Author Archive

Marie-Dolma Chophel

Untitled, Oil on canvas,54x76 inches

Marie-Dolma CHOPHEL
Born in 1984. Lives and works in New York and Paris

EDUCATION:

2008 – 2009: Post-graduate year, Ecole Nationale Supérieure des Beaux-arts de Paris, Paris, FR
2003 – 2008: Ecole Nationale Supérieure des Beaux-arts de Paris (ENSBA), in Jean-Michel Alberola’s studio, Paris, FR. DNAP (Diplôme National d’Arts Plastiques) Bachelor Degree in Art in 2006.
DNSAP (Diplôme National Supérieur d’Arts Plastiques) Masters Degree in Art in 2008.

CURRENT SHOW: September 21, 2014 – January 4, 2015: Anonymous, at the Queens Museum, NY, USA

PAST SHOWS:

-2014/
January 28 – June 22: Anonymous: Contemporary Tibetan Art, Group show at the Fleming Museum, curated by Rachel Perera Weingeist, Burlington, VT, USA.

September 6 -October 4: Imaginary Places, 532 Gallery Thomas Jaeckel, New York

2013/
-In Between, Group show at Rossi&Rossi Gallery, curated by Tenzing Rigdol, London, UK.
-Anonymous: Contemporary Tibetan Art, Group show at the Dorsky Museum, curated by Rachel Perera Weingeist, New Paltz, NY, USA. -Situation Raw, Group show at the Wix Lounge, curated by Rachel Wells, New York, NY, USA.
-Invasive Ways, Solo show at What Goes Around Comes Around, Brooklyn, NY, USA.

2012/
-Grand Harvest Show/ Juried exhibition at the WAH Center, Brooklyn, NY, USA. -Invasive Ways, Solo show at What Goes Around Comes Around, Brooklyn, NY, USA. -PAF Art Fair, London, UK.

2011/ -Altérations, La Générale, Sèvres, FR.

2010/
-Aléas, Group show at La Cabine, Paris, FR.
-Across the Land, Himalayan Festival, La Pagode de Vincennes, Paris, FR.
-21st Biennale d’Art Contemporain de Cachan/ juried exhibition, Cachan (94), FR. -Salon des Réalités Nouvelles, young artist invited, Parc Floral, Paris, FR.

2009/ -Join Us, Group show at La Générale, Sèvres, FR.

RESIDENCY:

Selected for one month residency at the Golden Foundation, New Berlin, NY: September 7 – October 4, 2014


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Strangers in a Room

Diana Copperwhite

November 13 – December 20, 2014

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Art Pulse

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Imaginary Places

September 4 – October 4, 2014

 

532 Gallery is pleased to present new works by Marie-Dolma Chophel and Lennart Rieder.

Marie-Dolma Chophel’s works are inspired by topography and integrate 3D structures with organic forms and colors to form an abstract landscape of imaginary places.  She graduated from the Ecole Nationale Supérieure des Beaux Arts de Paris, France.  Marie-Dolma’s work has been shown in the U.S., including recent exhibitions at the Fleming Museum and at the Dorsky Museum, and in London, Paris and Hong Kong. She lives and works in New York and Paris.

These 3D Grid Worlds Defy Space and Time

 

 

Lennart Rieder’s process oriented works touch on classic motifs and references in painting, placing them in a contemporary context.  His work has been shown at Parcours d’Artistes, Brussels; MFA ,Documenta Halle, Kassel; Coup de Ville, Sint Niklaas, Belgium; Strzelski Gallery, Stuttgart; Stellwerk Kassel, Kunstverein Familie Montez, Frankfurt; Habsburger Kunstverein, Hamburg.  Lennart lives in Kassel, Germany.

 

 

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Twisted Figures

72 x 60, acrylic on canvas
Untitled (Golden Yellow) Acrylic on canvas, 72 x 60 inches

Ian Hughes
October 9 – November 8, 2014

Over the arc of his career, Ian Hughes has honed a distinctive visual language in which paint reveals its lushest and most viscous qualities while simultaneously giving shape to bio-reminiscent forms that have a compelling life of their own. In Twisted Figures, his third solo show at 532 Gallery Thomas Jaeckel, Hughes’s latest series of acrylic paintings pushes this language into a new phase in which the shapes on the canvases continue to self-confidently assert their own presence, yet begin to move beyond an earlier, more matter-of-fact reliance on organic and visceral associations.

Twisted Figures reflects a subtle turn in Hughes’s paintings toward motifs that are slightly more elusive in content, while retaining the beautiful but vaguely stomach-churning core of his earlier works. Many of the latest pieces feature the same intense, warm palette and pseudo-anatomical imagery set against flat monochromatic backgrounds, such as Green Ovals, which presents a smooth fleshlike surface against which brightly rendered rolling forms in pink, white, and orange suggest intestines, buttocks, and/or reproductive organs. Yet patches of textile-like patterning and a handful of amorphous shapes scattered throughout hint at a much wider range of associations, from soft pillows to eerie but strangely inviting otherworldly landscapes.

In some of the new paintings, Hughes sets up a tension between more organic, down-to-earth colors—such as the duller hamburger/flesh pink in Untitled (Taupe) —and contorted masses that are much harder to pin down. Still other canvases veer in the opposite direction by merging undulations of vivid, carnivalesque blues, pinks, oranges, or greens with somber dark swathes into curves that evoke chaotic balloon sculptures or failed attempts to wring order from unruly sausages of brute matter. In Untitled (Golden Yellow) and Red Wrap, the brushstrokes begin to assert themselves in a way that seems to subtly threaten the integrity of the forms they comprise, thereby highlighting the importance of paint as the essential substrate for Hughes’s cheerful-yet-disquieting images. The juxtaposition of painterly effects (rounded forms and illusionistic volumes) with more graphic elements (flat, opaque backgrounds and sharp edges) strongly reinforces this message. The result is a potent comment on the powerful tension between medium and image that has haunted painting for as long as abstraction has existed, or perhaps since the first images were daubed on a cave wall millennia ago.

