artinbrooklyn.com » Photography

“Pioneers of Bushwick: We Call It Home” Exhibition by Daryl-Ann Saunders

admin — Tue, 10 Apr 2012 13:48:35 +0000

“Pioneers of Bushwick: We Call It Home” photography & text exhibition by Daryl-Ann Saunders

Open to the public, Monday to Friday 8am – 3pm through April 27, 2012
Diana Jones Center, 9 Noll St. at Bushwick Avenue, Brooklyn, New York 11206
Directions, press release and information: http://www.PioneersOfBushwick.com

The Pioneers of Bushwick project is an ongoing series of photographic portraits of long-time Bushwick residents, paired with their text about Bushwick history. Photo sessions were conducted in a “pop-up” studio by artist Daryl-Ann Saunders at the Diana Jones Senior Center as part of an art residency program initiated by the Brooklyn Arts Council, in partnership with the NY Department for the Aging and the NY Department of Cultural Affairs. “Part II” of the Pioneers of Bushwick project will be presented in June 2012. Subscribe at Pioneers Of Bushwick website above for updates.

http://dasfineart.com/

Elizabeth Colon of the "Pioneers Of Bushwick" project

Gerardo Marengo of the "Pioneers Of Bushwick" project

Avellar G. Hansley of the "Pioneers Of Bushwick" project

Exhibit: Troy Mattison Hicks at Yashar Gallery

admin — Mon, 02 Apr 2012 13:00:44 +0000

Yashar Gallery presents NEW WORK, a solo exhibition of new work by TROY MATTISON HICKS. Please join us on Thursday April 5^th 6-10pm for the exhibition opening and to meet the artist.

Greenpoint, Brooklyn, NY. April 5^th-25^th 2012.
Opening party Thursday April 5^th 6-10pm

In the exhibition, Hicks presents a series of highly stylized close-ups of the male face, bending light and color into something hyper-real, futuristic and modern. These lip studies are meant to evoke a feeling of a future where synthetic and human features are hard to distinguish, yet may be equally as beautiful. Hicks works with many top models and agencies in NYC to achieve his unique vision.

Troy Mattison Hicks is a self taught artist originally from Tuscaloosa, Alabama. Born into a family of taxidermists, Hicks has always experimented in many different mediums. In his early twenties he was one of the youngest artists to be represented by the prestigious Robert Cargo Folk Art Gallery. Being an outsider artist has allowed Hicks the flexibility to always try new things and to not be tied down by any lack of education in any particular medium. His experimental music as Zelium Quang exemplifies this untrained artist aesthetic as Hicks knows not a single musical note, but yet crafts some pretty phenomenal psychedelic pop. And the success of his handmade accessories line Necklush has given way to new adventures in men’s fashion photography and music video production.

Troy Mattison Hicks Art/Fashion Photography: http://troymattisonhicks.com
Necklush Accessories: http://necklush.com
Zelium Quang music: http://zeliumquang.bandcamp.com
PAANO music: http://paano.bandcamp.com
Video work: http://thecreatorsproject.com/blog/the-sounds-and-structure-of-paano-deconstructed

Artist Profile: Dana Liebermann

admin — Thu, 29 Mar 2012 01:20:06 +0000

For the past few years I have been interested in still life photography and in defining (or rather redefining) what that means. The series represented here “POP”, and “Camera Trickery” are the product of much experimentation. Both series explore the notion that the camera has the ability to capture something that doesn’t exist in real life, or that is momentary. In order to create this imagery I employ elaborate set ups and create props or apparatuses, the sole purpose of which is to assist me in taking the picture. I use a lot of affordable materials such as cardboard, tape, and glue, to construct my aids. I grew up in a household where both my parents were scientists, and that has influenced me to approach my work in a systematic way. I often impose rules for guiding my practices. I have found that with limitations comes new types of freedom.

