ArtSlant - Recently added en-us 40 - Open Source Gallery - June 11th - July 1st <p> presents "Transgression," a collborative project with Open Source Gallery, NURTUREart and MS136.</p> <p>What do we talk about when we talk about immigration? Or displacement? Migration? Refugees? Right now all over the world, people are fleeing their homes from violence or poverty, and too often both. Outrage at immigrants from Mexico is seen across the U.S. In 2015, over 3500 migrants and refugees lost their lives crossing the Mediterranean sea to get to Europe&ndash;and many survivors were turned away at the borders. These crises are not limited to two instances; they are global. Through "Transgression," conversation about displacement, injustice and inequity is brought to the fore, encouraging a narrative created not by the news outlets and pundits, but by individuals.</p> <p>Inspired by the economic and political situations in marginalized communities across the globe, art collective, organized by Yescka and Jonathan Rutsch, gives voice to those who are often overlooked, showcasing work resulting from&ndash;and with the potential to spark&ndash;social movements. Yescka&rsquo;s work focuses on the power of art as a weapon of change. And through political actions, such as Yescka and Rutsch&rsquo;s current work with Syrian refugees in Europe, the group emphasizes the importance of social engagement in art. aims to raise awareness and emphasize the importance of critical thinking in examinations of society and politics. Using street art and more historic forms of craft, such as woodcuts, Yescka presents work at Open Source that aims to combine the traditional with the contemporary, generating art that gives voice to marginalized communities and promotes critical thinking and understanding about contemporary issues and global struggles. For example, in "La &uacute;ltima cena mexicana," Yescka repurposes the last supper to depict an abuse of power by the elite. Benito Ju&aacute;rez, a drug boss, sits in Jesus&rsquo;s place, while others gather around him begging for recognition. Their thirst for power makes them devour their values, such as freedom and justice.</p> <p>In conjunction with the exhibit at Open Source, artists Yescka, Kate Deciccio and Max Albee, as well as non-profit organization NURTUREart, are collaborating with Open Source and students from MS 136 in Sunset Park to produce a mural at the school titled "The Confidence to Persevere." This project presents a combination of the experience of the students and an exploration of their heritage with the guiding hand of artists, who can help them learn how to follow through from idea to mural and effectively use materials to create powerful imagery.</p> <p> is a German-Mexican street art collective consisting of street artists and filmmakers. The collective was founded by Mexico-based artist Yescka in 2011. Born from the wish to spread intercultural art the collective has organized projects, trips, exhibitions, and has contributed to numerous street art festivals in Mexico, Germany, USA, Switzerland, Sweden, and Spain.</p> Thu, 26 May 2016 20:04:17 +0000 Joseph Buckley - International Studio & Curatorial Program (ISCP) - June 16th - July 22nd <p>For his solo exhibition&nbsp;The Demon of Regret: New Works by Joseph Buckley, current resident and New York Community Trust Van Lier fellow, Joseph Buckley, showcases four new works&nbsp;in ISCP&rsquo;s first floor Project Space.&nbsp;Joseph Buckley&rsquo;s writing, sculpture and video works draw from a myriad of sources, including daily life, societal horrors and mainstream media. His work is also heavily influenced by science fiction, fantasy and post-colonial theory. Buckley uses cartoons and a bright color palette to allow distance and space for viewers&rsquo; reflective consideration of darker aspects of humanity.</p> <p>The installation is comprised of four works: a floor piece, a relief sculpture on facing walls, a large cabinet of drawings and a video. Upon entering&nbsp;The Demon of Regret, visitors are immediately surrounded by, and begin walking on a bright red plastic floor. The vinyl red floor of&nbsp;No News News&nbsp;ties the room together, with cardboard boxes splayed throughout the space, coated in hand-drawn images derived from line drawings by survivors of North Korean prison camps. Buckley considers the space itself as a battleground between two opposing lines of J. R. R. Tolkien&rsquo;s orcs. The sculptural work,&nbsp;My Clone Sons&nbsp;are wall mounted relief sculptures of curators and auctioneers based on characters created in Buckley&rsquo;s previous work. In an industrial display case containing four&nbsp;drawings,&nbsp;ElfOrc Box, we see the transition of elf to orc: &ldquo;a race of sentient upright beings, former elves captured by dark beings and tortured.&rdquo; In the final work in the exhibition, the video&nbsp;The Black Bastard Bacchus, a club security guard pours water over a crowd of music fans, holding the audience back while hydrating them, while simultaneously reciting stories Buckley has written.</p> <p>Buckley aims to develop a continuum of work so that throughout his practice the pieces of his oeuvre are interconnected. His wide-ranging artwork is purposefully self-referential while at the same time reflects his keen attention to the outside world.