1. Untitled. Acrylic on canvas 18″x24″

2. Reskew in Stone, Acrylic on wood, 2′x4′

3. Animal Kingdom #1 , Gouache on paper 24″x18″

4. Technically Alive  , acrylic on paper, 24″x40″

I am inspired by street, urban and popular art. My work is animated with cartoon-style drawings, symbols, collage, animal and human shapes. I strive towards the use of minimal, bold brush strokes. The forms are expressive and colorful yet simple, offering just a hint of the real image.

The result is a mix of abstract and figurative elements colored with a touch of humor.

I use acrylic paint and my color palette is dominated by muscular, energetic and vibrant colors that reflect the world of cartoons and children fantasies.

I received an MFA from Florida State University. Born in France I now live in Brooklyn. Recent solo shows include the 440 Gallery in Brooklyn, Galerie ArtSud in France and Ion Studio in Soho.

http://www.helenemukhtar.com

Passage
36”x48”
Acrylic paint on canvas

Say Cheese!
36”x48”
Acrylic paint on canvas

Watch Out!
48”x36”
Acrylic paint on canvas

Fierce and Resolute
16”x20”
Acrylic paint on canvas

Fallen Angel
24 x 18 inches
oil on board

Free For All
22½ x 18 inches
oil on canvas

Mysterious Entry
22 x 16 inches
oil on canvas

Through Her Own Eyes
36 x 40 inches
oil on canvas

Artist Statement
I am fascinated by the idea of creating still lifes that are not so still. Inspired by interests such as chaos theory, poetics and gravity, I began to paint objects falling through space. In my Accidental Encounters series, I reinvented my concept of an orderly painting, along with my ideal of an orderly world.

By adding a reflective vase, I could combine my still (or not so still) life with figures and interiors. A still life became a self-portrait in my studio, revealed in minute detail on the surface of the vase. The antique and ethnic toys I include represent joy and abandon, and suggest another time and place.

I love to travel, collecting objects and toys that I will later paint. In my work, these objects evoke stories and memories that are both personal and universal. I invite the viewer to join me as we create an “accidental encounter” between our individual aesthetics and those of other cultures.

To create this series of oils, I use a glazing technique that allows light to permeate through layers of transparent color. This lends depth and luminosity to my paintings, which often take many months to complete.

Website
www.franbeallor.com

Current Exhibit
Two paintings from the “Accidental Encounter” series are on exhibit in, “Childish Things,” at Tabla Rasa Gallery in Brooklyn through December 11, 2011.

TABLA RASA GALLERY
224 48th Street (between 2nd & 3rd Avenues)
Sunset Park, Brooklyn, NY 11220
718-833-9100

Gallery hours: noon – 5pm Thur, Fri & Sat
D or N to Brooklyn 36th St. plus one R stop to 45th St.

Upcoming Exhibit
Fran Beallor’s 2nd Annual Open Studio. The artist is pleased to open her NYC studio to visitors on

Saturday December 3rd from noon till 6pm
Sunday December 4th from noon till 5pm

Fran will be featuring works on paper from her flat files – drawings, watercolors and new works from the past year, in addition to her oils, prints and works from the “Accidental Encounters” series.

Fran Beallor’s studio
839 West End Avenue #6F
NY, NY 10025

IRT subway 1, 2 or 3 to 96th St.

Contact:
phone: 212-925-8126
website: www.fredgutzeit.com
email:  f.gutzeit@covad.net

“Giggle Hollow, Later” (with detail),  1990, watercolor on paper, 30″ x 40″

“Otter Falls, #3″, 2001, ink on paper, 18″ x 24″.

“Ott 21.1″, 2006,  acrylic on canvas, 32″ x 56″.

Sideshow Fantasy#7 (2009), archival digital print on paper–edition: 3/30, 17″ x 17″ (image size), laminated to aluminum.

