Carolee Schneemann
 
Flange 6rpm
 
May 11 – June 22, 2013
 
Reception: Saturday, May 11, 6-8pm
 
P·P·O·W is pleased to present Carolee Schneemann’s fourth exhibition at the gallery entitled Flange 6rpm. Originally a painter, Carolee Schneemann is a pioneer of extended media, from her explorations of ‘geometry of motion’ in Lateral Splay, 1963, the provocative group performance Meat Joy, 1964, her self-shot erotic film Fuses, 1965, and the meditation of solitary movements in Up To and Including Her Limits, 1973-76.
 
Upon entering the gallery the viewer is immersed in the projected foundry fires of Schneemann’s latest multi-sensory installation, Flange 6rpm. Seven motorized sculptural units; containing hand-sculpted components are uniquely, cast in aluminum from a lost wax process. The aluminum sculptures are not polished, but maintain a rough textured sill marked from the fire of the foundry. The sculptural units are each mounted on a motorized base which moves them at six revolutions per minute – slowly, side to side, as well as forward and back – in a continuous motion so that the sculptural elements are almost touching, creating a sense of tension and unpredictability.
 
Schneemann notes ‘The fundamental life of any material I use is concentrated in that material’s gesture — gesticulation, gestation, source of compression (measure of tension and expansion), resistance, developing force of visual action. Manifest in space, any particular gesture acts on the eye as a unit of time.' This statement reigns true to the materials of the four Dust Paintings, 1983-86, that occupy the walls of the second gallery. Degraded materials, ashes, soot, layers of dust, spilled paint, circuit boards, posit a visual correlative to the endless bombardments of Lebanese and Palestinian villages.
 
Saw Over Want, 1980-82 and Vulva’s Morphia, 1995, are composed from photographic grids separated by strips of text that accentuate and destabilize their associated images. The text in Saw Over Want, is taken from Schneemann’s childhood alphabet exercises. The words “saw”, “want”, and “over” have been repeatedly practiced. Strips of text underline images of ordinary objects and self-shot erotic body details. This contrast produces an aesthetic seepage. Vulva’s Morphia consists of thirty-six images which address normative taboos within an undulating grid of Paleolithic vulvas inscribed on rocks as well as sacred, obscene, scientific, and self-photographed vulvic images. Each sectional grid is underlined with a taboo reflection. For instance, “Vulva reads biology and understands she is an amalgam of proteins and oxytocin hormones which govern all her desires....”
 
A feature length film on Schneemann’s work and history entitled Breaking the Frame by Marielle Nitoslawska has recently been completed and shown at the Telluride Film Festival, BFI/London Film Festival, FNC Montreal, Glasgow, Cleveland and this month at the WRO Biennial, Wroclaw, Poland and Videoex, Zurich. Schneemann’s work has been exhibited worldwide, at institutions including the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art, New York; the Centre Georges Pompidou, Paris; The Reina Sophia Museum, Madrid and The Museum of Modern Art, New York. Her published books include Cezanne; She Was A Great Painter (1976); Early and Recent Work (1983); More Than Meat Joy: Complete Performance Works and Selected Writings (1979); Correspondence Course (2010) by Kristine Stiles and Imaging Her Erotics–Essays, Interviews, Projects (2002). Color brochure to accompany the exhibition with essay by Melissa Ragona.

FEATURING
Matthew Brandt
John Chiara
Pierre Cordier & Gundi Falk
Agnes Eperjesi
Curtis Mann
Klea McKenna
Amanda Means
Floris Neusüss
 
Von Lintel Gallery is pleased to present UNIQUE, a group show of non-editioned photography. Often made without negatives or a camera, the exhibited work is created with unique and diverse techniques that result in one-of-a-kind photographs. The included artists represent several generations, including Pierre Cordier and Floris Neusüss, who have been pioneers in the field of camera-less, unique photography since the 1950s.
In 1956, the Belgian artist Pierre Cordier invented the chemigram, a technique that employs resists to protect areas of the photosensitive paper from successive submersion in developer and fixer. Since 2011, Cordier has collaborated with the Austrian painter Gundi Falk. Floris Neusüss, a German photographer, explores the technical and visual possibilities of the photogram to create an innovative body of work that includes ethereal silhouettes of nude women and mysterious images of the natural world at night. Cordier and Neusüss share a spirit of experimentation and a desire to explore the infinite possibilities inherent to the chemistry of photographic paper and processes with the younger artists in the show. Following in Cordier’s chemigram tradition, Amanda Means delicately scores light-sensitive paper with a grid pattern and flows developer over it, creating organic abstract compositions that are inspired by her close connection with nature. Means worked for many years as a master printmaker for other artists, including Robert Mapplethorpe, and the fluid process she employs is liberating in contrast with the exacting precision that work required. Matthew Brandt uses the subjects of his Western landscape photographs as ingredients in their production. He soaks images of lakes in water from the same source, distorting colors and abstracting the captured vistas. John Chiara travels the California coastline with a room-size camera obscura of his own creation hitched to his car, capturing landscapes directly on photographic paper. His method invites exposure and processing anomalies, making the process part of the imagery. Although he starts with representational photographs, like Brandt and Chiara, Curtis Mann moves toward abstraction by obstructing journalistic scenes of conflict with chemically etched circles and stripes. Drawing on the tradition of photograms of the human body and of the natural world that Neusüss explores, Klea McKenna uses light-sensitive paper to capture images of elements, such as raindrops, while the Hungarian photographer Agnes Eperjesi projects multilayered and brightly colored shadows of hands, flowers, and household objects.
 
For further information or visual materials, please see vonlintel.com or contact the gallery at (212) 242-0599 or gallery@vonlintel.com.

