Consumo Ergo Sum, 2005, Miscellaneous Plastic Container Lids Courtesy of the artist and Morgan Lehman Gallery Curated by Marina Pacini, Chief Curator
John Salvest has long made artworks out of used objects such as coffeefilters, cigarette butts, nail clippings, and chewed bubble gum. In his installation, he has amassed hundreds of plastic bottle caps to make acolorful map of the United States that is both a visual pleasure andalso a reminder of the downside of our consumer society.
Stockholm: Transparency and Trans-formations in Contemporary American Art Exhibition of Contemporary Works by American Artists to be Exhibited at Residence of U.S. Ambassador to Sweden
Transparency and Trans-formations in Contemporary American Art, an exhibition of 23 works by 20 American artists — including Kiki Smith, Spencer Finch, Claes Oldenburg, Mark Bradford, Laura Ball, and Jennifer Steinkamp — will be on view at the residence of the U.S. Ambassador to Sweden from April 16, 2010, through June 2012. Reflecting America’s increased emphasis on transparency and international engagement, the exhibition offers a view of the rapid shifts occurring today in culture, society, technology, and science.
"What is consciousness? Religion, philosophy, even science can't give us an exact definition. Yet this is the questions posed by curator Ryan Wallace in his group show, Default State Network, now on view at theMorgan Lehman Gallery.
Wallace chose work from 12 artists (including himself) that offer a visual interpretation of consciousness. Drawing inspiration from science, spirituality and philosophy, the pieces range from coffin photos by Glen Baldridge to Alex Dodge's sculpted self-portrait as an android, from geometric symbols by Elise Ferguson to Hilary Pecis' status symbols.
.... In his search for consciousness, Wallace acts as that curator/director, and this show highlights what can be accomplished when one consciously uses collecting as a medium and a tool for self-discovery."
read more here: http://cityarts.info/2010/07/06/default-state-network-at-morgan-lehman-gallery/
Judith Belzer reviewed in New City Art
May 19, 2010
Judith Belzer at Valerie Carberry Gallery New City Art, May 17, 2010
"... Judith Belzer also conducts her inquiry, using paint and other graphic materials, into the order of things—how natural processes create patterns that, once exposed, speak of the underlying and connective structures of life."
Group show by pairs of artists who, as couples, work side by side. Dates: June 17th through July 25th Reception: Saturday, June 19th from 4-6pm Preview: Third Thursday, June 17th, 6-9pm
Deihl, Randall Dudek, Peter Friedman, Warner Glier, Michael Hill, Nancy Holzer, Jenny Isupov, Sergei Metz, Matthew Parkeharrison, Robert and Shana Pärnamets, Kadri Prior, Scott Rickus, Janet Santibanez, Katia Siena, James Sikora, Linda Sosnowski, Monika Superior, Mara Superior, Roy Vonnegut, Nanny
On Sunday May 16th at 3:30 p.m. Brooklyn Botanic Garden's inaugural artist-in-residence program presents a panel exploring the intersection of contemporary art and the history of natural science.
Panelists:
Sina Najafi as moderator, Editor-in-chief of Cabinet magazine and Editorial Director of Cabinet Books
Alexis Rockman, Artist
Barbara Gates, Alumni Distinguished Professor of English and Women's Studies, University of Delaware
Emilie Clark, Artist
For more information, directions, etc..please go to:
"Transparency and Trans-formations in American Art," and will be installed at the US Embassy residence in Stockholm, April 16, 2010-June 2012. Other artists whose work is featured include Mark Bradford, Alyson Shotz, Spencer Finch, Jennifer Steinkamp, Lori Nix, Anthony Goicolea, Dinh Q Le, Martin and Munoz, Claes Oldenburg and Coosje van Bruggen, and many others.
Alix Smith "States of Union" on In the Life,
May 4, 2010
IN THE LIFE talks to hate crime victims and perpetrators about The Nature of Hate. Followed by a visit with artist Alix Smith, who is traveling the country photographing hundreds of same-sex couples, challenging stereotypes and taking conventional portraiture to a new level.
Ryan Wallace 'Glean' reviewed in the Village Voice
Feb 24, 2010
Ryan Wallace: 'Glean' By Robert Shuster February 23, 2010
"If the scientists at CERN want to ease the crackpot fears of their Large Hadron Collider destroying the universe, they should hire Ryan Wallace to design the group's promotional material. Inspired by the search for the Higgs Boson—the so-called God particle—Wallace based the show's works of paint and collaged material on graphs of high-energy collisions. But in Quest (Higgs Boson) 1, Glean 1, and the series A Brief History of Demise, the jittery progressions of vertically parallel lines—strips of paper and cellophane painted shades of blue and white—seem less representative of hard-core quantum mechanics than they do of simple bliss. Shredding the canvas here and there, Wallace even goes a little manic. The exquisite textures, sometimes sprinkled with opalescent powder or blurred with an overlaid sheet of Mylar, may remind some of Mark Tobey's mysticism. This is decidedly physics for poets—and painters."