Artist Statement
Love Letter To Brooklyn is literally showing love to downtown Brooklyn through the memeories and feelings of one of its prominent sons, Dave villorente. Dave grew up on De Kalb avenue, Saw santa at Macys as a kid, Worked at macys as a teen, just bought socks at macy’s last week. In addition to Dave’s story, I painted some romantic pick up lines in the hopes that they are used to increase the population of brooklyn, and I have depicted a local couple, living room johnson and his wifey Katiya and their newborn baby. Finally there is a tribute to dollar vans and 99 cent stores that are the lowest common denominations on the block the macys garage occupies

Website
http://www.firstandfifteenth.net/

Website
www.sserpick.com

Still Life 1

Still Life 2

Still Life 3

Strange True Stories Dammit

The Sovereign Order

Artist Statement

I was born in Tucuman, Argentina.  Growing up, I took every opportunity I had to create art.  In the early 90′s, I was an exchange student in New York City.  From the moment I arrived, I was stunned by the city’s art scene and knew that one day I would come back to pursue a career as a professional artist.  After a short stay in the US, I returned to Tucuman and enrolled in medical school.  I completed all 5 years of intense study, but decided not to become an MD. Instead, I packed my bags and moved to New York City to pursue a career as an artist.  Soon after my arrival, I began taking classes at The Art Students’ League of New York, where I had the pleasure to study with Larry Poons (one of my mentors), Kikuo Saito, and Knox Martin, among others.  As I moved through the different stages of an artist’s education, I learned a great deal of technique and, most importantly, I learned great deal about myself as an artist.

I put myself through art school working as a consultant for Wingate, Russotti & Shapiro, a law firm that specializes in medical malpractice law.  In addition to analyzing medical records and prepared detailed reports on the medical aspect of the case, I prepared all trial exhibits, which included technical drawings, photography, charts, etc. During this time, I also engaged in freelance projects, which allowed me to experience other areas of the art and design world.

My work is very colorful and has a myriad of icons.  I paint on whatever I can get my hands on: walls, furniture, canvas, clothes, etc.   The media are mostly acrylic, spray paint, and silkscreen prints. Although the sizes of my work vary, I prefer working on large pieces.  I particularly enjoy working on installations, which allows me to transform a space completely by using different materials and objects.

IMURI

A few years ago I started IMURI, a Brooklyn design studio, committed to producing colorful work for people’s walls (and much more). The company handles the business part of my art. Like all start-ups, there have been great moments and scary ones too. www.imuriproject.com

At this time, most of IMURI’s work consists of  large-scale installations for both commercial and private spaces. Additionally, I have started developing mass produced works, which are sold through IMURI’s online store: http://imuriproject.bigcartel.com/

Some of the publications that featured IMURI’s work are Harper’s Bazaar, Elle Décor, Tokion Magazine, ThrilList Magazine, and in a book called Paint Style by Smallwood & Stewart.

Jungle Time

Riddle 1

All I Wanna Do

Fishing Dreams

Shifting to Suit the Moment

Statement
Although the principle behind my creative work is framing, my intention is the realization of an unexpected use of the photograph. Leaving aside the obvious path, the one indicated in the manual, creating my own manual of the new technologies. My intention when creating is to manage to generate a work-spectator game in which habitual perception is replaced by a new perception. Either by taking almost ignored elements from daily life and placing them in the spotlight in the piece or from photographs of distant places I have visited– seeking to reproduce the surprise in the visitor in the face of the new space to walk around, assimilate, take in. My work is a kind of experiment with elements which, on their own, cannot attain what they manage when they are interrelated. A sort of socialist utopia is thus created, which is realized effectively on canvas.  Reciprocal relationships, equality, the possibility of creating a ‘whole’ from the ‘parts’. Something that seems to be further and further away of really coming to happen in present-day societies after the complete loss of the sense of ‘tribe’ or ‘community’ and the advancement of the every day more predatory decaying capitalism that fractures everything and upsets the balance. My reply to such phenomenon is to seek balance in a virtual manner, inventing an answer for the deficiencies of real life in my work, something like a parallel society or a more peaceful world to inhabit in which we can see ourselves reflected and which we might feel inspired to turn into our reality.

