No Other Medicine

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Museum of Art, 2005 Chromogenic Print, Edition Of 15 40 X 55 X 1 Inches (Framed) © Courtesy of the artist and ClampArt Gallery
Settlements , 2010 Enamel, Acrylic, Permanent Marker, Photograph Collage On Canvas 39 X 58 Inches © Courtesy of the artist
The Lawn, 2007 Video (Dvd), Edition Of 5 1:00 Minute Reel © Courtesy of the artist
.22 Deputy Single Action Revolver, 2002 Glazed Porcelain 2 X 9 X 5 ½ Inches © Courtesy of the artist and Schroeder Romero & Shredder, New York
Smoke Signal, 2012 Collage And Acrylic On Wood Panel 20 X 32 X 1 1/2 Inches © Courtesy of the artist
The Low Road (detail), 2009 Acrylic On Paper Collaged Triptych: Center Panel 72 X 24 Inches, 2 Side Panels 72 X 14 Inches Each © Courtesy of the artist
Prism, 2011 Spray Paint On Fishing Line 23 X 123 Inches (Variable) © Courtesy of the artist
Minding My Own Business: Voices, 2012 Newspapers Dimensions Variable © Courtesy of the artist
No Other Medicine

154 Stanton St
New York, NY 10001
April 26th, 2012 - May 20th, 2012
Opening: April 26th, 2012 6:00 PM - 9:00 PM

east village/lower east side
Thu-Sat 12-6
Fashion Institute of Technology (NY)
photography, mixed-media, installation, figurative, sculpture


No Other Medicine

The Fashion Institute of Technology’s Art Market Graduate Class of 2012 is pleased to present No Other Medicine, an exhibition curated by the Art Market class and consisting of works by eight contemporary artists. The exhibition brings together a wide array of artistic responses to the mounting tensions and uncertainties of our time, in a variety of mediums and styles. Shakespeare once wrote, “the miserable have no other medicine, but only hope” and his words remain just as true in modern times. Often infused with a sense of foreboding or uncertainty, the works on view represent the possibilities inherent in fusing anxiety with hope and humor.


Max Greis creates collaged, otherworldly landscapes that reflect our changing times. His works are deeply referential, cinematic, and reflect a boyish, playful approach to what he deems an “archaic Armageddon.” Combining elements from National Geographic magazines with his own painting, Greis creates a world where the past and present co-exist. Lori Nix’s photographs display her meticulously constructed, microcosmic worlds, which produce strange, yet familiar snapshots into a post-apocalyptic vision. Imposing future catastrophes take form as nature takes over from a human-dominated world.  Priscila De Carvalho utilizes urban imagery from her Brazilian background, and infuses them with intense color and maze-like juxtapositions. Her sociopolitical commentary and concerns of urban decay surpass geographical boundaries.


Hong Seon Jang manipulates common objects to create organic forms, as an approach to express the cyclical nature of destruction and creation. He revitalizes materials from their original purposes and extends a new meaning. Susan Graham’s sculpture of industrial objects reflects issues of domestication, as well as conflict between technology and nature. Utilizing delicate, fragile materials highlights the contrast between the natural and artificial world. In Lisa Dahl’s work, the recurrence of the suburban home questions traditional values. She questions the implications of the American Dream, as well as environmental and political concerns found in today’s society.


Yuken Teruya’s work reflects the rebirth and growth that comes after disaster. Using newspapers reporting on the Japanese tsunami from last year, Teruya emphasizes the relationship not only of nature and society but also creates a personal tribute. The paintings by Susan Hamburger’s are made to resemble panels borrowing from French decorative interior design. They are imbued with satire by the presence of recently scandalized figures in the political as well as corporate world. Seemingly kitschy, Hamburger’s work is no doubt a critique of frivolous contemporary culture.

Gallery Hours:
Wed-Fri 12-6
Sat-Sun 11-6

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