http://liebermann.me

pop#1

pop#5

Camera Trickery #2

Camera Trickery #4

Camera Trickery #7

Artist Profile: Peter Feigenbaum

admin — Wed, 15 Feb 2012 06:28:29 +0000

Trainset Ghetto is voyeurism more than it is hobbyism. It is the physical byproduct of teenage suburban daydreams and attempts to live vicariously through an alien post-urban 1980s landscape that was in no way part of my quotidian existence-a landscape that I caught glimpses of through car rides down the Bruckner Expressway, Henry Chalfant’s photographs, and movies such as “The French Connection” and “Style Wars”. But this odd juxtaposition of lifestyles is a well-hidden text. I make few overt attempts to exploit this perverse juxtaposition of place and social circumstance in my photographs. Rather, the primary emphasis is always “setting the scene” in a hyper-real, trompe l’oeil manner. Unlike other “scene-setting” photographers like James Casebere, who works with hazy spatial ambiance, or Gregory Crewdson, who creates uncanny cinematic narratives, Trainset Ghetto is concerned primarily with hyper-realism via an attention to small mundane details of the urban architectural vernacular.

Trainset Ghetto is a by-product of the virtual urban spatial realms that defined my teenage experience in the 1990s-virtual realms found in video games ranging from Sim City to Duke Nuke ‘Em to Grand Theft Auto. The motivation to create Trainset Ghetto was cultivated by experiences in these virtual realms. Additionally, there was a desire to objectify these spatial experiences-a desire that could only be fulfilled via miniaturization, a process in which inhabitable spaces become tangible objects. While artists such as Corey Arcangel have responded to the digital realm of the 1990s using similarly digital means, Trainset Ghetto uses anachronistic, analogue means–the age-old pseudo-craft of model railroading.

Trainset Ghetto is not simply a “cheap holiday in other people’s misery”– it is a rigorous examination of the urban architectural vernacular. And it is more than a simple replication; it is an attempt to understand the metaphysics of place within an urban context.

The urban fabric and vernacular architecture of New York is both perpetually familiar and perpetually unfamiliar. Thus my scenes attempt to exploit this ambiguity of place-the feeling of remembering a place that one has never actually visited.

Accordingly, the scenes depicted in my photographs and models have never existed in reality, rather they were informed by vague memories (both real and “cinematically” implanted) of experiences in various parts of New York City. Perhaps the most important components of this vernacular include rooftop water tanks, 25-foot-wide five-story walkups, Italianate cornices, ancient brick facades painted Pepto-Bismol pink, roll-up store-front grates, parapet graffiti, and garish plastic storefront awnings. All of these details I have studied and re-created in miniature with great care.

Thus, Trainset Ghetto achieves hyper-reality, which Jean Baudrillard describes as a simulation of something that never actually existed. The project could also be seen as a perverse parallel to the other great American architectural hyper-reality: Disneyland. From a stock of nearly fifty buildings created both from scratch and from model railroad structure kits. I can compose an endless array of believable scenes that are brilliantly generic, and almost capable of implanting false memories of my 1970s childhood in the bombed-out Bronx that never happened.
http://www.peterfeigenbaum.com/

Sections: New Work by Hugh Crawford

Art in New York City » Brooklyn — Sun, 11 Dec 2011 15:21:35 +0000

Opening reception on December 15, 2011 from 6-9 p.m. at The Old Stone House

Hugh Crawford’s photographic tangles of rose bushes, ocean waves, the banks of the Gowanus Canal, architecture, and trees reify the tension between detail closely observed and panoramic vista intrinsic to the act of seeing. Created in the Autumn of 2011, the work addresses the entwinement of growth, death, and rebirth.

Synthesized from multiple exposures reassembled in jagged composition, the work is printed in sections on photographic canvas, some as large as eight feet.

Hugh Crawford studied photography and received a BA from Bard College, and an MFA from the California Institute of the Arts. His work has appeared in Rolling Stone, New York Magazine, Tattler, and Newsweek. His fine art work has been exhibited in numerous galleries in NYC and San Francisco. A recipient of a grant from the Rockefeller Foundation, he was also an artist-in-residence at ArtPark in Buffalo, NY. He is currently at work on a book about Polaroid photographer Jamie Livingston. His photos can be seen daily on the No Words Daily Pix feature of Only the Blog Knows Brooklyn.