</p> <div class="description"> <p>Joseph Buckley (born 1990 in Ellesmere Port, England) studied at Leeds College of Art and Goldsmiths, University of London, graduating in 2010 and 2013 respectively. In 2013 he moved to the United States where he graduated from Yale School of Art in 2015. Recent solo presentations of work include&nbsp;Pervert&rsquo;s Lament&nbsp;as part of&nbsp;Time Item: Sculpture Thesis 2015,&nbsp;Green Gallery, Yale School of Art; and&nbsp;One Sixth Of A Series Of Elegies: V,??, &amp; XVII: Retcon! Retcon! Retcon!, &amp;Model Gallery, Leeds, England. Recent group exhibitions include&nbsp;Wet Eyes, Meyohas, New York;&nbsp;Most Loathed, 3401 Lee Street, Los Angeles; and&nbsp;A Small Group Show of American and British Artists, Space Space Gallery, Tokyo.</p> <p>This exhibition is curated by Juliana Cope, Development and Programs Manager, ISCP.</p> <p>Public discussion: Tuesday, July 19, 2016. Joseph Buckley and Julian Lucas, Associate Editor at Cabinet Magazine, will discuss the exhibition and its references.</p> </div> <div class="credits"> <p>The Demon of Regret: New Works by Joseph Buckley&nbsp;is made possible through the generous support of the New York Community Trust Edward and Sally Van Lier Fund and the Milton &amp; Sally Avery Arts Foundation.</p> <p>&nbsp;</p> </div> <div class="bullets">&nbsp;</div> Thu, 26 May 2016 18:39:02 +0000 Group Show - Front Room Gallery - June 10th - August 7th <div><strong>&ldquo;Summer Sampler, A&nbsp;Front Room Favorite&rdquo;<br />June 10th&nbsp;&ndash; August 7th</strong></div> <div><strong>Opening Reception Friday, June 10th 7-9PM</strong></div> <div><em>&nbsp;</em></div> <div><em>Amanda Alic, Nancy&nbsp;Baker, Sasha Bezzubov and Jessica Sucher, Thomas Broadbent, Phillip&nbsp;Buehler, Peter Fox, Sean Hemmerle, Amy&nbsp;&nbsp;&nbsp;Hill, Jesse Lambert, Sascha Mallon, Stephen Mallon, Mark&nbsp;Masyga, Walker Pickering, Melissa Pokorny, Paul Raphaelson,&nbsp;Ross&nbsp;Racine, Ken Ragsdale, Emily Roz, Patricia Smith, Mark&nbsp;Stilwell, Joanne Ungar, Julia Whitney Barnes and Edie Winograde.</em><br /><br /><strong>"Summer Sampler" offers a selection of works&nbsp;previewing upcoming exhibitions and a review of past exhibitions, with a&nbsp;fresh look at artists' new&nbsp;works. This is a view of Front Room&rsquo;s favorites&nbsp;and fun way to kick off the Summer.<br /></strong><br /><strong>Amanda Alic</strong> <div>Amanda Alic's series "Off Season" portrays&nbsp;abandoned play areas, racetracks, mini-golf courses and resorts. All are&nbsp;immediately strange.&nbsp;Referencing the romanticization of ruins, these images&nbsp;convey exquisite yet eerie locations imbued with memories of pleasure and&nbsp;activity. They&nbsp;reflect the desperate drive to satisfy ourselves by filling our&nbsp;lives with external stimulus.&nbsp;<br /><br /><strong>Nancy&nbsp;Baker</strong><br />Nancy Baker creates detailed paper&nbsp;constructions by combining hand and laser cut geometric forms based loosely on&nbsp;machine components,&nbsp;which has begun to evolve into a jewel-laden structure.&nbsp;Baker Incorporates glitter, fluorescent paint, modeling paste, gold leaf,&nbsp;printed&nbsp;commercial matter, and additional substances into the pieces, which&nbsp;activate a sense of depth and materiality.<br /><br /><strong>Sasha Bezzubov and Jessica Sucher</strong><br />Sasha&nbsp;Bezzubov and Jessica Sucher have been collaborating since 2002. Their work&nbsp;merges their shared interests in the politics of tourism and&nbsp;pilgrimage, and&nbsp;has led them to Mexico, Nicaragua, Costa Rica, Cambodia and Thailand. In 2006,&nbsp;they spent a year photographing in India for&nbsp;their project "The&nbsp;Searchers".<br /><br /><strong>Thomas Broadbent</strong><br />Thomas&nbsp;Broadbent creates highly detailed watercolor still lives featuring finches,&nbsp;chickadees, ravens and other birds rendered sensitively with a&nbsp;naturalist's eye&nbsp;for detail often in conjunction with objects such as stacks of books, Modernist&nbsp;furniture, and ladders. These objects could&nbsp;possibly be looked at as stand-ins&nbsp;for society in an ambiguous relationship with nature that is absurd&mdash;and yet&nbsp;peculiarly comfortable. More&nbsp;recently, his work has included asteroid&nbsp;&ldquo;portraits&rdquo; as they travel through space.<br /><br /><strong>Phillip Buehler</strong><br />Phillip Buehler&nbsp;has been photographing abandoned places&nbsp;around the world since he rowed to the (then abandoned) Ellis Island in 1974.&nbsp;Many, like Greystone Park Hospital, have since been demolished; some, like&nbsp;Ellis Island and the High Line, have been restored, and some, like&nbsp;the S.S.&nbsp;United States and the New York State Pavilion, are now in jeopardy. Photographs&nbsp;from the (now demolished) Greystone Park Hospital&nbsp;are featured in this&nbsp;exhibition and in the book "Wardy Forty" which he wrote in 2013 about&nbsp;the last days of Woody Guthrie.&nbsp;<br /><br /><strong>Peter Fox</strong><br />Expanding&nbsp;on his signature style of drip painting, Peter Fox's spilled paint works have&nbsp;taken on bold gestural movements. Referencing formal&nbsp;systems of Abstract&nbsp;Painting, Fox explores the language of relational color, as articulated through&nbsp;layered processes. His compositions are&nbsp;developed through variance and&nbsp;repetition, and evolve with the allowance of chance.&nbsp;<br /><br /><strong>Sean&nbsp;Hemmerle</strong><br />In&nbsp;Sean&nbsp;Hemmerle's poignant photographic series "Rust Belt" (shown at&nbsp;Front Room in 2013) which features theaters, banks, factories, and&nbsp;abandoned&nbsp;houses, the architecture is metaphoric of societal issues that have evolved&nbsp;over decades. Hemmerle has chosen to juxtapose a&nbsp;photograph from this series&nbsp;with photos that he has taken in Beirut and Iraq.