FOR IMMEDIATE RELEASE:
Tracy Williams, Ltd. is pleased to present Richard Dupont’s third solo exhibition with the
gallery, Shadow Work. The exhibition will consist of a variety of new works in bas-relief:
sculptural enlargements of small handmade burlap paintings, altered vacuum-formed rubber
and vinyl topographical maps, and poured and peeled silicone rubber reliefs. Shadow Work
invites a variety of readings, from references to Jungian psychology, mapping and surveillance,
and the Austrian philosopher and social critic Ivan Illich’s 1981 book, Shadow Work.
For Sacco (1) and Sacco (2), Dupont used a high-resolution scanner to laser scan a small
series of elemental canvases in burlap and gesso, enlarged the originals roughly 500%, and
cast the results in white resin and marble dust. The ensuing monochromatic reliefs open up
dynamic new spaces of inquiry for Dupont: They engage abstract painting as a dialogue with
external methods and meanings, sample aspects of collage and the readymade, and extend
elements of performance into the art object. Collapsing hierarchies of media, these works are
part digital enlargement, part sculpture, and part painting. As the titles suggest, the works may
allude to Alberto Burri’s Sacco paintings, which he began making on discarded sugar sacks
while interned in an American prisoner of war camp after the Second World War.
The exhibition also includes new work based on U.S. Geological Survey (USGS) topographic
relief maps and large-scale West German relief maps. With origins in territorial boundaries, the
USGS—along with several other international bodies—has now surveyed and mapped via
aerial scanning every inch of the earth’s surface. Dupont inverts and embosses the backside of
these found rubber maps with cryptic titles appropriated from Walt Whitman poems, which he
translates into binary code. In doing so, he creates objects that are at once Orwellian and
transcendental.
Issues of mapping are further explored in Shadow Aspect (light) and Shadow Aspect (dark).
Dupont brushed rubber over a positive form based on a scan of his head, and then peeled the
rubber away as if a “skin.” Visceral and process oriented, these “skins” were collected and
assembled on wood panels, and then additional silicone was brushed and poured over them.
More unconscious and spontaneous than deliberate, the forms within these compositions may
have derived originally from a digital replica of the body, but ultimately devolve into the
scatological and formless.
Defined largely by dialectical juxtapositions, these works present simultaneous contradictory
conditions: light and dark, revealing and concealing, seen and unseen, natural and industrial,
the thing itself and its representation, the two dimensional and the three dimensional, and the
handmade and the machine made. They also extend Dupont’s exploration of the techniques of
digital and computer-assisted fabrication, as well as the broader social uses and implications
of these processes. As the critic Hunter Braithwaite writes, “In 2004, [Dupont] traveled to
Wright-Patterson Air Force Base in Dayton, Ohio, in order to truly map his body. This endeavor,
which at first seems like a Whitmanesque pilgrimage of self-discovery, is mediated through the
contemporary American military-industrial complex…the resulting data used to construct a
‘surrogate body’ is normally sold to arms contractors making blast helmets and flack jackets.
It’s also sold to big-box retailers such as the Gap looking to design clothing to fit target
demographics….the same research is equally applied to the clothing and the destruction of the
body.”1
Dupont’s work of the past few years has been characterized by strong visceral and material
content and a process-oriented approach. As he recently wrote, “I have always been much
more interested in physical, material residue than information, but technology is a great tool as
long as you disrespect it…using things, whether ideologies, machines or materials, in ways
that they were not meant to be used, can be a good way to work.”2
This fall, Richard Dupont’s work will be included in Out of Hand (Materializing the Postdigital) at
New York’s Museum of Arts and Design. His solo museum exhibitions include The Middlebury
College Museum of Art (2011) and the Hudson Valley Center for Contemporary Art (2008). His
work is included in the permanent collections of The Whitney Museum of American Art, The
Museum of Fine Arts, Boston, The Brooklyn Museum, The San Francisco Museum of Modern
Art, The Hammer Museum, The Cleveland Museum of Art, The New York Public Library Print
Collection, and The Museum of Modern Art (MoMA) among many others.
In addition to Shadow Work at Tracy Williams, Ltd., Richard Dupont will present a
simultaneous solo show at Carolina Nitsch Project Room, Going Around by Passing
Through, opening also on May 2 from 6-8 pm. The exhibitions will run concurrently and
will both consist of entirely new works in various media.
For more information, please call 212.229.2757 or email jacqueline@tracywilliamsltd.com.
1 Hunter Braithwaite, “Surveiling The Relics” World Sculpture News, January 2012
2 Richard Dupont, “Biopic” Modern Painters, April 2013

Asya Geisberg Gallery is pleased to present Carolyn Case & Jens Schubert, a two-person exhibition of paintings and prints. Each artist combines an omnivorous interest in symbolic systems derived from ancient, contemporary, and religious iconography with rigorous technique. Case, American-born, has studied and travelled in multiple cultures, and found inspiration in Indian miniature painting, Andean textiles, Persian palaces, and trans-cultural conceptions of mortality and the afterlife. Schubert, a young German artist, similarly points to the ubiquity and perpetuity of signs and symbols as they reappear across time, and today in music, video games, anime, fashion and other forms of pop culture.
 
Case‘s paintings, while intimate in scale, present grand universes of limitless space, overlapped by areas of teeming detail, such as tiny dots on stalactite-like drips. Flat silhouettes of ancient urns and vases float through each painting. Schubert’s graphic linocuts of overlapping geometry and repeated images explode with color, pattern, and texture. His series “Realms of Heaven” explores the different meanings and associations of heaven and sky, starting with the premise that in German, the word is the same for both “sky” and “heaven”. Schubert‘s series of unique prints explore the traces of old myths within our current imagination, while disrupting the desire for narrative.
 