Sections: New Work by Hugh Crawford
Opening reception on December 15, 2011 6-9PM
The show runs through January, 2012
The Old Stone House
Third Street between Fourth and Fifth avenues in Park Slope
718-768-3195

Rose rows, 2011, pigment on canvas, 85″ x 45″

Here in Red Hook, a photography book from Andy Vernon Jones

Art in New York City » Brooklyn — Wed, 09 Nov 2011 01:31:27 +0000

Here in Red Hook presents a body of work that Andy Vernon-Jones has been working on for nearly five years and presents the series in its entirety for the first time. The book is composed of photos taken in the streets, alleys and abandoned lots of the Brooklyn neighborhood of Red Hook and combine a documentary approach with an art-photography sensibility. The photos express the beauty and struggle of life in Red Hook. Many of the portraits are of young people who are at the cusp of adulthood; their gazes show their toughness and their hope for the future.

Book release party for Here in Red Hook on Thursday evening, November 17, from 7 – 10 at 360 Van Brunt Street in Red Hook, Brooklyn. The party will include food, drink, music, and book signing with the artist. There will also be limited editions of photos for sale of Vernon-Jones imagery from Here in Red Hook. For more information visit www.luckygallery.com

Abe’s Penny Presents the Art of Lost Utopia in September Issue

Art in New York City » Brooklyn — Tue, 13 Sep 2011 09:00:16 +0000

Abe’s Penny features photographer Niall O’Brien and writer Francesca Gavin in its September series inspired by defunct utopian societies. Each week during the 9th month, the famed Brooklyn art and literature publication will deliver to subscribers its post-card sized segments with O’Brien’s photographs and Gavin’s accompanying text. The series is being mailed in conjunction with O’Brien’s upcoming exhibition Good Rats opening at No.10 gallery in NYC’s TriBeCa, September 13th, 2011.

Niall O’Brien is a fine-art photographer originally from Dublin, Ireland. He has exhibited throughout Ireland and the United Kingdom in the mediums of photography and film. Niall was admitted to The Invisible Committee, a remote commune in Limousin Valley, France, under the auspices of his desire to join the group. His photographs “beautifully employ light and long afternoon shadows to suggest both the romantic idealism of utopian groups as well as their fall into the darkness of obscurity,” according to Anna Knoebel, editor and publisher of Abe’s Penny.

Francesca Gavin is the Visual Arts Editor of Dazed & Confused magazine and a freelance writer and curator. Her previous works include Creative Space, Hellbound: New Gothic Art, and Street Renegades, all published by Laurence King Publishing of London. Gavin’s work in Abe’s Penny is inspired by the quixotic and defunct societies Spiral Tribe, Millbrook, The School of Living and Lower Farmhouse. “They are not photographs and they are not texts,” The New Yorker says of Abe’s Penny’s unique publishing style, “but a combination of both, tangible objects with a heft and significance of their own.”
Subscriptions to Abe’s Penny are available for purchase online, at http://www.abespenny.com/subscribe.html

About Abe’s Penny
Abe’s Penny, LLC publishes mailable art and literature. Each four-part series features an image and text collaboration printed on postcards. Subscribers receive one postcard every week; each month a new series begins. Abe’s Penny is based in Brooklyn, NY.

Independently published by sisters Anna and Tess Knoebel, Abe’s Penny launched in March of 2009. The short and accessible “stories” (off-set printed on double thick matte card stock) aim to change the way our overscheduled and overstimulated audience consumes art and literature. A different photographer and writer collaborate each month.

Artist Profile: Jessica Polzin

Art in New York City » Brooklyn — Thu, 08 Sep 2011 09:00:40 +0000

Artist Statement
My aesthetic is based on the limitless. Seeing infinite potential in all areas of design and how I can manifest them to create something with fluidity and complexity. As an artist reaching a place of balance is such an extreme rarity, Balance is often the underlying theme in my artwork, and the desire to reach harmonious proportions my underlying intent.The natural world is my tangible fantasy, with infinite variables and constant surprises. I seek perfection but delight in all the chaos and unexpected incidences that cause one to redirect thought and ideas. I enjoy problem solving and the progression of the design process.

Website
http://www.jessicapolzin.com/

Cat Celebrezze at Sweet Lorraine Gallery

Art in New York City » Brooklyn — Tue, 28 Jun 2011 01:08:52 +0000

TIME COLOSSUS: a repetition in laminated love
365 non consecutive laminations of the Brooklyn Bridge
by Cat Celebrezze

Art opening. Free and Open to the public.