'The Visible Vagina' at Francis M. Naumann and David Nolan By Robert Shuster Feb 23, 2010
"The best of them tend toward abstraction, like Katia Santibanez's minimalist painting Universal Pleasure, a bifurcated, heart-shaped patch of dark brushstrokes..."
"Catch Up - Ryan Wallace" February 1, 2010 By Julie Gerstein
"And it's the power of these themes—and Wallace's deft ability to communicate them, to turn them from concept to canvas – that make his work so compelling. Collaged canvases feature deftly arranged strips of colored paper in a deep and beautiful vortex—some nearly faded to nothingness. Paintings present otherworldly geometric scapes and textures.
Jay Lehman, owner and curator of Morgan Lehman Gallery says that it's not just the theoretical underpinnings of Wallace's work that are so striking, but also his technical savvy. 'The work has both artists and non-artists asking—how did he make that?—the surface is so matte yet luminous. Is it encaustic? Is it resin? Collage? Paint? All of the above? How does he achieve the depth of field?'"
"Old Record Store, New Gallery" by John Capone February 10, 2010
"...One of the most prominently featured works in the gallery, Paul Villinski's "Diaspora" (above) consists of birds made from vinyl records fluttering out from a turn table, and casting their shadows across a vast expanse of plain white wall. The elegiac tone of this piece is in keeping with the rest of the show. Along the walls, where record company promos once hung above racks of CDs, the artist Invader has created a series of reproductions of classic album covers, including "London Calling," "Iron Maiden" and "Nevermind," out of Rubik's Cubes (below). Like a Seurat fed through an I Love The '80s, each image falls apart upon close inspection, but comes together as you back away."
"The American Dream", group exhibit curated by Deborah Willis February 4 - March 21, 2010 New Orleans Photo Alliance New Orleans, LA www.neworleansphotoalliance.org
FAX Torrance Art Museum Curated by Joao Ribas (The Drawing Center) and Independent Curators International, NYC January 16 – February 20, 2010
FAX invites a multigenerational group of artists, as well as architects, designers, scientists and filmmakers, to conceive of the fax machine as a tool for thinking and drawing.
Faxes by over 100 artists sent to the initial showing of FAX at The Drawing Center will form the core of the exhibition, and will include seminal examples of early telecommunications art; and each institution will invite up to twenty additional artists to submit works, which will be presented at successive venues. These works may be transmitted to each participating institution’s working fax line throughout the duration of the exhibition. The active accumulation of information—received in real time, in the exhibition space—will include drawings and texts, and even the inevitable junk faxes from telemarketers and local businesses as well. All the transmitted pages will be archived or displayed together with the active fax machine, which may produce new faxes from invited artists at any moment. The result—an ongoing cumulative project—is a show concerned with ideas of reproduction, obsolescence, distribution, and mediation. Here, reproducible yet erratic production via the fax machine displaces traditional notions of the hand‚ still commonly associated with the medium of drawing, and foreground the role of drawing as a generative process.
With her new project States of Union, photographer Alix Smith gives a sense of legacy and context to her portraits of gay and lesbian families by referencing classical works.
Running on Empty: Artists explore abandoned spaces by Candace Jackson
"In its heyday, Tower Records in Manhattan's East Village teemed with music-loving shoppers. But in 2006, with buyers rushing to online music stores and big box retailers, the store closed. Starting this weekend, the place will fill up again—this time with performances, panel discussions and conceptual art installations, some lamenting the demise of music stores.
The project, called "Never Can Say Goodbye," is from No Longer Empty, a New York nonprofit that places public art projects in vacant retail spaces. (The group's first such exhibit was at an empty fishing-tackle store.) ..."
"...Opening night of the New York exhibition will include an appearance by a Vanilla Ice impersonator. Also participating is Paul Villinski, who says he used to spend Saturday nights in the store picking out $7 New Wave albums. His work is made from his own record collection, sculpted to look like birds."
Andrew Schoultz featured in Playboy January/February 2010
"The New Modern Art", by Dave Hickey
"There have been street artists as long as there have been streets. Traditionally they haven't had much choice. Playboy presents six artists, from Nara to Banksy, who take it outside"
Paul Villinski included in No Longer Empty exhibit
Jan 8, 2010
Never Can Say Goodbye at the former Tower Record Store 4th street and Broadway January 15- February 13, 2010
Spotlighting more than twenty artists working with sound, light, image and installation, Never Can Say Goodbye recreates a fantasy version of the now defunct Tower Records with Never Records complete with record bins, album covers, cash registers, music posters and a performance stage.
Interactive installations by artists and musicians celebrate the stores historic role as the locus of the community-- the old way to meet people face to face and share music and information.
