Friday, March 27, 2015

Zak Prekop @ Thomas Duncan Gallery opens Friday, March 27th, 2015

Composition with Ending Field - The field in this painting is the background, which was made by painting on glassine, cutting that image out, and painting through it as a stencil onto the canvas, around the green and blue composition that was painted first.  The edges of the stencil were plotted out, but the image was only completely painted in up to a column on the right that was left unfinished.  That’s the ending.  

Composition with Illusion - The blue marks were made with a palette knife.  The black marks were painted through a stencil leaving measured, narrow gaps that create vertical bars.  Where the two sets of marks appear to overlap an illusion of transparency is created by leaving areas blue where the black marks would have continued. The rest of the blue marks were painted white.
Transparency with Blue Light - All of the elements of this painting are meant to move back and forth from one face of the canvas to the other.  The red paint on the back can be seen through the muslin on the front.  The blue circles emit light and the black marks remove it - into and away from the surface.  The blue circles are separated from their surroundings by dark red outlines, pushing them into indeterminate space.

Transparency with Drawing 1 and Transparency with Drawing 2 - These paintings could continue to the left or right.  The two are similar and so begin that potential expansion.  A painted, moving line and patches of red are visible through the canvas and as rendered within patches of white paint on the surface.  These marks hold pictures of what is behind them.  These are works in disappearance.  They appear to have had much of their paint removed and the format evokes a narrow view from behind a short wall and a low ceiling.     

Transparency with Four Colors - Paper shapes were collaged to the back of this canvas and then painted red, but the paint extends just beyond the paper edges to form a fine red outline visible on the other side.  The paper shapes are joined by painted blue shapes.  All of this is visible through the muslin, which has nothing applied to it’s surface.  The collaging process however, causes the paper to create an embossment, so what can be seen behind the canvas crosses that barrier as it is shrunken by the glue.  The image is just slightly difficult to locate, in terms of its distance from a viewer.

Two Grids with Unmeasured Pattern - This is the only work in the exhibition painted on dark brown linen, which is visible in the narrow gaps between shapes and marks and around the edges of the painting.  Two grids at slightly different scales and registers were painted into two compositions that have been superimposed through the use of stencils.  Some areas of the grids contain fields of tiny dots, the unmeasured pattern.  

Unmeasured Pattern - The tiny white dots in this work function differently depending on the viewer’s distance from the painting.  The pattern dissolves into a grey tone or TV static once you are far enough away.  The drastic shift in scale between these and the much larger marks that form the work’s composition allow the painting to record different kinds of movement, time and attention.

Kunst Capades


Collagist/ish @ Essex Flowers opens April 4th, 2015


​Eric Amling
Rebecca Gilbert
Josh Jefferson
Joel Morrison
David Schroener

curated by Justin Berry​

Essex Flowers is pleased to present works by Eric Amling, Josh Jefferson, Rebecca Gilbert, Joel Morrison, and David Schoerner. This is a show of artists dealing with images and photographs in a fundamentally material way. Traditional collage reveals the choices of the artist and the sources of their material, in direct contrast to the way that digital tools obscure both gesture and provenance. Whether by cutting them up, turning them over, or covering them with objects, the artists in this exhibition remind us that pictures occupy a physical space in the world.

Tatiana Berg, Sticky Foot @ Thierry-Goldberg Gallery opens Sunday, March 29th, 2015 from 6-8pm

Thierry Goldberg Gallery
103 Norfolk Street
New York, NY 10002


Daniele Milvio, Schifanoia @ Hester

Fabergé, 2014

Cavallari, 2015

You shouldn’t use more than a third of your strength, 2015

Tombolone, 2015

Ansedonia, 2014

Barisone, Il genovese, Axillo, Toe drue, 2014 

Bucchero, 2015

La Peste, 2015

Claudio, 2015 

Il miglio d’oro, 2015

RIP William King


Brian Scott Campbell

Lady In The Weeds, 2015

Hold Me Mamma, 2014

Boot Scoot, 2014

Rose Wylie, Girl and Spiders @ Thomas Erben Gallery opens Thursday, April 2nd, 2015 from 6-8:30pm

Thomas Erben is pleased to present the gallery’s second solo exhibition with British painter Rose Wylie. Since What with What, which introduced Wylie to the US audience in 2010, she has received wide recognition, including a solo exhibition at Tate Britain. In 2014, she won the John Moores Painting Prize, one of the foremost art awards in the UK. Featuring a broad selection of works on paper, Girl and Spiders allows insight into how Wylie condenses a vast stream of images and impressions into unmistakably personal drawings.

