11th National Juried Exhibition

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© Courtesy of the Ceres Gallery
11th National Juried Exhibition
Curated by: Lauren Hinkson

547 West 27th Street
Suite 201
New York, NY 10001
May 27th, 2014 - June 21st, 2014
Opening: May 20th, 2014 6:00 PM - 8:00 PM

Tue-Sat 12-6


Juror Lauren Hinkson isAssistant Curator for Collections at the Guggenheim Museum,

NYC where she conducts permanent collection research with a focus on modern, contemporary, and time-based art and has co-curated several collection exhibitions including Surface, Support, Process: The 1960s Monochrome in the Guggenheim Collection; Pop Objects and Icons from the Guggenheim Collection; and Paired, Gold:  Felix Gonzalez-Torres and Roni Horn. Ms Hinkson commented that the quality of the work submitted was outstanding.

The accepted work consists of photography, painting, drawing and sculpture. Submissions came from all over the United States with one artist entering from France. Drawing, with pieces in charcoal, pastel, oil on paper and pencil, makes a comeback in this year’s exhibition.  Photography ranges from simple to altered with cutting and/or mixed media additions.  There is sculpture in Plexiglas, one in cardboard and paint and another uses 3-D printing technology.  Some of the accepted work is realistic, although much is abstract or hard edged and all the work taken together forms an exhibition of excellent quality.

Statements from some of the artists:

Ewelina Nowakowska:  I was always inspired by the space. I present this space in my paintings as abstract compositions related to the real world by using scraps of known characters, symbols. 

Jenny Wiener:  Greensleeves begins with the question - How do you start with a landscape in London and end up with a Nocturne, which is an arrangement of music?

Janet A. Olney:  Hover is the first in a new body of work in which I began incorporating calligraphic gesture within an abstract ground. The gesture or calligraphic mark is an archetype of movement, time and experience.

Anna Chupa:  White Girih is inspired by Islamic architecture in Andalucia. I utilize photographs of plant details, mostly floral, extracted from their backgrounds, montaged into still life compositions and embedded into tiles called girih. The word girih literally translates to “knot” in Arabic.

Mack Gingles:  There is often some aspect of the work that explores my image of the South. The distance between knowing and not knowing is what interests me.

Chantal Soustra:  While painting I tend to navigate between reality and abstraction allowing the viewer to wander between seen and unseen, the real and the imaginary.

Marta Vaneva:  My work is about landscapes in its simplest form.

Wendi Michelle Turchan:  I explore moments of transformation marking rupture, anxiety, and opportunity. Color, geometric forms, and edges act as a hinge between real and imaginary conditions. Through various methods of transparency and overlap, I reflect on a ghostly, illusive, and nonrepresentational space of distance and longing. Memory and time inform my ideas, as I look back on moments when I have lost control. In my painting Flip, I have discovered these moments through rotating and re painting structural forms.  I am curious about how perceptions of the past can shape the present and seep into the future.

Min Ah HongA human being is intelligent so one is bound to live by either the evil or holy spirit. Hence, one who lives against God’s will lives by the evil spirit and he commits the sin of idolatry. This piece of art portrays a person who commits the sin of worshipping an idol, and the devil controlling the person. The puppet-like girl’s eyes are possessed by a doll that she is holding, which represents an idol. This idol can be money, fame, authority, success, wealth or oneself.  

Francine Gintoff:  I focus on using various images that are symbolic for poetic, historical, and social meaning. The images have personal significance and the viewer may not see what I see or interpret it in the same way. They become visual poetry for me.

Benny Fountain:  The act of seeing becomes (through memory) a unifying force that binds together the separated fragments of isolated sensations, giving one a sense of rootedness and stability. It is exactly this—seeing as binding force—that captivates my attention and makes me wish to paint.  Each painting, then, is a struggle to create a metaphor for this experienced coherent world.

Franklin Perkins:  As an abstract painter, my interest is in placing 2 forms or shapes, one on top of another. One is the inverse of the other. Each is a combination of positive and negative spaces. Color is usually a major concern. This painting investigates the three color palette.   

Leila Dorne:  Almost fifty years ago in Chicago, a German teacher told my high school class to be sure to visit the Frick Collection if we found ourselves in New York. She also introduced us to Brecht’s “The Shameless Old Lady.” On a visit to the Frick Collection recently I met a Fifth Avenue dowager returning from church. She consented to a photograph but stuck out her tongue as the camera snapped. Thus she became the shameless old lady.

The painting is dedicated to Frau Rosemary Beil of Chicago.

Joan Easton:  While attending the Ann Hamilton Armory Show “The Event of a Thread,” I became fascinated with the constantly changing forms created by the audience/spectators who then became participants/artists. Curtains #1086 is a split-second record of one such morphology.