Website
http://www.celestenajt.com.ar/

"Musings: Urban Spaces 4", Mixed Media, 23x44

"Musings: Urban Spaces 1", Mixed Media, 23x44

"Paradigms: One", Mixed Media, 44x23

"Paradigms: Four", Mixed Media, 44x23

"Paradigms: Six", Mixed Media, 44x23

Artist Statement

My love of art stems from my early childhood in India, where I was exposed to a conglomeration of art ranging from traditional Indian to contemporary western. I find myself synthesizing images from places I visit into themes of urban decay, renewal, and everyday life. I am always attempting to find a pathway to incorporate these images into my work, bridging the gap between traditional and contemporary art. I create my own visual language, combining my interests in photography, printmaking and drawing into images that reflect both abstraction and realism at once.

I usually begin by picking a random selection of photographs that I have taken, and these become the basis of the final work. I either incorporate these photographs directly into paintings by transferring them onto the surface or draw portions from them that reflect the theme of that work. Onto this I apply layers of paint, ink, oil pastel, graphite, screen prints and additional photographic transfers until the work reaches the desired composition and texture.

Growing up in the bustling city of Bombay, urban landscapes were first an inspiration and then a fascination. A focus on more minimal and sparse compositions represents a departure from the nature of the city, but the city remains integral to my theme. The resulting work reflects these nuances.

Website
www.artaditya.com

Through the Roof 2009, watercolor on paper, 52" x 70"

Pathway 2010, watercolor on paper, 52" x 68"

Climbers with Blues 2010, watercolor on paper, 52" x 69"

5000 Rosebushes 2010, watercolor on paper, 45 " x 69"

January Crimsons 2011, watercolor on paper, 45" x 57

Statement
My mind’s eye sees the destination for the content in my paintings as abstraction. Before this happens, subjects like Georgian interiors at a 1760’s mansion in Philadelphia or formal landscapes at the Brooklyn Botanic Garden seem to have a magnetic attraction. Besides a personal interest in American history and flower gardening, it’s because these places and spaces provide the panoply of design elements, patterns and compositions with which to play.  My color palettes are imaginary (not realistic.) The manipulated perspectives look slightly outside of the realm of the real world.

Recently released print edition
Through the Roof is available as an archival print at 20×200.com.
http://www.20×200.com/email/web/edition-announcement-405-tamara-thomsen.html

Website
http://tamarathomsen.com/index.html

Saul Sudin and Elke Reva Sudin are two Boerum Hill artists reclaiming their heritage and making a name for contemporary Jewish art. Named “power couple” by the Jewish Week, the Sudins started SUDINmagazine and JewishArtNow.com to promote contemporary Jewish art and design.

Saul Sudin, filmmaker and critic, writer for Chud.com and JewishArtNow.com, advocates for new Jewish film.  Saul is currently working on Punk Jews, a documentary which explores Jewish creatives with an unapologetic Jewish identity. Trailer for Punk Jews

Elke Reva Sudin, known for series “Hipsters and Hassids” exploring the two sides of Williamsburg and showing how much they have in common despite their obvious differences in order to create awareness for the commonalities we all share. She is now exploring the urban landscape as universal elements that shape the urban lifestyle and effect the cultures within it.

You can view more about their work at www.elkerevasudin.com, www.saulsudin.com, check out their publication at www.sudinmagazine.com and follow their blog www.jewishartnow.com.

You can visit Elke’s work at the Seventh Heaven festival in Parkslope (7th Avenue, Flatbush – 18th Street) on June 19^th.

Artist Biography
Fernand Barbot was born in 1930. He grew up in Paris, France. He moved to Brooklyn, New York in 1957. He has attended art classes in drawing and painting, be he is for the most part self-taught. His early paintings reflected his taste for abstract art, but developed into primitive art. Mr. Barbot has received considerable awards and recognition throughout the New York area. As the President of All Communities Art, he has contributed to the completion of outdoor murals for Citibank’s Kings Highway Branch, Crawford, and Martin’s restaurant all in Brooklyn.