Schubert and Case strategically confound and even erase the specific national or cultural origin of each inspiration in order to create a post-modern quilt of imagery. Each artist travels far to get to a personal place where, as suggested by cultural thinkers such as Robert Campbell or Carl Jung, we can each access a subconsciously embedded understanding of basic archetypes.
 
Carolyn Case lives and works in Baltimore, MD. Originally from California, Carolyn Case earned her MFA from MICA’s Mount Royal School of Art in Baltimore, MD, and her BFA from California State University in Long Beach, CA. She has shown throughout the Mid-Atlantic area, with solo exhibitions at Loyola University, McLean Projects for the Arts, and The Art Registry in Washington D.C. She has also participated in two-person and group exhibitions at Joyce Goldstein Gallery, John Fonda Gallery, and the Delaware Museum of Art. Residencies include the School 33 Art Center in Baltimore, Vermont Studio Center, and the Kanoria Art Center in Ahmedabad, India. Case's works are featured in the Spring 2013 New American Paintings, and have been reviewed in the Baltimore Sun.
 
Jens Schubert was born in 1983 in Schwarzenberg, Germany, and lives and works in Leipzig. He studied at the Academy of Visual Arts Leipzig, and has had solo exhibitions with Mewo Art Gallery, Memmingen, M2A Gallery, Dresden, and Bongout Gallery, Berlin, among others. Group exhibitions include Instituto de Artes Gráficas, Oaxaca, Mexico, the Academy of Fine Arts Dresden, Museum of Visual Arts, Leipzig, Galerie Kleindienst, Leipzig, and Biksady Gallery, Budapest. His work has been exhibited at the Volta Art Fair, NY, and the Preview Art Fair, Berlin, in 2012, and in 2011 he received the Marion Ermer Prize.

Margaret Thatcher Projects is pleased to present Disco Lemonade, a solo exhibition of new paintings and sculptures by Canadian artist, Heidi Spector. This is the artist's first solo exhibition in New York and follows a small installation of her works last year at the gallery in the project room. Her paintings, composed of liquitex acrylic painted as bands of color on Russian birch, are topped with resin, creating a surface where candy-like colors pulse and dance together, alluding to the impact of popular music on her work.
 
Referred to by the artist as “geometric minimalism,” Spector purposefully avoids injecting specific emotional content to her paintings, instead opting for bold color choices that quickly establish an upbeat and lively mood. Her shining repetitive pattern of vertical or horizontal stripes project a natural sense of optimism and joy informed by the techno beats and self-absorption of club life.
 
Many of the paintings on view are influenced by popular music, taking on titles based on song lyrics by artists as varied as Duke Ellington, Roxy Music, Amy Winehouse and DJ Tiesto. The color palette of each painting is in part a response to each song, infusing the group of works with the sensation of being an audio/visual playlist.
 
The geometric opticality and slick surfaces of Spector’s paintings connect her works with a tradition of hard–edge painters, such as Bridget Riley and Frank Stella. Her vision of the paintings as objects of desire and joy, however, also place Spector’s work alongside contemporary pop artists embracing kitsch as profound.
 
Heidi Spector lives and works in Montreal, Canada. She has shown in galleries nationally and internationally, including exhibitions in Montreal, Los Angeles, and New York.

Marianne Boesky Gallery is pleased to present Sunsets and Pussy. This exhibition brings together two classic themes of summer wonder – so saccharine and ubiquitous we forget their awesome power. Spanning three generations, artists Ed Ruscha, Lucien Smith, Betty Tompkins, and Piotr Uklański each engage in the delight of exposing the clichéd beauty and banality inherent in these timeless images.
 
For further information regarding Sunsets and Pussy or images of the works, please contact Veronica Levitt at 212.680.9889 or veronica@marianneboeskygallery.com.

PRESS RELEASE
For Immediate release:
Contact: James Levis
Levis Fine Art
514 West 24th Street, New York, NY 10011
(646) 620-5000
Email: jim@levisfineart.com
 
BEAUFORD DELANEY: INTERNAL LIGHT
 
New York, April 24 —Levis Fine Art is pleased to announce the opening of Beauford Delaney: Internal Light, an exhibition of the extraordinary artistic legacy from the Paris period (1953-1972) of this modern master, who exhibited in museums throughout Europe and the United States. Many of these historically significant paintings have not been viewed since the artist’s landmark 1978 exhibition, Beauford Delaney: A Retrospective was held at the Studio Museum in Harlem. The solo exhibition will run from May 9 through June 15, 2013.
 
It is broadly recognized that Delaney’s Paris works are among the most significant of his body of work. A number of these Paris-period works to be shown were rescued from Delaney’s apartment shortly before his death. About to be seized by the French Government and auctioned to satisfy delinquent accounts, the paintings were shipped to New York through the efforts of a coterie of the artist’s devoted friends including James Baldwin, Henry Miller, Richard Powell and Richard Long. These paintings would form the core of the 1978 retrospective.
 
After thirty-five years of uncertain fate, and the enormous efforts over the past seven years by the estate’s court-appointed Administrator, Derek Spratley, many of these estate paintings have been recovered and are now being presented for the first time in this exhibition, opening to the public on May 9th. A fully illustrated color catalog with essay by Lily Wei, New York-based independent curator and art critic, will be available. Levis Fine Art is proud to represent the estate of Beauford Delaney.
 
Hours: Tuesday-Saturday 10am-6pm or by appointment.