For further information, please contact 532 Gallery Thomas Jaeckel by phone at 1.917.701.3338, or by e-mail at info@532gallery.com

 

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Armando Mariño’s Winter Thaw

http://hyperallergic.com/134850/armando-marinos-winter-thaw/

by Hrag Vartanian on June 27, 2014

Clockwise from top left, a detail Armando Marino's Clockwise from top left, a detail Armando Marino’s “The Young Artist” (2014), installation view, detail of “Crying Girl” (2014), and installation view. (all photos by the author for Hyperallergic)

If Armando Mariño’s earlier art looked at the outside world with a critical postcolonial eye, his recent paintings probe visceral states of being tinted by melancholy and framed by a directness that feels intimate. Seen through a frosty lens, the artist’s big paintings in his current show at 532 Gallery Thomas Jaeckel are largely centralized compositions that focus on a solitary figure or object turned away or obstructed from the viewer. The impact of his visual elision opens up the strongest work emotionally, leaving crumbs along the away to invite the viewer inside the work, where he shows off his technical prowess.

“The Young Artist” (2014) uses 19th-century German artist Casper David Friedrich‘s signature rückenfigur device (a person seen from behind, contemplating the view), to mark a sense of presence that is equally striking for its feeling of absence. The shadowy figure pops out of an impossible inner frame that directs our attention to a pinkish-hued winter scene blanketed with a deep sense of longing. Like many of the works here, the scene is specific without revealing an actual sense of place — it is a fairy tale world that at every turn begins “once upon a time.”

Armando Marino, "White Tree" (2014) (click to enlarge)Armando Marino, “White Tree” (2014) (click to enlarge)

His “Crying Girl (2014) is equally enigmatic — veering into the realm of magic realism — as a young female figure cries in the branches of a tree that splays the composition every which way. The background of the painting is sprinkled with glowing orbs of color but the reason for her sobbing is unclear even if it feels easy to read into her life story. The barren tree seems to comfort her, but as the viewer we feel awkward about looking at her in pain.

Space is frequently conflated or telescoped in these paintings, which gives them a timeless quality. In “White Tree” (2014), Mariño places an icing-like white tree again warm reds, deep blacks, and accents of bright digital colors. The forms are rooted beyond the painting’s edge, which flattens the picture and lures us to the surface where fireflies of color and texture reveal a different, more abstractly formulated, composition.

But in a few works, namely “The Bride” (2014), the sense of space is too contorted and the subject feels too distant to create a connection with the viewer. His art is most successful when the tension between figure and ground is strangely unsettled, and his work calcifies when the boundaries are more distinct.

All the paintings in this show depict rural night scenes, which heighten their sense of solitude. In frames of darkness his painterly magic glows. I imagine Mariño himself is the figure in “The Young Artist,” looking away towards the two coniferous trees burdened by the weight of the snow. There is a sobering sense of relaxation in this work as we see the youthful artist, perhaps awestruck or curious, contemplating his place in the world. Unlike Casper David Friedrich, Mariño doesn’t offer glimpses of the sublime, preferring instead to focus on the manmade in these allegories, uncovered in the dark recesses of his studio, where time stands still and spring finally arrives.

Armando Mariño’s New Paintings After a Long Winter continues at 532 Gallery Thomas Jaeckel (532 West 25th Street, Chelsea, Manhattan) until June 27. 

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New paintings after the long Winter

Armando Marino

May 8 – June 27, 2014

532 Gallery Thomas Jaeckel is pleased to announce the second solo exhibition by contemporary Cuban artist Armando Mariño.

Composing a whimsical wintry mash up of abstract and figurative art to provide us all a rather philosophical light on the freedom of art, no matter what eye the perspective is derived from. “A work of art doesn’t have to be explained. If you do not have any feeling about this, I cannot explain it to you. If this doesn’t touch you, I have failed.” -Louise Bourgeois or perhaps more simply put, “Art for art’s sake” as best muttered by James McNeill Whistler, and as best served as Armando Mariño’s inspiration in his latest solo exhibition.

In the case of New Paintings After The Long Winter Mariño’s color moods range greatly, both portraying play on the exhibition’s title literally and figuratively. Gloomy colors with such depth within the strokes its almost impossible not to feel the arctic angst of Mariño’s artistic struggles. With that said, there are also many radiant colors that are rather jubilant, piercing through said New Paintings After The Long Winter like spring time. Mariño painted his pieces upon both large canvas and paper with oil paint, paper in his opinion allows him to dwell on the composition and subject more accurately. Paper gives him the opportunity to paint fast and keep up with the fast pace of his mind as he organizes colors and concepts.

His works are held in numerous public and private collections including: Deutsche Bank Collection, USA. 21C Museum Hotels, Kentucky. Coca Cola Foundation Spain. Shelly and Donald Rubin Private Collection, New York.

Armando Mariño (b. Santiago de Cuba) lives and works in New York.
Education: MFA Pedagogical Institute of Arts, Havana, Cuba and Rijksakademie of beeldende Kunsten, Amsterdam, Holland

Marino’s work is included in these current exhibitions:
Post Picasso-Contemporary Reactions, Museu Picasso, Barcelona, Spain
Without Masks: Contemporary Afro Cuban Art, The von Christierson Collection /Watch Hill Foundation
Museum of Anthropology, University of British Columbia, Canada

 

 

 

 

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meet me in the trees

Tanja Selzer

through April 26, 2014

Ticklish motifs await us in Selzer’s current series Meet me in the trees. Following on the heels of Sabotage, No Tears for the Creatures of the Night, Mind Candy and Cadavre Exquis, we find barely dressed and nude figures in the bushes. This is actually a classical motif in art history, and an extensively exhibited sujet with prominent progenitors such as Botticelli and Rubens and Manet and Cézanne and Picasso—and many many more. To be fair, we ought to mention Paula Modersohn-Becker as well: the very artist who, in 1906, painted the first nude self-portrait. These days we believe we’ve seen everything. But Tanja Selzer would not be Tanja Selzer, had she not succeeded in breathing new and vibrant life into this otherwise hackneyed theme. In view of her new works, it appears as if  Selzer conceives of the term “nude” (in German Akt) in its original sense as something derived from the concepts of “actus”—thus gesticulation—and of “agere”—which means “to set in motion”.