Contact
fernbar80@yahoo.com
347-409-8957

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Interior with Window, 60 x 64 inches, Oil on Linen, 2011

Eulogy, 42 x 42 inches, Oil on Canvas, 2008

L'Estate, 20 x 24 inches, Oil on Canvas, 2009

Beneath Glass, 58 x 58 inches, Oil on Linen, 2008

Closing the Tear, 60 x 60 inches, Oil on Linen, 2008

Artist Statement
I make paintings, usually medium to large, with oil paint, and occasional other materials. Over time, I have developed a personal visual language that I use to communicate and to evoke. My paintings occupy the role of vessel for ideas and emotions: akin to keeping a diary. They are memorials to events and losses, they are markers of what I have thought and dreamed of.

The idea of a personal language is dear to me and informs my evolution and direction as a painter. I am also interested in the idea of a memorial, or a physical space which serves as a marker or vessel for emotions often nuanced and complex. The idea of the stand-in or placeholder is relevant to my use of painting as a surrogate for my own complex emotions.

I seek in my work to occupy the grey area between “representation” and “abstraction”– or rather, to carve out a place which is neither. I am interested in making paintings which do not illustrate ideas but rather embody them, an idea I describe as “being-ness”.

My future goals are simply to continue.

Website
www.rembert.org

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The collision and the intermingling of these millions of foreign-born people representing so many races and creeds, make New York a permanent exhibit of the phenomenon of one world. The citizens of New York are tolerant not only from disposition, but from necessity. Here is New York, E.B. White.

Kathleen Migliore-Newton
362 Adelphi Street
Brooklyn, NY 11238
Tel: (mobile) 1-917-804-2145
Paintings:
http://urbanpaintings.com

Winter, 40x56", oil paint on linen, 2003

Union Square, 28x39", oil paint on linen, 2010

The Light, 16x20", oil paint on linen, 2011

Summer, 41x40", oil paint on canvas, 2009

Stranger, 56x40", oil paint on linen, 2008

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White MOMA Chair

White Ghost Basement Chair

White Basement Chair

BAGsingle

Statement
I’ve become fascinated with the sculpted nature of chairs and the visual force they project. I photograph them everywhere, work into the images, and render them in black and white to try to get to their essence.

Website
http://web.mac.com/dianaleidel/DIANA_LEIDEL/home.html

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Statement
Early one morning on a Bronx subway I sat across from a woman with unnaturally orange hair. She looked sad, and I could see my own tired reflection against the dark tunnel out the window behind her. From the angle where I sat, our faces appeared to be communicating- hers in the flesh, and mine in reflection. This visual communication, by which two distant faces became merged by chance, inspired the painting Reflection. I was interested in the relationship between two disparate faces- one distant and cool-toned, partially obscured, and the other one up close and warm- that become merged primarily through an emotional link.

Chance is the major catalyst in my work. My compositions in oil are built up around a series of unexpected changes in the images, as they appear in the painting process. Loyalty to the image gives way to my intuitive handling of the medium, and through re-stating lines and layering colors a new abstract composition takes form. When a visual cohesion has emerged, but right before the painting has become too manipulated towards convention, I know it is finished. For example, I enjoy the provocation of a neon green smudge set against a larger neutral area, like a distant boat in a seascape.

Website
www.hilaryabaldwin.com

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“Time Machine LXI” Acrylic, Plaster, Antique Hardware, Salvaged Velvet, and Metal on Wood, 2010 Size (H x W): 18” x 11.5” (total size)

“Time Machine LXIII” Acrylic, Plaster, Antique Hardware, Copper, Recycled Leather and Wood on Canvas, 2011 Size (H x W): 21.5” x 22” (total size)

“Time Machine LX (Entering The Pasture)” Acrylic, Plaster, Antique Hardware, Wood, Tubing, and Copper Pipe on Masonite, 2010 Size (H x W): 40” x 24” (total size, including attachments)