Curated by Manon Slome, NLE; Steven Evans, Dia Art Foundation; Asher Remy-Toledo, NLE
Kysa Johnson at Greenwhich Academy
Jan 8, 2010
land(e)scape: environmental impacts
January 14, 2010 - March 4, 2010 Luchsinger Gallery and Jacobs Lobby, Greenwhich Academy, CT Gallery hours: 8:00 AM - 4:00 PM, Monday through Friday
Opening reception: January 14, 2010 from 6:00 PM - 8:00 PM
Curators: Kristen Erickson, Erin Riley, with assistance from Lyndsey Colburn
In mounting an exhibition of three emerging artists whose work converges around the subject of landscape and the environment, teachers at Greenwich Academy are linking the visual arts to the sciences, building on a STEM initiative launched at the school several years ago. The exhibit is part of a three-year exhibition plan developed by teachers Erin Riley and Kristen Erickson that focuses on three genres---landscape, portraiture and still-life---with three secondary themes. The first in the series, running through March 5, brings together three emerging artists, Kysa Johnson, J. Henry Fair and Eric Lopresti, whose work relates to human impact on the environment. All three New-York-based artists will visit Greenwich Academy to discuss their works during the run of the show.
"Unless one considers every word of the Bible literally true—including the verse about executing neighbors who work on the Sabbath—we think it should be possible to reconcile science and religion. But Columbia College's thought-provoking "Dis/Believer: Intersections of Science and Religion in Contemporary Art" shakes our faith.
Other artists remind us science—particularly genetic engineering and physics—erodes the distinction between miracles and everyday life. Kysa Johnson's painting Blow Up 84—The Asexual Reproduction of Yeast After Tiepolo's "Immaculate Conception" (2007) deftly links the Virgin Mary's iconic experience to natural phenomena."
The New Yorker, Goings on About Town November 16, 2009
EMILIE CLARK
The artist continues her conceptual game of collecting collectors, making art about specimen-gathering naturalists from the nineteenth century (the self-taught American botanist Mary Treat, the Irish scientist Mary Ward). This time, Clark’s quarry is Martha Maxwell, a rootin’ tootin’ Colorado taxidermist who bagged her own specimens and, notoriously, constructed a cave featuring her prey, where she lived during Philadelphia’s 1876 World’s Fair. Clark’s homage to Maxwell’s tour de force is a sculptural installation of toy stuffed animals; heavy on the Mike Kelley, it falls flat. But Clark shines in graceful watercolors and ambitious canvases. Abstraction and figuration become indistinguishable. Beauty is balanced by provocation. Painting becomes an ongoing experiment in mutation and hybridized form.
HuiPress is proud to announce the release of a portfolio of seven etchings by husband and wife team, artist Emilie Clark and poet Lytle Shaw. Titled Over Cook A Collection of Curiosities from the Captain's Three Voyages and an Expedition to the Hawaiian Islands February 2008, the work consists of spit bite aquatint etchings with poems by Lytle Shaw.
Emilie Clark: Maxwell's Lair by Zachary Robert October 19, 2009
"The paintings on the wall, made mostly of watercolor and mixed media, seemed to hang with more austerity though as the colorful abstractions gave way to subtle depictions of animal life in peril. Even the smaller figurative pieces, hung in salon style, suggested aggression and pain in the facial expressions of the well-observed subjects."
"Taking Conceptul Art on the Road" by Benjamin Genocchio October 16, 2009
"It does not take long to realize that this is no ordinary mobile home. “Emergency Response Studio” is a conceptual project by the artist Paul Villinski, inspired by post-Katrina New Orleans. Visiting the hurricane-ravaged city in August 2006, the artist wished he could transport his studio down from New York to create work in response to the tragedy. Instead, he converted a 30-foot Gulf Stream Cavalier trailerinto a mobile live-and-work studio space."...
Chris Ballantyne, Mark Mulroney, and Andrew Schoultz at Park Life, San Francisco, 220 Clement Street
"The artists merge their related sensibilities in three discrete collaborative paintings that congeal into a more hopeful whole. Installed in the middle of the wall works, the smaller pieces resemble cutaway views, portals to landscapes where the fallout seems heavy yet not irreparable."
New Flagship Tommy Hilfiger store opens on 5th Avenue in New York City. Paul Villinski's newest LP Butterfly installation "Spin" is featured in their store and can be seen in this video:
Paul Villinski's latest installation of LP Butterflies at Tommy Hilfiger's new flagship store on 5th Avenue See it in the September 14th issue of Women's Wear Daily, page 21
Elevator for Grain, Reinvented for Art By Randy Kennedy Published: July 28, 2009
"WASSAIC, N.Y. — When Sally Zunino's husband and his business partner decided five years ago to buy the old grain and feed elevator here, a crumbling cathedral of agriculture that was raining siding onto the Metro-North tracks and the tiny hamlet below, Ms. Zunino would not even agree to go see it."
"But many tens of thousands of dollars' worth of repairs later, the rambling old elevator, known as Maxon Mills, has turned out to be a different kind of folly, closer to Merriam-Webster's definition No. 5 of that word: 'an often extravagant picturesque building' used in the service of 'a fanciful taste.' "
"A rare survivor among the stately wood-crib elevators that once towered over rural America, this 105-foot-tall structure has been reincarnated as one of the strangest new homes for contemporary art in the Northeast, a place that feels like a Lower East Side gallery transplanted into a treehouse, redolent of damp pine and the animal feed that once filled the spaces."
"This summer's first exhibition in the elevator, 'Outside In,' which ended last week, was organized by Sally Zunino, a clothing designer, and her friends Liz Parks, a Manhattan art consultant, and Sally Morgan, a Chelsea dealer."