Saturday, July 2nd · 5:00pm – 8:00pm

Sweet Lorraine Gallery
183 Lorraine St. 3rd Floor (between Court and Clinton)
Brooklyn NY 11321

Everything is safety coated to last in laminated love.

www.laminatedlove.com/timecolossus.html

Artist Profile: Aditya Shringarpure

Art in New York City » Brooklyn — Sat, 18 Jun 2011 14:25:53 +0000

"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

Diana Leidel

Mike — Fri, 25 Mar 2011 16:00:27 +0000

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

James Edwin at Yashar Gallery

Mike — Fri, 28 Jan 2011 01:15:28 +0000

Madonna and Child. Digital archival print. 2007.

St Anne's Square. Silver gelatin print. 2006.

St Peter's. Silver gelatin print. 2006.

Manchester Lass. Silver gelatin print. 2005.

Matriarch. Digital archival print. 2009.

Exhibit Information:
Yashar Gallery is pleased to announce the opening of “SOLO” on Saturday, February 5, 2011. This solitary exhibition features the photography of James Edwin Hall on view through February 23rd.

James Edwin works in street settings, concentrating his efforts in high pedestrian environments. Working with variety of formats (digital, 35mm, and medium format TLR (Twin Lens Reflex)) he is able to create timeless pieces that ensure concentration on the subject and build the integrity of the work.

The timeless appearance is reinforced by the artist’s continuing efforts in cities from the West Coast to Western Europe. Having collected images from San Francisco to the Bible belt of the South, Tennessee, to the archaic scenery of the United Kingdom, the artist frames a plethora of individuals. This breadth of study further enforces the validity of his humanistic theories.

Lastly, all of the imagery put together for the show is of candid nature. By shooting from the hip, sweeping his camera up before a subject’s face, and even concealing his focus with his TLR, the artist maintains the integrity of the human expression.

The opening reception for “SOLO” will take place from 7-10pm on Saturday, February 5, 2011 at Yashar Gallery, 276 Greenpoint Avenue, Bldg. 8, Ground Floor, Brooklyn, NY 11222. The exhibition will run through February 23rd.

Website
http://www.jamesedwin.com

Elena Yamamoto

Mike — Mon, 24 Jan 2011 00:36:36 +0000

Statement
Elena Yamamoto’s works are thoughts bound up in sources, process, and materials: photos made from negatives that my father took when he was just a few years older than myself; the sun-soaked cyanotype prints with their natural, distinctive, and seductive blue; silk in its softness, its play in the light, its living quality; cedar with its scent and preservative property.

All of these materials, all of these things, each personally important and meaningful, are tied and pinned and sewn together—slowly, quietly, meditatively—in order to become a collection of intimate, personal objects. These objects are manifestations of time spent with ideas, created by a repeated motion of the hand, thought on and thought about. Some of them are just small musings, haphazard thoughts made big through the time it took to meditate and make them, while others are those big ideas of family, legacy, intimacy, and relationships, made small and manageable through their expression in the physical.

These objects—reliquaries, even—contain elusive, ineffable thoughts. Words and sentences and explanations tend to limit our understanding of things, failing to capture ideas and experiences in their entirety, reducing the complexities of feelings and emotions to mere sentiment. And so here instead, I, with cautious hands, tug and pull to lay bare my quiet, personal thoughts and moments for you to ponder.

Website

http://www.elenayamamoto.com/

Current Exhibit
http://extensionsofmemory.tumblr.com/

Jean-Paul Cattin

Mike — Thu, 20 Jan 2011 22:30:44 +0000

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Artist Statement
In the series "Fingerprints" I’m looking for a reinterpretation of reality, namely urban elements taken from the places I explore. Walls, floors, garbage trucks or any other terrestrial material, which are the basis for my work, are reviewed and contrasted to the extreme, sometimes highly detailed or otherwise deliberately letting appear the original pixels. The result has a strong emphasis on organic, abstract and highly pictorial work.