“Time Machine LI” Acrylic, Plaster, and Cable on Canvas and Hand-carved Sign Board, 2010 Size (H x W): 42” x 48.5” (total size)

“Time Box XI” Acrylic, Plaster, Antique Hardware, and Cable on Masonite 22” x 18.5” (Total Size)

Statement
My “Time Machines” series is a collection of mixed media paintings incorporating 3-dimensional, sculptural elements. The pieces, at their core, are paintings on canvas or masonite that I create by applying acrylic paints, colored plasters, and transparent glazes using a combination of airbrushing and traditional painting techniques. Then, at various stages of creating the painting, I attach real objects, such as antique or salvaged hardware, cables, and carved wood pieces, to the edges and/or the face of the painting.

My “Time Machines” evolved out of my love for turn-of-the-century aesthetics as well as the mechanical, futuristic environment that surrounds me in Chicago. I create these “machines” to look like they were constructed in 1901 by a time traveler who was renting a room from my great grandfather. As the story goes, this traveler disappeared one day and the contents of his boarding room became the possession of my great grandfather. These articles were transferred to me through a will and now I am repairing the machines and they are beginning to work again. In any case, I want my “Time Machines” to give the experience of glimpsing into another era, dimension, or lifetime.

I recently got the chance to exhibit a couple of my “Time Machines” at the Verge Art Brooklyn fair with Firecat Projects from Chicago, IL, where I am from. I really enjoyed being a part of the fair, getting to know the arts community in Dumbo, and meeting a lot of  interesting and supportive people in Brooklyn. I hope to be back soon and to show more of my work in this awesome city.

Website
www.jasonbrammer.com

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Ochre & Orange

Nomadic Cowbird

Mockingbird Music

In Praise of the Pidgeons

Amanda's Warbler

Artist Statement
My love of birds and their gift of flight is a recurring theme in much of my work often used used as a metaphor (although I rarely paint them in flight.) for life. The subtlety of patterns in natural forms and the colors as they appear in the natural world interest me. That juxtaposed with my love of patterns and color in textiles and the material world is the basis for much of my visual exploration. I have always been interested in our relationship with nature.

I have been Influenced greatly by my years working as a printmaker. Paper is my favorite surface to paint, and often paint in layers working with the residue of pigment that gets trapped within the fibers. City parks and the wildlife they support have been my refuge growing up in Brooklyn, they continue to be my tonic for life.

Contact information:
henning.dawn@gmail.com
www.dawnhenning.com
blog:sketchjay.wordpress.com

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Cubic
Oil on Canvas
16 x 12 in.
2010

Urban Garden
Oil on Linen
20 x 17 in.
2010

Tapestry
Casein on Paper
16 x 12 in.
2010

Statement
My work combines an expressionist tendency with a more minimalist appreciation of structure and grid. Originally from Chicago, where architecture is a preoccupation and presence, I came to New York attracted by the legacy of Abstract Expressionism. The conversation in my work is between gesture and the painting process itself, and an idiosyncratic order created by line and form.

Website

http://www.annerussinof.com/

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Artist Statement
I construct mixed media paintings of defunct and desultory environments. They critique ‘progress’ as backwards thinking. I build a painting around pieces of photographs I have shot and cropped. I attempt to make order out of chaos by drawing and painting into the arrangements. This is the way that humanity thinks; the works are a direct result of that.

Website
http://MatthewWilliamRobinson.com

Upcoming Exhibit
Industrial Society and Its Future Failure
Venue: RePop Times: Friday March 4 – Wed March 30 Reception: March 4^th 7:30pm-11

Address: 68 Washington Ave (between Park and Flushing) Brooklyn, NY 11205 Phone: (718) 260-8032 Travel: Subway: G to Clinton/Washington BUS: B69 From Park Slope and B61 From Redhook or Williamsburg.

Industrial Society and Its Future Failure paintings of defunct and desultory environments of paint and other media.