Time Out Chicago, Art Review "Signs of the Apocalypse/Rapture at the Hyde Park Art Center" by Lauren Weinberg
"Schoultz depicts this seeming holy war in the style of an Indian miniature executed by Hieronymus Bosch and a studio of stoners—tweaking the scale of his figures beyond realism and inserting floating tree stumps and smoke-belching brick factories that out-weird the Book of Revelation. The artist's incredible draftsmanship and ability to balance tiny details with the grand sweep of the whole make Running with Chaos… one of the best pieces in the exhibition."
John Salvest in Interrobang at Space Gallery, Portland, Maine August 7 - September 19, 2009
SPACE Gallery presents a typography-based show, including works from five artists who collectively portray a range of conceptual possibilities and uses of type in visual art.
Alix Smith interviewed on scallywagandvagabond.com
May 26, 2009
"Alix Smith: The Dislocation of Self" by Scallywag, May 25th, 2009
"According to Alix Smith celebrated photographer/artist the moment of self arrives not with the construct of self but the deconstruction of self. In a society intimately concerned with appearances, the look of things, what often goes on is that the thing you see isn’t really what you see and conversely the things that go on are not what you see either."
The Old, Weird America: Folk Themes in Contemporary Art
DeCordova Museum and Sculpture Park 51 Sandy Pond Road in Lincoln, MA
June 6 – Sept 7, 2009
Opening Reception: Saturday, June 6 Members' Preview: 6 - 7 pm Public Reception: 7 - 9 pm
This summer DeCordova Sculpture Park + Museum will host the award-winning traveling show The Old, Weird America, the first museum exhibition to explore the widespread resurgence of folk imagery and mythic history in recent art from the United States. Organized by Contemporary Arts Museum Houston senior curator Toby Kamps, the exhibition illustrates the relevance and appeal of folklore to contemporary artists, as well as the genre’s power to illuminate ingrained cultural forces and overlooked histories. The exhibition borrows its inspiration and title—with the author’s blessing—from music and cultural critic Greil Marcus’ 1997 book of the same title that examines the influence of folk music on Bob Dylan and The Band’s seminal album, The Basement Tapes.
The Old, Weird America will feature eighteen artists who explore native, idiomatic, and communal subjects from America’s past: Eric Beltz, Jeremy Blake, Sam Durant, Barnaby Furnas, Deborah Grant, Matthew Day Jackson, Brad Kahlhamer, Margaret Kilgallen, David McDermott and Peter McGough, Aaron Morse, Cynthia Norton (a.k.a. Ninny), Greta Pratt, David Rathman, Dario Robleto, Allison Smith, Kara Walker, and Charlie White.
..The fourth component, Retracing Exhibitions, innovatively brings together an array of works which pay tribute to past exhibitions. Perhaps one of the most striking displays is John Salvest’s installation of notes, annotated press releases and postcards compiled by New York art critic Kim Levin over three decades of working in the industry. This piece is emblematic of all the works on display in this section and highlights that artistic processes, along with the exhibitions themselves, should be documented and will stand the test of time. They are testament to the fact that art is not ephemeral, but continues to live and breathe in one new artistic space or another.
NEW YORK—Jeff Perrott's new work at Morgan Lehman Gallery is enticing, clever, and looks like a cross between contemporary art and the latest Mac application. Using an inkjet printer, the Boston-based artist produces works comprising grids of dots that evoke the ghosts of Pointillism past, as well as Roy Lichtenstein's famed comic-inspired works and the Benday dot printing technique on which he based them...
Fundacion Amistad brings "Chelsea Visits Havana" to the Museo de Bellas Artes, in conjunction with the 10th Havana Biennial Featuring the work of 35 international artists including Andrew Schoultz, Tony Oursler, Matthew Barney, Marina Abramovic, and Alejandro Almanza Pereda.
Painting is Thinking... Anne Gathmann and Kysa Johnson
April 17 - May 16, 2009 Standpoint Gallery, 45 Coronet Street, London N1 6HD Painting is Thinking… presents two artists for whom painting is a direct means by which to understand the world (internal and external) more closely – scientifically, emotionally, and intellectually. The techniques employed and the marks made result from the artists' researches into the invisible world.
Kysa Johnson (USA) employs scientific elements and theories to make conceptual reinterpretations of traditional painterly subjects. Using specific microscopic forms – ie the shapes of bacteria which act as diseases and their cures, or the molecular structure of pollutants - as the building blocks of her mark-making, Johnson refers the microcosmic to the macrocosmic, and encourages us to step out of our habitual view and perceive these tiny creatures as phenomena to be appreciated on their own terms. She revels in the inherent complexity of our ecosystem.
Eric Beltz received the 2009 PULSE Prize for his graphite drawings and installation with Morgan Lehman at PULSE New York.
The winner is selected by the PULSE Committee, a panel of dealers who exhibit at the fair, along with Helen Allen, Executive Director of PULSE Contemporary Art Fairs. The PULSE Prize is given to an artist exhibiting in the IMPULSE section of the fair.
