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″

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 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 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/

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

"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

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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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

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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/

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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.

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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

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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

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Bird Raptor Series 12122007

Dirigible

Urban Formations Series 08172009

Moses’ Monument

www.laminatedlove.com

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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/

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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

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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

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

Dana Atherton, Studio 62, Abstract Collection, Oil dana.a.atherton@gmail.com

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Eastern Parkway in Autumn, 2009

Garden Signage, 2009

Kingston Ave on a Saturday, 2009

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

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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

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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/

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New Age Blondie

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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donut shop, 7th ave (Park Slope)

Pavilion movie house (Park Slope)

uninterrupted brownstones (Prospect Park SW)

electric rocking horse (Prospect Park W)

Artist Statement
Afton Gayle is a self-taught photographer who clings to film the same
way some writers cling to typewriters: he strongly believes in the
power of the medium and its ability to shape the subject matter he is
shooting. He is a primary contributor at Brooklyn Prints, which is the
sole distributor of his work.

Website
http://brooklynprints.com/

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Hidden Treasure

On Second Thought… Panic

Mom, Listen to the Sea

Artist Statement
My son’s birth has meant an encounter with a completely new form of experiencing life and interacting with the world. Since the moment I knew I was pregnant, parenting has been an existential experiment –an involuntary, uncontrolled one– marked by the encounter with a being that was, first, a part of me, but then became an Other, becoming ever more different from me with each second, becoming more Other. Motherhood has been, for me, the progressive development of an I that opens to an Other in a process marked by a bittersweet recognition and simultaneous estrangement. It has brought the opportunity to experience the Other not by means of a confrontation, in time and space, of two different persons, but through the gradual separation of one in two.

I’m Open to You is a series of photographs –taken and digitally altered by the artist– in which some of my son’s favorite objects and toys appear. These objects have invaded every space of my everyday life, as a symbol of my son’s existence installing itself in my own existence, as well as in his father’s. I experience this existence as open to me, and at the same time as a door to revisit my own existence, an opportunity to formulate fantastic hypotheses to explain places and things that had become common for me over the years. Many of these photographs are also the telling of the act of daring to open and be open to something, with the hope to make an unexpected discovery through an irreversible process, like maternity itself.

Website
http://www.rebecaolguin.com/

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Anonymous #15, 2008
34″H x 22″W
Computer punch tape

Anonymous #16, 2008
40.5″H x 22″W
Computer punch tape

Anonymous #10, 2008
48″H x 22″W
Computer punch tape

Artist Statement
Identity/Anonymity Series
These portraits are of people that I do not know. They are based on pictures of people from old photographs that I found in flea markets and antiques stores. While collecting these old photos, I found that there was something haunting and inherently sad about the faces that looked back at me. While anonymous to me, these photographs were a lifetime of cherished memories for someone else. I wondered about these people, who they were, what the occasions were where the pictures were taken, and why these photographs which served as the representation of these moments were ultimately discarded.

I began to imagine what the lives of these people were like. I wanted to know that these memories that seemed discarded were in fact not forgotten. I enlisted help from others to help me re-invent these events, and to ensure that a happy ending was enjoyed by everybody in these discarded memories. I asked people to look at these portraits and invent facts about these people. I was to weave these facts into stories for each of these people, creating new identities that would save these memories from obscurity.

At the end, the reality is that these images were discarded. I will never know who they are, and I can never be sure that their lives ended happily.

These portraits are composed strips of computer punch tape, an obsolete technology that was commonly used during the time when these original photographs were taken. The strips are assembled by hand and adhered to the wall.

Ultimately, the series is about information access and my quest for a resolution that I could never find: people whose information I want but don’t have access to, rendered in a data format that can no longer be read.

Website
www.HenryChung.com

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Construction Workers Vegas

Caracas Marketplace

Eiffel Tower

Acropolis

Taj Mahal

Artist Statement

“TILT-SHIFT”ing the World

Tilt-Shift, What type of photography is that? people always ask me. How do I make people look so small or why do I make people look so small, simple…WE ARE. In the big picture we are just a small blip of what the world truly is. I enjoy the power I have to change the perspective of the way people look at the world and maybe at themselves.

Photographers need inspiration like all artists of all types of art,  mine is travel. From my series “Tilt-Shift”ing the world you can see only a small piece of the world that I have seen. Travel-Photography, Photography-Travel, they go hand in hand with me. The love of both is one. My passion to try and make the iconic places and structures that man desires to see and has for centuries traveled to see, is the same desire that drives me to go there and photograph them. I have been an avid photographer for over 25 years and have taken thousands upon thousands of photographs of iconic buildings. I’ve had the pleasure to “X” off from a list that grows and grows as new architects from around the world build new buildings for me to see and explore.

Life is said to be too short and I agree with that simple statement. I have goals like every artist does and mine is to “X” off as many places around the world until I run out of places to see or I run out of time.

Biography
1961 Born in Brooklyn, New York, USA
Lives and works in New York, NY USA

Exhibits
2002 Metropolitan Museum of Art, New York
2003 Camera Club of New York, New York
2006 Kolo-submission work
2008 Kolo-submission work
2008 The Skyscraper Museum, New York
2008 Schmap “Miami Guide“, Miami
2008 Ansonia Pharmacy, Solo Show, New York
2008 www.NowPublic.com, “Potent Greenhouse Gas” Publication
2009 Lana Santorelli Gallery, “New York, NY” Group Show, New York
2009 Chelsea Wine Vault, Solo Show, New York
2009 Baboo Digital, “Different Flavors“, Group Show
2009 www.artscenetoday.com finalist
2009 www.InfinityArtGallery.com finalist
2009 Lana Santorelli Gallery, New York, NY Group Show “Gastronomy”
2009 New Artist featured with www.LUMAS.com

Website
www.richardsilverphoto.com

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