Mike Weiss Gallery is pleased to present a questionable low point in our program: Birth of a Legend, by nomadic artist Cameron Gray. Roberta Smith and Jerry Saltz claim that “Cameron Gray is too big too fail,” and Paddy Johnson of Art Fag City asked for “more cheddar” with her order of Cameron Gray. Gray’s latest exploit serves up a Dionysian smörgåsbord of state-of-the-art digital technology, where kaleidoscopically bright palettes and hypnotic kitsch run rampant. With your senses utterly titillated and suitably doped, you‘ll discover his artistic touch is as light as his work is raucous; speed of play carefully calibrated, execution satirically dead-pan, and content spot-on HOT. Straddling the line between comfort and the disquietingly uncanny, Gray’s gargantuan installations flash, blink, twirl, and pulsate off the walls in utter pandemonium, culling visual and auditory white noise from the vast Internet in something akin to a holy art apocalypse. As Gray descends into the deepest realms of the web world, we can only look on and marvel at the chaos that we have created.
 
Frequently likened to the second coming of Koons and thoroughly rooted within postmodern sensibilities, Gray is an incredibly articulate forager of the irreverent. In I Was Made For Dancin’, All, All, All Night Long, Gray achieves near tantric nirvana, emblazoning a glossy, hollowed Leif Garrett poster with psychedelic patterns and prismatic forms; two all-seeing eyes flicking every which way as he sluggishly sings the work’s eponymous and utterly cheeky song. Acid Zen Garden imbues a glowing cherub figure and assorted fauna with Gray’s unrivaled knack for mischief. Like-wise, in Ice Cream for John Wayne, a duo of melting waffle cone treats take residence upon John Wayne’s dreamy visage. Not content to simply tear the ‘mask’ off such iconic machismo, Cameron spatters many a surrounding wall with fluorescent, glow-in-the-dark paint—effectively taking on Abstract Expressionist bravado as well.
 
A shaman of digital technique and reprographic means, Gray sets forth an alternate universe rife with under-auto black lighting and over-the-top pop, instinctively splaying nonsensical sights and sounds across an ambitious range of mediums: video collages chock-full of outlandish abstractions, including an all-encompassing 12 foot wide work comprised of 27 monitors; an epic 7-foot-tall pin bricolage in which 3,000 photographic images abut embedded 3-D video, spinning disco-lights, and utterly unrelated bric-a-brac; manipulated c-prints of classic American icons; and circular, Archimboldo-like smiley-face sculptures in which fake food is adhered to densely-patterned, wood-mounted table-cloths, with fake plastic ‘turkey dinners’ forming the eyes of one piece, and a glazed faux Jell-O mold its nose. Simultaneously chaotic, organic, orgasmic, and narcotic, Gray delivers the Cadillac of collage, the epitome of hyper-stimulation, and the ultimate state of transcendence – a meaningless yet tantalizing void, where nothing is sacred. Indulge yourself this summer in this orgiastic, optical feast and celebrate with us the 10-year anniversary of Mike Weiss Gallery.
 
Cameron Gray, Birth of a Legend.
 
Born in Geneva in 1980, Cameron Gray lives and works in London, Basel, and Los Angeles. Graduating egregia cum laude from Bruce High Quality Foundation University, Gray also holds no less than six degrees from such prestigious institutions as Yale, Columbia, and UCLA. Prior to his ascension into the upper levels of the art historical pantheon, Gray will have participated in two Venice Biennales, including the one to take place in 2015, and three Whitney Biennials, including those in 2016 and 2018. In 2012, Galerie Eva Presenhuber included his work in the seminal show I Wanna F*ck You But We‘re Just Gonna Cuddle, and one of Gray’s massive pin collages was a show-stopping success in The Gag Reflex is Mysterious at the Santa Monica Museum of Art in 2011. Grey‘s work is included in the Ludwig-Forum für Internationale Kunst in Aachen, Germany; the Kaohsiung Museum of Fine Arts in Kaohsiung, Taiwan; the Yale University Art Gallery in New Haven, CT; and 17 other prominent collections. Cameron Gray is currently represented by Mike Weiss Gallery, David Zwirner, Thaddaeus Ropac, Sprueth Magers, White Cube and Pace Beijing, amongst others.
 
Your mom loves Cameron Gray’s work. Ask her, she told us so.

Susan Inglett Gallery is pleased to present new works by Marcia Kure in her second solo exhibition with the Gallery from 9 May to 15 June 2013. A reception for the artist will be held Thursday evening, 9 May from 6 to 8 PM.
 
—
 
We feel content and safe within the confines of the world we understand. “Tease” intends to poke holes, cut into, and fragment the perceptual matrix that is our world; daring the viewer to imagine existential possibilities beyond the familiar and the ordinary. “Tease” is a populated space, a universe of hybrid bodies and masked and secret things existing at the very edges of our daily lives.
 
The realities described by drawings, collages and sculptures in “Tease” are only imaginable through access to terrifying and exhilarating knowledge-knowledge we gain by prying open the locked closet, gazing into the dark sky, chanting a ritual song, or opening closed windows of the mind.
 
With familiar objects such as children's toys, kitchen utensils, bed sheets, rugs, and other common household items, “Tease” probes our fear of the unknown and the hidden, and tickles the pleasure of revelation. It asks the question: to what extent does the acquisition of more knowledge contribute to the (un-)making of the human? What is the existential value of curiosity, that primal urge to peer into the unknown? What desires are fulfilled or lost in encounters with partially obscured images and objects on the verge of disappearance/recovery?
 
“Tease” is a place of possibility, a space of becoming; it is an unsettling, off-kilter space, not unlike the world outside. It is at the moment of our greatest discomfort when we are compelled to ask the most important questions about our lives, and our world.
 
“Tease” is that place.
 
