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Author Archive

Hendrik Smit

0 CommentsMonday • February 21, 2011 • by admin

Hendrik Smit’s colorful gestural abstract paintings exude a playful sense of joyous freedom. The fluid seamless forms build to crescendos that appear to dissolve and re-form over the activated surfaces. The modulated upbeat colors create harmonies that recall symphonic musical arrangements.

Per Adolfsen

0 CommentsMonday • February 21, 2011 • by admin

Per Adolfsen’s emotionally charged acrylic paintings seamlessly merge representational and abstract elements that activate the works with surprising “funhouse” effects of fear, foreboding and buoyancy. The dream-like floating tableaux, replete with swirling figures and fragmented architectural forms, engage the viewer in a seductive world of fantasy and uncertainty that recalls classic Scandinavian angst.

Peggy Bates

0 CommentsMonday • February 21, 2011 • by admin

By deftly pouring bright acrylic onto smoothly primed canvases, Bates creates expressive, if elusive, vistas. The vivid paint runnels convey a palpable sense of shifting gravity while the varying opacities blend into transitions as smooth as flowing tides. In a few pieces, squiggled skeins of color convey dynamic energy like the spikes of an EKG monitor, fusing a technological frisson to Bates’s organic imagery.

Guenter Knop

0 CommentsMonday • February 21, 2011 • by admin

The human act of observing freezes the moment, changes the interaction, and even determines what one sees.

Photographer Guenter Knop examines such moments. He freezes the exact instant, changes the interaction, and determines what we see. With incomparable technical and artistic skill, he controls light, line, and form in the images to purposefully guide the eye to see the “essence of woman” in new ways.

Kylie Heidenheimer

0 CommentsMonday • February 21, 2011 • by admin

Kylie Heidenheimer’s abstract, acrylic paintings on canvas are reminiscent of gentle weather conditions evoked by soothing harmonious color relationships. The layers of dripped and poured paint divulge the artist’s process, and metaphorically recall the element of passing time.

Marcy Brafman

0 CommentsMonday • February 21, 2011 • by admin

Marcy Brafman’s semi-abstract oil paintings feature biomorphic representations of fierce creatures that intersect and collide on fluidly painted formats. The upbeat optimistic colors defy the underlying tension, as organisms appear to vie for survival in tableaux with underpinnings in the natural selection process.

2011

•”Pearlescent” One person painting show 532 Gallery Thomas Jaeckel NYC

•Vellum 6 Print on Demand PopUp curated by Stephanie Young

•Drawing With Pictures curated by David Gibson – Artjail

• Sculpture Center Lucky Draw Benefit

•RHM Benefit Marianne Boesky Gallery

2010

•AQUA Art Miami 532 Gallery Thomas Jaeckel NYC

•Autosemblematic – group show curated by Jennifer Junkermeier Local Project L.I.C.

•Backroom Biennial NY Studio Gallery – curated by David Gibson

•Buy What You Love_ Rema Hort Mann Foundation Benefit Jack Shainman Gallery

•Sculpture Center Benefit

2009

•Quixotic Beast _ Vellum Projects_Under Minerva curated by Stephanie Young.

•Brooklyn Artillery_

•Paper in the Wind_ 532 Gallery Thomas Jaeckel NYC

•SculptureCenter Lucky Draw Benefit

•Article Projects@the Pool Art Fair

2008

•Bronx River Art Center_site mural “Metropoles Art in Action” curated by Jose Ruiz

•532 Gallery Thomas Jaeckel NYC _ “Truth or Consequences”One person painting show

•SculptureCenter_Benefit

2007

•Heskin Contemporary NYC _Meet Qute co-curated w/Elizabeth Heskin

•Amy Simon Fine Art, Westport, Conn._”Girls Gone Wild”

•Kinz Tillou Feigen NYC_”By Invitation Only”

•Vellum_Supreme Trading

2006

•War: What Is It Good For? BK Smith Gallery; Lake Erie College; Cleveland, Ohio •Installation, Bridgehampton N.Y.

•Drawing the Line Against Domestic Violence

2005

•Realform Projects Face Value

•Jack the Pelican Presents Culture Vulture

Publications:

Vellum Magazine #5 & 6 2008, 2011

Chelsea Now! Feb 2008

Stefan Szczesny

0 CommentsMonday • February 21, 2011 • by admin

Stefan Szczesny employs calligraphic linear elements to alter his llfochrome photographs; these alterations teasingly transform viewer perception, creating complex tableaux of mingled and merged foregrounds that interact precariously with the surrounding background environment.