Her motifs are screenshots from the internet’s worldwide photo album. Outdoor moments that could have taken place anywhere. Scarcely compromising, when you see them on your computer screen. On the other hand, these paintings are not only of considerable size; they also show the bodies in a field of color that appears frightening and irrational, yet simultaneously pleasurable thanks to the way it’s been ecstatically painted. There is something absurd about the manner in which these skin-toned forms have strayed into this ineffable world of colorful abstractions. And it is precisely this contradiction that piques our curiosity and challenges us. At close glance the ecstasy is even more visible and palpable. Thus the forms in the back- and foreground—the shadows of the people and of the bushes, the colors of clothing and plants—all blend together in a floral-vegetable act of love. The love-play is an immediate and an intimate one, befitting the moment depicted and the detail chosen by the artist from the plenitude of materials available to her. Selzer’s subtle painting techniques have been adapted to suit the theme portrayed here. Powerful, richly contrastive strokes alternate with gentle rhythmic glazing. Withexceptional dramaturgical skill the artist guides the gaze of the spectator across the diversity of skillfully and picturesquely staged scenes towards a putative highpoint. The highpoint itself remains vague. As is often the case, it is up to us to imagine more fully in our fantasy the scene depicted, and to enjoy it for what it is—a painted canvas, but painted in an exceedingly pleasurable manner.

With her new series,  Selzer alludes back to the early history of the nude— age when the nude had yet to be rarefied religiously and morally, but instead paid homage, first and foremost, to the cult of fertility. Thus, in the works of her current series Meet me in the trees, Selzer not only probes the depths of the laws of painting in an exceptionally adept fashion, but also plays with the strange attitudes of a society that is apparently forced to withdraw back into the bushes, wearied by the sheer surfeit of virtual pornography.

Text: Harald Krämer
Translation: Brian Poole

 

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Julie Langsam at Richard & Dolly Maass Gallery

The School of Art+Design is pleased to announce the exhibition Revisiting Paradise, comprised of Art+Design alumna Julie Langsam’s paintings and drawings, on view at the Richard & Dolly Maass Gallery February 17- March 21, 2014. Thirty years after graduating from the School of Art+Design, Julie presents a new series of works that reflect on how the modernist architecture of the campus and its utopian ideals influenced her artistic practice. Langsam is best known for her paintings of iconic Modernist buildings designed by celebrated architects such as Walter Gropius, Mies van der Rohe, and Le Corbusier. Within these paintings, the isolated buildings are positioned on the horizon line between an expansive and lustrous sky at sunset, and abstract color fields derived from Ad Reinhardt’s paintings from the 1950s. Here, she brings these paintings full circle to Purchase College, where the grand scale and the flatness of the buildings highlight the architectural legacy of the college, designed by Edward Larrabee Barnes within a rural landscape in the early 1960s and ‘70s.

In Revisiting Paradise, Langsam will present a new series of watercolor paintings and graphite drawings based on images of the campus’ brutalist brick buildings and the original blueprints from the 1971 MoMA exhibition and catalogue Architecture for the Arts: The State University of New York College at Purchase, curated by Arthur Drexler. In returning to Purchase College and the Visual Arts Building, Julie continues to introduce new structures to her body of architectural scenes. Langsam will feature a site-specific painting on the gallery walls based on the original blueprints of the Neuberger Museum, layered and transformed by abstract color fields, selected randomly by chance. In further conversation with the architecture of the gallery and wall painting, she will unveil a site-specific floor piece made out of carpet based on the original designs of the Visual Arts Building.

Julie Langsam is currently an Assistant Professor of Drawing at Rutgers University’s Mason Gross School of the Arts. Recent solo exhibitions include Now(here) at 532 Gallery Thomas Jaeckel, NY; Building & Blueprints at Espai 8, Spain; and Floor Plan Prototypes, Reykjavik Art Gallery, Iceland. She is the recipient of the Pollock- Krasner Foundation Award, and is represented in collections throughout the United States. Julie received her BFA from Purchase College, SUNY in 1983 and a MFA from Queens College, CUNY in 1985.

The School of Art+Design, part of the School of the Arts at Purchase College, SUNY, offers premiere programs that prepare students for careers in the visual arts and design, as well as lives informed by aesthetic experience. The school honors tradition, encourages experimentation & collaboration, develops critical thinking, and embraces new concepts, materials, and technologies. A faculty of working artists is committed to creating a supportive climate in which students are passionate about learning to see, to think, to make, and to reflect. Our graduates are leaders in cultural production throughout the world.Located within the School of Art+Design, the Richard & Dolly Maass Gallery presents exhibitions that provide professional context for students and interact with their daily classroom experience. The gallery’s program focuses on emerging artists, A+D alumni, current faculty, and student work.

School of the Arts exhibitions and programs in the Richard & Dolly Maass Gallery are supported, in part, by the Purchase College Foundation and through an endowment from Richard and Dolly Maass.

 

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Paintings and Sculpture

  
through February 15

PEGGY BATES
TATJANA BUSCH
MARCY BRAFMAN
KYLIE HEIDENHEIMER
IAN HUGHES
ILIYAN IVANOV
PACO MARCIAL
REGINE MUELLER WALDECK
JOHN PARKS
LENNART RIEDER
ELIO RODRIGUEZ
JASON RHOADES
HENDRIK SMIT

 

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CONTEXT ART MIAMI

Diana Copperwhite, Armando Marino,Nadja Marcin, Ian Hughes, Julie Langsam, Paco Marcial, Rachel Valdes, Lennart Rieder, Regine Mueller-Waldeck,

December 3 – 8, 2013

The CONTEXT Art Miami Pavilion
Midtown | Wynwood Arts District
3201 NE 1st Avenue
Miami, FL 33137

www.contextartmiami.com

 

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Nadja Marcin performs at Middle Gate, GEEL ’13

Middle Gate Geel ‘13, Belgium, September 29- December 22, 2013.

