Oct 16-Nov 24, 2014
Opening Reception Oct 16, 6-9pm
Often when one is asleep, there is something in consciousness which declares that what then presents itself is but a dream. – Aristotle, “On Dreams”
The territory between wakefulness and the dream-state is one widely traversed by artists. Curators Diana Corvelle, Cara DeAngelis and Tun Myaing have collected the works of twenty-three New York Academy of Art alumni whose works challenge, unhinge and altogether shift perception of what should be called a “real” experience.
Lucid dreaming, a phenomenon in which an individual is aware of their own dream state enough to attempt control within it, is a cannily apt comparison to the creation of art. Possessing the ability to give form to fleeting memories and semi-lucid moments, these artists call into question the very perception of reality at will and offer up alternatives of their own.
Bringing together local and international artists based in Brooklyn, Jersey City, and Manhattan these selected works speak to the endless possible deviations from reality as envisioned by an unfettered mind. The playfulness and confidence of these works show how completely at home the artists are in their alternate reality.
Featured artists include: CHARIS C. BRAUN, ILSA BRITTAIN, MICHELLE DOLL, SAMUEL EVENSEN, MEGAN EWERT, SHAUNA FINN, STEVE FORSTER, ANGELA GRAM, BRETT HARVEY, CAITLIN HURD, YUNSUNG JANG, EVAN KITSON, WILL KURTZ, JAMES LINKOUS, GUNO PARK, DAVID PETTIBONE, MARTIN SAAR, NICOLAS SANCHEZ, AMANDA SCUGLIA, JESSE STERN, GREGORY TOMEZSCO, TYLER VOROUS, MELAINE VOTE, SHANKAI KEVIN YU.
Gallery hours Oct 16, 6-9pm, Oct 18 & 19, 12pm-6pm & by appointment.
371 Warren Street, 4th Floor
Jersey City, NJ 07302
Oct 10-Nov 10, 2014
Opening Reception Oct 10, 6-10pm
Panel Discussion 4 - 6pm
“Tell them stories. They need the truth, you must tell them true stories, and everything will be well, just tell them stories.”
- Philip Pullman, The Amber Spyglass
Stories are powerful. Through stories we connect with places, with objects, and with one another. Stories foster love and breed hate; they give us new experiences, and allow us to relive old ones; they exist in every act we are proud of, and in every act we regret. Stories have made us what we are.
It was through stories that art began. The primal narratives we painted on the walls of caves evolved into hieroglyphs and pictographs; the prism of time and culture shattered storytelling into African art, Indian art, the art of the Americas, the art of the Renaissance, and countless others – all part of what we today call Art. But our love for stories never left.
In the hands of a skilled artist, a story is more than a record – it is the very spirit of a place, of a time, and of the storyteller herself. In recent history, such storytellers worked under many different labels – illustrators, comic book artists, fine artists. They matured on their own, achieved their own heights, and, ultimately, grew apart. But, as families do, they are now rediscovering each other. This rediscovery is what drives our exhibition: it is our hope to play a role in reassembling the various storytelling disciplines, to reunite their strengths, and to remind the viewer of the oldest and most fundamental of pleasures art can offer. We invite you, the narrative artist, to be part of our show.
Curated by Tun Myaing and Marshall Jones, “Tell Them Stories” will gather the work of narrative painters and draftsmen from various genres and professions. The work ranges between the probing silence of John Jacobsmeyer, the alarming starkness of Tony Dimauro, the deadpan playfulness of Peter Drake, the subtle glamour of Dorian Vallejo, the unabashed and passionate narrative of Gus Storms, and many others. On Oct 10th we will come together at Art Foundry to celebrate storytelling, and to take part in reaffirming the power of narrative in Art.
The show will begin at 6pm, and will exhibit the works of ten artists. Of those ten, three will be comic book artists, three will be fine artists, and four will be illustrators. Prior to the show there will be a two-hour moderated panel discussion addressing the differences and similarities between fine art, illustration and comic book art.
Art Foundry is an emerging art gallery located on 23rd street on the east side of Manhattan. It is a project space for artists striving towards unity among visual thinkers, the empowerment of conversation, and the dominance of creativity over the market. Tun Myaing, the co-founder of the space, is an academically trained painter and curator dedicated to the many contemporary artists who share that goal.
310 East 23rd Street, No. 12F
New York, NY 10010
Oct 8-Nov 9, 2014
Opening Reception Oct 8, 6-9pm
What do Leonardo da Vinci, Anthony Van Dyck and David Salle have in common? All of these great artists started their career as assistants to other painters, and ultimately, went on to have assistants of their own.
Indeed, many of today’s most talented emerging artists are also getting their start as assistants to art world superstars. Their duties range from logistical tasks to executing large segments of the artist’s vision on the canvas. Some artists may employ just one or two assistants, while others employ dozens to implement their concepts. But how does carrying out the masters’ visions influence the assistants’ personal creative endeavors?
This exhibition brings together the work of the assistants to various cultural icons, allowing viewers to experience the dialogue between their creative forces first-hand. This show is an opportunity to witness a unique moment of synergy, where the paths of these two generations of artists cross and intertwine.