1951

Born in Munich

1969-75

Studies and degree course at the Akademie für Bildende Künste (Academy of Fine Arts), Munich

1975

Scholarship from the German Academic Exchange Service in Paris

1979

Städtische Galerie at the Lenbachhaus, Munich Art Forum

1980

Villa Romana scholarship, Florence

1981

Initiator of the exhibition entitled “Rundschau Deutschland”, Munich and Cologne

1982

Villa Massimo scholarship, Rome

1984

Metamorphoses, State Antique Collection, Munich

1988

Rheinisches Landesmuseum, Bonn

1990

Kunstverein Augsburg (Augsburg Art Society)

Kunstverein Mannheim

1991

Idols, Kunstverein Heidelberg

1992

Portraits, DuMont Kunsthalle, Cologne

Portraits, Kunsthalle Bremen

1993

Caribbean Style, Neue Galerie, Linz

1996

International Senefelder Prize for Printed Graphics

1997

Works 1975-1996, Haus am Lützowplatz, Berlin

Ceramic Vases and Vessels, Badisches Landesmuseum, Karlsruhe

Ceramics. Painting. Vases., Gerhard Marcks-Haus, Bremen

1998

Pictures of the Côte d’Azur, Kunsthalle in Emden

Museo del Grabado Español Contemporaneo, Marbella

1999

Pictures of the Côte d’Azur, Museum of Modern Art, Passau

Sculptures and Glass, Ceramic Museum, Mettlach

Painting Meets Photography, Fondazione Levi, Venice

2000

World Map of Life, 12 large-format ceramic murals, commissioned by WWF for the EXPO 2000 in Hanover

2001

Painting Meets Photography, Städtische Galerie Villa Dessauer, Bamberg

Luxe, Calme et volupté …ou la joie de vivre, La Malmaison, Cannes

2002

Szczesny, artrium, Geneva

Szczesny, Casa de la Provincia, Sevilla

Premiere of “Szczesny – The Film” at the 55th Film Festival in Cannes

2003

A Feast for the Eyes, Gustav-Lübcke-Museum, Hamm

Méditerranée – L’Esthétique du Sud, Salle Jean Despace, Saint-Tropez

2004

Szczesny – Una Fiesta para los Ojos, Palma de Mallorca

2005

Kunsthalle Mannheim

2006

Shadow sculptures all over the city of St. Tropez

2007

A Dream of Earthly Paradise, Mainau Island Art Project, Mainau

Musée de la Photographie Villa Aurélienne, Fréjus

Centre d’art la Malmaison, Cannes

2008

Sculptures d’ombre à Grimaud, Grimaud

A summer in Tegernsee, Tegernsee

Shadow sculptures, Sternberg Lounge, Düsseldorf

Shadow sculptures, Villa Aurelien, Fréjus

Ceramics, Villa Domergue, Cannes

2009

Caribbean Style, Szczesny Factory, Berlin

Garden show, Rechberghausen

Shadows on the Biltmore, Biltmore Hotel, Coral Gables, Miami

2010

Shadow sculptures, Beddington Fine Art, Bargemon

Caribbean Dreams, KunstRaum Bernusstraße, Frankfurt

La joie de vivre, Beddington Fine Art Gallery, Bargemon

Caribbean Dreams, KunstRaum Bernusstraße, Frankfurt

Szczesny Dairy – St. Tropez – New York – Mustique, 532 Gallery Thomas Jaeckel, New York

A summer in Saint-Tropez, Mediengruppe Pressedruck, Augsburg

Saint-Tropez in Berlin, Bocca di Bacco, Berlin

La joie de vivre, Klostergut Besseslich, Kunsthalle Koblenz, Koblenz

Vis à vi, KunstRaum Bernusstrasse, Frankfurt am Main

Shadows on the Biltmore Benefit Cocktail Reception, Biltmore Hotel, Coral Gables, Miami

Or et bleu, Frankfurter Kunstkabinett, Frankfurt

Szczesny’s world, Peter’s friends Gallery, Palais-Royal, Paris

Ian Hughes

0 CommentsMonday • February 21, 2011 • by admin

Ian Hughes

Ian Hughes’ paintings exploit the anatomical link between the brain and the viscera. Fluid, intertwining, and semi-transparent forms exude a bodily presence while suggesting a tangle of shifting associations. Hughes seduces the viewer with sensuous textures and a luscious palette of chromatic pinks, yellows and turquoise blues modulated by pearl whites and carbon blacks. For Hughes, the color field is a stage on which to choreograph a visual and psychological drama. In Hughes’ paintings, we could be frolicking in a garden of earthly delights or wallowing in the heat of the netherworld.