- Marcia Kure
 
—
 
Born in Nigeria, Marcia Kure has appeared in museum and gallery exhibitions in Nigeria, Germany, the United States, Spain, the Netherlands, United Arab Emirates, Japan, Canada, Austria, and Switzerland. Most recently her work was featured at the Palais de Tokyo in the Paris Triennial 2012; “The Art and Legacy of Fela Anikulapo Kuti” at The New Museum, NYC; The 7th Sharjah Biennale; and the 2nd Seville International Biennial curated by Okwui Enwezor. Reviews have appeared in the New York Times, The New Yorker, the New York Observer, Time Out, Frieze, Nka: Journal of Contemporary African Art, African Arts and Flash Art among others. The work will be exhibited next in a three person exhibition at the Kemper Museum of Contemporary Art, Kansas City in the Fall.
 
The exhibition will be on view at the gallery located 522 West 24 Street Tuesday to Saturday 10 AM to 6 PM. For additional information please contact Susan Inglett Gallery at 212/647-9111, or info@inglettgallery.com

FOR IMMEDIATE RELEASE:
 
PETER ALLEN HOFFMANN OUTER SPACE @ FREIGHT+VOLUME, MAY 30-JULY 6, 2013
 
Whenever the intensity of looking reaches a certain degree, one becomes aware of an equally intense energy coming towards one through the appearance of whatever it is one is scrutinizing.
― John Berger
 
In John Berger’s classic treatise on art and artists (and subsequent popular BBC television series) Ways of Seeing, he describes how the act of looking at an object, person or landscape with fresh eyes each time enables the viewer to actually convert the subject through his own vision, giving meaning by the act of seeing. In a later essay, The Shape of a Pocket, Berger states: The impulse to paint comes neither from observation nor from the soul (which is probably blind) but from an encounter: the encounter between painter and model: even if the model is a mountain or a shelf of empty medicine bottles. Nowhere is this pursuit more evident than in the paintings of Peter Allen Hoffmann, bringing his first solo show in five years to Freight+Volume with a new body of work, Outer Space, at the end of May.
 
About the show’s title, Hoffmann writes, I‘m fascinated by the ways in which an image or object can be a symbol which is universally understood, and yet cannot be considered a cliche…The concept of outer space is a projection of our own feelings of possibility, as well as a projection of our fears— whether it’s imagining aliens, nothingness, or death. It‘s the spatial equivalent of the other, a mirror of ’inner‘ space.
 
The canvases in Outer Space range in size and subject matter, even style, dramatically – from formal abstractions steeped in color theory, such as Viibryd, to lush, old master-style renditions of bucolic pastoral scenes and still lives. The majority of his larger abstract work is influenced by American pieced quilts, while scenes like Ithan Creek, At Ballybawn or Still Life with Pomegranate seem lifted from prints in dusty museum catalogs or nineteenth century artist collectives, with particular references to Courbet, Rembrandt and deMolijn. About the quilt-paintings, he writes,
 
The process of crafting these quilts is similar to how I approach the paintings— a lengthy process of detailed planning, and then execution. Women worked from existing traditional patterns, but also processed and interpreted these patterns based on their own personal, religious, regional, and historical context…the metaphor of the pieced quilt extends to the other work as well. While the sources of the imagery are disparate — art historical, observed from life, abstraction — they exist for me equally as images I have experienced, continue to experience, and for whatever reason, cannot let go.
 
But whether realist, landscape, or abstracted subject matter, the theme remains consistent: the artist is in a constant process of revising and revisiting his own and other artists’ work. What seems to be a landscape is a really a painting of another artist’s 19th century version of a landscape; what appears to be five color stripes on a canvas is actually an interpretation of another geometric canvas, from another era. The role Hoffmann plays is to sample these various eras and techniques and styles, much like a rapper or composer edits and samples snippets of other musicians’ work into his own composition. Never exactly copied or appropriated, these works are distinctly painted with Hoffmann’s unique brushwork and paint handling. Despite his multiple degrees of removal from the subject, his specific approach lends an indelible stamp of personality on each one. He sums it up this way: I don’t see the distance between the historical and the contemporary in art as being significant: the context may change, but the content remains the same.
 
Hoffmann conceptually and radically expands the expression “a painter’s painter” into three or four dimensions – a painter’s painter’s painter, and so forth – implying that artists tend to paint the same scene over and over, copying each other through the centuries, until the source is obscured entirely. In one work in particular, 9 Years, he has worked and reworked the same canvas for literally nine years. Hoffmann seems to say, despite the existence of cave art, there is no original, “first” painting any more than an original, first artist; the evolution of art is about repetition and constant self-referral, a continued sampling – back and forth – of what came before and what will come to be.
 
Peter Allen Hoffmann received his MFA from Hunter College of CUNY in 2005, and his BFA from Bard College in 2001; he has had numerous solo and group shows at Freight+Volume, The Painting Center in NY, Thomas Robertello in Chicago, the Wexford Art Centre in Ireland among many others. He has received awards and travel grants from Hunter College, CUNY and Cow House Studios in Ireland. His work has been reviewed extensively in a variety of national and international art and literary publications, including Art Korea, The Chicago Tribune, and Useless magazine. He lives and works in Brooklyn, NY.
 
Please join us for a public reception with the artist on Thursday, May 30th from 6-9pm. For more information please contact Nick Lawrence @ 212-691-7700 or nick@freightandvolume.com.

Andrea Meislin Gallery is pleased to announce Pavel Wolberg’s first exhibition at the gallery and in New York. The exhibition will open on May 4 and will be on view through June 15.
 
An objective yet empathetic observer, Wolberg intuitively photographs moments of wonder, spectacle, and solitude. He began his career in photojournalism, where his instinctual way of working allowed him to capture climactic and historic moments. Yet his photographs, which often depict various communities and their respective rituals in Israel, lean more towards the poetic than the political.
 