Mark Miller Gallery
92 Orchard Street, New York, NY 10002
Hours: Wednesday - Sunday 12 - 6pm and by appointment
Beyond the threshold
The interior: a subject that first surfaced in 17th century Holland, which abandoned the exactitude of religious painting in favor of something more elusive: the inhabitable space. More than merely domestic landscape, the subject captures the unseen motion of sentient beings; more than a backdrop for a play, it is the narrative of the stage itself, a play where the stage is the protagonist.
Beyond the Threshold is a window into such interiors: vacant desolate rooms, cavernous industrial basements, private washrooms, and intimate living quarters.
Dina Brodsky’s beautifully painted interiors whisper of mysteries and secrets. One imagines the life that made these forgotten spaces as they are, that their thick air holds ghosts and echoes of something important. An immigrant from Soviet Belarus, Dina is no stranger to departure from and loss of home; her paintings reflect the glimpse of life in the decaying and abandoned crevices of her private universe.
Tun Myaing’s unapologetically miniature format invites the viewer to closely examine the otherwise impersonal and forbidding interiors of his paintings. In the painting The Boiler Room, Tun’s fine technique and meticulous attention to detail compels the viewer to enter the interior, while simultaneously pushing her away with the heavy impact of old metal. There is no innocence or sentimentality in Tun’s compositions; his interiors intrigue the viewer as they hold fast on to the unanswered questions within their depths.
Luis Borrero’s paintings retain their absolute stillness even as they allow for the presence of the human figure. An inadvertent voyeur, the viewer finds herself imposing on a private moment between a human being and the surrounding silence. In Man In Tub and Encounter there is a tangible boundary that separates the viewer from an otherwise intimate moment, a dimly lit atmosphere that converges around the naked figure, and a sense of both solitude and a probing, halting sexuality.
Amber Lia-Kloppel’s work also explores the relationship of space and voyeurism. Depicting mainly women, as the classic target of the voyeuristic gaze, she uses physical structure to emphasize the viewer’s and subject’s solitude – even as the subject turns her head to gaze back at the viewer. In the painting Peephole, Amber emphasizes the physical separation of the viewer and the figure; the door reasserts the privacy of the figure, separating her from the viewer, and linking both to their respective spaces.
The four artists in this exhibition make work that both invites and forbids the viewer into entering their world, leaving them at the threshold: allowed a glimpse of the narrative within but as a voyeur, not a participant. In a feat of visual alchemy they extract volume out of silence, and take us along to participate in the stillness of the spaces they visited, observed, and quietly recorded.
A group show curated by Dina Brodsky
James Adelman, Luis Borrero, Dina Brodsky, Diana Corvelle, Bonnie DeWitt, Michelle Doll, Joshua Henderson, Judith Klausner, Maria Kreyn, Amber Lia-Kloppel, Cory Morgenstein, Tun Myaing & Mitra Walter
There is an undeniable thrill that comes from observing peoples private lives or witnessing something intended to stay concealed. The word “voyeur” evokes trespassing into others’ hidden worlds and seeing their secrets. How many of us have lingered too long by a half-open bedroom door or furtively listened in on a confidential conversation? Sometimes, these glimpses into others’ lives are exhilarating, but other times, they leave us feeling uneasy, wishing we could “unsee” what we saw.
In a way, all artists are voyeurs. They have a unique ability to observe the world around them and create windows into strangers’ experiences that might otherwise go unnoticed. These insights also provide a singular perspective into the artists’ own private experiences.
Voyeur curator Dina Brodsky has assembled a series of artworks that fill viewers with a sense of wonder and transgression, oscillating between the tender and the unnerving. Ms. Brodsky’s paintings deliver a peek into abandoned rooms, leaving viewers wondering about the former occupants’ lives based on what is left behind.
The artists’ works range in timbre from unscripted moments of gentle privacy to images that feel like intrusions. Bonnie DeWitt’s drawings appear innocent and sweet at first glance, but portray an underlying sense of mystery and voyeurism. Cory Morgenstein’s work displays a face on a mirror, frozen in an expression that is clearly and uncomfortably private; the discomfort is amplified because the viewer’s ability to see their reflection in the image’s mirror background, as an interloper into the scene.
Other artists take objects and settings that are typically hidden and showcase them boldly. Judith Klausner transforms prescription bottles, which are often concealed and imbued with shame, into glittering showpieces for public exhibition. Mitra Walter’s works demonstrate different levels of comfort by partially clothed women in the spotlight.
Diana Corvelle’s lover’s eye lockets harken back to the Victorian era, when sweethearts would exchange keepsakes that purposely obscured the deep sentiment they contained by depicting only part of a beloved’s likeness. Michelle Doll’s paintings openly exhibit highly intimate interactions between lovers. Maria Kreyn’s glowing artworks literally illuminate a moment of introspection from within.
