October 27 - December 10, 2011
Nick Poe lives and works in New York. He graduated from New York University in 2007 with degrees in filmmaking, art history and drawing.
Kathleen Cullen Fine Arts
526 W. 26th Street #605 New York, NY 10001
JUDITH HUDSON: PLAYBOY ADVISOR
Opening reception of Miller v/s Miller today at Benrimon Contemporary, Thursday June 23rd 5PM- 9PM. Featuring artists Nachume and Danny Miller.
This exhibition is a visual exploration of Nachume Miller’s legacy, not only as a painter but as a mentor and father. It captures how Danny Miller has built upon this influence to branch out, and create his own unique style.
514 West 24th Street, 2nd Floor, New York, NY 10011 USA, bcontemporary.com telephone: 212 924 2400 facsimile: 212 659 0054 electronic: email@example.com Monday - Saturday 10am - 8pm, Sunday 12am - 6pm
If you find yourself in Columbia County this summer, go see this exhibition!
Performing Coordinates: Cityscapes Revised
Curated by Zoe Lukov
Opening reception June 22nd, 6-9pm
Abrazo Interno Gallery at CSV: 107 Suffolk Street
Featuring works by: Carlton DeWoody, Lucas Flores Piran, Chibi Lai, Wayne Liu, Zenith Richards, Reyes Santiago Rojas and Georgia Wall
Using the Clemente Sato Velez Center and its presence in New York's Lower East Side as a point of departure, Performing Coordinates: Cityscapes Revised investigates the performance of our individual identities upon the layered physical spaces we inhabit. The LES is the neighborhood in which new immigrants to NY have settled and where today hipsters, scenesters, artists and young professionals lay claim to the stories, cultures and peoples that define this contested territory. Performing Coordinates seeks to re-envision the cartography of the city as a palimpsest of histories that engage and affect the people who occupy it.
Object Image, March 10th- April 16th at Tibor De Nagy
Opening Reception Thursday, March 10th 5-7pm
Featuring artists John Newman, Kathy Butterly, Andrew Masullo, Thomas Nozkowski, George Ohr and Leslie Wayne
The Tibor de Nagy Gallery is pleased to present an exhibition of six artists, three sculptors and three painters. With the notable exception of ceramic sculptor George Ohr (1857-1918), the remaining five are contemporary artists and are represented by a selection of new work. Irrespective of their medium---whether a painter or sculptor----each of the artist’s pieces is modestly sized, and shares an intimacy and a painterly approach to abstraction. Their work shares sensibilities consisting, among many other things, of autonomy, movement, and playful use of color. The artists have each arrived at their own vocabulary and their work taken individually inhabits distinct and intimate worlds. Kathy Butterly uses seemingly-dissimilar materials and patterns, seamlessly intertwining them into vessels that seem to spiral around themselves. Though her process is labor-intensive, the end result feels improvised, fresh, and light. The fluidly curving forms of John Newman’s sculptures, with their small scale and gem-like quality, evoke little worlds of intimacy. Quiet and delicate, the works seem not to have a beginning or end; they emerge into space while seeming to draw into themselves. When one considers the time period in which George Ohr was working (he was born in 1857 and died in 1918), the sheer modernity of his ceramics becomes all the more astounding. His works convey spontaneity and confidence in his technique; his inventiveness exudes intelligence and an improvisational flair.Though working in oil paint, Leslie Wayne’s method of pinching, folding, pulling, and slicing her material cannot help but be seen as sculptural. Each twist and fold is energetic and surprising, revealing layers of exuberant color that reveal a pliable sensuality. Andrew Masullo’s paintings express an interest in shape, though a resistance against allowing shape to dominate color, movement, or surface. This push/pull serves to create a joyful and dynamic confidence in the manipulation of material. Thomas Nozkowski’s abstract oil paintings explore the realm in between the geometric and the organic, employing a seemingly limitless vocabulary of shapes within the confines of his small works. His use of subtle variation continually questions the figure/ground relationship, making his paintings seem at once two-dimensional and sculptural.The gallery will present an exhibition of Butterly’s recent work at the ADAA Art Show, March 2– 6, Booth D-28.