Middle Gate Geel ’13 is an international art event, curated by a renowned curator Jan Hoet and exhibited at numerous historical locations throughout the city of Geel. The exhibition, displaying the work of more than fifty artists from around the world, tries to come to grips with the complex and multi-layered interaction between myths, psychiatry and the arts. Rather than pinpointing the differences, the exhibition undertakes to reveal the connections and links, commonplaces and parallels of these phenomena. The historic and present-day context of the city of Geel, world-famous for its unique psychiatric care system based on home nursing, adds an extra dimension to this exhibition, so much so that the interaction between Geel and this exhibition will be palpable and visible in every aspect.

Middle Gate Geel ‘13 concentrates on three main categories: myth, psychiatry, and art. More specifically, it sets out to analyse the mutual interaction between mythical or magic-religious art, outsider art and art-as-art, ignoring differences and focussing instead on connections and links, affinities and parallels with respect to these three phenomena. This exhibition wants to do more than just “compile” a number of works that somehow refer to the three main phenomena. It has no intention of providing clear-cut answers—it merely wants to disorder and disturb what we thought we knew. Through the combination of myths with psychiatry and art, this exhibition seeks to create a mental space capable of yielding insights about the assumption of what art is—or could be.

Middle Gate Geel ‘13 is obviously not the first exhibition that zooms in on the relationship between psychiatry, myths and art, yet through its intrinsic link with the city of Geel, it acquires a uniquely rich dimension. Geel’s “foster homes” have been welcoming psychiatric patients of the Public Psychiatric Nursing Centre (OPZ) ever since the 13th century. This integration has contributed to the inclusion of patients in families’ daily lives and in the city’s activities. Geel’s home nursing system still enjoys a special status in the field of caring for the mentally disturbed. The integration of psychiatric patients in families used to be frowned upon. Today, home nursing is considered a monument (so much so that the official psychiatric term is now “rehabilitation”). This approach has aroused interest the world over—even Michel Foucault wrote about it. Geel’s home nursing system is considered a valuable model with a special ethical value. Dialogues and shared experiences of patients and non-patients abound in Geel. Middle Gate Geel ‘13 capitalises on this context and attempts to continue and intensify this dialogue.

Participating artists: Bruce Nauman, Cindy Sherman, Michaël Borremans, Mike Kelley, Nadja Verena Marcin, Jan Fabre, Agatha Snow, Bjarne Melgaard, Jan Fabre, Andy Hope 1930, Nancy Barton, Johnny Meese, Katie Heck, Jon Plypchuk, Paul Mc Carthy, Pablo Picasso, Paul Klee, David Hammons, Jan Fabre, Francis Picabia amongst others.
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Zero Gravity

NADJA MARCIN Zero Gravity

through December 19th, 2013

532 Gallery Thomas Jaeckel is proud to present the first U.S. solo show of performance artist Nadja Verena Marcin. This exhibition is held concurrently with the landmark fifth biennial of PERFORMA in New York City.

A highlight of the show will be the world premiere of Triple F, a video of a turbulent future society where the relationships of mind and body are out of control. Inspired by the 1976 science-fiction cult film Logan’s Run, Triple F explores a world ruled by three women through their thoughts. It was shot in Germany at the neo-Renaissance Rheda castle, ’70s shopping mall Marler Stern, and historical brewery Dortmunder U. Its production was supported by Film and Media Foundation NRW, Düsseldorf.

The 532 Gallery show will also feature Zero Gravity, a stunning piece of performance art that imaginatively combines art and science. Floating weightless in a plane over Florida, Marcin revisits Friedrich Nietzsche’s Die Fröhliche Wissenschaft, going beyond the assertion that ”God is dead” to explore the deep emotional quality of the text: “What were we doing when we unchained this earth from its sun? Whither is it moving now? Whither are we moving? Away from all suns? Are we not plunging continually? Backward, sideward, forward in any direction? Are we not straying as through an infinite nothing?” Zero Gravity is a work of art that takes the audience to a new level of consciousness of both body and mind. It is sponsored by Aurora Aerospace, Florida,and WARP, Belgium.

Born in Germany, Marcin received her MFA from Columbia University, New York after graduating with honors from Academy of Fine Arts, Münster. Marcin’s creations are exhibited in museums, art spaces/galleries and distinguished collections worldwide. Her work has been selected for grants, global biennials and film festivals, including: Middle Gate Geel ‘13, Belgium, Kunsthuis Yellow Art, 2013; Coup de Ville, 2013 Belgium; VOLTA9, Basel, Switzerland 2013; Hudson Valley Contemporary Art Center, 2013; ZKM- Museum for Art and Media, 2012;  DAAD, New York, 2011;’Qui Vive?’ Moscow International Biennale for Young Art, Moscow MOMA, 2010; ARTWORKinternational, Inc. Grant, 2010; Salon/Screening, ICA Philadelphia, 2010; Uncontrollable Flesh, Berkley Art Museum, 2010; Short-Term Deviation, Elizabeth Foundation for the Arts, New York; Kaunas Biennale, National Museum, 2009; Videonale 11& 10, Kunstmuseum, Bonn; Mediations Biennale, Poznan, 2008; Models of Self-Reflection, AZKM, Muenster, 2008; FIFA-Festival pour Film sur L’Art, Montreal, 2008; EJECT-Ex teresa arte actual, Mexico City; Fulbright Award, 2007; and Jumpnights, Ludwig Museum, Cologne, 2007

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Gerard Ellis

 

Lives and works in New York.

EDUCATION

National School of Fine Arts and the Universidad Autónoma de Santo Domingo.