Some painters capture the fluidity of how privacy is perceived. Amber Lia-Kloppel’s works reveal subjects that have the comfortable, relaxed appearance of someone who is alone, even though they are being watched. The figures in Joshua Henderson’s paintings show the intersection between uncertainty and intimacy, and a sense of happy quietude in the midst of darkness. Luis Borrero portrays a spontaneous, unscripted movement of the body in a relaxed, confidential setting not intended for others’ eyes.
Others capture the voyeurism of trespassing into hidden spaces. Tun Myaing provides a glimpse into the rarely seen underbelly of large, inhabited structures; a venture into labyrinths of out-of-use equipment that grows increasingly dilapidated with time. And James Adelman offers a peek into accidental, partially illuminated scenes resulting from accidental lighting, including a fraction of a dark bedroom illuminated by a fallen flashlight.
For artists, it is a privilege to observe a single moment closely and intently, turning it into a tableau that transcends the quotidian. Voyeur allows the viewer an opportunity to experience those moments and provides a rare chance to observe unabashedly.
Compulsion group show
A group show curated by Dina Brodsky and Maria Kreyn
Mark Miller Gallery
92 Orchard Street, New York, NY 10002
May 8 - June 7, 2013
Opening reception: Friday, May 10, 6-8 PM
No commodity is more irreplaceable than human time. While some of us spread it across many undertakings, others focus obsessively on a single endeavor. Compulsion, co-curated by Dina Brodsky and Maria Kreyn, opening at the Mark Miller Gallery on May 8, explores works by artists in the latter category – works that channel hundreds of hours into a single piece of art.
Compulsion celebrates the obsessive efforts of sixteen such artists. Working with different materials, they share an unwavering devotion to executing their visions, producing pieces that are exceptional in their beauty, craftsmanship and technical complexity. These run the gamut from K. Nancy Fang’s ultra-detailed paper filigree sculpture evoking a futuristic, cylindrical cityscape to James Linkous’ meticulous 3D images summoned through drawings on layers of glass. Tun Myaing’s oil on mylar paintings take seemingly common objects and infuse them with the echo of untold stories, while John Haverty’s elaborate ink drawings portray the opposite, a wall-wide sprawl of elaborate storytelling.
Co-curator Maria Kreyn, whose light-based artwork is constructed using painstaking etchings on plastic, feels there is great merit in laboring to create something so detailed. “In a world where everything is mass-produced and disposable, these works are a call to action to value the objects that really matter to us. This level of time investment forces the artist to be more present with the work and encourages viewers to be enriched by examining pieces more slowly and deeply.” The show aspires to rouse viewers into becoming aware of their own human time, to contemplate the things they simply cannot give up, to find their own compulsions and – under inspiration from these artists – to give in to them.
FLUX FACTORY projects:
New episodes posted here on August 12th, September 9th, and September 29th.
American Alien, a project developed by Flux Factory Artist-in-Residence Ye Taik, is designed to increase awareness of the Burmese diaspora and to serve as a platform for the Burmese American voice. Through interviews published as podcasts on the Flux Factory website, American Alien will address topics related to Burmese innovation and hybridity.
Comprised of conversations with Burmese American intellectuals and prominent artists of Burmese descent, this project questions notions of individual identity and belonging in a country, which from its very beginning, has been inhabited by displaced people: immigrants, outsiders, refugees, third culture kids and third culture adults. In this light, America’s unifying characteristic is one of difference.
Ye Taik has written the following statement about this project:
As a post-nationalist who resides in Brooklyn, I am very interested in exploring the progressive definition of Home. Culture is an organism that expands and contracts, that breathes within the context of the relationships of people with all different skin colors, all different tones and accents, all different perspectives and all different emotional landscapes. As diverse as Americans are, many people of color are still culturally underrepresented.
The series of three episodes includes interviews with New York-based curator and artist,Tun Myaing; the Library of Congress Florence Tan Moeson Fellow and Burmese American Collective Director, Saw Sandi Tun; and Co-founder of Sulu DC, as well as “proud Burmese American Gypsy,” Simone Jacobson.
Tun Myaing transformed from a high school gang member into an artist and curator whose work highlights the unusual circumstances of his childhood and the juxtaposition of ordinary mundane things with extraordinary internal conflicts.
Interviewer Alethea Vasilas practices west african dance, post-modern dance theater, and butoh ritual movement. She has recently become a master of cultural anthropology and currently cultivates an organic vegetable farm, continuously orienting herself towards creation. She hopes one day to coalesce an experimental Art Farm that would bring together movement, ecology, emotion, nourishment, and sublimation.
For immediate release:
is proud to present
September 21 – October 12, 2012
Opening reception September 21, 6 - 9 pm
New York, NY. The Art Foundry celebrates its grand opening and presents the exhibition Living Things, a group show curated by Heidi Elbers and Tun Myaing featuring original paintings, drawings, installations and more from 16 emerging and established artists in the NYC area.
“But after a time allowed for it to swim,
“Instead of proving human when it neared
“and someone else additional to him,
“as a great buck it powerfully appeared.”