Tatjana Busch

0 CommentsMonday • February 21, 2011 • by admin

Tatjana Busch creates unique mid-sized steel mesh sculptures that she crushes and re-forms to display facets and folds that emerge through “guided” accidents. The works exude a flare for the fresh and unexpected that resonates with fresh cross-narrative relationships between surface geometric patterns and the overall biomorphic configurations

Joergen Geerds

1 CommentSunday • February 20, 2011 • by admin

Inspired by the grandeur and grime of New York City, Joergen Geerds branched into panoramic photography in 2006.

Prior to finding his calling in panoramas, Geerds studied photography and design under Ernst Weckert and Nicolai Sarafov in Würzburg, Germany, in the mid 90s. He moved to the City in 2000—he had simply outgrown his hometown—and worked for several successful years as an art director in the advertising world.

During this time, he refined his love of wide-angle photography and ventured into the world of panoramas. He found the un-cropped cityscapes that his flattened, 360-degree photos revealed were unique in the market. This led him to develop his own distinct style—large-scale, hyper-wide night panoramas of New York City.

Geerds’s photos illuminate places familiar to many, both on the macro and micro scales. But these photos also make viewers think about how and where they were taken, and deeply consider what it is about these at-first familiar haunts that so captures our attention.

: Times Square, c-print, 120x60in

: West 42nd Street, c-print, 120x48in

: Moon over Central Park, c-print, 96x40in

: Central Park The Pond, c-print, 96x30in

New Works

0 CommentsTuesday • January 25, 2011 • by admin

LES JOYNES

Jan 21 – March 12, 2011

This is Joynes’ first exhibition with 532 Gallery Thomas Jaeckel New York and presents an important new phase in his depiction of imagined sites, heavenly bodies and floating archeo-cognitive elements. In his paintings Les Joynes fuses artifacts of memory he collects from imagined topographies. His current ring paintings are baroque and rococo gateways inspired by Alain Resnais’ 1961 film Last Year at Marienbad. For him the circular motifs were “structures that floated to the surface in my memory like life preservers floating in after a storm at sea”

: Spring, Oil on canvas, 60x60in

: Spring (detail), Oil on canvas, 60x60in

: Four Fathers, Oil on canvas, 54x72in

: Vampire Garden, Oil on canvas, 72x54in

Joynes is a graduate of the MA Fine Art Program at Goldsmiths College, London; and possesses a B.A. (Hons) Fine Art, Central Saint Martins College of Art & Design, London; M.A. Sculpture from Musashino Art University, Tokyo. He was Visiting Scholar at Columbia University, New York (2008-2010) where he has been researching contemporary art, memory and artifact.

Les Joynes

0 CommentsThursday • January 20, 2011 • by admin

Les Joynes is a graduate of the MA Fine Art Program at Goldsmiths College, London; and possesses a B.A. (Hons) Fine Art, Central Saint Martins College of Art & Design, London; M.A. Sculpture from Musashino Art University, Tokyo. He was Visiting Scholar at Columbia University, New York (2008-2010) where he has been researching contemporary art, memory and artifact.

: Spring, Oil on canvas, 60x60in

: Spring (detail), Oil on canvas, 60x60in

: Four Fathers, Oil on canvas, 54x72in

: Vampire Garden, Oil on canvas, 72x54in

Recent Works

0 CommentsFriday • November 12, 2010 • by admin

Guenter Knop

November 12 – December 24, 2010

Guenter Knop

November 12 – December 23, 2010

Guenter Knop is a remarkable photographer whose love of women shines through in every photograph. Knop’s work represents a highly original combination of rigorous abstraction and lyrical sensuality. The physicist, Heisenberg, proved many years ago that momentum and the placement of particles within the atom are intrinsically interwoven. From this perspective light is now understood as a dynamic dance of interacting particles traveling in wavelike fashion. The human act of observing freezes the moment, changes the interaction, and even determines what one sees.With photography, Guenter Knop examines such moments. He freezes the exact instant, changes the interaction, and determines what we see. With incomparable technical and artistic skill, he controls light, line, and form in the images in this book to purposefully guide the eye to see the “essence of woman” in new ways. The photographs within are nothing short of pure, breathtakingly beautiful, abstract works of art – moments in time, captured by the artist’s “click” of a camera, as light interacts with biomorphic and architectural. Whether short and bulbous, lanky and bony, athletic and graceful, black or white, each beautiful woman is captured at the precise artistic moment; the beauty is frozen and she becomes an enduring, sculptural element in a composition with a new language.Found alone, architectural forms can be experienced as cold, sharp, and angular. They can create boundaries and constraints to biomorphic forms, such as the female figure, which is curved, warm, and organic. Knop skillfully juxtaposes these forms in the same composition, adds light, and creates interesting changes and new forms. Warm becomes cold; and reciprocally, cold, warm. Architectural becomes biomorphic; and biomorphic, architectural.