Paul Villinski's ERS at Ballroom, Marfa TX
Mar 3, 2009
Paul Villinski's Emergency Response Studio at Ballroom, a non-profit cultural space in Marfa, Texas
Cutters presents artists who alter objects and surfaces to enhance their visual and symbolic meanings. They use knives, scissors, scalpels, razors, hole punches, lasers, jigsaws, shredders and even plasma cutters on a variety of materials. Exploring formal and conceptual issues, the works in the exhibition comprise a wide range of media, incorporating painting, drawing, photography, sculpture, video and installation. The thread that connects this diverse group of artists is the transformative quality of their work.
The artists in the exhibition are Jaq Belcher, Louise Despont, Brian Dettmer, Kate Dodd, Michelle Forsyth, Beth Gilfilen, Cal Lane, Marco Maggi, Eva Mantell, Aric Obrosey, Mia Pearlman, Casey Ruble, Hunter Stabler, Merle Temkin, Auguste Rhonda Tymeson, Carlo Vialu, Paul Villinski, and Thomas Weaver.
Paul Villinski at Rice University Art Gallery
Jan 21, 2009
Paul Villinski Emergency Response Studio
Rice University Art Gallery, Houston, TX
January 29 - March 1, 2009 Opening: Thursday, January 29, 2009, 5-7pm
Paul Villinski's Emergency Response Studio at Prospect.1 New Orleans included Art Forum's article in January 2009 issue: "Being There", by Elizabeth Schambelan
Wall Street Journal reviews Paul Villinski
December 10 - Dec 9, 2008
Dominique Browning writes a glowing review of Paul's Villinski's work in "Second Lives" at the Museum of Arts & Design:
Emilie Clark at Elizabeth Leach, Portland. Reviewed by Sue Taylor Art in America, November 2008, page 202
"...Her recent ink-and-watercolor drawings of plants (all 2006) are beautiful in an unsettling way. They recall 17th-century botanical illustrations-floral motifs centrally placed on otherwise blank pages-yet Clark's subjects are carnivorous, their sensuously rendered parts resembling talons, tentacles, and teeth rather than the benign petals and leaves one expects in flower painting..."
Paul Villinski in Prospect.1 New Orleans Biennial
Oct 24, 2008
Morgan Lehman Gallery is pleased to announce Paul Villinski's Emergency Response Studio Included in Prospect.1, New Orleans, International Biennial of Contemporary Art
Emergency Response Studio is a solar-powered, mobile artist's studio, repurposed from a salvaged FEMA-style trailer. This sustainably rebuilt, off-the-grid living and work space is designed to enable artists to "embed" in post-disaster settings, and respond and contribute creatively. Villinski conceived the project in response to the devastation of post-Katrina New Orleans as "a symbol of transformation and possibility for the communities of the Gulf Coast."
Directed by international curator Dan Cameron, Prospect.1 New Orleans will be the largest international exhibition of contemporary art ever presented in the United States. Opening November 1st, it will showcase the work of artists from around the globe while re-establishing New Orleans as a major center for the contemporary visual arts experience. Work will be presented in museums, historic buildings, and found sites throughout New Orleans.
Eric Beltz: The Good Land at Morgan Lehman reviewed in ArtSlant
Nature Always Wins by Yaelle Amir
"Eric Beltz's exhibition The Good Land draws an amorphous connection between the aggressive policies of America's colonial leaders and our nation's disregard of nature's inherent healing powers. His meticulous graphite drawings present recurring imagery pertaining to American history and culture, including the founding fathers, a turkey, and an eagle. This iconography is subtly underscored by meticulous deptictions of remedial vegetation, as well as historically charged shrubs."
Belzer wrote, "Maybe it's just me, but the idea of crawling along the bark of a tree and then somehow penetrating to the tree's interior is enticing, even thrilling."
For decades, the New York-based art critic legend, Kim Levin, has made notes about her visits to art exhibitions. She has also prepared route plans for her weekly gallery and museum visits. In this way, she has been able to navigate New York's myriad art offerings and arrange what she has seen into a practicable archive. Artist John Salvest was inspired by this "compulsive and systematic" documentation and compiled Levin's notes and route maps, written on press releases and invitations, into an exhibition called Kim Levin:Notes and Itineraries 1975-2004.
Paul Villinski included in New York Sun Review
Sept 26, 2008
The New York Sun reviews Second Lives exhibit at the Museum of Arts & Design, New York
Article on Prospect.1, New Orleans Biennial, mentions Paul Villinski's Emergency Response Studio "Big But Not Easy" by Rachel Churner in the September issue of Art Forum
Paul Villinski's Emergency Response Studio is the first image in a multimedia slide show in the New York Times article about Prospect .1 The New Orleans Biennial opening in just seven weeks.
The AustinMuseum of Art includes John Salvest's work in Modern Art. Modern Lives. Then + Now.
Curated by Jim Housefield, Adjunct Curator and Dana Friis-Hansen, Executive Director and Chief Curator, this two-part exhibition of work from AMOA’s permanent collection and local collections explores how modern and contemporary artists merge art and life.