We are creatures built for encounters. Some of our favorite past times revolve around meeting new people, talking to them, passing a judgment, and, if we are lucky, understanding them a little. This is who we are – frequently judgmental, occasionally insightful, hopelessly social, and hopefully, empathetic. These are traits we living beings picked up from our encounters with fellow living beings.
Once in a while, however, this peculiar chance presents itself to us: to encounter not a person, but an object. Not to simply see and acknowledge it, but to meet it; not to simply consider it, but to empathize with it; not to see it through our eyes, but to see ourselves through its eyes. This moment is almost always fleeting, indecipherable, and indescribable; we feel it for a moment – and often walk away with a cautious shrug, unable to tell anyone precisely what we felt. What we felt, however, was a kind of encounter – an encounter with a nonliving being, a greeting from the universe, a momentary conversation with Everything Else. The Living Things Exhibit has one aim – to make the conversation longer.
Our penchant for using objects as metaphors is well documented. Dutch still life is replete with depictions of spoiled fruit, bones, half-empty glasses, and human skulls – objects that represent our fears, our mortality, and us. The work of a few newer artists (such as Antonio Lopez Garcia) expands on that idea. An object is no longer a symbol. The sense of time and decay tells us the story of the object; our story, merely one of many, takes a back seat to the stories of Everything Else. Changed and molded by time, the object lives a non-life, emphatically still and indifferently different.
We too are objects. The human body – our first birthday gift, a collection of mechanical and electric machinery, is among the most familiar and least understood objects. Intricate and capricious, it has its own rules that we are not privy to. It grows and withers, it becomes hungry, it lusts after other bodies, it gives away our deepest secrets. Sometimes it is treated as a tool, traded for pleasure and, in its workings, it remains an object - an object that frustrates, fascinates, and inspires. Only in death does the body reveal what it truly is – a thing, an object, a story of Everything Else. The living world of animals and botany all live to tell this tale, a union of universal conversation. This connection of the living world and the world of things has inspired many artists throughout centuries - to this day.
The artists exhibited in Living Things continue and expand on this tradition, bringing their unique contemporary vision of the bizarre and eloquent world of the insentient. Acknowledging and celebrating the materiality of their work the artists of Living Things talk to the viewer with the voice of Everything Else.
Hi-resolution jpegs of the selected works and artists bios are available upon request: email@example.com
For further information on the Art Foundry, please visit: theartfoundry.us
Art Foundry 310 East 23rd Street, No. 12F, New York, NY 10010 T: (917) 378-3700
Drawing is a highly intimate form of expression. Even thought it's highly relatable (we've all done it at one point or another), it's underappreciated. With the endless rush of blockbuster auctions and the celebrity-driven art scene, representational art is out of fashion. The tweeting masses aren't looking for the quiet beauty of a sketch. Drawings, it seems, get lost in all the noise.
Drawing, both in its intimacy and its immediacy, is the theme of a new show called "The Drawing Room," that runs through May 22 at the Milavec Hakimi Gallery in New York. The show, which is curated by Dina Brodsky, Karl Koett, and Tun Myaing, strips down and re-imagines the gallery experience by taking it back to the drawing board, err, drawing room.
The eponymous "Drawing Room" is a substantial installation that has taken over Milavec Hakimi's space on Cooper Square. The gallery walls, painted in the hues of Victorian England, are covered with a chaotic arrangement of pieces hung salon style. The space, taken as a whole, evokes the kind of drawing room where side conversations about life and art are not uncommon.
In one corner, a large desk, in this instance co-opted as sculpture, is cluttered with what seem to be found items -- there are books, sketching pencils, and small animal skulls. The installation's designer, Ian Gaudreau, conceived the space with a sly wink to "Sleep No More." As with "Sleep No More," the spectator is compelled to explore his surroundings. A desk drawer opens to reveal a glass display case of mounted butterflies. A miniature shark suspended in liquid among the clutter reminds us that we're not in DamienHirstLand anymore. On the surface of the desk, a half-filled sketchpad and a set of pencils sit at the ready. Some intrepid and evidently talented passersby have already taken up the invitation to add their own works to the drawing room's artistic conversation.
The clutter on the desk is not by happenstance, but instead is a collection of "oddities" contributed from the nearly thirty artists represented in show. It turns out that artists like to keep the things that they sketch. These items are little pieces of inspiration, the models of past sketches that now hang on the walls of this drawing room or perhaps another.
The works, while largely figurative, range from highly technical studies to ambiguous narrative scenes. James Adelman, who has three pieces in the show, favors a monochromatic approach with pieces in both charcoal and oil, albeit oil that has been deployed with the sensibility of a sketch artist. In another part of the gallery, a sketchbook by Nic Rad, sits open, as if awaiting his return. The characters, interspersed with shreds of writings, are impatient. They seem ready to jump off the pages.
This is Milavec Hakimi's last show in its current space, and the impending closure of the gallery has liberated the creative team and the show from commercialism. There is enormous talent represented, but there are no obvious "art stars." Instead, the presentation shows artists in their essence and it wins with intimacy rather than noise. As one attendee commented to me, "if you really want to get to know an artist, look at his drawings." In this particular drawing room, artists reveal what they draw when the galleries are closed, the auctions are over, the twitter accounts are silent, and the art buyers have returned to their lofts.