COLLECTIONS

Museum of Latin American Art in Long Beach, CA
Fundación para la Pintura, Canaria, Spain
Museum of Contemporary Drawing and the Museum of Modern Art in Santo Domingo
The Dominican Congress, Santa Domingo
Museum of Contemporary Drawing, Santo Domingo, RD.
Leon Jimenes Cultural Center, Santiago, RD.
Joseph Family, New York
Chamber of Deputies of the Dominican Republic
Marcelo Narbona, Panama
Ignacio Cortes, San Juan, Puerto Rico
Alberto Iribarren, Venezuela

Awards and Biennials

2011  “S-Files”, the 6th Edition,  El Museo del Barrio Biennial in New York
2008-07 Three awards of Excellence by The Society of News Design
2007 IX edition of the Cuenca International Biennial, Ecuador.
2004-PRIZE AT THE XX EDITION of the E. León Jimenes Art Contest (Biennial), Santiago. Dominican Republic.

Select Solo Exhibitions

2014   Volta Art Fair, Lyle O. Reitzel Gallery, NY, NY.
2013  “Between Villages”, 532 Thomas Jaeckel Gallery, NY, NY.
2013  “The Land They Transformed” Lyle O. Reitzel Gallery, VOLTA Art Fair, NY, NY.
2012  “Backyard”, Christopher Paschall Gallery, Bogotá, Colombia
2011  “Recent Works 2006-2011″, Mateo Sariel Gallery, Panama, Panamá
2009  “Sleepwalking”, Spanish Cultural Center, Santo Domingo, Dom. Rep.
2008  “Crossroads” Lyle O. Reitzel Gallery, Wynwood Art District, Miami, Fl.
2002, “In The Dark Side Of The Room”, Spanish Cultural Center, Sto. Dgo., Dom. Rep.
1997, “Nudes” National School of Fine Arts, Sto. Dgo., Rep. Dom.

Select Group Exhibitions 

Nassau County Museum of Art, NY, The IDB Cultural Center
The Mexican Cultural Institute in Washington, D.C.
National Biennial of Visual Arts
XX edition of the E. León Jimenes Art Contest (Biennial), where he received the Prize for painting, both in the Dominican Republic.
2007 “Sarmiento Public Art Project” in public areas of the city of Santo Domingo.

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Diana Copperwhite

 

Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin.  In 2012 she was a resident artist at the Josef Albers Foundation Connecticut, USA.  She was a finalist in the Guasch Coranty Fundacio Painting Prize, Centre Cultural Metropolita Tecia Sala, Barcelona (2008) and was winner of the AIB Art Prize (2007).  Her work is in public collections including: Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Mariehamn Stadbiblioteque, International Red Cross Netherlands, and private collections in the USA, Australia and Europe.

EDUCATION

1999-2000 Winchester School of Art and Design, Barcelona, MA European Fine Art
1992-94 National College of Art & Design, BA Hons painting
1987-92 Limerick School of Art & Design, NCEA Diploma Painting

UPCOMING

2014 Art Palm Beach FL group show/532 Gallery Thomas Jaeckel New York

2014 Two Person show with Danny Rolph, Kevin Kavanagh, Dublin

SOLO EXHIBITIONS

2013 Loose Ends, 532 Gallery Thomas Jaeckel, New York
2013 Solo Booth at VOLTA  New York
2011 An Island from the day before, Kevin Kavanagh, Dublin 2009 perfect near miss, Kevin Kavanagh, Dublin
2011 Eclipse of a title, Highlanes Municipal Art Gallery, Drogheda
2008 Eclipse of a title, Centre Culturel Irlandais, Paris, eclipse of a title, West Cork Arts Centre
2007 BLIND SPOT, Limerick City Art Gallery * 2006 In a certain light, Kevin Kavanagh , Dublin * 2005 Midnight, Kevin Kavanagh, Dublin
2001 Galleri Kakelhallen, Aland, Finland *
2000 Panorama Gallery, Winchester School of Art, Barcelona
1998 Rubicon Gallery, Dublin
1996 Temple Bar Gallery, Dublin

GROUP EXHIBITIONS

2012-
Into the Light, The Arts Council-60 Years of Supporting the Arts
Crawford Art Gallery, Cork*
Anna Bjerger, Diana Copperwhite and Oliver Comerford, Kevin Kavanagh, Dublin
Painting Now, Ron Mandos, Amsterdam
Making Familiar; Temple Bar Gallery, Dublin, curated by James Merrigan and
Group show and Symposium: Temple Bar Gallery
VOLTA 8 Basel, Switzerland
Askeaton Contemporary Arts, Temporary public Art Commission*
The Mind was Dreaming, the world was its Dream, Diana Copperwhite, Michael Kalmbach & Hiraki Sawa, Curated by Jacqui McIntosh, Solstice Art Centre, Navan, Ireland *

2011-
The Fold, Visual Centre for Contemporary Art, Carlow*
New Works Visiting Artists, Graphic Studio Gallery, Dublin
Graphic Studio: 50 Years in Dublin, Irish Museum of Modern Art, Dublin *

2010-
Collecting the New: Recent Acquisitions to the IMMA Collection, Irish Museum of Modern Art, Dublin Regarding Painting, Kevin Kavanagh, Dublin
The Marianbad Palace, Haroon Mirza, Diana Copperwhite, Laura Buckley, Jorge de la Garza, Alicja Kwade and Ian Monroe, Highlanes Gallery and Driochead Arts Centre, Drogheda Arts Festival,
curated by Jacqui McIntosh
Abundance, Limerick City Gallery of Art

2009-
Above the Fold, Kevin Kavanagh, Dublin
Alchimie – Multiples – Papiers, Françoise Besson, Lyon, curated by Michael Woolworth, Lyon Biennale * Visiting Artists, Graphic Studio Gallery
To Have & Have Not, curated by Gemma Tipton, Kinsale Arts Week, Cork *

2008-
Group Therapy, Kevin Kavanagh, Dublin
Winter Salon, Temple Bar Gallery, Dublin
International Painting Prize, Guasch Coranty Fundacio, Tecla Sala, Barcelona *