Contact
http://www.jeanpaulcattin.com/art
http://twitter.com/jeanpaulcattin
http://www.pelavingallery.com

Raphael Zollinger

Mike — Fri, 14 Jan 2011 02:23:02 +0000

UDF redux, 2010. Archival UltraChrome Print, 30" x 40"

August, 2004 with Apollo Cam, 2010. Archival UltraChrome Print, 30" x 40"

August, 2004 with Rover, 2010. Archival UltraChrome Print, 30" x 40"

Woman with Flowers, 2010. Archival UltraChrome Print, 44"x32"

Mare Tranquillitatis, 2010, Archival UltraChrome Print, 30" x 40"

Artist Statement
This body of work seeks to reside in and thereby comment upon the liminal space of photography, that space between the document and that of the art work. I am interested in the medium of photography itself and in its representational function pointing outside of itself to an aspect of cultural narrative and memory. At the same time, I am drawn to the self-referential quality of photography that stems from the history of modernism and painting. By choosing to keep the identities of each layer in my photographs evident, balancing these in turn creates a push and pull dynamic between the content of the images and the formal aspects of color, line and texture. By layering and juxtaposing images from the protest surrounding the 2004 Republican National Conference in New York City with those of the Apollo moon mission, Joseph Albers compositions, found and acquired old photographs, as well as direct drawings, I create dialogues between each image. New contrasts old, just as hope and optimism reside simultaneously with disillusionment or apathy, and unity opposes individualism. This discourse dictates an aesthetic in which layered imagery by way of material choices approach and thereby utilize the vocabulary of abstraction. Technically, these prints are produced in the same manner as traditional print making and silk-screen where layers of ink are printed on top of the other, yet I utilize the resolution and control of digital resources. Imagery, color, ink type, and paper are carefully considered and selected to control opacity as the paper is sent through the photo printer anywhere from 3 to 8 separate times leaving behind a history of it production, time, and the artists hand. This is often not evident in the cold mechanical reproducible nature of photography and leads to varying and intensified experiences when viewing the work as multiple levels of detail emerge as one alters their distance from the work.

Website
http://rzollinger.com

Photographer Haley Jane Samuelson Kickstarter Project

Mike — Wed, 08 Dec 2010 01:47:04 +0000

Photographer Haley Jane Samuelson is raising funds through Kickstarter for her new project The Indecisive Moment: Fine Art Portraits of NYC Dancers. A fund raising goal is established and donors receive incentives at various dollar amounts. If the goal is not met during a specific time frame the project is canceled and no funds are collected.

Dancers have long served as muses and models for artists of all different visual mediums. As in Degas’s ballerina studies, or Picasso’s imaginative lithograph, Le Ballet, they act as brokers between the abstract nature of human spirituality and the tangibility of the physical world. But what image of humanity do these works reflect? What questions of human identity and crisis do they reveal? Are they simply about beauty, or do the bodies of the dancers provide symbolic material for the ethical, political, and aesthetic questions raised by man’s own image of himself? The exploration of the boundary between artist and muse — in myths and sagas, in the earliest records of ritual and art — is part of the great ongoing debate about creation itself.

As an investigation of the relationship between artist and muse, I have began to photograph traditional and contemporary dancers from the major New York Dance Companies, including The New York Ballet, Martha Graham and Paul Taylor Company, among others. The work is a result of a unique collaboration between the dancers and myself. While the project has had a successful start, I am having to cut corners and make compromises due to lack of funds. The money I raise will go to: equipment rental, photo assistant fees, test prints, transportation to and from location to location, data storage (massive files require lots of hard drives and back ups), and stylist/prop costs.

Please check out my website to view my completed works: www.haleyjsamuelson.com
You will also find out information regarding previous exhibitions, press and publications.

