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Cat Celebrezze

Aug 22nd, 2010 Leave a comment


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
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Dirigible
2009
3″ x 2″
Laminate, Paper, Socket Head Cap Screws
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Urban Formations Series 08172009
2009
10″ x 12″
Laminate, Paper, Socket Head Cap Screws, Acrylite
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Moses’ Monument
2010
17″ x 11″
Laminate, Paper, Socket Head Cap Screws, Acrylite
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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.
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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.
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Website

www.laminatedlove.com

Francisco Lopez

Jun 16th, 2010 Leave a comment

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

May 4th, 2010 Leave a comment


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

Apr 25th, 2010 1 Comment

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
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Leoworks, Studio 27
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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

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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

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Nathan Gwirtz; ceramics arena #12; oval dish, 2010, porcelain, underglaze sgrafitto, glaze;  nathangwirtz.com
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Susan Heller, Studio 15, “Layered Form”. I am in Studio # 15, http://www.susanhellerceramics.com
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Linda Tharp, Studio #64, Oil on Panel, 12″ x 24″, www.LindaTharp.com
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Joshua R. Marks, studio 97, “Epoch”mixed media, 36″h x 19″w x 11″d, 2010
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Lake Lahontan, 17 x 22″ poster from the Siting the Geologic series, 2009.
Jamie Kruse / Elizabeth Ellsworth
smudge, studio #37
smudgestudio.org | friendsofthepleistocene.com
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Lydia Reinhold, Studio 77 Screwballspaces, acrylic on canvas,2010, 47″X 63″, detail.
http://www.lydiareinhold.com
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Kathleen Collins, Studio #96; Gates, Central Park, contact:  kathc@juno.com
website:  www.kcollinsphotography.com
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Megan Berk, Studio 93, Pool Party, 2010, acrylic on panel, 42″ x 34″, http://meganberk.com/
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John Tebeau, “Monopoly Smackdown”, Studio 43, http://jctebeau.etsy.com
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Andy Mister, Studio #89, Title/Dimensions: Tate, Graphite on Paper, 40 x 50 ins.
Website: http://registry.whitecolumns.org/view_artist.php?artist=9489
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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
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Spring Hofeldt, Studio 2, “tough love”, acrylic on board
spring@springhofeldt.com
www.springhofeldt.com
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Dave Marin
Image:Untitled, 20 x 20 Digital Photo Print, 2009
Studio  #92 Screwball Spaces, Websit:e davemarinart.com, Email: davemarinart@gmail.com
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John Shorb; Rowan Oak IV, 2010, 30″ x 11″, Transfer on paper; http://www.johnshorb.com
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Kyoko Sera, Studio 44, Title: Seeking an Unfragmented Life: Cross Model 0-4, Installation; acrylic on cloth, canvas
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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
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Akiko Kato, Studio #86, Title: emergence + re-emergence, Media: Sterling Silver 0.925, 18KYG Vermeil; Contact Info: info@beroepbklyn.com, www.beroepbklyn.com
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Peter Patchen, Studio 76, http://www.peterpatchen.com/

Hearken, 2009, Media: 3D Print, Bronze/Iron Patina, Software: Maya
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Michael Sorgatz, studio 43; Union Square Farmers Market, 16″ x 20″, Acrylic on Canvas; www.mikesorgatz.com

Jennifer Macchiarelli

Apr 3rd, 2010 Leave a comment


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

Mar 14th, 2010 Leave a comment

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

Feb 6th, 2010 Leave a comment

erasure

Erasure

metalonmetal

Metal on Metal

vanishing

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

Jan 23rd, 2010 Leave a comment

New-Age-BlondieNew Age Blondie
Painting
30″H x 30″W


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

My-First-Grade-Coloring-BookMy 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/

Afton Gayle

Jan 18th, 2010 1 Comment

brooklynprints01subway station

brooklynprints02donut shop, 7th ave (Park Slope)

brooklynprints03
Pavilion movie house (Park Slope)

brooklynprints04uninterrupted brownstones (Prospect Park SW)

brooklynprints05electric 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/

Rebeca Olguin

Jan 3rd, 2010 1 Comment

3835596336_34d5986e95

Hidden Treasure

3834802809_119748b0d6

On Second Thought… Panic

3834802971_53776edb11

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/

Henry Chung

Dec 6th, 2009 1 Comment

chung-01

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

chung-02

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

chung-03

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

Richard Silver

Nov 23rd, 2009 1 Comment

tilt-shift-construction-workers-vegas

Construction Workers Vegas

tilt-shift-caracas-marketplace

Caracas Marketplace

tilt-shift-eiffel-tower

Eiffel Tower

tilt-shift-acropolis

Acropolis

tilt-shift-taj-mahal

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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