Wednesday, September 26, 2018

John Walker at Alexandre Gallery

John Walker, Swing, 2018, oil on canvas, 84 x 66 inches.
Photo courtesy of Alexandre Gallery

Installation view.
Photo courtesy of Alexandre Gallery

Installation view.
Photo courtesy of Alexandre Gallery

John Walker

Opening Reception: September 26, 5 -7 pm
Sept 15 - March 30, 2018

Alexandre Gallery
499 Park Avenue
New York, NY

Yes, I'm a Witch at FATVillage Projects, Fort Lauderdale, FL

The group exhibition curated, by Milly Cardoso, will feature Julia Oldham's Forest Maker, 2018

A still image from Oldham's Forest Maker.

From the Press Release:

“The first time I called myself a 'Witch' was the most magical moment of my life.”
― Margot Adler, Drawing Down the Moon: Witches, Druids, Goddess-Worshippers, and Other Pagans in America

Yes, I’m a Witch explores feminism, the witch trials, and the mysticism and folklore surrounding witches. Taken from Yoko Ono’s 1974 song entitled, Yes, I’m a Witch, the exhibition is an ode to the strong woman who goes against societal norms, the woman that owns her power and sexuality and challenges the patriarchy. Exuding feminine strength wasn’t acceptable then, and it’s not acceptable now. The desire to punish is prevalent today. A coven of thirteen artists, whom all originate from different background and interests will be working in a variety of media.

Monday, September 24, 2018

Open the Door: Melissa Staiger at Kent Place School

Installation view


Exhibiting artist Melissa Staiger and Kent Place School gallery director, Ken Weathersby.

 From the Press Release:

The Kent Place Gallery presents a solo exhibition by New York artist Melissa Staiger from Friday, September 7 through Monday, October 1
Staiger's exhibition, titled “Open the Door,” will fill the gallery with vibrant, powerful assemblages and collages, creating an atmosphere of harmony and surprise through color and texture.
The artist has said that opening her heart (the door), and letting her emotions out through her work has become her guiding principle: “I carefully arrange objects, shapes, lines, and colors. I pay attention to relationships, patterns, and shifts of movement . . . I need time to immerse, experiment, listen, and draw in my sketch-book to push my work further . . . using color as the structure in my work opens up a glimpse of understanding that I crave within my inner self.”
Staiger’s works in this show were selected from ones created over the last two years. She used acrylic, oil, stone, paper, ceramic, and found objects to develop an oeuvre varying greatly in scale and construction. Each piece has its own idiosyncratic structure, but throughout the exhibition, a consistent thread is the striking combination of boldness in color, texture and shape with a particularly poetic sensitivity to relationships among the parts. Feeling is the key to each varied composition.
Gallery Director Ken Weathersby said of Staiger’s work, “Melissa’s art exudes color, liveliness, and charm, but it is beautiful rather than simply pretty. It includes moments of complication and darkness, even grief, as well as uplift and joy. Her rich, thoughtful combining of high-keyed hues brings to mind strands of painting’s history that include Henri Matisse, Helen Frankenthaler, and Ellsworth Kelly. Her work contains a full spectrum of emotions including humor. I see the wit in her eclectic and inspired use of found materials. That aspect is part of what makes it feel absolutely contemporary. Of course, it is always the right time for art that can be believably life-affirming.”
The artist has had recent solo shows at Trestle Projects and at Janet Kurnatowski Gallery, both in NYC. She has participated in many group exhibitions in New York, nationally and internationally. Her multiple grants and residencies include stays at the Robert Rauschenberg Foundation, The Wassaic Project, Trestle Projects, and the Puffin Foundation. She has curated exhibitions at a variety of NYC venues and has often participated in artist panels. Staiger holds an MFA from Pratt Institute and a BFA from Maryland Institute, College of Art.
Kent Place Gallery is on the campus of Kent Place School, 42 Norwood Avenue, Summit, NJ. Gallery hours are school days, Monday through Friday, 9:00 a.m. to 4:00 p.m. For more information call (908) 273-0900, or visit

Installation view

Installation view with What was Stolen, we have back., 2018

Installation view

MULTI-view, 2018

Installation view

Yellow Connects, 2017

Wild World at Cross Contemporary Art

Ashley Garrett, Aster, 2017, oil on paper, 6 x 8 in.Aster, 2017, oil on paper, 6 x 8 in.

From the Press Release:

Wild World explores the power of the gestural mark inspired by the natural world. The artists of this show Ashley Garrett, Catherine Howe and Lily Prince all paint with a distinctive gestural calligraphy. Catherine Howe's monotypes assert bold, botanically-inspired forms while Lily Prince's watercolors exhibit a hypnotic, vibrating brushwork that walks the tightrope between light and color. Ashley Garrett's oil paintings combine calligraphic elements with deep, mysterious spaces conjuring up the ambiguity between "inside" and "outside" the self. United by the bravura of the artistic hand, these paintings, prints and watercolors by these three artists boldly express the subtle strength of nature and the ephemeral power of the brush.