For Immediate Release
@ the cell
338 W. 23rd Street (btwn 8th & 9th), New York, NY 10011
Thursday, April 5, 2012 – April 25, 2012
Opening reception: April 5, 6PM – 9PM
Curated by Dina Brodsky, Karl Koett and Tun Myaing, LINE features drawings from some of the most talented and intriguing artists in New York City on view at
the cell from April 5 – April 25, 2012.
Perhaps more so than any other form of art, drawing reveals the pure intent of the artist. Drawing does not allow for multiple revisions; it is for the artist what improvisation is for the actor. The raw talent, the creative spirit of the artist is tangible in the drawing. Thus LINE allows you a rare glimpse into the private universe of the artist, with all the intricacies of structure and elegance of creative motion revealed. Using a diversity of approaches, the artists reveal themselves as they are: inventive, sublime, thoughtful, playful, absurd – stripped of artifice and pretense.
Ranging from the inarticulate to the sharply defined in their unbroken linearity, these masterful renderings will draw you in, engage you, entrance you with the unique promise of meeting some of the most interesting and talented artists of today mind to mind. It is our sincere hope that the viewer will leave aesthetically engaged, but also with a sense of connection; that particular solace offered only by the well-crafted thoughts of an articulate mind.
Featuring Art by:
Jean Pierre Arboleda, Bonnie DeWitt, Dina Brodsky, Matthew Conner,
Cara DeAngelis, Nancy Ke Fang, Robert Fundis, Caitlin Hurd,
Karl Koett, Maria Kreyn, Michael Meadors, Guno Joe Park, David Pettibone,
Nic Rad, Misha Rosnach, Vithya Truong, Melanie Vote, Tyler Vouros
and Daniel Esquivia Zapta
With a special performance by the Art Liars
the cell, A Twenty First Century Salon™
to mine the mind, pierce the heart, and awaken the soul…
They say that artists see the future ahead of the rest of us. What does it mean then that the new show at Island Weiss Gallery is named “Salvaged?” The dollar is collapsing, the euro is collapsing even faster, Wall Street is under occupation and Washington is helpless to save us. Salvaged may be the word they'll use to describe what's left of our civilization when they finally get it all worked out.
That much said, “Salvaged” is a superb show, illustrating very well the excellent work currently coming out of The New York Academy of Art down in Tribeca. It's stuff you'd actually consider hanging on your own wall. (When was the last time you saw that in a Manhattan gallery?) The whole show is rich with the kind of old master craftsmanship that's so sadly absent from much of what's hanging nowadays.
The most impressive detail work is the painterliness of Dina Brodsky's enchanting miniatures. You sense at once this woman must have a whole can full of brushes with only one bristle each. This kind of concern with precision is out of fashion nowadays, and yet it's as engaging today as ever. Most notable is her “Farewell 5 Pointz,” a minutely exact rendering of throwaway, nickle-deposit empties, apparently just a pile of cans until you remember that the theme of the show is Salvaged. Also, as if to remind us that the pigeons will survive come what may, her “Union Square” offers an enchanting collection of miniature pigeon portraits (symbols of self), done in oil on mylar on plexiglas. The word miniature is no exaggeration – most of the pigeon portraits are a mere 2” x 2”, far from huge, and yet every one is a model of precision.
The Salvaged theme is found throughout the show. The catalog speaks of it as salvaging evidence of life after life is ended, but real art always speaks on many levels at once, including the salvaging of society itself. One can scarcely believe that serious artists are or could ever be divorced from the reality afflicting the society around them. Heidi Elbers sensual self-portrait in a red negligee, for example, “Wishing I Could Wrap Them in Fur” isn't about erotica but instead features the artist's legs wrapped in bandages. Could the metaphor be more obvious? The official reason was a passing injury that Ms. Elbers actually experienced, but thematically the idea of depicting what remains after the damage is done comes through clearly. This thematic coherence speaks of a well-curated show.
Michelle Doll, whose portraits have long been a pleasure, was wisely included in the show, but her recent pieces like “Stole” and “Zephyr” have a darkness of hue and lighting that one doesn't remember in her earlier, more optimistic work. Likewise Peter Drake's “Shell Shock Study,” exactly what it sounds like, a portrait of contemporary man if ever there was one, frazzled, electrified, more skull than face. Ours is a time of gathering darkness and the artists sense it.
Maya Brodsky's (Dina's little sister) “Mendelsohn Family Reunion” seems so innocent until one realizes it's a group portrait of dead people. Likewise Mischa Rosnach's “St. Francis Saving the Eggplant,” in which the Saint's anguished face makes it plain that there's plenty more to that eggplant than just an eggplant, and Brian Drury's evocative but unpeopled paintings of an empty New York City. The artists see the future ahead of the rest of us, and what they're see is a salvaging. Salvaging after what? Which of us wants to try to guess? Maybe we should be stockpiling canned goods.
