An Academy Alumni show I was happy to curate with the lovely Diana Corvelle and Cara DeAngelis. Here are some pictures from the show via Panepinto Galleries facebook page: https://www.facebook.com/panepinto.galleries
This is a show I’ve been wanting to put together for a long time with my friend Marshall Jones and we finally made it a reality. The idea of the show was to bring fine arts, illustration and comic book art together into one place to blur the boundaries between these different mediums. Here are some pictures from the show..
Check out the entire Tell them stories gallery at: http://theartfoundry.us/
There is also an amazing panel discussion about these different mediums moderated by Dorian Vallejo with Tony DiMauro (Illustration), John Jacobsmeyer and Peter Drake (Fine Arts) and Gus Storms (Comic book arts).
A fantastic group show I am proud to be apart of highlighting the artists assistant's personal works.
Here is an interview with Trek Lexington the curator of the show:
A review of the show by Quantum Art Review:
Pictures from the opening night via Mark Miller Gallery on Facebook: https://www.facebook.com/media/set/?set=a.801638716548740.1073741832.129798477066104&type=1
These are some of my upcoming shows later this year: BEYOND THE THRESHOLD Group Show
September 7th - October 5th, 2014 Opening Reception: Sunday, September 7th, 6-9pm
Check out my website for the complete gallery of the series: tunmyaing.com
It's a new year and I'm happy about my two new finished paintings. Hopefully by the end of this year or sooner I'll be able to finish the whole "5 Pointz Labyrinth" series which comprises of around 19 small paintings that I started last year.
This is what I'm currently working on along with some more close up pictures of the paintings. If you look closely you'll see the other 6 paintings on the side that I just can't wait to start on. Keep an eye out as I post my progress on these new paintings.
Media inquiries: Tun Myaing firstname.lastname@example.org (917)378-3700
Art Foundry is proud to present Living Things
September 21 – October 12, 2012 Opening reception September 21, 6 - 9 pm
“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 E 23rd Street, # 12F (buzzer 96), New York, NY 10010
T: (917) 378-3700
Article on ArteFuse:
Glenn Palmer Smith (coming soon)
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…
Bonnie DeWitt (coming soon)
Michael Meadors, "Daughters", 21 x 15", mixed media, 2012
Salvaged is a show curated by Dina Brodsky and I (November 8 - December 22, 2011). Below is a review of the show by Frederick Lembeck. 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, nickel-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. Dina Brodsky, Farewell 5 Pointz, 2011, oil on Mylar on Plexiglas, 6 x 11 inches
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. 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.
A spark of fire emerges from the friction of two sticks: a fleeting flash of life, quickly subsumed by immutable physical law: heat, death, cold. In the ephemeral moments of life, a spark is a spontaneous moment imbued with the power of fire - its potential can ignite, set aflame, and consume.
Humans and all of their creations, like the spark, come into existence only to fade, guided to silence by the forces of nature. Spirit is the hope that there is some part of every human that can persist beyond the laws of physics, some part that can't be unraveled, broken down, or dragged into the void. Spirit is the dimension we have invented: the indestructibility that protects us from the assumed finality of inevitable physical death. It is our most potent means to avoid dissolution by the external and internal forces of the world.
In the end, we dissolve into the immaterial, however spirit calls us back into life, like a flame rekindled from sticks. The act of remembering is humankind's unique power, it empowers a temporary deity within us. Remembering renders the power to salvage, to save from the wreckage that which is of timeless value.
Before we die, we create a pact with the living, to salvage us from complete death by recalling us from the immaterial void. This contract exists between humankind and all things men and women love: feelings, places, memories, and people.
An artist is specifically trained in the art of salvage, to stave off the forces of entropy, to rescue from loss that which nature mandates to disappear - An artist salvages memories, sparks, time.
A salvage, once performed, is a promise kept. In bearing witness to it, we are reminded and assured that our own memories will be recalled, that our spirits will be kept safe. A salvage ensures that after our passing, our names will continue to be spoken, and so in some sense, that we will persist.
This show honors the artist's commitment to salvage as well as the things she salvages. The show invites viewers to witness an artist's act of salvage, to consider the acts of salvage committed, and to become committed in their own lives to perform similar acts...for the unique ability to salvage is innate in us all.