2007-
Presence, Limerick City Gallery of Art
The Big Store, curated by Alan Butler & Rayne Booth, Temple Bar Gallery, Dublin. Group show, curated by Martin Gale Fenton Gallery, Cork
Invited artist, RHA Annual Exhibition, Gallagher Gallery, Dublin *

2006-
Other Visions, curated by Aidan Dunne, Art Critic, The Irish Times, Purdy Hicks Gallery, London

2005-
A Moment In Time, Temple Bar Gallery
Reality Show, curated by Gemma Tipton, Siamsa Tíre, Tralee
Group Show, From the Liberties to Parramatta, University of Western Sydney, Australia

2000-
Aqui/alli, Can Felipe, Poblenou Barcelona

1998-
E+va, Exhibition of Visual Art, curated by Jeanne Greenberg, Limerick City Gallery of Art * Fantastic Overload, Rubicon Gallery Dublin

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VOLTA/BASEL Video Showcase – Armando Marino

Armando Marino presented at VOLTA 9, Basel

The axis of Armando Mariño’s recent work flows from the ethical dilemma implied by aestheticizing or domesticating a violent event — from the moment it becomes “breaking news” and is then converted into art through painting. He appropriates images whose authorship and authority become less important and more “everyday”, to which the public has instance access to via the web or print media, and from these Mariño launches a new kind of neo-historicism.

 

 

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La Vida Review: Gerard Ellis

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Szczesny’s Neue Wilden Works Book

click on cover to view the book online free:

 

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Julie Langsam at CSU

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Loose Ends

DIANA COPPERWHITE
September 10 – October 19, 2013

We are pleased to announce Diana Copperwhite’s first US solo show in collaboration with Kevin Kavanagh Gallery, Dublin.  This follows on from her succesful solo presentation at VOLTA NY earlier this year, and her residency at the Josef Albers Foundation in December 2012.

“Whose afraid of Red, Yellow and Blue” asked Barnett Newman in the sixties amid the era’s monikers of post-painterly abstraction and colour field painting.  His answer, and indeed the answers of his compatriots at the time, seem to us now as stately as they are staid.   They sit comfortably into the art historical narrative -the progressive imperative of Modernism.  The paintings of Diana Copperwhite deliver us back into the maelstrom of colour resurrecting the fear that such charged tints and hues can conjure. Copperwhite’s colours misbehave, taunting and mocking our narrow appreciation of their emotional potential”.
-Patrick T. Murphy, Director of Royal Hibernian Academy Dublin.
Former Director of the Institute of Contemporary Art, at the University of Pennsylvania.

“Diana Copperwhite constantly mentions  a musical logic and a sense of musical notation and tonality as she describes the act of painting. But, on the other hand, she insists that she does not pre-structure, that she allows one colour to suggest another, that the element of gesture and chance is essential as is the flash of insight and the swift ability then to structure it, to carry it out.”

Colm Tóibín

Diana Copperwhite (b. 1969, Ireland) lives and works in Dublin.  In 2012 she was a resident artist at the Josef Albers Foundation Connecticut, USA.  She was a finalist in the Guasch Coranty Fundacio Painting Prize, Centre Cultural Metropolita Tecia Sala, Barcelona (2008) and was winner of the AIB Art Prize (2007).  Her work is in public collections including: Irish Museum of Modern Art, Arts Council of Ireland, Limerick City Gallery of Art, Office of Public Works, Contemporary Irish Art Society, Mariehamn Stadbiblioteque, International Red Cross Netherlands, and private collections in the USA, Australia and Europe.
Recent shows include;  Painting Now, Ron Mandos,Amsterdam (2012), Into the Light:The Arts Council of Ireland, Crawford Gallery, Cork (2012); Diana Cooperwhite, Anna Bjerger and Oliver Comerford, Kevin Kavanagh, Dublin (2012); Making Familiar, Temple Bar Gallery, Dublin (2012); The Mind was Dreaming, the world was its Dream, Diana Copperwhite, Michael Kalmbach & Hiraki Sawa, Solstice Art Centre, Navan (2012); An Island from the day before, Kevin Kavanagh, Dublin (2011); The Fold, Visual Centre for Contemporary Art, Carlow (2011); Collecting the New: Recent Acquisitions to the IMMA Collection, Irish Museum of Modern Art, Dublin (2010); and eclipse of a title, Centre Culturel Irlandais, Paris (2009).
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Julie Langsam

 

EDUCATION

1985 Queens College, CUNY, MFA
1983-84 Pratt Institute, Graduate Fine Arts Program 1983 Purchase College, SUNY, BFA

COLLECTIONS

New York Health & Hospitals Corporation The Cleveland Clinic
Progressive Insurance
Reader’s Digest
B&F Capital Markets
Numerous Private Collections

GRANTS/ FELLOWSHIPS/AWARDS

Joseph F. Motto Endowed Chair, Cleveland Institute of Art, 2007-2009
Faculty Development Award, Cleveland Institute of Art, 2007
Northern Ohio Live Award for Excellence in Arts Programming, Kacalieff Lecture Series, 2006 Faculty Development Award, Cleveland Institute of Art, 2007
Pollock-Krasner Foundation Grant, 1994
Teaching Fellowship, Queens College, 1984-85

SELECT SOLO EXHIBITIONS

2014 Julie Langsam: Revisiting Paradise, Richard & Dolly Maass Gallery, SUNY Purchase, Purchase, NY (essay/brochure)
2013 Julie Langsam: Now(here), 532 Gallery Thomas Jaeckel, New York, NY
2013  Buildings & Blueprints, Espai 8, Barcelona, Spain
2012 Floor Plan Prototypes, Reykjavik Art Gallery, Reykjavik, Iceland
2008 Of Other Spaces, Frederieke Taylor Gallery, New York, NY (catalogue)
2005 From Here to Modernity, Michael Steinberg Fine Art, New York, NY
2002 Julie Langsam: House Paintings, Cleveland Center for Contemporary Art/MOCA Cleveland, Cleveland, OH
1999 Recent Work, Acme Art Co., Columbus, OH
1997 Julie Langsam, Clementine Gallery, New York, NY
1993 Recent Work, Brownson Art Gallery, Manhattanville College, Purchase, NY 1991 Julie Langsam: Recent Work, Fairleigh Dickinson University, Rutherford, NJ