Tun Myaing, one of the curators of the show, also contributes some fine, enigmatic oils of machinery, and two portraits of “The Rat King,” although they appear to be more a study of the Rat King's remains than a portrait of the Rat King himself. Myaing paints a stark picture of the future but metaphorically it's incisive. If the Rat King himself isn't going to make it, who will? Bonnie DeWitt's “Horse Massacre,” in turn, is every bit as jarring as it sounds. But when you see the horses as symbols for all of us living in these last hours before the collapse, you realize the blood on the canvas is ours, not the horses'.
Also intriguing is Jean-Pierre Roy's “Brokenspectre,” a mountain whose sides have collapsed to reveal a building inside. At the base and peak both there are doors, and horses trying to find their way to the top in spite of the collapse. A few have done so. Most have not. How like us humans.
In the same vein, Karl Koett's paintings of sea shells. Not the marine life within, but the shell that remains after the marine creature's life has ended. Likewise Melanie Vote's “Excavation” and “Discovery,” pictures of statues, but broken not whole. John Wellington, in turn, offers two strong paintings of undisguised ruins populated with unsmiling faces. Cheerless, but forceful and clear.
“Salvaged” is on display at the Island Weiss Gallery, 201 E. 69th Street, one of those cozy, ultra-quiet penthouse galleries, until December 22. By appointment only. It's a cutting-edge show, timely as few recent exhibitions have been. But also painful. It's a picture of what's coming, done well, and and it's beautifully truthful but as unsettling as the future itself.
OPENING RECEPTION ThuRSDAY JuNE 23 6 - 8pM
Flowers is pleased to announce that it will be hosting the New York Academy of Art‘s 5th Annual Summer
Exhibition. The show will open with a reception on Thursday, June 23rd from 6 - 8pm and will remain on view through August 6th 2011.
This highly anticipated group show brings together a wide range of new work by more than 50 established and emerging talents. Comprised of paintings, drawings, limited-edition prints and sculpture, the chosen works will be selected from over 500 submissions by jurors Matthew Flowers, Carter Foster and Julie Heffernan. Flowers and the Academy have previously collaborated several times, including two 3-person exhibitions by artists who have participated in past Summer Exhibitions. Former jurists include Eric Fischl, Jenny Saville, Will Cotton and David Salle.
The New York Academy of Art was founded in 1982 by artists and collectors, including early trustees Andy
Warhol and Tom Wolfe. The Academy’s rigorous MFA program promotes the development of an artist’s
personal vision and the creation of vital contemporary art by building on the enduring traditions of figurative painting, drawing and sculpture. The Academy is a 501(c)(3) not-for-profit educational and cultural institution. Flowers is an internationally recognized gallery with locations in London and New York. The program in both the UK and US comprises all media by established and emerging artists, is an active publisher of prints and multiples, and has a growing department in contemporary international photography.
JuNE 24 - AuguST 6 2011
New York Academy of Art
5th Annual Summer Exhibition
Intimate Immensity, a group show curated by Yigal Ozeri at Dean Project.
Included artist: Dina Brodsky, Michelle Doll, Karl Koett, Tun Myaing, Rachel Deutsch, Caitlin Hurd, Cory Morgenstein, Jason Talley.
511 West 25th Street No.207
New York, NY 10001
Tel. 212 229 2017
Journey to the End of the Night | Solo Exhibition
August 6, 2010 - August 31, 2010
White Rabbit, New York, NY
Interview with Samantha Levin:
Burmese artist Tun Myaing creates the work of the introvert. Seemingly extroverted himself, his works seek out those who hide within their thoughts; sad and pensive are his subjects. Yet, his paintings are vibrant with color and contrast, teeming with fights between shadow and light: in one there is hope and in the other there is despair. Such is the confusion he experienced first while growing up and then after arriving in the United States as a teen:
“In my work I try to convey the sense of desperation and claustrophobia that overwhelmed me as I grew up in a country under dictatorial rule, and then feeling the same oppression through the racial and social rejection I experienced when I arrived in America.”
Tun’s moving artist statement inspired me to ask him about his past and how it makes up the basis of his work:
Samantha Levin: Your work is about your experiences growing up exploring your emotional experiences with racism in the US and the dictatorial leadership in Burma. Is your work politically charged at all, or are they more personal and cathartic?
Tun Myaing: I just want to make abundantly clear that my work is not political at all. The problem is that the mention of Burma is directly associated with what people hear on the news and what has been going on there for decades: an Orwellian state of affairs. I can’t help the fact that I grew up there so just because I’m from that country does not mean my work is automatically political.
My work is really about the internal universe of my personal experiences from my entire life thus far, and that includes everything from growing up in Asia to love affairs, and other ordinary things like getting inspired by good literature or movies. I mention Burma and my discovery of racism in the states only because they have a big influence on my life.
So, yes my work is highly personal, but is more of an emotional reflection of a variety of things I’ve experienced. The images are not to be read literally; they are metaphors of emotional essays based on my personal life. They are in that sense very cathartic.