<br /><br /><strong>Amy Hill</strong><br />Hill&nbsp;composes contemporary scenes inspired by pious gestures and devout expressions&nbsp;of Fifteenth century Flemish altarpieces and portraits.&nbsp;Using a traditional oil&nbsp;glazing technique, her paintings reveal the individuality of her subjects&nbsp;through style of dress and ornamentation.<br /><br /><strong>Jesse Lambert</strong><br />Jesse&nbsp;Lambert's abstracted optical grounds are built of color washes that integrate&nbsp;linear fragmented figurations in dreamlike environments.<br /><br /><strong>Sascha Mallon</strong></div> <div>Sascha Mallon's multifaceted pen and ink&nbsp;drawings, infused with surrealist-influenced narrative, are populated with&nbsp;creatures that are like the&nbsp;unseen within the obvious: animals, half-humans,&nbsp;imaginary hybrid beings in a constant state of change.&nbsp;Her work creates a surreal world of&nbsp;intricate narratives, an interior&nbsp;space from which her multifaceted characters transgress into the exterior.<br /><br /><strong>Stephen Mallon</strong><br />Stephen Mallon&nbsp;has gained international attention for his project&nbsp;"American Reclamation" which includes the series "Next Stop&nbsp;Atlantic" focusing&nbsp;on decommissioned NYC subway cars that were reefed in&nbsp;the Atlantic Ocean, as well as "Brace For Impact, The Aftermath of Flight&nbsp;1549"&nbsp;famously known as the "Miracle on the Hudson" in which&nbsp;Captain "Sully" Sullenberger safely landed and airbus in the Hudson&nbsp;river saving the&nbsp;lives of all the crew and passengers of the plane. His&nbsp;series "American Reclamation" contains ruined vehicles, subway cars,&nbsp;Navy destroyers,&nbsp;that are becoming a part of the recycling process.<br /><br /><strong>Mark Masyga</strong><br />Featuring&nbsp;painting and sculpture, Masyga's compositions have lively linear elements&nbsp;balanced with a sensitive, yet intense sense of color. Mark&nbsp;Masyga uses line to&nbsp;enhance both specificity and ambiguity, creating a sense of mystery. Created&nbsp;concurrently with the paintings are&nbsp;constructions made with wood, plaster,&nbsp;Structolite and other materials.&nbsp;<br /><br /><strong>Walker&nbsp;Pickering</strong><br />Walker Pickering&rsquo;s work employs documentary&nbsp;aesthetics, and uses photography as a means to get access to people and places&nbsp;that might&nbsp;otherwise be inaccessible.&nbsp;Through the lens of travel&nbsp;and adventure, he seeks out the hidden among the ordinary. Pickering's work&nbsp;captures the&nbsp;mundane trappings of travel, rest stops and unexpected roadside&nbsp;encounters.<br /><br /><strong>Melissa Pokorny</strong><br />Artist&nbsp;Melissa Pokorny features photo and sculpture-based assemblages that range from&nbsp;small, singular wall mounted works to large-scale floor&nbsp;pieces comprised of&nbsp;multiple elements. Re-imagined common objects, ordinary materials used in&nbsp;unexpected ways, saturated colors, and&nbsp;textural extremes are a hallmark of her&nbsp;work.&nbsp;<br /><br /><strong>Ross Racine</strong><br />Ross Racine depicts&nbsp;realistic aerial views of fictional suburban communities, which amplify an&nbsp;awareness of modern choices in building and living&nbsp;styles. Racine employs&nbsp;common structural archetypes in his compositions, with an expanded view that&nbsp;exaggerates the rational utility of these&nbsp;imagined infrastructures.<br /><br /><strong>Ken Ragsdale</strong><br />Ken&nbsp;Ragsdale creates magical photographs achieved through his composition of&nbsp;fabricated paper structures, which depict memories and&nbsp;landscapes of middle to northwest&nbsp;United States. Ragsdale's process begins with rough sketches of places and&nbsp;things from his past that are&nbsp;relevant to current themes he is considering.<br /><br /><strong>Paul Raphaelson</strong><br />Paul Raphaelson's photographs of the Domino Sugar Factory in&nbsp;Williamsburg, Brooklyn document a topic of continuing controversy. It was&nbsp;once&nbsp;the biggest sugar refinery in the world. Originally a complex, now just one&nbsp;historically landmarked building still stands on the Brooklyn&nbsp;waterfront. On it's&nbsp;way to becoming high-rise condos it might well be the best symbol of the&nbsp;climate in Brooklyn today.<br /><br /></div> <div><strong>Emily Roz</strong><br />In her&nbsp;series "Ripe", Emily Roz references seedpods of a specific&nbsp;Southern Magnolia tree from the artist's youth in Chapel Hill, these lush,&nbsp;tactile paintings exude the sexuality of the reproduction system of the&nbsp;Magnolia&nbsp;grandiflora. Roz's depiction of these intimate parts of the pods is&nbsp;done at&nbsp;a larger scale, which&nbsp;arouses one's desire for closer&nbsp;inspection.<br /><br /><strong>Patricia&nbsp;Smith</strong><br />Known for her idiosyncratic cartographic explorations of the&nbsp;psyche and mental states, Smith incorporates new outer and inner geographical&nbsp;regions in her latest works. The finished works are delicate, highly detailed&nbsp;paintings on paper incorporating images and texts rendered in ink,&nbsp;pencil,&nbsp;watercolor, rubber-stamping and collage.<br /><br /><strong>Mark&nbsp;Stilwell</strong><br />Mark Stilwell&nbsp;uses painted and reclaimed packaging, byproducts&nbsp;of the over-consuming society he portrays, in this scene of terror. Crowds of&nbsp;paper cut-out citizens run screaming from the devastation and hostile creatures&nbsp;that are overtaking the city.<br /><br /><strong>Joanne&nbsp;Ungar</strong><br />Joanne Ungar&rsquo;s use of wax obscures and&nbsp;mystifies the origin of the materials she has embedded.