To see my work in progress please check out my facebook page: www.facebook.com/haleyjs
The work will be under the photo section in an album titled Work in Progress

Kickstarter link: http://www.kickstarter.com/projects/510514608/the-indecisive-moment-fine-art-portraits-of-nyc-da

Cat Celebrezze

Mike — Sun, 22 Aug 2010 16:11:29 +0000

Bridge Series 01182007
2008
2.5″ x 2.5″
Laminate, Paper, Socket Head Cap Screws

Bird Raptor Series 12122007

2009

10″ x 12″

Laminate, Paper, Socket Head Cap Screws

Dirigible

2009

3″ x 2″

Laminate, Paper, Socket Head Cap Screws

Urban Formations Series 08172009

2009

10″ x 12″

Laminate, Paper, Socket Head Cap Screws, Acrylite

Moses’ Monument

2010

17″ x 11″

Laminate, Paper, Socket Head Cap Screws, Acrylite

Artist Statement
There is a curious deliverance to lamination, the process central to my work. Combined with the differentiation and re-assemblage of photographic images, lamination is both a repetition of, and a difference from, alienation. Parts of images go into the machine, get heated up, and come out enclosed, individualized, sealed off. Yet combined with other similar strata they form a three-dimensional dreamscape, separate from reality yet animated by its possibility.

My technique takes as its point of departure the photographic image isolated into its core subjects, whether those elements be objects, people, light or space. Once deciphered, I focus on how such elements can be rebuilt as sculpture, with depth and connection. Floating, separate, but bound and connected by that which separates, the result is both serene and odd, an interruption to the economics of plastics that bind, a laminated love that, though not supreme, shines on nonetheless.

.
Website

www.laminatedlove.com

Francisco Lopez

Mike — Thu, 17 Jun 2010 01:04:55 +0000

Artist’s Statement
Film, obsession and beauty
The focus of my work is in the chance union of forms, symbols, images and colors. It is through cosmetics, in the sense of making up the world in an almost shaman-like manner, that my work plays with a pre-established language of beauty pervasive in popular culture and attempts to establish a complicated link to a mythological world. My work is about obsession and beauty.

Bio/Resume
Born in Florida, and raised in Caracas, Venezuela, Francisco López has been based in New York since 2001. He graduated from the School of the Museum of Fine Arts Boston in 1999. His work has been exhibited at the Boston ICA, Trieste Film Festival in Italy, Sala Mendoza in Caracas, and Transhudson Gallery and Momenta Gallery in New York. In 2004 he showed a video installation as part of the Young Architects Program at PS1 MOMA in New York and his video “Telepathic Numbness” was exhibited at the British Council Electric Earth Show in Caracas, Venezuela. He has lectured at the California Institute of the Arts and Fashion Institute of Technology in 2009.

Website
http://www.mogollon-ny.com/

Lisa Dillin

Mike — Tue, 04 May 2010 11:33:37 +0000

1. Award Plaque for H. Waldenford – 2009 – Laser-engraved brass, cherry laminate, MDF – 10″ x 8″ x .5″

2. I’d Rather be Fishing – 2009 – Custom-printed ceramic – 4″ x 5.5″ x 3″

3. Window A – 2010 – Aluminum, formica laminate, fluorescent lighting – 42″ x 62.5″ x 4″

4. Under the Desk Escape Unit – 2010 – Found objects, mixed media, and video (interactive)- 65″ x 108″ x 30″

5. Untitled Ad for Roar Design – 2009 – c-print, 20″ x 30″

Artist Statement
This work re-presents a mental landscape, an office-scape, used as a symbol or stand-in for contemporary culture at large. Stemming from an interest in the exploration of the psychology of the individual in contemporary culture as contrasted with the primitive psychology of man, this work offers a synthesis that highlights the latent tension between our former modus operandi and our current structured status. While this lifestyle transformation may be recognizable in the lives of the majority, I focus on a specific grouping of individuals, those living in a maximal built environment, the urban environment, cut off from the natural world. This new normal position removes the sights, sounds, scents and behaviors integral to life in the natural world and replaces it with a myriad of man-made objects and experiences centering around the idea of function or purpose in relation specifically to the human being. No longer residing in a subsistence-based communal setting where a reactionary attitude to our environment is part of our survival technique, we now plan for our survival in a construct based in politics and the economy.

The Arts provide a unique escape from this practicality, this need for function or popularization in a market-driven economy for both the fabricator (or art practitioner) and the viewer/collector. To recognize this fact is to provide evidence of the enduring appetite to witness an idea, a feeling, or an aesthetically driven combination of color or pattern that stretches beyond the rigidity common in other areas of our experience. To some extent, the strong economy of the art market itself is evidence of the desire for the unique or rare object, rare because it was not mass produced and is not readily available. On the other hand, it must also be recognized that art objects themselves are now bought and sold purely on the basis of commodity value.