Judith Belzer, "The Inner Life of Trees" at Morgan Lehman, reviewed by Hilarie M. Sheets ARTnews September 2008, page 153
David S. Allee in the New Yorker
Aug 28, 2008
David S. Allee's photograph of the new Museum of Arts and Design is pictured in the August 25th issue of the New Yorker Magazine, alongside the article by Paul Goldberger "Hello, Columbus."
Reversing the Regular Order of Nature: An Interview with Emilie Clark by Frances Richard Mary Ward, Mary Treat, Martha Maxwell, and the place of the female naturalist in nineteenth-century science
Andrew Schoultz is featured in "Defining a Moment: 25 New York Artists", a group exhibition at House of Campari, New York. The exhibition highlights the work of emerging artists from New York-based galleries. Curated by Simon Watson and Craig Hensala of Scenic. The exhibition runs from May 30th through June 15th.
Paul Villinski is currently featured in the group exhibition: "Waste Not, Want Not," on view at Socrates Sculpture Park May 4 - August 3. The show is curated by Robyn Donohue with Alyson Baker and Marichris Ty.
The Old, Weird America, curated by Toby Kamps, Contemporary Arts Museum, Houston, TX May 10 - July 20, 2008
The Old, Weird America is the first museum exhibition to explore the widespread resurgence of folk imagery and history in American contemporary art. The exhibition is accompanied by a 200-page fully-illustrated catalogue that provides cultural and historical context through essays by Kamps and other writers and cultural historians.
Paul Villinski's newest work "Relay" is featured on pages 10-12 of the Sunday New York Times Magazine. Chosen for the Green Issue of the Magazine, Paul's piece is made from beer cans found on the streets of NY. You can see this piece in person in our booth at the NEXT contemporary art fair in Chicago April 25-28!
The Metro Pulse critiques the current exhibition of new photography at the Knoxville Museum of Art. David S. Allee's photo "Stadium Light" is glowingly highlighted as the sole stunner in an overall unexceptional show. Read the review:
Clark makes a painting a week. It might take one sitting or seven, but it has to be done by Sunday. She's been at it for twelve years, which amounts to six hundred and twenty-four uniformly sized wooden panels, installed floor-to-ceiling in calendrical grids. Fauna and flora predominate—the imagery includes a pink-tongued black leopard, lyrically monstrous composites (lamb-wallaby, giraffe-ape), insects, seedpods, pond scum. Clark's touch is bold, loose, and dreamy; her palette is bright yet soothing, like color in the wild. Through Dec. 22. (Morgan Lehman, 317 Tenth Ave., at 28th St. 212-268-6699.)
Boston Globe Reviews Dorota Kolodziejczyk
Nov 22, 2007
Cate McQuaid reviews Dorota Kolodziejczyk's "Lush" paintings at Julie Chae Gallery, Boston
Recent works by Andrew Schoultz will be featured in a solo exhibition, entitiled "The End of the World and Other Stories," at the Second Street Gallery in Charlottesville, Virginia. The show will open on November 2, 2007.
The Knoxville Museum of Art in Tennessee is featuring works by David S. Allee in an exhibition, New Photography from the KMA Collection, on view from October 12, 2007 through March 16, 2008.
For more information, please visit the website below.
Bill Amundson will be featured in a solo exhibition, "Disabled Development," at the California State University, Bakersfield art gallery. The show includes a collection of drawings, and will run from October 18 through December 1, 2007.
In the article, "What's in Your Studio, Paul Villinski?" ARTINFO's Robert Ayers comments on the continuous theme of flight in the artist's work, and inquires about the strangest thing to be found in his studio.
Reviews John Salvest in the Hudson River Museum's "I WANT Candy"
Aug 6, 2007
The NY Sun highlight's John Salvest's "Red Stalactite" in the Hudson River Museum's exhibition "I WANT Candy: The Sweet Stuff in American Art," as the "most absorbing work" in the show, featuring 40 contemporary artists.
Brendan O'Connell & John Salvest in Group Show: I WANT Candy
Jun 16, 2007
Morgan Lehman artists Brendan O'Connell and John Salvest are both featured in "I WANT Candy: The Sweet Stuff in American Art" at the Hudson River Museum in Yonkers, NY. http://www.hrm.org/exhibits.html
Andrew Schoultz at Köln Show 2
May 26, 2007
Andrew Schoultz' work is featured at Linn Lühn Galerie as part of Köln Show 2, an event that spans 18 galleries throughout Cologne and exhibits the work of 22 emerging artists. Click here to view Schoultz' installation at Linn Lühn.
Andrew Schoultz at House of Campari
May 19 - Jun 10, 2007
Andrew Schoultz is currently featured in "Distinctive Messengers", a group exhibition at House of Campari, West Hollywood. The show features a group of 21 emerging artists who have recently had or will soon have a first solo show in a Los Angeles gallery. The exhibiton runs through June 11.
Judging by her 1902 view of Rubens in the Louvre, the heroine of Colette's novel "Claudine en ménage" would have a problem with a lot of contemporary representations of the body. "They disgusted me!" she said. "I tried loyally for a good half-hour to work myself up into a state of excitement about them, but no! That meat, all that meat."