An avid museumgoer as a child growing up in Russia, he is inspired by great masters like Gericault and David, and his photographs often feel like paintings. Whether close to the action or revealing an expansive perspective, Wolberg maintains the position of a foreign observer and refrains from passing judgment or designating right or wrong. Renowned journalistic photographer Micha Bar-Am says of Wolberg, “He understands that life is sufficiently dramatic and theatrical and he has the proper combination of the laws of the chase and knowledge, in making a visual and artistic statement.”
 
Whether capturing the revelry of Purim, men dancing in gay clubs in Tel Aviv, sacred moments of a Hasidic wedding, or conflict-laden landscapes, Wolberg handles all of his subjects with sensitivity and respect, always aware of his responsibility as a visual communicator.
 
About the Artist
Born in 1966 in Leningrad, Wolberg moved with his family to Israel when he was nine years old. Upon completing school he joined the Army, and then after working various odd jobs, he studied at the Camera Obscura School of Art in Tel Aviv. Wolberg later worked as a photographer in the news department of Ha’aretz, and with the European Pressphoto Agency (EPA). He is the recipient of the Gérard Lévy Prize for a Young Photographer, the Israel Museum, Jerusalem and the Constantiner Photography Award for an Israeli Artist, Tel Aviv Museum. His work was featured in the 2007 Venice Biennale, and is in the collections of the Israel Museum, the Tel Aviv Museum of Art, the Jewish Museum (New York), the Kadist Foundation (San Francisco, Paris), and many notable private collections.
 
For all press inquiries, please contact Courtney Richter at courtney@andreameislin.com

Erin Murray “Settling”
 