&nbsp;Ungar&nbsp;examines the physical and ideological&nbsp;concept of packaging, considering the&nbsp;value of the stuff we cast off, misleading facades and the pervasiveness of&nbsp;materialism in our culture.&nbsp;<br /><br /><strong>Julia&nbsp;Whitney Barnes</strong><br />Julia&nbsp;Whitney Barnes, a New York based artist known for her vivid, luminous paintings&nbsp;which cull naturalistic imagery from an abstracted ground&nbsp;as well as her nature&nbsp;infused ceramic works, presents a series of painted porcelain vignettes.&nbsp;Ecological practices and the complex relationships&nbsp;between humanity and&nbsp;the environment influence Julia Whitney Barnes&rsquo; philosophy and artistic&nbsp;practice.<br /><br /><strong>Edie WInograde</strong><br />Edie Winograde photographs extravagantly theatrical staged pageants of&nbsp;historical/legendary events surrounding Manifest Destiny and&nbsp;Westward&nbsp;Expansion, presented in the original locales. Her work invokes the cultural&nbsp;memory as it has been colored by Western films, paintings,&nbsp;and television&nbsp;shows, thus representing a unique window into the American psyche, combining&nbsp;historical facts, myths, and legends with dramatic&nbsp;devices to entertain and&nbsp;educate the local audiences.</div> </div> Thu, 26 May 2016 18:08:01 +0000 Sally Brody - Atlantic Gallery - June 14th - July 9th <p>&nbsp;Atlantic Gallery is pleased to present:</p> <p>BOTANICAL: New monotypes by Sally Brody</p> <p><strong>ATLANTIC GALLERY</strong></p> <p>548 WEST 28TH STREET, SUITE 540 NEW YORK, NEW YORK 10001</p> <p>June 14th - July 9th Opening Reception: Thursday, June 16th 5-8</p> <p>Artists have been making monoprints as as long as they have been transferring painted work onto paper. Excited by that tradition and experimenting with different materials Sally Brody has produced a series of one-of-a-kind intense and brilliant monotypes for this show of new work at the Atlantic Gallery</p> <p>Gallery hours 12-6 Tuesday through Saturday. Contact Sonni Burroughs at 212 219-3183</p> <p></p> Thu, 26 May 2016 17:17:19 +0000 Whitney B. Hansen - Atlantic Gallery - June 14th - July 9th <div> <div> <div> <div> <div lang="EN-US"> <div class="WordSection1"> <div><strong><span style="text-decoration: underline;">For Immediate Release: &nbsp;&nbsp;</span></strong>Whitney B. Hansen -&nbsp;<strong><em>REFLECTIONS,&nbsp;</em></strong><strong><em>June 14 - July 9.</em></strong></div> <div><strong><em>Opening reception: Thursday June 16, 5-8pm</em></strong></div> <div><strong><em><br /></em></strong><em><em></em></em>Atlantic Gallery is pleased to present&nbsp;<strong><em>Reflections</em></strong>, an exhibition of recent work by artist <div> <div> <div> <div> <div lang="EN-US"> <div class="WordSection1"> <div>Whitney Hansen. The exhibit will feature oil paintings on Japanese paper that were inspired</div> <div>by the wonders and reflections of nature.</div> <div>&nbsp;</div> <div>Whitney Hansen&rsquo;s work spans many landscapes. From the windswept beaches of the east coast to the amber hills of California, from misty European towns to New York City's checkered skyline,</div> </div> </div> <div>&nbsp;</div> <div lang="EN-US"> <div class="WordSection1"> <div>you are sure to find a painting that evokes that perfect vacation or summer morning.</div> <div>&nbsp;</div> <div>Born in California, she has been painting professionally most of her life. She has been in many group and solo shows in New York, Boston, East Hampton, Chappaqua, Santa Barbara and Paris, France.</div> </div> </div> <br /> <div lang="EN-US"> <div class="WordSection1"> <div>Her work hangs in corporate and private collections.</div> <div>&nbsp;</div> <div>&nbsp;</div> <div><strong>Atlantic Gallery hours are Tuesday - Saturday, 12- 6 pm, Thursday, 12- 8 pm</strong></div> <div>&nbsp;</div> <div>&nbsp;</div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Thu, 26 May 2016 16:50:54 +0000 Paul Outerbridge - Bruce Silverstein Gallery - June 30th - September 17th <p><strong>Paul Outerbridge</strong></p> <p>&nbsp;</p> <p><strong>June 30 &ndash; September 17, 2016</strong></p> <p>&nbsp;</p> <p>&nbsp;</p> <p>Bruce Silverstein Gallery is pleased to present a retrospective of the work of Paul Outerbridge (1896-1958).&nbsp; This is the first exhibition of its scope to be held in New York since 1979 and will be the largest exhibition of Outerbridge&rsquo;s work since 2009 at the Getty Museum, Los Angeles. This exhibition is comprised of historically important and rare extant material.</p> <p>&nbsp;</p> <p>A survey of Outerbridge&rsquo;s influential career is especially timely as his work is consistently cited by a current generation of artists working in the photographic medium. Numerous contemporary artists riff on commercial strategies of image-making that derive from the aesthetics of advertising photography and our visual lexicon shaped by Outerbridge.</p> <p>&nbsp;</p> <p>Outerbridge&rsquo;s melding of the high and low in his artworks channeled the artistic current of his age, from Surrealism, to Cubism, to Duchamp (who kept Outerbridge&rsquo;s&nbsp;<em>Ide Collar</em>, 1922, tacked to a wall in his studio).&nbsp; By venerating quotidian commercial products through his elegant and striking formal arrangements, and taking a functional object out of its useful context, Outerbridge tapped the consciousness of modern art which grappled with the experience of living a commercial existence, the impact of mass consumerism, and an ever expanding visual culture.