Rubens comes to mind in relation to several current Chelsea exhibitions. It is not necessarily a case of the body being statuesque, plump, or pink. Rather there is a strong sensibility, in contemporary figuration, for classicism subverted. Where the Flemish master added a northern twist to Italian ideals, contemporary artists show a need to fuse a sense of the grotesque or the abject with some received standard of beauty.
But this isn't just an exercise in denigration. The appeal of beauty is genuine, however camp or deconstructive the strategies of contemporaries appear to be.
Bénédicte Peyrat (b.1967), who enjoys considerable attention in her native France and Germnay, opens her American debut at Morgan Lehman today. Her female flesh is all that Claudine feared, though stylistically it is closer to Rubens's later French admirers, Delacroix and Renoir. Her figures have what could be called, oxymoronically, a graceful awkwardness. This has to do with the way that in their fullness, the figures push their edges out toward the picture surface. Put another way, the artist, hungry for fleshly presence, paints further around the edges than perspectival politeness would allow.
She also paints vaguely grotesque, old masterly portraits, but the main event here is a set of stagy allegorical compositions of figures in landscape. "Ein Hase mit Flügeln ist ein anderes Tier (A Hare With Wings Is Another Animal)" (2002) looks to be a modern-day variant on the ancient theme, the "ages of woman." A seated nude of median age is surrounded by a clothed older woman and a young girl with a yo-yo. The hare of the title peaks into the composition from behind the nude's feet. But the work could equally be read as an allegory of painting: The seated woman holds a painterly oil sketch on her knee.
To an art-theory-conscious audience (and Ms. Peyrat lives in Germany, where that is the norm) a hare has connotation of Joseph Beuys's lectures on art addressed to a dead hare. The gushy, diffuse brushstrokes in the larger allegories also bring to mind Gerard Garouste, the French "Bad" artist of the 1980s who played high jinks games with anachronistic style. Whichever way this allegory begins to read, the artist favors symbolism that, however overt seeming, is hermetically sealed.
The portraits are powerful and evocative, though they too play history games and are coy about their intentions. Mostly untitled from 2006, they include unflattering, masculinizing self-portraits; oddball, anonymous grotesques, and what appear to be studies in extreme grimace or dementia. They are an odd mix of painterly relish and remorseless exposure, a look that, though it may sound like Francis Bacon, is more old masterly and postmodern. Her contemporary peers are Philip Akkerman and John Currin, but unlike these artists, Ms. Peyrat offers a mollifying sense of empathy and observation — qualities to appeal to Colette.
Art in America reviews John Salvest
Jan 3, 2007
Michael Amy reviews John Salvest's "No Time for Sorrow" exhibition (Morgan Lehman Gallery, May 18-June 24, 2006) in the January 2007 issue of Art in America.
Paul Villinski showing at Jonathan Ferrara Gallery
in New Orleans
December 2 - Dec 30, 2006
The Jonathan Ferrara Gallery presents Airlift, work by New York artist, Paul Villinski. Airlift features sculptures and "flying machines," many made from objects and debris gathered during a post- Katrina visit that the artist made to the city. Villinski considers the exhibition "an effort to support the people of New Orleans with artworks intended as images of hope, community, transformation and recovery."
Villinski often works with found materials collected from city streets, such as lost gloves and crushed beer cans. During a trip to New Orleans last August, he was struck by the "visual blight" of plastic signs on light posts and along sidewalks that advertised construction and restoration services. In "Portent (II)," the artist carefully reshapes this detritus into a flock of large, colorful butterflies ascending the facade of the gallery-the signs unexpectedly morphing to signify hope, delight, even magic.
The exhibit opens on December 2, 2006 with an artist's reception from 6-10 pm, and runs through December 30. The Jonathan Ferrara Gallery is located at 843 Carondelet Street, Suite 1. The exhibition is presented in conjunction with Morgan Lehman Gallery, which represents Villinski in New York City.
City.
Village Voice reviews David S. Allee
RC Baker's Best in Show
Nov 22, 2006
David S. Allee An orange pall hangs over many of Allee's nighttime photographs of cities and suburbs, the result of five-to-20-minute exposures that capture the sickly warm color of modern streetlights. The images he chooses—scraggly palms thrust above a rooftop punctured by skylights that glow like irradiated mushrooms; dark trees edging the brightly lit parking lot of a featureless apartment tower—present nature as the drab accompaniment to banal architecture. Morgan Lehman, 212-268-6699. Through Dec 2.
RC Baker reviews John Salvest's show "No Time for Sorrow"
John Salvest The beauty of Salvest's work lies in his transformation of workaday detritus into witty, at times profound, memento mori. Chewed gum forms a two-foot cone suspended from the seat of a wooden stool, the sticky ghosts of generations of schoolkids; thousands of wine corks coalesce into a pitted Doric column. In the gallery's courtyard, 247 weathered milk crates are stacked in rough red, white, and blue rows, and a smaller flag is conjured from pencil leads and erasers—ruminations, perhaps, on the transience of empire.
Andrew Schoultz and Caleb Neelon are exhibiting in "Motivational Baggage" at the Mills Gallery in Boston, MA.