MARIA GIMENEZLISSI and the RABBIT, Amplitude 14/8
Curated by Karline MoellerFebruary 8 - March 6 2011
Opening Reception: Tuesday February 8 6-8 pm
APF LAB 15 Wooster Street, New York CityOpen by appointment.
Please call Karline Moeller: 9178215847 or email: firstname.lastname@example.org
"Amplitude is the magnitude of change in the oscillating variable with each oscillation within an oscillating system. For example, sound waves in air are oscillations in atmospheric pressure and their amplitudes are proportional to the change in pressure during one oscillation. If a variable undergoes regular oscillations, and a graph of the system is drawn with the oscillating variable as the vertical axis and time as the horizontal axis, the amplitude is visually represented by the vertical distance between the extreme of the curve… In this specific case I chose amplitude 14/8.” –Maria Gimenez
Maria Gimenez is somewhat of a gypsy. Leaving high school before formally finishing, Gimenez pursued her interest in the arts: she was active in theatre, film and music, until finally acknowledging that her greatest passion lay in painting, or as she suggests “echte malerei,” (real painting). During the early aughts, Gimenez fell in love with New York City, and for three years she would divide her time between the Bowery and Berlin. Lissi and the Rabbit: Amplitude 14/8 will be the first solo exhibition of Gimenez’s in the United States.Gimenez’s painterly technique and thematic subjects are her own views and ideas that she develops and cultivates independently, unhindered by contemporary schools, idols, programs, fashion, and theories. Her images have a marked propensity for the perverse and she manages to seduce the viewer directly into her work. Gimenez’s imagery is intuitive, not conceptual, and unveils her wit and inspirations: the images she paints often rise out of her subconscious and then follow an autonomous artistic fantasy.
Swift decisions lie in Gimenez’s work. Her painterly gesture and her understanding of the volatile dialogue between brush and paint are easily and readily translated onto the canvas through her composition and form. On first consideration, her paintings evoke a rough and expressive tenor and although the titles of Gimenez’s work pare lighthearted and even comical, the work itself is not.Maria Gimenez was born in Germany in 1981. She currently lives and works in Berlin and Muelheim.
Karline Moeller received her degrees from Franklin College Switzerland and the New School in New York. Karline is an independent curator and co-owned Moeller Snow Gallery until the gallery closed in March 2009. Before opening the gallery in New York, Karline worked in the Contemporary Art department at Sotheby’s. She also worked alongside Tim Nye at Nyehaus Gallery in New York for two years. Recently, Karline has become a freelance curator for galleries as well as finding alternative exhibition spaces to showcase art in different formats. In the past year Karline has co-curated a group exhibition at Marlborough Gallery Chelsea as well as a solo show at Ramis Barquet Gallery. Karline continues to work with and represent artists that she has exhibited in the past few years and collaborates with various other curators and galleries.
Art Production Fund (APF) is a non-profit organization dedicated to producing ambitious public art projects, reaching new audiences and expanding awareness through contemporary art. Projects include: SHOW, Vanessa Beecroft, Solomon R. Guggenheim Museum, 1998; PLAN B, Rudolf Stingel summer 2004, Grand Central's Vanderbilt Hall and The Walker Art Center; Prada Marfa, Elmgreen & Dragset, Valentine, TX, 2005, permanent; Greeting Card, Aaron Young, Park Avenue Armory, 2007; Electric Fountain, Noble & Webster, Rockefeller Plaza, 2008; The Whitney Biennial, Park Avenue Armory, 2008.Kalup Linzy, Member's Only, Prospect. 1 New Orleans, 2008. Scribble, Karl Haendel, 2009; PAUSE, Yoko Ono and T.J. Wilcox, The Cosmopolitan, Las Vegas, NV, ongoing; White Ghost, Yoshitomo Nara, Park Avenue, NYC, 2010; Rob Pruitt: Holy Crap, Sotheby’s, New York City, 2010. ART ADDS 2, Chuck Close and Kehinde Wiley, New York City, 2011; Thanks to Saatchi & Saatchi for their ongoing support. Co-Founders: Yvonne Force Villareal & Doreen Remen; Director: Casey Fremont; Project Manager: Theodora Shamber.