SELECT GROUP EXHIBITIONS

Paper Jam 2014, Neuberger Museum, Purchase, NY
Higher Learning, curated by Danielle Tegeder, Lehman College Art Department, Bronx, NY
2013 Hold the Wall, curated by Dan Tranberg, The Galleries at CSU, Cleveland State University, Cleveland, Ohio
Oblique Strategies, curated by Emmy Mikelson, Peter Fingesten Gallery, Pace University, New York, NY 2012 Dirt Tongue, CCA Andratx, Andratx, Mallorca, Spain
2011 Put Up or Shut Up, New York Academy of Art, New York, NY
Hudson Valley Center for Contemporary Art Benefit Show, Robert Miller Gallery, New York, NY
2010 Paper Jam 2, Neuberger Museum, Purchase, NY
Tenth Anniversary Invitational Part II, curated by Beth Rudin de Woody, Frederieke Taylor Gallery, New York, NY
Chautauqua: A Continuum of Creativity, Denise Bibro Fine Art, New York, NY 2009 Social Structures, Art Gallery, Cleveland Clinic, Cleveland, OH
2009 Social Structures, Art Gallery, Cleveland Clinic, Cleveland, OH
Future Tense: Reshaping the Landscape, curated by Dede Young, Neuberger Museum, Purchase, NY
2007 A House Is Not A Home, curated by Beth de Woody, Caren Golden Fine Art, New York
Michael Steinberg Fine Art, New York, NY
Momenta Art Benefit Show, White Columns, New York, NY
2006 Heaven Is A Place Where Nothing Ever Happens…Charlotte Becket & Julie Langsam, Heights Arts, Cleveland Heights, OH
Process & Promise, curated by Amei Wallach, Milton J. Weill Art Gallery, New York, NY (catalogue) Dreaming Of A More Better Future, curated by Stuart Horodner & Saul Ostrow,Reinberger Galleries, Cleveland, OH
T-Zone, curated by Peter Dudek, SmackMellon, Brooklyn, NY2004 In Polytechnicolor, Michael Steinberg Fine Art, New York, NY Spring Show, Edward Tyler Nahem Fine Art, New York, NY Drawing Faculties, Tri-C Galleries West, Cleveland, OH
2003 Group Exhibition, Institut Franco-Americain, Rennes, France, traveled to Espace Melanie, Riec Sur Belon, Brittany, France, Fondation Mona Bismarck, Paris, France
2002 25th Anniversary Exhibition, The Drawing Center, New York, NY Five, Superior (An Exhibition Space), Cleveland, OH
Out of Place, The Cleveland Foundation, Cleveland, OH
2000 Space Invaders, Clementine Gallery, New York, NY
1998 Julie Langsam, Annabeth Rosen, University Gallery of Fine Art, Ohio State University, Columbus, OH
1996 This Ain’t Phony!!!, Art Initiatives, New York, NY
The Jack or Jill Show, Fourth World, Art Without Walls, New York, NY Momenta Art Benefit Show, Ronald Feldman Fine Arts, New York, NY Momenta Art Benefit Show, Momenta Art, Brooklyn, NY
Gotcha!, curated by Odili Donald Odita, Acme Art Co., Columbus, OH
1995 Works for a Funhouse, ES Vandam Gallery, New York, NY
Gotcha!, curated by Odili Donald Odita, Momenta Art, Brooklyn, NY
1994 Split Image, Westminster Gallery, Bloomfield College, Bloomfield, NJ Organic Transgressions, Rome Art Center, Rome, NY
1991 Fabricant, Langsam, McGiff & Wright, curated by Robert Berlind, Visual Arts Gallery, Purchase College, Purchase, NY 1987 Selections 35, The Drawing Center, New York, NY

ARTIST’S WRITINGS

2007 Langsam, Julie, catalogue essay, The Big Bang, curated by Julie Langsam, The Cleveland Institute of Art 2004 Cohen, Joanne, & Langsam, Julie, catalogue essay, It’s A Wonderful Life: Psychodrama In Contemporary
Painting, curated by Joanne Cohen & Julie Langsam, SPACES
2002 Langsam, Julie, catalogue essay, Arte Povera American Style: Funk, Play, Poetry & Labor, curated by Julie Langsam & Bruce Checefsky, The Cleveland Institute of Art

BIBLIOGRAPHY

Hilmarsdottir, Lara, “Faest vith byggingarlist landslag og haleita fegurth,” Morgunbladid, 25 July, 2012 Tocci, Elora; “Impossibililty of Perfection…” The Chautauquan Daily, July 29, 2011
Gilmore, Jonathan; “Reviews; Julie Langsam at Frederieke Taylor”, Art in America, March, 2009 Carrier, David; “Pic of the Day” Artcritical.com, Dec 8, 2008