My hope is that the images contain within them their own life, and speak to everyone on a visceral level. I want people to trust their own gut reaction to the paintings rather than try to intellectualize it. If I am successful at my job something will click within the viewer, and through free association their subconscious will bring up a past personal experience they’ve had that translates into the painting in front of them. That is why my work and their titles will remain vague because I want people to connect to the paintings without being told what they are about. They do have loose narratives, but that is only to provide an easily accessible doorway that people can enter from.
You don’t have to know what a song is about to enjoy it, just as long as it moves you. That’s all an artist can ask for.
SL: It’s that doorway that pulls your viewers into the works’ deeper meanings. Your works are very voyeuristic to me. How do you feel about that?
TM: I’m a quiet observer and like to look at things objectively from a safe distance without getting involved. It comes from growing up learning to avoid confrontations, and having a mistrustful attitude towards things and people in general. When I come up with compositions for my paintings I’m doing this subconsciously, but the results are always the same: voyeuristic.
It does create a sense of mystery, which I like because most of the time you have no idea what is going on and it is always open for interpretation. I’m also a big fan of David Lynch and the way he handles his shots and angles in his movies. So I’m influenced by a lot of dark noir movies, and gravitate towards anything with a single light source and mass shadow areas.
SL: Tell me about your experience at the New York Academy? Were things too stringent or do you feel like you’ve received the education you needed?
TM: The New York Academy was the best thing that has happened to me but it was also one of the most challenging; artistically. Truthfully, I was not prepared for it, mentally, academically or technically. There were a lot of things I did not know, and I had to catch up a lot with so many things that I felt absolutely lost in it all.
There was so much information that was being crammed in the first year that it was totally frustrating, but good. I wish I could do it again but at an easier pace so I could hone my technical abilities more.
As for the direction the academy was going at the time it was definitely more about traditional values and ascetics so it was a bit too tight about it’s creative output. Things are definitely different now because they are more open to things which I think is great and the talent is getting better and better every year.
The title of Tun’s solo exhibit, Journey to the End of the Night, is derived from the French novelist and nihilist Louis-Ferdinand Céline’s first book Voyage au Bout de la Nuit. I have never read it, but I feel this quote from the book gives interesting insights into Tun’s visual poetry:
“…I cannot refrain from doubting that there exist any genuine realizations of our deepest character except war and illness, those two infinities of nightmare” ~ Voyage au Bout de la Nuit, Louis-Ferdinand Céline, 1932
Please join us for the opening reception – I promise that while the works are indeed somber, we will keep you entertained! DJ Redboy will be returning to spin for us and the White Rabbit will on happy hour duty (tip your bartenders John and David really well because we love them)! Details:
Friday, August 6, from 7-10pm
White Rabbit Lounge
145 East Houston (between Forsyth and Eldridge)
Tun’s work will be on view starting Friday August 6th through to the end of the month.
A gallery of work available for sale at this show can be viewed here.
Click on the image above for the online gallery of the show and here for the photos from the opening reception
Highlights from the New York Academy of Art
Curated by Island Weiss & Viviane Silvera
June 24 - July 31, 2010
Group Show curated by Michelle Doll and Lisa Lebofsky
Exhibition: June 23 through July 3, 2010
Opening Reception: Wednesday June 23rd, 7 to 10 pm
Click here to view the work.
Serenity is found in the wake of destruction, gradual disintegration, natural decay and residual experience.
Through the traces left behind, stories are told and secrets are discovered. They are a reminder of mortality, and
yet suggest a life after death. Remnants is an exhibition presenting this aftermath through artistic technique and
as subject matter.
Katelyn Alain, Melissa Anderson, Carrie-Ann Bracco, Charis Carmichael Braun, Dina Brodsky, Maya Brodsky,
Daniel Brusky, Lyndsea Cochrane, Tim Daly, Bonnie DeWitt, Michelle Doll, Peter Drake, Samuel Evensen,
Debra Goertz, Kathy Goodell, Jane Hamill, Jim Harris, Paul Hazelton, Catherine Howe, Caitlin Hurd, John Jacobsmeyer,
Alan Bur Johnson, Christian Johnson, Michael Kagan, Alex Kanevsky, Karl Koett, Bryan Leboeuf, Lisa Lebofsky,
Amy Mahnick, Alyssa Monks, Cory Morgenstein, Tun Myaing, John Nickle, Linnea Paskow, Rafael Perez,
Jennifer Presant, Jean Pierre Roy, Kristen Schiele, Charlotte Schulz, Julia Schwadron, Viviane Silvera, Damian Stamer,
Melanie Vote, Mitra Walter, and Eric White
About the curators:
Michelle Doll received her BFA from Kent State University and her MFA from the New York Academy of Art.
Her artwork has been exhibited in solo and group exhibitions in galleries and museums throughout the United
States and internationally. She has received several awards including residencies in St. Barths and Normandy
and has taught art at the Metropolitan Museum of Art. Michelle lives and works in Hoboken, New Jersey.