Opening May 9, 6-8pm through June 15, 2013
 
Nancy Margolis Gallery is pleased to announce the opening of Erin Murray’s first solo New York exhibition, “Settling”, on May 9, 2013 and on view through June 15, 2013. The artist’s reception will take place May 9 from 6-8 pm.
Murray’s landscapes take built environments as their subject and formalize their banality as art. The show’s series of graphite and charcoal drawings features Murray’s characteristic austerity and, like the exhibition’s oil-on-panel paintings of unsettling landscapes, examines the real world in a surreal way. Devoid of people, Murray’s landscapes are permeated by an intensity that creates an anthropomorphic connect and imbues their mundane architecture with a significance otherwise unrealized.
Murray skillfully and innovatively employs different approaches to each drawing and painting so that, while the works in “Settling” vary in medium, the show’s mood and theme are consistent. Murray’s drawings are defined by their meticulous execution, striking perspectives, and high contrast, rendering these works near-portraits of the structures they depict, albeit cold and aloof. Through these techniques Murray monumentalizes her subjects, as in the large-scale Body Building (2012, 36″x108″). Intentionally stark, but dramatic, the drawing compels the viewer to empathize with the forgotten structure and find beauty in its symmetry.
The series of paintings offers a different mode of reductiveness. In contrast with Murray’s drawings, the paintings are replete with lush colors, radiantly rendered skies, depth of space, and lyrical, curvilinear forms. Nevertheless, they exude a similar timelessness and theatricality. Through titles such as Settling (potential energy) (2013, 24”x24”), Murray makes oblique references to the scene—the presence of a propane tank, electrical panel and solar array—while alluding to her landscapes’ emptiness, engendering nostalgia and contemplation.
A set of smaller paintings, titled Block Party (2013), likewise exposes the inherent artfulness of everyday structures. Each work hones in on a block-built wall, making abstract compositions of its colors, lines, shapes and patterns.
Interested in both the architectural history from which even the most humble of structures derive, and the cultural and economic realities they represent, the artist seeks meaning in seemingly meaningless spaces. In their precision and quietude, Murray’s works call attention to the oft-overlooked essence of built environments, making us see the extent to which we settle for our surrounds.
Erin Murray earned her B.F.A from the Maryland Institute College of Art in 2001. She first showed at Nancy Margolis Gallery in 2011 with significant success. Since then, she has continued to show widely in Philadelphia and her work has been featured in several publications, including The Artblog, The Philadelphia Inquirer, New American Paintings Magazine, Tabletop Zine, and The News Journal. Her work is included in the collections of The Center for Emerging Visual Artists, Philadelphia, PA, Temple University, Philadelphia, PA, and The West Collection, Oaks, PA.
ARTIST STATEMENT
My work stems from my suspicion that the forms of the built environment carry an abundance of embedded meaning, which is reflective of our collective humanity even in the most humble of structures. A building or built form can be understood to represent our physical body, our cultural history, our economic reality, our long-formed habits. We naturalize our environment by reenacting the forms of the past, and we settle for the inevitable distortion. But with this distortion we also find things like sincerity, absurdity, failure, idealism and – hopefully – a sense of empathy.
EDUCATION
2001 Bachelor of Fine Art, Maryland Institute College of Art, Baltimore, MD. summa cum laude
SOLO & TWO-PERSON EXHIBITIONS
2013
Settling, Nancy Margolis Gallery, New York, NY
2012
Wind Challenge I, Fleisher Art Memorial, Philadelphia, PA
Municipalia, Delaware Center for the Contemporary Arts, Wilmington, DE.
2011
Solo Series, Abington Art Center, Philadelphia, PA.
Strata, Cerulean Gallery, Philadelphia, PA. two-person exhibition.
Erin Murray and Mark Masyga, Mount Airy Contemporary Artist’s Space, Philadelphia, PA. two-person exhibition.
Architecture Parlante, Slingluff Gallery, Philadelphia, PA.
2007
(un)Built, Painted Bride Art Center, Philadelphia, PA
SELECT GROUP EXHIBITIONS
2013
Spark Gap, Vox Populi, Philadelphia, PA
Salon Zurcher, Galerie Zurcher, New York, NY
2012
THIS END UP, The West Collection at PULSE, Miami, FL
Earth and Artifice, Vox Populi, Philadelphia, PA
West Collects, City Hall, Philadelphia, PA
Artists We Admire, Abington Art Center at the William Penn Foundation, Philadelphia, PA
Landscape, University of Delaware @ Crane Arts, Philadelphia, PA
Permanent Collection, curated by Edward Rosario and Jordin Isip, Nancy Margolis Gallery, New York, NY
High-Low Density, Rowan University Art Gallery, Glassboro, NJ
2011
Nancy Margolis Gallery, New York, NY
LOOK! On Lancaster Ave, public art project, Philadelphia, PA
2010
VOX VI, Vox Populi Gallery, Philadelphia PA
I Can’t Get You Out of My Mind, Seraphin Gallery, curated by Hiro Sakaguchi
Drawings, The Art Trust, West Chester, PA
2008
Underground, Center For Emerging Visual Artists, curated by Lee Stoetzel
Fall Collection, F.U.E.L. Collection, Philadelphia, PA
Landscapes on the Edge, The Art Trust, West Chester, PA
2007
New American Paintings Show, Lancaster Arts and Culture Center, Lancaster, PA
2006
From The Studio III, Center For Emerging Visual Artists, Philadelphia, PA
Projects Gallery, Philadelphia, PA
2005
Artist’s House, Philadelphia, PA Four-person exhibition
2004
Artist’s House, Philadelphia, PA Emerging Artist Exhibition
Creative Artist’s Network @SEI Investments, Oaks, PA.
2003
Creative Artist’s Network, Philadelphia, PA. Fall Group Exhibition
Baltimore Bound, Creative Artist’s Network @ MICA, Baltimore, MD.
Off The Wall, Creative Artist’s Network, Philadelphia, PA.
Creative Artist’s Network, Philadelphia, PA. Spring Group Exhibition
Creative Artist’s Network, Philadelphia, PA. Winter Group Exhibition
2002
Creative Artist’s Network, Philadelphia, PA. Fall Group Exhibtion
AWARDS
2012
West Collects, acquisition prize
PRESS
2012
Ben Meyer, “Fleisher Wind Challenge will blow you away–,” The Artblog
Victoria Donohoe, “Delaware Center Builds Worthy Show,” Philadelphia Inquirer
“Buildings and Contraptions R Us–DCCAs 2012 Gretchen Hupfel Symposium,” The Artblog
Maureen Milford, “Influence of buildings, objects on art explored at symposium,” The News Journal
2011
Victoria Donohoe, “‘Solo Series 2011’ explores art’s middle ground,” Philadelphia Inquirer
Edith Newhall, “Planes, panes, pallets,” Philadelphia Inquirer
Daniel Forrest Hoffman, “Erin Murray’s haunted architecture at Slingluff Gallery,” The Artblog,
Holly Otterbein, “First Friday Focus,” Philadelphia City Paper
2010
Edith Newhall, “Low-key Vox Pop,” Philadelphia Inquirer
Roberta Fallon, “VOX VI,” Philadelphia Weekly
Montana Torrey, “Curating the personal – I Just Can’t Get You Out of My Mind at Seraphin Gallery,” The Artblog
“Green Tease,” Philadelphia Magazine, April 2010, page 99
2008
Victoria Donohoe, “Range of Styles, Jewish Theme,” Philadelphia Inquirer, Galleries and Museums
2005
Laurence Liss, “Artist’s House,” Art Matters, June 2005, page 15
PUBLICATIONS
2012
Tabletop Zine, Issue 004, July-August
New American Paintings, #98 January-February
2007
New American Paintings, #69 April-May
PUBLIC LECTURES/PANELS
2012 “Boring” Architecture Tour and artist lecture, Fleisher Art Memorial
2012 Slide lecture, Art Salad Lecture Series, Delaware Center for the Contemporary Arts
2012 Panelist, SUPERstructure, Gretchen Hupfel Symposium at Delaware Center for Contemporary Arts
COLLECTIONS
Center for Emerging Visual Artists, Philadelphia, PA
Temple University, Philadelphia, PA
The West Collection, Oaks, PA
REGISTRIES
Irving Sandler Artist’s File, Artist’s Space, New York, NY
The Drawing Center, New York, NY
MEMBERSHIP
2012-current Vox Populi Gallery
2002-2004 Center for Emerging Visual Artists

June is an exciting month at Angora Gallery this year, with three memorable exhibitions to get the summer off to a great start. The Manifestation of Milieu shows artists taking the familiar and adding a sense of the unusual to it, with each work of art becoming a window into a world similar to ours, but where anything seems possible. In Pulse of Abstraction, a feeling of energy, movement and fulfilling life infuses the works, reaching out to touch the audience and encourage us to respond with courage and conviction. In Kaneko Johkoh's solo exhibition, thoughtful consideration merges with an attractively impulsive method to create Sumi ink paintings of power and potency. The exhibitions open on June 4, 2013 and continue until June 25, 2013, with an opening reception on the evening of Thursday, June 6, 2013. Entrance is free and art lovers are invited to attend and refresh themselves with inspiring, evocative art.
Exhibition Dates: June 4, 2013 – June 25, 2013
Reception: Thursday, June 6, 2013, 6-8 pm
Gallery Location: 530 West 25th St, New York City
Gallery Hours: Tues – Sat, 11a.m. - 6 p.m.
Event URL: www.agora-gallery.com/receptionexhibitions/6_6_2013.aspx
 
Featured Artists:
The Manifestation of Milieu
CHAREST | Jim Cobb | Carolina Ferrara | Gwen Freeman | Steven R. Hill | Gary E. Koeppel | David Rolandeau | Eduardo D. Rubin | Ivan A. Tomicic | Iryna Torskaya
 