</p> <p>&nbsp;</p> <p>In 1940 Outerbridge published&nbsp;<em>Photographing in Color</em>, which explicated his creative and technological achievements developing the challenging and time consuming medium of tri-color Carbro printing. Outerbridge&rsquo;s color prints are extraordinarily rare due to the laborious technical process and the artist&rsquo;s ruthless standards.&nbsp; Through various loans the gallery has been able to secure a significant number of Outerbridge&rsquo;s prints for exhibition.</p> Wed, 25 May 2016 20:24:40 +0000 Derrick Adams - Pioneer Works - June 10th - July 16th <p dir="ltr">PIONEER WORKS PRESENTS DERRICK ADAMS: ON</p> <p dir="ltr">A Solo Exhibition of New Work and Performance</p> <p dir="ltr">June 10 &ndash; July 15</p> <p>&nbsp;</p> <p dir="ltr">Opening Reception + Performance:</p> <p dir="ltr">Friday, June 10 at 7:00 p.m.</p> <p dir="ltr">Performance at 7:30 p.m. sharp</p> <p>&nbsp;</p> <p dir="ltr">What</p> <p dir="ltr">ON is a solo exhibition of new work and performance by Derrick Adams. Through nine large-scale, boldly colored mixed media collages that function as both illuminated sculptural objects and backdrops for live performance, ON continues Adams&rsquo; investigation of consumerism and the dramatization of black figures in entertainment and popular culture.</p> <p>&nbsp;</p> <p dir="ltr">On the opening night, Derrick Adams will act as conductor, live mixing sound from mic&rsquo;d performers within the nine settings into an orchestrated production that references television programs from the late 1980s and early 1990s as well as late-night infomercials. The performance will be recorded, then projected onto a gallery wall for the duration of the show.</p> <p>&nbsp;</p> <p dir="ltr">Who</p> <p dir="ltr">Derrick Adams is a New York &shy;based artist working in performance, video, and sound in both two&shy; and three &shy;dimensional realms. Adams has exhibited nationally and internationally, including exhibitions at MoMA PS1; Brooklyn Museum of Art; Studio Museum in Harlem; Brooklyn Academy of Music; Contemporary Art Museum Houston; Birmingham Museum of Art; and PERFORMA.</p> <p>&nbsp;</p> <p dir="ltr">Press Release:</p> <p dir="ltr">Website:</p> <p>&nbsp;</p> <p dir="ltr">Pioneer Works</p> <p dir="ltr">159 Pioneer Street | Brooklyn, NY 11231</p> <p dir="ltr">Wednesday to Sunday from 12 p.m. to 6 p.m.</p> <p dir="ltr">Free and open to the public</p> <p dir="ltr"><a href="" rel="nofollow"></a></p> <p dir="ltr">@pioneerworks</p> <p>&nbsp;</p> <p dir="ltr">Contact</p> <p dir="ltr">Molly Rowe + Becky Elmquist |</p> <p>&nbsp;</p> Wed, 25 May 2016 19:38:29 +0000 Kwang Young Chun, Christian Faur, Will Kurtz, D Dominick Lombardi, David McQueen, Kathleen Mulcahy, Antonio Petracca - Kim Foster Gallery - June 2nd - July 30th <p>&nbsp;</p> <p>&nbsp;Kim Foster Gallery is pleased to announce &ldquo;Relief,&rdquo; seven artists that expand on the creative definition of relief. They employ diverse materials and innovative techniques, allowing for experimentation of their chosen medium.&nbsp;</p> <p>Kwang Young Chun orchestrates thousands of units to produce variations of surface texture and composition. The richly evocative material he uses transcends its tradition. While imbued with Korean nostalgia, Chun&rsquo;s unique constructions speak on universal levels. Christian Faur has created a new form of visual perception by replacing pixels with conical objects, hand cast crayons. This expansion of the pixel allows us to see the structure as two and three-dimensional. Depending on your angle, the image is constantly reanimated similar to a hologram. Will Kurtz create figures out of newspaper, wire and wood that have a distinct emotive quality. He captures a moment from their daily lives. The posture, gestures and facial expressions bring the figures to life. They have a familiarity of someone you might know, capturing their resilience and vulnerability.</p> <p>Urchins have often been used as sympathetic symbols of the marginalized. D Dominick Lombardi&rsquo;s &ldquo;Urchins&rdquo; draw us in with their formal delights, charm us with their familiar plastic leftovers, and then, without warning, switch to the forgotten state of lost souls, castaways in the sand. David McQueen&rsquo;s reliefs are simulacra of a wood floor. But they are &lsquo;Un-settled&rsquo;. The floor, it seems, is reshaping itself into something else, a graceful rejection of its flatness. Some mistake has occurred. This wood was intended to be a boat. It knew, and that determination was stronger than nails and glue.</p> <p>Kathleen Mulcahy takes hard materials, glass and steel, and visually transforms them to create the illusion of slow moving water and raindrops. The physical layering of the materials qualify as a relief process. Antonio Petracca&rsquo;s painted constructions are reliefs that protrude from the wall. He is interested in establishing the trace of memory, how are perception registers this memory, and how it becomes embedded. The artist crops realistic imagery that contain hints of a particular place, works border on abstraction due to the extreme manner in which they are cropped.</p> Wed, 25 May 2016 19:09:10 +0000 Group Show - Joshua Liner Gallery - June 9th - July 8th <p class="Body" align="center">&ldquo;Oh, give me land, lots of land under starry skies above, don&rsquo;t fence me in. Let me ride through the wide open country that I love. Don&rsquo;t fence me in.