Lisa Lebofsky is a painter residing in Bronx, New York. She has an MFA in painting from the New York
Academy of Art and BFA in metals from SUNY New Paltz. Her work has been exhibited in solo and group shows
both nationally and internationally. She teaches fine art and design classes at private and public institutions in the
tristate area and is the director of Fuse Gallery. Among several awards and residencies, she is the recent recipient
of the BRIO (Bronx Recognizes Its Own) grant and Terra Nova National Park Residency in Newfoundland, Canada.
“Remnants,” group show curated by Michelle Doll and Lisa Lebofsky runs June 23 through July 3, 2010, at
Fuse Gallery, 93 2nd Ave (between 5th & 6th Sts, 2nd Ave stop on the F), NYC, NY. The opening reception, on
Wednesday June 23rd, from 7 to 10 pm, is free and open to the public. For more information, contact Fuse
Gallery at 212.777.7988 or firstname.lastname@example.org.
“Poetry of Space”- Nine New York City Artists Present New Work
Currently on View at Luxury Residential Group located at 355 Boylston Street, Boston, MA 02116 next to the new Arlington Greenline T Station:
“Poetry of Space”- Nine New York City Artists Present New Work
James Adelman, Dina Brodsky, Maya Brodsky, Michelle Doll, Ke Feng*, Caitlin Hurd, Karl Koett, Tun Myaing, Jason Talley*
Through March 19th
Preview the show ——->Here<——
This month Artana treats Boston to new work by nine upcoming NYC artists. To learn more about the show or the artists participating in this special event, please contact Artana’s Director Heather Roy for a private showing or group gallery tour.
“Poetry of Space” suggests art that evokes an aesthetic and emotive response while transcending the narrower limits of the traditional framed image. The nine artists exhibiting in “Poetry of Space” move beyond their rigorous and broadly classical apprenticeship in creating work that shows both freshness and evolution.
We have attempted to provide significant breadth and contrast in the pictures exhibited. Michelle Doll’s figures reflect sensual warmth and communicate the beauty of life in unexpectedly pensive scenes while in Jason Talley’s portraits one can sense both the erotic and the emotional. By way of contrast Karl Koett demonstrates an ability to capture nineteenth-century solidity and earthiness, elements far removed from the whimsicality of Caitlin Hurd’s animals in flight. In a further contrast, James Adelman’s methodically detailed portraits are Presque vu on canvass, leaving the viewer on the brink of recognition, wishing desperately to have the darkened scene thrown into light. Maya Brodsky’s paintings play on the mind’s struggle to define time, while Dina Brodsky’s work reconciles the simultaneous presence of textures, tones, and colors of the past in a distinctly contemporary form. Tun Myaing has captured his models in motion at a point in time, but the streaks running from the canvas edge intimate that motion and time continue. Finally, Ke Feng’s works are made from an algorithm of the artist’s creation, translating the late 16th century Chinese text of Journey to the West into ethereal landscapes.
The pleasure of poetry lies in ever-changing voices and themes operating within flexible boundaries; the reward of this exhibition is, we hope, different creative energies working both within and beyond standard space, engaging the viewer as poetry engages the listener. The effect of “Poetry of Space” is the visitor’s moment of discovery as the exhibited works show him how his mind unconsciously understands time, space, and memory together as a single faculty. —Peter Skinner
Artana encourages home or office art consultations. For a complimentary private appointment, please contact Artana’s Director Heather Roy at 617-879-3111.
15th January 2010
Contemporary Burmese Art: Ideas & Ideals
A View into the Creative Diaspora
New York Open Center Hosts its First Exhibition on Contemporary Burmese Art
Organized and Curated by Burmese artists from the Tri-State Area
The New York Open Center announces a contemporary art exhibition focusing on the talent and
creative motivations of the Burmese diaspora. In a show organized and curated by the artists
themselves, “Contemporary Burmese Art: Ideas and Ideals” will explore the modern landscape in
which Burmese diaspora artists find themselves today. The artwork, and their creators, will
bridge the gap between tradition and creativity, between one homeland and another. A roster of
sixteen Burmese artists from across the United States have come together to jump-start a
dialogue on creativity, censorship, tradition, modernity, “stranger-hood,” identity, and the
irreverent boundary-shattering power of art.
“Contemporary Burmese Art: Ideas & Ideals” will delve into the complexity of the Burmese
creative spirit while examining what it means to be a Burmese artist in the U.S. Drawing from a
rich and nostalgic tradition, how do these artists define their creative identities and as artists in
limbo, between one homeland and another, what are their values and their inspirations?
One of the show’s artists, Chaw Ei Thein reveals that “Burmese artists used to do self-censorship
on ourselves whenever we create our art while we were in Burma to show the public. The
question becomes, are we continuing this self-censorship once away from Burma? Do we
change, adapt, or remain the same. During this exhibition, can an audience see or feel the
sensitivity to this dilemma through our artwork?”
Join Burmese artists and the Open Center February 6th through February 10th 2010 as they take
a view into this creative diaspora and contemplate the ideas and ideals that breathe life into
Burmese contemporary art today.