Humor, absurdity, or dysphoria may be an element present in my work in it’s often-times futile attempt to provide a response to the predicament of life in contemporary culture in the form of simulated nature. It is through this lens that my work investigates the tension between our past and out present modes of conduct.

Website
http://www.lisadillin.com

Artists’ Open Studios in Red Hook, Brooklyn

Mike — Sun, 25 Apr 2010 15:37:56 +0000

Saturday, May 1st and Sunday May 2nd, 2010 from 12–6 pm

Screwball Spaces, Gowanus Canal’s newest addition of artists’ studios in Red Hook, Brooklyn, opens its doors to the public for a rare glimpse into the work spaces of New York’s contemporary artists.

http://openstudios.screwballspaces.com/

Henry Chung, Studio 50, Anonymous #23, 36″ H x 24″ W (framed), Computer Punch Tape
http://www.HenryChung.com

Enrico Miguel Thomas
Studio 90

Miranda Maher
Studio No. 56
http://www.miranda-maher.com
miranda_maher@hotmail.com
miranda@miranda-maher.com
347-431-5275

Cat Celebrezze Studio 39

Title: Birds are Dinosaurs

Media: Laminate; Paper; Socket Head Screws

2010

Leoworks, Studio 27

Joetta Maue
waking with you, 2010, hand embroidered, appliquéd, and painted re-appropriated linen, and queen size bed, 60in x 80in. x 15in.
www.joettamaue.com
Studio #2

Yasha Butler, studio 80, Title: Off Circle, Media: Porcelain and Glaze / wheel-thrown and altered, Size: 6.5″h x 10″ x 10″, www.yashabutler.com

Nathan Gwirtz; ceramics arena #12; oval dish, 2010, porcelain, underglaze sgrafitto, glaze; nathangwirtz.com

Susan Heller, Studio 15, “Layered Form”. I am in Studio # 15, http://www.susanhellerceramics.com

Linda Tharp, Studio #64, Oil on Panel, 12″ x 24″, www.LindaTharp.com

Joshua R. Marks, studio 97, “Epoch”mixed media, 36″h x 19″w x 11″d, 2010

Lake Lahontan, 17 x 22″ poster from the Siting the Geologic series, 2009.
Jamie Kruse / Elizabeth Ellsworth
smudge, studio #37
smudgestudio.org | friendsofthepleistocene.com

Lydia Reinhold, Studio 77 Screwballspaces, acrylic on canvas,2010, 47″X 63″, detail.

http://www.lydiareinhold.com

Kathleen Collins, Studio #96; Gates, Central Park, contact: kathc@juno.com
website: www.kcollinsphotography.com

Megan Berk, Studio 93, Pool Party, 2010, acrylic on panel, 42″ x 34″, http://meganberk.com/

John Tebeau, “Monopoly Smackdown”, Studio 43, http://jctebeau.etsy.com

Andy Mister, Studio #89, Title/Dimensions: Tate, Graphite on Paper, 40 x 50 ins.
Website: http://registry.whitecolumns.org/view_artist.php?artist=9489

Brendan Donleavy, Studio 62, The Tinker, Oil, bdonleavy@gmail.com
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Dana Atherton, Studio 62, Abstract Collection, Oil dana.a.atherton@gmail.com

Spring Hofeldt, Studio 2, “tough love”, acrylic on board
spring@springhofeldt.com
www.springhofeldt.com

Dave Marin
Image:Untitled, 20 x 20 Digital Photo Print, 2009
Studio #92 Screwball Spaces, Websit:e davemarinart.com, Email: davemarinart@gmail.com

John Shorb; Rowan Oak IV, 2010, 30″ x 11″, Transfer on paper; http://www.johnshorb.com

Kyoko Sera, Studio 44, Title: Seeking an Unfragmented Life: Cross Model 0-4, Installation; acrylic on cloth, canvas

Julia Whitney Barnes, studio #74; La Jardiniere, 2009, 120 x 310 x 15″ (dimensions variable), mixed media (porcelain, stoneware, earthenware, glaze, oxides, gold luster, wood, epoxy, wire and acrylic paint); www.juliawhitneybarnes.com