Wild World: Ashley Garrett, Catherine Howe and Lily Prince opens Sat. September 8th and continues through Sun. September 30th, 2018.

About Ashley Garrett:Ashley Garrett graduated from The School of Visual Arts (BFA 2008) and has had many exhibitions nationally including New York City, Brooklyn, Los Angeles, CA, Dallas, TX, West Hartford, CT, Honolulu, HI, and Great Barrington, MA, and internationally in Greece, Vancouver, Copenhagen and Oslo. Her work has been reviewed in the online journals Painting is DeadGorky's Granddaughter and Arts in Bushwick. Extending her painting practice, Garrett has curated exhibitions in New York and Los Angeles that have been that have been featured in Art in America, Hyperallergic and NY Observer. Her writing has included interviews with artists such as Katherine Bernhardt, Ann Craven, Judith Linhares, and Brenda Goodman for the online journals Figure/Ground and Whitehot Magazine discussing their art and studio process.

About Catherine Howe:Catherine Howe received an MFA from SUNY Buffalo in 1983. She has been reviewed in many publications including Art in America, Artforum, Art Critical, The New York Times, The New Yorker, and the Los Angeles Times. For over twenty years, Ms.Howe has exhibited throughout the United States and Europe including shows at the Corcoran Gallery of Art in Washington, DC, MoMA PS 1 in New York, and the Albright-Knox Art Gallery in Buffalo. Catherine Howe is on the faculty of the New York Academy of Art and is represented by Winston Wachter Fine Art in New York, NY.

About Lily Prince:Lily Prince has her B.F.A. from The Rhode Island School of Design, her M.F.A. from Bard College and attended Skowhegan. Prince has exhibited widely both nationally and internationally. She has been awarded commissions including the New York City Department of Cultural Affairs. She was Artist-in-Residence at historic site Olana and was chosen for Draftsmen’s Congress at The New Museum. She was awarded a residency at the BAU Institute, and returns to plein air draw in Italy. Prince’s work has appeared in the New York Times, New York magazine, The Brooklyn Rail, and New American Paintings. Lily has done the artwork for 2 published books. The Paterson Museum published her drawings The Ten Plagues. Prince has lectured at Yale, Vassar, Cornell, RISD, SVA, and Pratt. Lily is an associate professor at William Paterson University. Prince is represented by Thompson Giroux Gallery in Chatham, NY and Littlejohn Contemporary in New York, NY.

Installation view with work by Ashley Garrett.

Installation view with work by Ashley Garrett.

Wild World: Ashley Garrett, Catherine Howe and Lily Prince
September 8 - 30, 2018

Cross Contemporary Art
99 Partition Street
Saugerties, NY

Friday, September 21, 2018

Drinks Night at SFA Projects

Installation view of Non-Place: Levan Mindiashvili and Grant Wells

Had a great time last evening at SFA Projects' Drinks Night!

Gallery co-owners, Keith Schweitzer and artist Kay Sirikul Pattachote, hosted the lively event in conjunction with the spaces' current exhibit, Non-Place that features the work of Levan Mindiashvili and Grant Wells.

The event offered a great chance to meet the artists and discuss their work in an informal setting that included a complimentary bar.

From the gallery's press release:

The title of the show borrows a phrase coined by Marc Augé to refer to spaces where concerns of relations, history, and identity are erased.
Mindiashvili’s practice explores the transitional, liquid state of historically accepted social forms and paradigms. Focused on in-between, transient conditions, his work itself can be placed in interstices between sculpture, drawing, tapestry, and painting. Hand-produced pigmented hydrocal sculptures visually and superficially mimic found concrete remnants from construction or archaeological sites and become the surfaces for charcoal drawings and paintings; they comment on the fragility of the sense of place and the ever-expanding virtualization of the image in current society. Hand-altered, jacquard woven tapestries explore possibilities of the work to exist fluidly in various physical bodies from sculpture or a painting being translated into the textile and sometimes back into three dimensional objects. (Jacquard, a semi-computerized loom, operates with digital files, thus actual weaving is done by hand, where each weave responds to one pixel). Being conceived as individual pieces, his works are interconnected in deep dialogue with each other, creating one whole – yet temporary – setting, that could be rearranged and reformulated for each new presentation.
Wells sources his imagery from digital map applications, experiencing locations and space through a removed reality. Although maps are generally used as an informational tool, an excess of information creates a tension to keep searching for some point of reference while moving through this space. With the traditions of landscape photography and painting in mind, Wells is interested in the relationship to the ideas of depicting ones surroundings. However, his work deals with the removal of physicality from location and how this device changes our relationship to space. Through multiple layers of pigment transfers, Wells moves this imagery from his computer to canvas. As the image smears and breaks down, colors and forms merge together to further abstract the overall composition. By using this process, Wells creates a tension between the digital and physical realities, and a greater distance from actual locations.
The exhibit runs through September 30th.