&rdquo;</p> <p class="Body" align="center">&ndash;&nbsp;&ldquo;Don&rsquo;t Fence Me In,&rdquo; Cole Porter, 1934&nbsp;</p> <p class="Body">As life in America continues to distance itself from the countryside, vacations and travel are a time to reintroduce the self to nature. As summer approaches in America, this idolized time of year brings thoughts of travel, escape, and road trips. With individual freeways that stretch over 3,000 miles, taking the car across country reveals America&rsquo;s boundless diverse landscapes, as travelers immerse themselves in America&rsquo;s ever changing personality.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p> <p class="Body">Opening June 9, Joshua Liner Gallery presents <em>Land Escapes</em>, a curated group show of 18 artists celebrating this time of year. <em>Land Escapes</em> focuses on contemporary definitions of &ldquo;landscape&rdquo; using varied and fresh perspectives of both emerging and established artists.</p> <p class="Body">The &ldquo;landscape&rdquo; painting is a long-standing tradition in Western art. The artists of <em>Land Escapes</em> work from within this tradition to redefine the genre with varied mediums ranging from photography, to mixed media, to painting.&nbsp;This collection of artists not only break apart the tradition of landscape art, but rebuild and redefine its possibilities, offering compelling ways of capturing America&rsquo;s multiple identities.&nbsp;<em>Land Escapes</em> focuses and contextualizes these ideas within the framework of summer&rsquo;s habitual relationship with travel, and natural beauty.&nbsp; With each work carrying with it a sense of freedom, the artists pay homage to the landscape tradition in personal ways.</p> <p class="Body">The fantasy of the &ldquo;road trip&rdquo; characterizes a sense of boundlessness and strength, often with the car as the focal point of this freedom. However, this liberation conversely carries a sense of loneliness and solitude, as exemplified in Jim Mangan&rsquo;s aerial photograph of the single car amid the vast landscape.&nbsp;Further exploring this idea of travel and solitude, Alec Soth&rsquo;s 2010 <em>Broken Manual</em> series, shot over four years and 20,000 miles,&nbsp;documents a culture of those living off the grid, by their own rules. Utah (2008), from that series, captures a home built within the landscape, here miniaturized by the boundless land and sky. &nbsp;With their landscape contributions, Evan Hecox and Alison Elizabeth Taylor too explore this element of quiet isolation. Like Soth, Taylor&rsquo;s <em>Monkey Wrench</em> (2015)carries a sense of solitude with two disconnected figures against a vast, desert backdrop, with her wood veneer collaged figure creating a natural attachment to the land. Justine Kurland&rsquo;s <em>Construction, Disputes, Training</em> (2014) is pulled from her <em>Sincere Auto Care</em> series. Shot over the course of three years traveling on the road with her young son, the artist chronicled the remnants of America&rsquo;s shrinking muscle car sub-culture, while Cheryl Kelley incorporates and even celebrates this culture into her landscape contribution.&nbsp;</p> <p class="Body">As seen from the car, America&rsquo;s landscapes are filtered through the moving windshield creating abstracted interpretations of their horizons. Eileen Quinlan, Mark Innerst, Ed Ruscha, and Sam Friedman all use abstract elements to reduce and convey this sentiment. From her most recent body of work, photographer Eileen Quinlan uses flat bed scanners, and mirrored reflections to manipulate light, resulting in abstracted forms that convey motion and speed, while painter Mark Innerst&rsquo;s <em>Industrial Landscape with Rain</em> (2014) skillfully blends a representational industrial vista, with abstract colors and form to create velocity with his diagonal &ldquo;rain.&rdquo; In line with these abstracted works, the palate of David Ellis&rsquo; <em>Bird Pyramid</em> (2016), evokes the sun setting in the western sky.</p> <p class="Body">Other artists demonstrate their respect the to landscape genre by reinventing the tradition with innovative techniques. Brea Souders&rsquo; photograph of film slivers, depicts a miniature narrative of the outdoors, created from these temporary sculptures accidentally configured with the use of static electricity, resulting in a whisper of someone&rsquo;s weekend. Jim Hoff&rsquo;s etchings use copper ink as the medium, printed on fiberglass, and Penelope Umbrico&rsquo;s photographic appropriations of mountains, capture a digital landscape, reducing their grandeur to televised forms and color.&nbsp; Matthew Brandt&rsquo;s inclusion physically engages the landscape by using the photographed trees to make both the paper and the ink for these silk screen prints. Meanwhile, Letha Wilson questions the success of any landscape representation. As photographs remove spatial dynamics, Wilson attempts to address this fault by incorporating objects and structure into her landscapes to physically engage the viewer.</p> <p class="Body">Lastly, artists Wayne White, and William Wegman both tackle a more direct reinterpretation on tradition and history. Both White and Wegman transform old prints into new, contemporary works. Using found, framed landscape prints, Wayne White transforms these traditional images by overlaying the prints with text, re-engaging with the vintage backdrop.&nbsp;Alternatively, William Wegman&rsquo;s <em>Three and a Halfsome </em>(2012) is a landscape painting created and inspired by the vintage postcard in the center. Wegman pulls postcards from his extensive vintage collection, which he then mounts to board, where they to serve as the starting point for his elaborate oil paintings.