Ostrow, Saul; “Interview w/ Julie Langsam”, Julie Langsam: Of Other Spaces (catalogue) 2008
Carrier, David; “Julie Langsam’s Architectural Surrealism”, Julie Langsam: Of Other Spaces (catalogue) 2008
Genocchio, Ben; Today’s Landscape’s, Tomorrow’s Dystopia, NY Times, June 1, 2008
ArtWorks, Cameron, Dan; Lewis, Toby; Morrison, Tony, DAP, 2007
The Collector As Curator:Beth Rudin DeWoody , Saatchi Gallery Online, www.saatchi-gallery.co.uk/quick- critique/index.php?show_id=The+Collector+as+Curator–Beth+Rudin+DeWoody&
Process & Promise, curated by Toni Greenbaum, Edward Lebow,Margaret Matthews-Berenson & Amei Wallach, Milton J. Weill Art Gallery, NYC, full color catalogue
Henderson, Stephen, “Out of the Shadows” House Beautiful, February, 2005
Johnson, Ken, “Weekend Arts”, The New York Times, Dec 2, 2005
Utter, Doug, “Lonely At the Top” The Plain Dealer, October 28, 2005
George, Ben; Jones, Jeff, P., “From the Editors”, Fugue, University of Idaho, Summer 2005, Vol. 29
Keats, Jonathan, “The Art of Architecture” Dwell, September, 2003
Ostrow, Saul, “Julie Langsam” Bomb, Spring, 2003
Mansour, Judith, “Bring In the Funk”, Cleveland Magazine, Dec 2002
Bracken-Sparks, Amy, “Mélange, American Style” Northern Ohio Live, Nov 2002
Litt, Steven, “Art: House Plans…”, The Plain Dealer, Nov 9, 2002
“Interview with Dee Perry” Applause, WVIZ-TV & WCPN, aired Nov.14,16,17,2002
Litt, Steven, “Exhibits Focus on Lewis, Gehry … Unique Collaboration”, The Plain Dealer, Oct 6, 2002
Tranberg, Dan, “House: Case Study Cleveland” The Plain Dealer, June 5, 2002
Kalm, James, “ Reviews: Space Invaders @ Clementine”, NY Arts International , Feb 2000
Litt, Steven, “Gallery Reviews” , The Plain Dealer, Nov 24, 1998
“Interview with Dee Perry”, Around Noon, WCPN, aired Nov 25,1997, Cleveland, OH
Dailey, Meghan, “Stephen DiCillo & Julie Langsam @ Clementine Gallery, NY”, Art Net Magazine, Feb, 1997
Schoenfeld, Alissa, “Julie Langsam at Clementine Gallery” Critical Review, Jan 1997
Gallery Beat, episode# 016, aired Jan 18, 1997, New York, NY
The New York Times, Dec 22, 1996, reproduction- Arts & Leisure Guide
Litt, Steven, “Art Review”, The Plain Dealer, Nov 14, 1996
Gallery Beat, episode # 002, aired May 26, 1996, New York, NY
Davis,Caren, “Portrayals of Women” Brooklyn Woman, July 1996
“Acme Leaps Into February” Columbus Alive, Jan 31- Feb 6, 1996
Jacques, Geoffrey, “Gotcha! Momenta Art” Cover Magazine,Vol.10, No.1 Holidays, 1996
Gallery Beat episode #79, aired Sept 18, 1995, New York, NY
Chapman, Frances, “Momenta Art” Waterfront Week, Vol.5.19, Sept 21- Oct 4, 1995
Watkins, Eileen, “Art” New Jersey Star Ledger, March 22, 1991

 

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Ian Hughes at Adelson Gallery Boston

 

 

 

 

 

 
TEN ARTISTS
May 17 -June 30, 2013
http://adelsongalleriesboston.com/exhibit/ten-artists/hughes-ian/index.html

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Between Villages

Gerard Ellis

May 30 – July 11, 2013

A painter and draftsman by calling and choice, Gerard Ellis establishes an interesting dichotomy between the practice of painting and social critique. His pictorial work is highly expressive and vigorous for those who directly or indirectly participate in the multiple strata of the contexts of which this artist speaks. The violence, corruption and lack of willpower characteristic of our times are central topics of his meticulous pictorial work. There is a studied connection and interdependence between what is his work and what constitutes his life experiences, which translates into a certain underlying politicization of life’s experience. Self-referential and sometimes autobiographical, his dynamic yet intensely personal and authentic compositions serve on dual levels; not only are they effective in presenting the viewer with truncated iconoclastic narratives, but they also possess a strong visual vocabulary of technical styles.

 

Ellis competes in a direct relation to the animal, this time, no longer domestic (an owl, a cybor-dog, among others) with the man and are constant companions to the figures in the paintings. Equipped with a dramatic quality, the plastic movement of each one of the works speaks of speed and stillness, paralysis and aggression, being the diachronic dichotomy of the mental movement of the spectator.

Born in Santo Domingo, Dominican Republic in 1976, he graduated from the National School of Fine Arts and the Universidad Autónoma de Santo Domingo. Selected to be part of the “S-Files”, the 6th edition of the El Museo del Barrio Biennial in NY, 2011. Has been recognized with three awards of Excellence by The Society of News Design, 2007-2008. In 2007 was invited to be part of the IX edition of the Cuenca International Biennial, Ecuador. His work has been exhibited in group shows in the Nassau County Museum of Art, NY, The IDB Cultural Center and The Mexican Cultural Institute in Washington, D.C. Selected to be part of the National Biennial of Visual Arts and the XX edition of the E. León Jimenes Art Contest (Biennial), where he received the Prize for painting, both in the Dominican Republic. He participated in the “Sarmiento Public Art Project, 2007” in public areas of the city of Santo Domingo.

International contemporary art fairs include: VOLTA NY, Scope, Pinta and Arte BA.  His work is in the permanent collection of the Museum of Latin American Art in Long Beach, CA;  Fundación para la Pintura, Canaria, Spain; the Museum of Contemporary Drawing and the Museum of Modern Art in Santo Domingo;  The Dominican Congress and in private collections in New York, London, Miami, Spain, Panamá, Venezuela, Puerto Rico and Santo Domingo.

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NY TIMES MAGAZINE

Avenues recent visits to the Paint and Memory exhibit by English painter John A. Parks was a fun experience with the children  immediately responding to the finger paintings.  They also toured the map paintings of London, pointing to places they knew or recognized by name.

http://www.nytimes.com/2013/05/05/magazine/is-avenues-the-best-education-money-can-buy.html?ref=magazine

http://johnaparks.com/NewWork

http://www.nytimes.com/2012/12/14/arts/design/john-a-parks-paint-and-memory.html?_r=1&adxnnl=1&ref=arts&adxnnlx=1367859404-/RTdUPblCPzM/pRXXDNZrw

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532 Gallery Thomas Jaeckel | Phone 917.701.3338 | info@532gallery.com | 532 West 25th Street NY 10001 Tuesday - Friday 11-6pm, Sat 12-6pm