Developed by United American Land and designed by renowned architects Gwathmey Siegel & Associates, Soho Mews comprises two separate residential buildings; one with an entrance on West Broadway and the second which fronts Wooster Street. They are connected by a sprawling private garden designed by award-winning Peter Walker Landscape Architects. The condominium features spacious lofts and townhouse residences, all with 10-foot ceilings. The building’s ample amenities include 24-hour doorman, fitness center managed by Drive 495, full concierge service by Luxury Attaché, on-site attended parking and in-building art information advisory service by Art Production Fund. Soho Mews is over 65% sold and available for immediate occupancy.Special thanks to Soho Mews for generously donating the space to Art Production Fund.For more information please contact Theodora Shamber: email@example.com or 212 966 0193
One of our favorite artists, John Torreano, has organized a variety show at the Gershwin Hotel on December 7th at 8pm. Featuring co-founder of 7Eleven / hilarious comedienne, Genevieve Hudson-Price!
WILLIAM N. COPLEY X-RATED
Paul Kasmin Gallery is pleased to present William N. Copley X-RATED, a large-scale recreation of the artist’s 1974 exhibition in the former Huntington Hartford Museum on Columbus Circle. Highly original, libidinous, and unapologeticly joyful, the paintings were unlike anything being made at that time.
This body of work, painted between 1972 and 1974, represents a pivotal leap in the artist’s style and is rich with irreverent yet ambitious compositions, unbridled combinations of highly-keyed colors, and generous doses of off-beat humor.
CPLY (the artist’s self-chosen moniker) here presents single figures, pairs, and the occasional group–their gestures and actions translated from magazines procured in seedy 42nd street emporiums–posing and coupling eagerly amid vivid arrays of abstract patterns and lyrical motifs, romping furniture, and tilting planes of scumbled color. Throughout, CPLY strives to uncover the joy and poetry in this most unlikely of subjects, with the belief that “humor, after all is the reminder that we are mortal.” It is a body of work that stands alone in Copley’s ouvre and resolutely apart from the driving narratives in the contemporary art world of the early 1970s.
As a painter, writer, gallerist, supporter, and publisher, the artist blazed a singular path through numerous territories of post-war art, along the way charting a vital link between the European Surrealist and the American Pop Art movements. A fully-illustrated catalogue will accompany the exhibition, featuring a new essay by Anne Doran and a reprinting of CPLY’s memoir Portrait of the Artist as a Young Dealer, an outrageous chronicle of his short-lived but legendary Surrealist gallery in Beverly Hills.
William N. Copley was born in 1919 and passed away in 1996. His work is in private and public collections worldwide. CPLY has been the subject of numerous single artist shows and a traveling retrospective at the Kunsthalle Bern, Centre Georges Pompidou, and the Stedelijk Van Abbesmuseum, and has taken part in important group exhibitions including in documenta 5 and documenta 7.
“There is no art in the world that looks like the art of Bill Copley.” – Ed Ruscha
“Bill Copley’s work is to die for…” – Andy Warhol
“There was a painter named Copley who never would miss a good lay and to make his paintings erotic instead of brushes, he simply used his prick.” – Marcel Duchamp
“Cply cmpltly cptvts me.” – Roy Lichtenstein
“Copley est un rire de nuage.” – Jean Arp
For More Information, please contact Nick Olney at firstname.lastname@example.org
For Image Requests, please contact Mark Markin at email@example.com
Kathleen Cullen Fine Arts presents The Playful Paw-Strokes of the Wilderness by Sebastian Black from September 9th- October 9th, 2010.
Curated by Ingrid Dinter at James Graham and Sons
Artists include: Billy Copley, Lance De Los Reyes, Judith Hudson...