</p> <p><em>Land Escapes</em> will open June 9 and run through July 8, 2016. The exhibition includes work from Alec Soth, Alison Elizabeth Taylor, Brea Souders, Cheryl Kelley, David Ellis, Ed Ruscha, Eileen Quinlan, Evan Hecox, James Hoff, Jim Mangan, Justine Kurland, Letha Wilson, Mark Innerst, Matthew Brandt, Penelope Umbrico, Sam Friedman, Wayne White, and William Wegman. There will be an opening reception Thursday, June 9, 6-8pm.</p> Wed, 25 May 2016 16:01:04 +0000 Group Show - Islip Art Museum - June 25th 8:00 PM - 11:00 PM <p><strong>IAM UP LATE with LIP</strong></p> <p>An Islip Art Museum and LIP Collaboration.</p> <p>&nbsp;</p> <p><strong>Release party for LIP &nbsp;Zine June 25, 2016</strong></p> <p>&nbsp;</p> <p>Artists reception for&nbsp;<strong><em> Shapeshifter News Works By Annu Annam</em></strong></p> <p><strong><em>Private Viewing; For your eyes only</em></strong> - IAMs Annual Open Call&nbsp;</p> <p><strong><em>POP Up Gallery&nbsp;</em></strong>curated By LIP in collaboration with IAM</p> <p><strong>Live performances&nbsp;</strong></p> <p>8:00-8:45 &nbsp;<strong><em>Vetter Schuler Rufolo's&nbsp;</em></strong></p> <p>9:00-9:45 <strong><em>Jarvis Probes</em></strong></p> <p>10:00-10:20 <strong><em>The Beat Club Crew with&nbsp;Bri Onishea</em></strong></p> <p>10:30-11:00 <strong><em>&nbsp;Lauren of the Hoopsie&nbsp;Daisies and Gnu Fire</em></strong></p> <p>&nbsp;</p> <p><strong><em>POP Up Gallery </em></strong>curated in collaboration with LIP featuring works by</p> <p><strong>Brooke D&rsquo;Ambrosio</strong> - <strong>Amanda Fichter</strong> - <strong>Kim Gerdjikian</strong></p> <p><strong>Samantha Hernandez</strong> - <strong>Lorena Kalaja</strong> - <strong>Dan Kudreyko</strong></p> <p><strong>Linda Louis</strong> - <strong>Christopher Michel</strong> - <strong>Kali Monaco</strong> - <strong>Rebecca Olson</strong>&nbsp;</p> <p><strong>Ben Owens</strong> - <strong>Jack Pierce - Michelle Posner</strong> - <strong>Ratgrrl</strong>&nbsp;</p> <p><strong>Ann Margaret Reilly</strong> - <strong>Stelios Stylianou</strong> - <strong>Dan Woulfin&nbsp;</strong></p> <p>&nbsp;</p> <p><strong>With tasty eats generously provided by Chef Danyell Miller</strong></p> <p><strong>&nbsp;Refreshments provided by 25 A Brewing and Angry Orchid &amp; Starfish Productions</strong></p> <p>&nbsp;</p> <p>An Islip Art Museum<strong>&nbsp;</strong>signature event- Long Islands premier after-hours multimedia artist networking event and public arts experience.</p> <p>Public funding provided by Suffolk County&nbsp;</p> <p>&nbsp;</p> <p>IAM UP LATE Afterhours series is the only event of its kind presented by a museum on L.I.</p> <p>&nbsp;</p> <p>The IAM UP LATE series serves the culturally thirsty needs of the community at large, and provides a unique participatory arts event that one would normally have to travel at length &amp; great expense to experience.</p> <p>&nbsp;</p> <p>Presented at Brookwood Hall, 50 Irish Lane, East Islip.</p> <p>These planned festival dates are coordinated in conjunction with the museums main exhibits. The coordinating festival includes multi-media thematic works and an exhibition opportunity open to the public, providing new and innovative museum quality opportunities for artists of various career levels and disciplines to participate. A call for works is released &amp; then used to curate the IAM UP LATE series which will feature selected local artists (emerging &ndash; midcareer- established) to exhibit in a variety of forms including performance art, projected digital work, site specific installation, music and dance.</p> Tue, 24 May 2016 20:20:44 +0000 Sol Kjok and Peter Max-Jakobsen - Denise Bibro Fine Art - June 2nd - July 2nd <p>In the Air is a collaborative investigation of interconnectivity of visual expression and mystical science theory. Through serendipitous development, Kj&oslash;k and Max-Jakobsen&rsquo;s work parallel in imagery and meaning. Intertwined figures composed by line, mark, and color represent the unity between native spirituality and its growing validation in the scientific community. The repetitive&nbsp;and chaotic figural compositions, alongside fluid, biomorphic forms, convey the sense of oneness while still singularly consistent with spiritual experience. It seems to be an eerie fate that both these artists have found each other.&nbsp;<br /><br />Born in Norway, Sol Kj&oslash;k is a New York based artist whom has been featured in numerous shows worldwide as well as taught and lectured at universities across the United States. Kj&oslash;k is represented in public collections such as the Cincinnati Art Museum, the Nordic Museum of Drawing, and the Osten Museum of Drawing, as well as private collections. She founded NOoSPHERE Arts, a nonprofit exhibition and performance venue, on the Lower East Side, a collaborative arts platform called Last Frontier NYC as well as Mothership NYC, an arts collective in Brooklyn.<br /><br />Peter Max-Jakobsen is an established Danish artist that has been featured in multiple museum exhibitions at the Vendsyssel Museum of Art, Vestjysk Museum of Art and the Kastrupgaard Collection Art Museum. Max-Jakobsen is a board member of the Hj&oslash;rring Graphic Workshop, and taught material experimentation and sketching methods at the Royal Academy in The Hague. He has completed many successful commissions for various associations, including The Criminal Court of Hj&oslash;rring and Bergenser Law Firm.<br /><br />Both artists will be present at the reception.