Shira Gutgold, Curtis Singmaster, Lisa Reindorf, Barbara Redondo, Marian Stasiorowski, Denis Sivack, George Howlett,Lazar Milanovic, Hoppy Skip, Maxwell Ross, Reinhard Gupfinger, Dominic Incollingo, Ana Penalba, Ruth Raveh, Satoru Arichi, Kerrie King, Justin Stadel, Anna Eroshenko, Pam Cosper, James Woodside, Barbara Bryn Klare, Steven Solomon, Julian Sherman, Hiromi Niizeki

 

 

 

 

 

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Oct
21
to Nov 21

Radical Tenderness

Suran Song

Suran Song: Artist's Statement

Sanskrit and the civics of politics are both strong influences on my work. Radical Tenderness is inspired by the Rg Veda 3.26.10 which translates light as the guide for our thoughts. I am interested in manifesting love into forms that are not possible in conventional modes of conditioned perception, intention, and behaviors. I am also inspired by my routine practice of Yoga, which serves as a primary medium in my creative process, as another artist might use paint or the brush. My work encompasses printmaking, painting, installation, sculpture, photography, video, and performance art. I am interested in engaging with the public by making experiential art that transcends the viewer. Working in a multitude of disciplines further allows me to continually test the boundaries of the senses, the embrace of Sanskrit and the breath, all core elements that inform my artistic path.

Radical Tenderness presents an intense optic sensation comprised of vibrant colors that have been derived from nature's unique and incomparable palette. The colors selected are often used in yogic therapy to transmit uplifting and healing vibrations.  Radical Tenderness offers a unique opportunity to discover and fully experience a spectrum of color and organic patterns. In Sidewalk Video Mandalastransmit, one makes their way through the piece, essentially becoming part of the piece, along their walking path.

 

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Sep
8
to Oct 18

Men In Boats

Mike Howard

American artist Mike Howard’s paintings are immediately recognized for their striking, unexpected subject matter, and their monumental scale. His subjects are small but immediately recognizable images—the quiet, sometimes harmonious, sometimes discordant moments of everyday life in America. He paints these moments quickly and with great facility, with a compositional eye similar to Edouard Manet. His work taps into our collective visions. Hunting is depicted as both a means of solitude and camaraderie, the farm as creation that works with and against its natural surrounding.

This show, comprised of Howard’s new and unseen works, fundamentally engages with human’s conflicting and various relationships with the natural world. Made in a Plein-Air style, his paintings, though often presenting unpopulated or rural places (even when set in New York City), are not Thoreauvian meditations. Rather, they reimagine and rethink our images of what a farm or hunt should look like. They are, in a sense, social images—part of our collective social imagination.

Mike Howard is an American painter who began is career working as Donald Judd’s assistant, in the 1970s. He garnered a series of solo and group shows, including exhibitions at P.S. 1 and Gracie Mansion Gallery. Building on early ventures into performance art, Howard’s work during the 1980s, including his staged project “Win a Trip to Paris Sweepstakes”, was of a piece with the Fluxus movement. His later work, which has been exhibited all across the country, returns to Howard’s perennial themes: our vision of nature, pop culture, and rural life. 

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Jul
27
to Aug 26

Hand Pulled Prints: The Current Practice in Printmaking

Hand Pulled: The Current Practice in Printmaking is an exhibition of hand made prints that reflect the ambitious, innovative and contemporary in printmaking today. It highlights woodcut, linocut, intaglio, lithographic, silkscreen and monotype processes.

Exhibition Juried by Ruth Lingen

Erik Hougen, Gesine Janzen, Madeline Daversa, Tony Holmquist, Katherine Kadish, Crystal A. Johnson, Emily Lombardo, Pieter Myers, David O’Brien, Morgan Strahorn, Chetwynd Wooding, Brett Groves, Sam Smith, Janet Ballweg, Zach Fitchner, Joseph Lupo, Edgar Soberon, Philippe Mainguy, Elizabeth Klimek, Robert Creighton, Suzanne Chouteau, Nina Jordan, Anna Hutchings, Mary Hood, Lorna Galloway, Isabel Lederman, Karen Butler, Ben Hilario-Caguiat, Kent Rush, Eduardo Fausti, George Bates, Diana Djibirova, Candice Corgan, Breanne Trammell, Linda Seckinger, Natalie Stopka, Jim Lee, Sarojini Johnson, Osvaldo Ely, Shirley Bernstein, Yuchen Chang, Michael Yeomans ,Alice Stern, Colleen Pike-Blair, Joanna Anos, Lisa Brody, Douglas Osa, Mariangela Le Thanh, Sarah Hulsey, Samantha Buchanan, Kristen McMillion, Julia Samuels, Chad Nelson, Paulette Palacios, Frances Ashforth, Igael Gurin-Malous, Beth Fein, Jazmine Catasus, Lazar Milanovic, Zach Stensen, Linda Lowry


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Jun
6
to Jul 11

“FACE IT” The Face in Contemporary Art

Breaking free from its traditional constraints, portraiture offers something more than the tastefully composed and skillfully executed representations of a subject.