"The site-specific multi-media installation combines each artist's use of bold color and text, ambitious scale, and obsessive line work. The Mills Gallery will be transformed with wall murals, studio paintings atop the murals, large and small sculptures, and more, into a constructed world of recurring patterns, characters and symbols that speak directly to the drive, motivation and ambition of the artists." The show opens June 16 and will be on view through July 30, 2006.
David S. Allee's two photographs "Venice Blockbuster, Los Angeles, CA", and "Tree Farm, Torrance, CA" will be included in the upcoming exhibition "Revising Arcadia" at the Cornell Fine Arts Museum at RollinsCollege in Winter ParkFlorida.
The exhibition opens September 7, 2005 and will be on view through December. For more information, visit http://www.rollins.edu/cfam/
Metropolis Magazine Features David S. Allee
Apr 6, 2006
David S. Allee is featured in the current 25th Anniversary issue of Metropolis magazine as one of their 12 most influential photographers of the past 25 years. The issue includes a 2 page image of his "Telefonica Tower, Santiago, Chile".
Katonah Museum includes Four Morgan Lehman Artists
in Katonah Museum Print Exhibition
Apr 1, 2006
Greg Murr, James Meyer, Katia Santibanez, and Bryan Nash Gill will be included in the upcoming print and photography fundraiser exhibition at the Katonah Museum of Art.
Paul Villinski was featured on ArtInfo's twice daily reviews of the March fairs. Robert Ayers wrote:
One of the highlights of Scope is Morgan Lehman's show of Paul Villinski's sculptures. These are life-sized butterfly silhouettes that Villinski cuts out of beer cans that have been crushed by cars. These come in an unlimited edition called Regalo (2006) and are fitted with a counterweight and a push pin to attach to a wall. They are presented in a little custom-made tin at $200 each. They are very beautiful and predictably Morgan Lehman is selling a lot of them. They are also available in groups of 10, such as the piece called Memo (Night) (2006) in which the butterflies are blackened with soot, which is available at $1,500 in an edition of five, of which two have already sold.
'METLIFE' The curator and publisher Geoffrey Young has organized an enthralling show of small works by 12 artists who favor exacting craftsmanship and surrealistic imagination. Some, like Oona Ratcliffe, Cary Smith and Patricia Fabricant, tend toward abstraction; others, like Chris Zitelli and Morgan Bulkeley, create dreamlike narrative and symbolic images. Morgan Lehman, 317 10th Avenue, near 28th Street, (212) 268-6699, through April 1. (Johnson)
John Salvest May 18–June 24 Morgan Lehman Gallery, 317 Tenth Ave, 212-268-6699
Taking the Latin inscription "Omnia tibi felicia" ("May all things bring you happiness") as inspiration, Salvest makes art from humble materials: wine corks, rubber bands, stubby chalk remnants, and chewing gum. For this show, the gallery's courtyard will be filled with 247 red, white, and blue milk crates stacked in the shape of Old Glory. In the past, Salvest has spread plastic lids on the floor in the shape of a map of the U.S., so expect him to use all available surfaces for his clever aesthetics of detritus.
Morgan Lehman artist John Salvest has curated a show titled "Notes and Itineraries" at Ronald Feldman Gallery in Soho.
Using Village Voice critic Kim Levin's hand-written notes on postcards, press releases, and gallery image sheets, John Salvest has created an installation of her response to the last 27 years of art in New York galleries and museums.
The show opened on Saturday January 7th, and has already been listed on Time Out's "Dont Miss" list, and ArtNet's picture postard of the week.
Bill Amundson and Darlene Charneco will both be included in a group show at the Katonah Museum of Art titled "I Love the Burbs". The show is curated by Ellen Keiter and opens January 15th, 2006.
New Orleans Artist Dona Lief
Exhibiting in Mobile, Alabama
Nov 4, 2005
New Orleans artist Dona Lief has returned to her studio after evacuating ahead of Hurricane Katrina. Her work will be included in an exhibition curated by fellow New Orleans painter Jacqueline Bishop titled "Made in New Orleans: A Survey of Contemporary Art from the Crescent City". The show opens Friday November 5th and will be on view through January 8th. The exhibition will travel to Houston, Atlanta, and other venues in the south.
Princeton University presents David S. Allee
Nov 3, 2005
Photographer David S. Allee will be having a solo exhibition of his work at Princeton University's School of Architecture.
Drawing Center includes Franklin Evans
Oct 1, 2005
Morgan Lehman Gallery artist Franklin Evans has been included in the latest edition of the New Selections show at the DrawingCenter in Soho.The show, titled "LineAge: Selections Fall 2005", is always hotly anticipated, as it has been the launchpad for artists such as Julie Mehretu and Shahzia Sikander whose work has gone on to be shown in major institutions and galleries.
Franklin has created a series of drawings that he calls a family.Each drawing gives "birth" to the next with an element from one repeating in the next, making it the "child" of the first.The series is exhibited together at the DrawingCenter as a family tree, with the connections spelled out for us on the wall with lines of colored tape, pen, paint and pencil that explain the visual evolution of the "family".
The show will be on view through October 29th. For a press release and more information about the DrawingCenter, visit www.drawingcenter.org
t the