In Rose Wylie’s work, people, animals and objects -  unlabored, but very complete - combine with patches of color and bits of painted text. These elements come from a variety of sources: cinema, newspapers, tabloids, television, art history, and people she meets. Often working from memory, Wylie is not interested in overarching themes or stories – her focus is on the particular, the detail, the specific visual moment that made an emotional impact and stuck in her mind.

An important aspect of Wylie’s work is her unusual use of paper, which she collages to expand the surface of a drawing, correct it, or emphasize a certain area. By covering ‘mistakes’ with pieces of paper on which she makes her revisions, she also highlights her process of gradually finding the rendition closest to her recollection. This, along with the immediacy and freedom of Wylie's lines and brushstrokes, conveys a peculiar balance between the casual and the considered. She has the sense to know exactly when an imperfection needs correcting, and when it is just right.


Cartography of Empty Spaces @ Simon Preston Gallery opens April 1st, 2015


Trudy Benson, Shapes of Things @ Lisa Cooley opens Saturday, April 4th, 2015 from 6-8pm


NO BODY NO SOUL @ YOUNG ART opens Saturday, April 4th, 2015


Robert Bittenbender
Jake Cruzen
Tyler Dobson
Kayla Guthrie
Dena Yago  

April 4 - May 2 2015

Opening Reception
Saturday, April 4th
7-10 pm


Thursday, March 26, 2015

Dianna Molzan, limoz @ Kaufmann Repetto



CHERYL DONEGAN is a New York-based performance artist and painter. In her collaboration with Print All Over Me, Donegan works with the concept of "being-on-the-surface," translocating gingham fabrics, bringing them back to the garment.

The 2D fabric strips are scanned, built into compositions, and made volumetric by random mapping onto the body, ultimately being sewn into garments. This experimental approach results in a defiant yet playful collection of wearable garments, with a commentary on the "quotidian, fluid relationship between the tactile world and the virtual one."

Read her answers to our Q&A below and shop the collection!

Q: Where did the inspiration for your prints come from? Can you tell us a little about your process?
A: The process comes from my painting, my love of fashion, and my experiments with simple digital tools to create imagery for my paintings and videos. I am a big fan of Comme Des Garçons. I got into the gingham fabric as an homage to CDG. I was laying strips of gingham on to the scanner in compositions I liked. I had been making paintings with gingham also using glue as "paint". When I first began to play on the POAM site I noticed how negative space in the designs clashed with the structure of the clothing. It reminded me of experiments that CDG has done with trompe l'oeil designs and restructuring clothing in "wrong" ways. It is a defiant but wearable for every day.

Q: If you were to pack your collection for a vacation, where would you take it?
A: I would love to go to Vietnam and Cambodia. My friend the artist Joe Fyfe often travels there. He collects discarded posters, graphics, fabrics from his travels. He reincorporates some into really great paintings. From what I see I think I would really enjoy experiencing the everyday visual culture of Vietnam and Cambodia myself.

Q: What is your spirit animal?
A: This is a hard one! Once I was invited to a costume party where everyone had to dress as their spirit animal. I had no idea, so I stayed home. I would have to say some sort of fish or a bird that collects shiny things in a nest... or a fish that collects shiny things in a nest.

Q: What is your favorite street in New York City?
A: Also a hard question. I have lived in New York since 1984 so there are many streets hold significance for me. But with so much change over the years, so many streets become more and more alike these days. I would have to say Division street because the first place I lived in New York was a small loft that had windows and a fire scape over looking Division Street. The back of the post office and an old shoe store are still there…

Q: Which of your designs do you think you’ll wear the most?
A. The pink T-shirt dress definitely. I love the "soiled delicacy " of the print. I find it very feminine. I also like the twill jacket, particularly for the way the randomness of the print and the structure of the top stitching are contradictory to each other.


Box Lunch @ Skylab


Joshua Abelow & Bjorn Copeland @ Cooper Cole opens TONIGHT



Brian Belott


Natalie Smith, Blue Ridge @ Secret Recipe opens Friday, March 27th, 2015

Blue Ridge
Natalie Smith 

Secret Recipe
1123 N. Benton Way
Los Angeles, CA 90026

March 27th 2015
7PM - 1AM

The space is in the back behind the house. Parking on the street.
As always, the exhibition will exist for one night only.

~Ross & Andrew

Mélanie Matranga @ Karma International

Mélanie Matranga
A perspective, somehow
Hönggerstrasse 40
CH 8037 Zurich


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