Akiko Kato, Studio #86, Title: emergence + re-emergence, Media: Sterling Silver 0.925, 18KYG Vermeil; Contact Info: info@beroepbklyn.com, www.beroepbklyn.com

Peter Patchen, Studio 76, http://www.peterpatchen.com/

Hearken, 2009, Media: 3D Print, Bronze/Iron Patina, Software: Maya

Michael Sorgatz, studio 43; Union Square Farmers Market, 16″ x 20″, Acrylic on Canvas; www.mikesorgatz.com

Jennifer Macchiarelli

Mike — Sun, 04 Apr 2010 00:33:43 +0000

Cait Bliss, 2010

Eastern Parkway in Autumn, 2009

Garden Signage, 2009

Kingston Ave on a Saturday, 2009

Artist’s Website
http://www.jennylow.com/

Orit Ben-Shitrit

Mike — Sun, 14 Mar 2010 15:02:07 +0000

we, the people, are the languid conjoined lovers, 2009 photograph, archival pigment print on Luster

mother's eye, future and past grief, repeat. 2009 photograph, archival pigment print on Luster 24"x40"

plunging fingers in the film of night, 2009 photograph, archival pigment print on Luster 27"x40"

perennial gatekeeper of marble and concrete, 2008 pigment print on Somerset 23"x35"

Intoxicating sovereignty (jerusalem Fall afternoon) 2008 photograph, archival pigment print on Luster 40"x60"

Artist Statement
One of the oldest cities in the world, Jerusalem has always been infused with fracture and duplicity, which carry on to this day in the city’s fabric and leaders. As reverent home to three of the world’s major religions, Jerusalem embodies Foucault’s idea of a heterotopia — an impossible space where parallel contradictory layers exist.

Using reflective surfaces in my constructs, it is often unclear whether an image is the thing itself or its reflection. I avoid the traditional horizon, and the compositions can become purposefully disorienting. A photographic image can be thought of as a belief system in itself, and as such, I hope to create a structure infused with doubt.

Website
orit-ben-shitrit.com

Daniel Abraham

Mike — Sun, 07 Feb 2010 01:22:50 +0000

Erasure

Metal on Metal

Vanishing

Artist Statement

This is about the intersection of man-made environment and nature: nature reclaiming the space appropriated by man.

This is not abstract art. This is nature photography / Close-ups from the urban environment.

The art of small things – things you have to get close to – bend or kneel down to observe, because small things require extra effort from the viewer.

Time: Take the time to look around. Beauty is hiding everywhere.

Time: All things must pass / slow decay from the elements.

(Re)discovering the psychedelic nature of reality. Notice the tiny, insignificant details that are part of the daily environment.

Discover the tiny universes hiding in plain sight everywhere – tune into the noise your mind has learned to cancel out in order to become more efficient.

“What is it?” is not the question – what matters is what the viewer projects.

Website
http://danielabrahamphoto.com/

Peter J. Ketchum

Mike — Sun, 24 Jan 2010 01:49:36 +0000

New Age Blondie
Painting
30″H x 30″W

Muffin Trespassing in the Garden of Ideal Beauty
Acrylic on canvas,Photo Dyes,found photo
40″H x 36″W

My First Grade Coloring Book
Large hand-colored print
24″H x 24″W

Artist Statement
Emerging, Mid career & Near-Death

The title reflects the rigid categories set by the art establishment which refers to emerging, middle and mature stage artists . Like fruit fly larvae I guess. When one is really really old in this culture –like 68– the last stage of artistic development must be Near-death. So this latest work reflects ithe near-death stage of my career.

Critics have labeled my work Retropop, Grandpop and Folkpop Art. Whatever, as the kids say. The work is derived from actual images and words found in printed ephemera — snapshots, ads, postcards, comics, coloring books etc. from 1867 -1950’s. Every word in the mixed-media work appeared in print somewhere. I invented none of it.

I am interested in subjects ranging from the origin and perpetuation of stereotypes to the death of civility. My work looks at the impermanence of individuals and the long afterlife of their prejudices and foibles.

Website
http://www.peterjketchum.com/

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