SFA Projects
131 Chrystie Street
New York, NY

Exhibiting artist Grant Wells and Levan Mindiashvili with gallery co-director Keith Schweitzer early in the evening.

Installation view.

Installation view.

A portion of the eclectic bar located behind a secret door in the gallery!

Thursday, September 20, 2018

Trans-cen-der: Session - September 2018

The featuring artists are inspired to make art based on their spiritual practice or beliefs. They will be presenting their artworks at a slideshare / artist talk event on Tuesday, September 25th. 7PM — 8:30PM at Art During the Occupation Gallery • 119 Ingraham Street Brooklyn, NY 11237.

Please join us on Tuesday, September 25 at Art During the Occupation Gallery for an event organized by Meer Musa.

I will be presenting and discussing the role Spirituality plays in my work along 
with Arlene Rush, Jackie Shatz, Martin Dull, Mary Devincentis Herzog and Sasha Hallock.

Session- September 2018
organized by Meer Musa 

Tuesday September 25, 7 - 8:30 pm

Art During the Occupation Gallery, Bushwick
119 Ingraham Street
Brooklyn, NY

Will Corwin at Geary Contemporary

Teeth, Will Corwin, 2018, plaster and sand, dimensions variable

Geary is pleased to present Will Corwin’s The Old Gods , an exhibition of metal and plaster casts that explore how objects absorb aspiration and desire and reflect back regenerative power. Based on sculptural types drawn from Sumerian, Babylonian, Eqyptian, and Hellenistic antiquity, Corwin distills these mythological and spiritual images of deities, demons and kings down into their pure symbolic content and finds their commonalities.  He scales his sculptures so that they insert themselves directly into the presence of the viewer: his goal is to instill in the spectator a desire to hold these pieces in their hands, activating unexpected emotions of tenderness, intrigue and delight not often associated with contemporary sculpture.

The sculptures are objects of personal devotion, based on amulets and idols as well monumental historical installations: he plays with the contrast between a gigantic form which has been shrunk down, such as the striding portrait Amenophis iv (2018), an 18-inch tall sculpture based on a 17-foot tall standing pharonic portrait of Tutankhamen. He also features the household god Pazuzu (2018), a fearsome winged female deity, based on a Mesopotamian amulet intended to be worn as a necklace.  Images of Pazuzu were often worn by pregnant women and travelers to provide protection and direction, in much the same way contemporary people become attached to their smart devices as mediums of oracular power. By shrinking gargantuan ancient works down to Lilliputan size and enlarging smaller objects, Corwin hopes the viewer will reflect of how much they rely on these overlooked talismans in everyday life.

Corwin pulls all of these tropes together, and along with his recent sculptures in Hydrocal, lead, and tin, presents the largest piece in the exhibition; The Map Room (2018) a site-specific sand-box based sculpture that functions as a conceptual rumpus room in which Corwin’s entities, deities and personalities interact, discourse, and create their own hierarchies. Much like the holy sanctuaries, ancient temples and necropolises of the ancient world where the deities were protected, assembled and left to their own devices, the artist's menagerie of forms create surreal allegiances among odd bedfellows.  In Corwin’s universe the old Gods seem to be getting along just fine.
A 96-page catalog will accompany the exhibition; featuring writings by Jarrett Earnest, Charlotta Kotik, Gregory Volk, Elisabeth Kley and Saul Ostrow, as well as discussions between Corwin and archaeologists Colin Renfrew and Yonas Beyene.

About Will Corwin
William Corwin's work has been reviewed and written about in Art Monthly, ArtNews, Modern Painters, Sculpture Magazine, The New York Times, BOMB, Art Critical, and The Brooklyn Rail, TimeOut and the BBC. He exhibited at the historic Clocktower Gallery, and recently at The Shiva Gallery at John Jay College, Zürcher Gallery, and Catinca Tabacaru in New York, and The Red Gate Gallery in Beijing, the FRISE Künstlerhaus in Hamburg, and the George and Jorgen Gallery and Gazelli Art House in London. He exhibited regularly at the LaMama Gallery in the late 90’s and early 2000’s and at Gallery Aferro and Index art Space in Newark, the Flushing Town Hall (a Smithsonian Affiliate), and The Castle Gallery. Corwin is the recipient of a Jerome Foundation Grant, a Kress Foundation Grant, and residencies at the Clocktower Gallery, Art Omi, Queens College Art Center, the Lower Manhattan Cultural Council and chashama. He has curated exhibitions at the Camera Club of New York, and the art galleries at Lafayette College, Albright College, and Seton Hall University.  He has written for Frieze, Artpapers and BOMB, and his interviews have been anthologized in The Little Magazine in Contemporary America, (2015, University of Chicago Press), About Trees, (2015, Broken Dimanche Press), and Tell Me Something Good, (2017, David Zwirner Press). This is Corwin's second solo exhibition with Geary.

Geary Contemporary
185 Varick St.
New York, NY 10014