</p> Tue, 24 May 2016 18:38:37 +0000 Elise Freda, Lisa Pressman, Edward Holland, Alice Zinnes - Causey Contemporary - December 16th, 2015 - January 24th Tue, 24 May 2016 17:14:04 +0000 - Causey Contemporary - December 16th, 2015 - January 24th Tue, 24 May 2016 17:10:21 +0000 Pat Badt - The Painting Center - May 24th 6:00 PM - 8:00 PM <p><strong><em>Short Stories</em></strong> refers to <strong>Pat Badt&rsquo;s</strong> recent series of paintings, which explores the memories of people, places and things that create moments of experience. Badt often uses the backs of her paintings to embed found objects that refer to the painting&rsquo;s subjects, creating hidden &ldquo;readings&rdquo; that inform her work. For this exhibition, these works are presented on hinges so that the viewer is able to see behind the paintings and glimpse this secret place.</p> <p>Pat Badt's work is inspired by memory and place, filtered through experience and sensibility. Her studio is in an old barn along the Jordan Creek, surrounded by apple orchards, low mountains and the convergence of two creeks. She loves the process of painting -- the laying down of paint and the quest to find the appropriate handwriting and the right color, texture and scale.</p> <p>Pat Badt is Artist-in-Residence / Professor Emeritus at Cedar Crest College. She received her MFA from the University of Pennsylvania and her BA from the University of California at Santa Cruz. She splits her time between New York City and Pennsylvania.</p> Mon, 23 May 2016 16:08:56 +0000 Suejin Jo - The Painting Center - May 24th - June 18th <p><strong>Suejin Jo&rsquo;s</strong> paintings are often inspired by poetry, music and memories of childhood landscapes. When she found out about the upcoming show three months ago she wanted to make all new works for it and sought inspiration in Igor Stravinsky&rsquo;s ballet and orchestral music,&nbsp;<em><strong>The Rite of Spring</strong></em>. She feels that, even though over a hundred years have passed since its first performance, that Stravinsky composition stays as fresh and awesome as the return of the Spring itself every year. Her first work &ldquo;Adoration of the Earth&rdquo; was followed by &ldquo;The Sacrifice&rdquo; and then by &ldquo;Dances of the young girls&rdquo; and &ldquo;Dance of the Earth&rdquo;. Jo hopes to complete two more ongoing paintings before the show opens.</p> <p>Suejin Jo, a Korean born abstract painter based in New York, studied at Columbia University and the Art Students League where she won McDowell traveling fellowship juried by Richard Pousette D&rsquo;Art and Romare Bearden. Jo had numerous solo and group exhibitions in New York, Korea, Mexico, Italy and Japan and participated in several art fairs including Scope, Pool, Architecture and Design and AAF. Her last solo show was in Knokke-Heist, Belgium, in 2014. Jo won Jacob and Gwendolyn Lawrence Solo Exhibition Award 2008 juried by DC Moore Gallery. Her work &ldquo;Pontchartrain&rdquo; was included in the 2012 State Department calendar, &ldquo;Homage to American Women Artists.&rdquo; Jo&rsquo;s work is in many private and public collections including Library of Congress, Chase Manhattan Bank, General Instrument Company, Embassy of San Marino, NAPABA Law Foundation, Sogang Univerisity, Ahl Foundation, 9/11 Memorial Museum, Art in General, Korea Exchange Bank, Hyundai Construction Co., Pulmuwon Food Corp.</p> Mon, 23 May 2016 16:05:13 +0000 Kathy Cantwell - The Painting Center - May 24th - June 18th <p>Artist <strong>Kathy Cantwell</strong> knows her way around a stripe. In the paintings on display in her current one-person show&nbsp;<em><strong>Nightlines</strong></em>, she takes a pattern associated with regularity and restriction and transforms it into of vehicle of indeterminacy and expansion. Working in encaustic, the painter shuns the straight edge in favor of jaggedness, variable density, and overlapping. As an art student, Cantwell was drawn to the work of Gene Davis, a color field painter known for his color-balancing act of verticals. Taking his minimalist cue, she collapses the space between form and color, using simplicity and singularity to explore chromatic relationships. Yet for Cantwell, it is about the process of laying down the color, and her stripes result from making a complete side-to-side gesture with resistance from her medium.</p> <p>She is equally an expressionist in her palette, which hovers in twilight tonalities. Even when a brighter shade is introduced, it is subdued by the wax medium and by the surrounding embrace of darkness. Allowing for associations and metaphor, Cantwell admires the work of Sean Scully, and she seeks to similarly elicit humanistic content from a universally recognized motif. With encaustic, she takes advantage of its having passed from one state to another, which is an almost fleshy embodiment of crossing the line or of knowing no boundaries.</p> <p>After working in the music industry in New York City, Kathy Cantwell moved to New Jersey, where she currently lives with her wife and two children. In 2015, she had a solo exhibition Landforms at Gallery 103 in Maplewood, NJ. She has been shown in such group exhibits as: &ldquo;Square Foot&rdquo; Project Gallery, Miami Art Basel, Miami, FL, Arte Internazionale in Matera, Italy, One + One, A Gallery, Provincetown, MA, Viewpoints 2015, Aljira, a Center for Contemporary Arts, Baruch College&rsquo;s Mishkin Gallery, Montclair State University&rsquo;s George Segal Gallery, the Monmouth Museum, the Edward Hopper House in Nyack, N.Y., and numerous others. For more information on the artist, please visit&nbsp;<a href="" rel="nofollow"></a></p> Mon, 23 May 2016 16:01:58 +0000