The exhibition highlights work that seeks to capture the distinct, unusual, symbolic, and expressive features of the human face—work that is made in an imaginative and compelling way.

Portraiture continually insists that the human face, or at least our perception of it, can be captured, constructed, and presented. At its best, it makes the familiar distinct and the distinct familiar.Face it explicitly sought out work that rendered human lineaments in a distinct and powerful way.

This show introduces a vivid selection of portraits, reflecting an unusually wide range of perspectives and experiences, manifest in a number of mediums. Juried by Annette Rose-Shapiro, the editor of ARTNews one of America’s foremost art magazines,Face It gathers some of the most innovative and beautiful work from around the country.

 

Exhibition Juried By Annette Rose-Shapiro

Keke Brown, August Burns, Betsy Bauer, Josepha Gutelius, Bryn Jays, Gayle Madeira, Michael Manente, Ann Piper, Tracy Bader, Justin Robinson, Jacqueline Tchakalian, Andre Veloux, Lisa Whittington, Daryl Zang, Donna Festa, Nayda Cuevas, Blake Conroy, Katherine Colborn, Lyle Kleinhans, Hollis Erickson, Brent Nakamoto ,Carolyn Cohen, Caroline Blum, Janet Boltax, Megan Foldenauer, Jack Rosenberg, Katrie Bonanno, Elizabeth Knowles, Rosy Aronson, Peggy Blei Hracho, Wook Hee Choo, Jo Hamilton, Lindsey Dunnagan, François Georget, Bao Hoang, Susan Case, Nicole Finger, Katherine McMahon, Leigh Cunningham, Matina Marki Tillman,Grant McGean, Neil Shigley, Brian Pannier, Jan Branham, Myra Eastman, Lizi Brown, Wendy Hansen, Ruth Miller, Maureen Bennett, Marisa Adesman, E. Thurston Belmer, Ryan Weatherly, Marc Addison Brown, Lauren Childs, Laurie Giangregorio, Colin Ferguson, Liz Adams-Jones, Brian DiNicola, Kristy Gordon, Elena Peteva

 

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Apr
1
to May 1

Reaching for Pi

Kitt Warren’s recent work draws on the interplay between the object of the painting and its furtive relationship with unseen and ever-shifting visual patterns. By using reflective paint, the connection between material, medium, and effect is given additional layers of complexity. In her work, both surface and image interact to form a painting that reaches the viewer in unexpected and unpredictable ways.

Sabine Friesicke's recent work investigates the line’s liminal place between drawing and painting, allowing her to explore and reinterpret space, light form and color.  Friesicke uses a metronome and clock to capture and unite the specific and disjointed movements of painting and time. Her works seeks to question the limits of measurability and immensurability. 

Hovey Brock’s work returns to the beginning of the western philosophical tradition, with a focus on the notion of “bounded” and “unbounded” as governing principles of philosophical, artistic, literary, and scientific inquiry. His freehand painting style combines the use of symbols, numbers and written words and engages with the formlessness and fluidity of the subject.

 

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Sep
27
to Oct 14

Drawing Breath

Jed Miner

American artist Jed Miner will present a series of drawings and a performance at Site:Brooklyn, opening on September 27 at 5:00 pm. This exhibition will showcase the artist’s visual and graphic explorations of intentionality, control, and the agency of the human body vis-à-vis artistic creation. This show is in connection with Miner’s current exhibition at the Governors Island Art Festival.

His work synthesizes Boolean Algebra, ancient Chinese calligraphy, free jazz, and the modernist poetry of Ezra Pound. More particularly, Miner has explored the idea of motif as an abstract symbolic system, which after a certain point, may take on its own visual life. His abstract calligraphic works are auto-generative, based on the idea that artistic intelligence arises, or emerges organically from a multitude of perspectives. 

Somewhat paradoxically, Miner’s work is also procedural: it unfolds with a logical and even mathematic formality. Each decision has the cumulative force of all previous decisions. Using a combination of pencil, watercolor, ink and paper, Miner’s paintings fruitfully engage with negative space and the artists’ compulsion to fill it. Each piece its colors, forms-- has an idiosyncratic relationship with the blank page, though viewed as a series; there is definitive continuity of method.
 

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