Admission: Free.  Opening Friday March 4, 7:30pm to 11pm.  Closes Wednesday March 30th.

http://Repopny.com

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Untitled, 2009, marker, gouache, mylar, paper, 35x13x7 in. (dimensions vary)

Untitled, 2009, marker, gouache, mylar, paper, 9x7x6 in. (dimensions vary)

Untitled (Still Life #39), 2010, oil on panel, 28x28 in.

Untitled, 2010, oil on panel, 26x26 in.

Untitled, 2010, oil on panel, 26x30 in.

Statement
My studio practice is based around the idea that process and experimentation instigate creation. The work is self-referential, in that I may make drawings, cut up the drawings and build sculptures, take apart the sculptures and create collages. Or I may collect scraps of past drawings, form sculptures, take photographs of the sculptures, create paintings from the photographs, dismantle the photographs to make collages, and then make paintings from the collages. The old work generates the new and explores the play between abstraction and representation. For example, the paintings are representational reproductions of abstract sculptures. However, one might argue that the abstract sculptures are more representational (in that they are the source objects) than the paintings. Besides images of my own work, there are no other references hanging on the walls of my studio. The work looks inward and is caught in the circuit of the process.

Website
http://susankleinart.com

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Mjolnir #3, 2010, acrylic on canvas, 24 x 24"

Asgard, 2010, acrylic on canvas, 24 x 24"

Little Je-Je, 2010, acrylic on canvas, 24 x 24"

Valhalla, 2010, acrylic on canvas, 24 x 24"

Agent 202, 2010, acrylic on canvas, 24 x 24"

Statement
The desire to capture space, time, emotion and experience cannot be fully realized on canvas. As a result my works are suggestive rather than representational.

Through my painting process I create a unique pictorial vocabulary— using color to impart a strong emotional charge.

The way in which the paintings are made varies considerably from piece to piece. Some are thinly painted while others are more worked.

There is a suggestion throughout of flux and a strong sense of arriving at an image rather than the creation of a fixed, specific representation.

Website
paulbehnke.net

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1. Name Tags, 2011, paint, paper, glassine, each piece 3x4 ft

2. Pink Slip (Waste Not), 2010, paint on seamless backdrop paper, 53x84 in

3. Last Straw (Waste Not), 2010, paper, paint, foam, extruded acrylic, 12x8x120 in

4. May Wave, 2010, zero voc house paint on canvas, 36x42 in

5. Big Spill, 2010, zero voc house paint on canvas, 84x64 in

Current Exhibitions

Process: Abstract Painters
Brooklyn Artists Gym
January 29-February 10
168 7th Street, Brooklyn, NY

An Art Exchange with Sol Lewitt
January 20-March 5
300 Nevins St, Brooklyn, NY

Website
http://vincent-romaniello.blogspot.com

Blog
http://romanblog2.blogspot.com/

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Echo, 2010, oil on linen 48" x 48"

Echo, detail

Midnight Pond, 2010, oil on linen, 20" x 20"

Element, 2009, oil on linen, 48" x 48"

Ripple, 2009, oil on linen, 48" x 48"

Mind's Meadow, 2009, oil on linen, 48" x 48"

Artist Statement
The dense, luminous atmosphere of my paintings is inspired by observed natural phenomena — fog playing between tree branches, light peeking through clouds, the darkening sky before a thunderstorm. I am drawn to moments when air feels thick, when space has a presence as real as that of solid objects. Through an accumulation of small, repeated brush marks, my work explores the tension between structure and space, geometry and randomness, to create a sense of place where form and air mingle with each other.

I aim to create quiet, meditative spaces which invite viewers to slow down in front of them. The paintings ask for careful consideration, revealing the layers of their making and meaning over time. In a fast-paced world where bombardment by empty noise and images is the norm, these works offer viewers an alternative, peaceful environment and a tranquil space for contemplation.

Current Exhibit
Thought Patterns: Julie Shapiro & Rachael Wren at The Painting Center runs until January 29 at 547 W. 27th Street, 5th floor, New York, NY.
http://thepaintingcenter.org/exhibitions/thought-patterns-julie-shapiro-and-rachael-wren

Website
http://www.rachaelw.com

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