Witness, a State of Being: Kaneko Johkoh / a Solo Exhibition
Kaneko Johkoh
 
Pulse of Abstraction
Zivi Aviraz | Ermina Avramidou | Marisa Bernotti | Sharon Brill | PAGLIUCA | Rivka Fuchs | LeeAnn Gorman | Jessica JCK | Tamera Lee | Satoshi Mima | Gerd Rautert | Donna Shaffer | Yana Yami
 
About Agora Gallery
Agora Gallery is a fine art gallery, established in 1984 and located in the heart of New York City’s Chelsea art galleries district. It is famous for showcasing a spectacular array of talented artists from around the world and around the corner, while providing quality and original art to collectors. Exhibitions are usually group exhibits, presenting the work of a number of artists, but sometimes solo exhibitions focus on the work of one particular artist. The gallery publishes ARTisSpectrum Magazine, a bi-annual magazine that is distributed to museums, galleries, art institutions and art schools around the world. It provides artists, collectors, museums, galleries, art organizations and enthusiasts with access to the work of international talented artists as well as feature articles, reviews and interviews. Agora Gallery is the proud sponsor of ARTmine, one of the most comprehensive resources available worldwide to view and purchase fine art. The gallery also runs Agora Art Blog, a blog designed to provide helpful information and advice for artists while providing a forum for artists to help one another by sharing their experiences and thoughts.

Stux Gallery is delighted to announce Not a Rose, a solo exhibition of photographs by neo- conceptual artist Heide Hatry. Seamlessly juxtaposing flowers assembled from grotesque, immaculately manicured flesh debris and picturesque, nonchalant nature, Hatryʼs works bring aesthetics and ethics into an explosive head-on collision that is both conceptually corrosive and visually arresting.
Hatryʼs serene scenes of flowers are actually photographs of trompe lʼoeil arrangements of the offal, sex organs and other residues of deceased animals. Their simple compositions almost recall scientific illustrations, whose directed focus on the flowersʼ anatomy heightens their fragrant aroma and delicate beauty. Her commitment to recreating the physical beauty of flowers renders the viewerʼs realization of the photographs' true materiality particularly jarring. The instantaneity of photography confronts the ephemeral blossoms with the persistent momentum of death and decay, and invites viewers to interrogate our cultural conception of flowers and their function as, essentially, “sex organs for plants”. Elegant yet deeply disturbing, these works call into question the foundations of aesthetic perception (and perception in general) and the ethics of our use and abuse of living animal-plant nature.
This exhibition at Stux coincides with the new CHARTA publication: Heide Hatry, Not a Rose, which addresses the nature of our relationship to flowers with unprecedented scope. Her images and the writing of 101 prominent intellectuals, writers, and artists together channel Richard Wagnerʼs pursuit of the “Gesamtkunstwerk”, an interdisciplinary “total artwork” that offers a dynamic, holistic expression of its subject that is not constrained by the division between contemporary artistic genres. Contributing writers include Jonathan Ames, Jonathan Safran Foer, Jessica Hagedorn, Donna Haraway, Siri Hustvedt, Lucy Lippard, Robert Kelly, Kate Millett, Rick Moody, Steven Pinker, Avital Ronell, Stanley Rosen, Peter Singer, Klaus Theweleit, Franz Wright, and Luisa Valenzuela.
 
-Lucy Li
 
For further information please contact the gallery at andrea@stuxgallery.com.

A painter and draftsman by calling and choice, Gerard Ellis establishes an interesting dichotomy between the practice of painting and social critique. His pictorial work is highly expressive and vigorous for those who directly or indirectly participate in the multiple strata of the contexts of which this artist speaks. The violence, corruption and lack of willpower characteristic of our times are central topics of his meticulous pictorial work. There is a studied connection and interdependence between what is his work and what constitutes his life experiences, which translates into a certain underlying politicization of life’s experience. Self-referential and sometimes autobiographical, his dynamic yet intensely personal and authentic compositions serve on dual levels; not only are they effective in presenting the viewer with truncated iconoclastic narratives, but they also possess a strong visual vocabulary of technical styles.
Ellis competes in a direct relation to the animal, this time, no longer domestic (an owl, a cybor-dog, among others) with the man and are constant companions to the figures in the paintings. Equipped with a dramatic quality, the plastic movement of each one of the works speaks of speed and stillness, paralysis and aggression, being the diachronic dichotomy of the mental movement of the spectator.
Born in Santo Domingo, Dominican Republic in 1976, he graduated from the National School of Fine Arts and the Universidad Autónoma de Santo Domingo. Selected to be part of the “S-Files”, the 6th edition of the El Museo del Barrio Biennial in NY, 2011. Has been recognized with three awards of Excellence by The Society of News Design, 2007-2008. In 2007 was invited to be part of the IX edition of the Cuenca International Biennial, Ecuador. His work has been exhibited in group shows in the Nassau County Museum of Art, NY, The IDB Cultural Center and The Mexican Cultural Institute in Washington, D.C. Selected to be part of the National Biennial of Visual Arts and the XX edition of the E. León Jimenes Art Contest (Biennial), where he received the Prize for painting, both in the Dominican Republic. He participated in the “Sarmiento Public Art Project, 2007” in public areas of the city of Santo Domingo.
International contemporary art fairs include: VOLTA NY, Scope, Pinta and Arte BA. His work is in the permanent collection of the Museum of Latin American Art in Long Beach, CA; Fundación para la Pintura, Canaria, Spain; the Museum of Contemporary Drawing and the Museum of Modern Art in Santo Domingo; The Dominican Congress and in private collections in New York, London, Miami, Spain, Panamá, Venezuela, Puerto Rico and Santo Domingo.