Wom’d

0 CommentsThursday • October 21, 2010 • by admin

Peter Muehlhaeusser

WOM’D explores the relationship between environment and the development of young individuals within a specific societal context. Employing stereotypical poses related to religion, culture, and social development, the whole series assumes an exaggerated and ironic character. One culture’s physicality cross references another’s societal failure, and familiar conventions of pose and gesture are recognizable, yet challenged by each subject’s cultural physique. History and the contemporary collide. What is usually predictable is presented here in a revolving manner, defying any categorical imposition. Although each of the six boys bears his own cultural trappings, an essential physicality unites them. In the drama of their incipient motion, they appear as toys frozen in action. However the juvenile imagination they evoke reminds us of their vulnerability. Their flesh looks plush and sensitive, their nudity triggering a desire to clothe them. Ironically, in the midst of this youthful playground there are no smiles or signs of laughter. The boys appear possessed, almost by some sort of “wind-up” mechanism set at the controlled speed of an operator. They are not autonomous beings but actors, and impart the uneasy sense of having been programmed or invaded. These alien boys glitter with paradoxes, beginning with the suppleness of warm flesh rendered in cold aluminum. They are innocent yet threatening, at an age of purity yet absolutely corrupt. Although fashioned with delicacy, they are hard-nosed, brawny, and demanding of attention with their hypnotic physiques. At the very core of this series is a provocative realism. This does not serve as a visual handout, but rather as an extra layer for viewers willing to take the time to read each sculpture. These boys represent the potential future of the world, as well as the possible weapons of its destruction.

Intuitive Forms

0 CommentsThursday • September 16, 2010 • by admin

Tatjana Busch

“Once upon a time there was square, a circle, a triangle and a rectangle and the passion for color and form”.

Tatjana Busch’s words remind us of the Bauhaus. Indeed, the artist has close connections to the German Bauhaus way of thinking as well as to Russian Suprematism and the Dutch De Stijl movement, or neoplasticism. Most of all, her works echo Josef Albers’ famous squares and his studies of the interplay between colors, and they also recall Malevich’s Black Square. But what does Tatjana Busch actually do with these icons of classic modern art? She crumples them, turning their clear, precise, geometric forms into something mobile, playful and baroque. Had these works been created in the 1980s, they might have been categorized as “anything goes” post-modernism. She would have been said to be rebelling against the rational forms of dogmatic, rigid modernism by quoting history and approaching it with irony, appropriating and treating it subjectively. And yet, in the case of Tatjana Busch, none of this is true. Tatjana does not feel the need to liberate herself from anything by giving her art a theoretical underpinning. Instead, she says: “It could be like this and it could also be like that…”. There is no contradiction – and no contradiction with ironic intent – between the geometric and the distorted, the minimalist and the baroque, or the solid and the light. In Tatjana’s work the coincidental is one important factor; the search for shapes and colors is an intuitive process.

Turning the corner

0 CommentsThursday • June 10, 2010 • by admin

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Inside Out

0 CommentsMonday • May 10, 2010 • by admin

Ian Hughes

May 10 – June 7, 2010

532 Gallery Thomas Jaeckel is pleased to present INSIDE OUT an exhibition of paintings by Ian Hughes, an outstanding mid-career painter, in his first one-person show in a New York gallery. Hughes’ paintings (here represented by large, medium and small scale works) re-examine and renew the always delicate relationship between color and form. Hughes’ forms are strangely suggestive, but of what exactly: primordial ooze, cell division run amok, fragments of the cosmos, a frozen oil spill, decay or growth, plant, animal, or human? As the painted forms shift and mutate, so do the associations. Everything is in flux. A form is related, via color shifts, to an adjacent form, which itself is related to another, then another. This set of internal relationships causes the viewer’s eye to move about the canvas, picking out new ideas. Each interior form in a Hughes canvas can activate a different memory. Taken together, they can create a new universe of ideas for the viewer.

Diary

0 CommentsThursday • March 18, 2010 • by admin

Stefan Szczesny

March 18 – May 1, 2010

532 Gallery Thomas Jaeckel presents Diary, an exhibit of mixed media work by Stefan Szczesny, renowned German painter and sculptor. The pieces on display, called “photo-paintings,” combine two related areas of the artist’s creative endeavor. Since 1985, Szczesny has been making images that integrate photos taken in a variety of settings with figure studies rendered in his characteristically expressive style. The result of the juxtaposition of realistic, photographic imagery with the abstract, painterly records of the artist’s hand, cause the viewer, at first glance, to pause—has Matisse returned to us, reincarnated as a graffiti artist? Far from it! The French artist’s influence as a draftsman is apparent in the work, but Szczesny’s clever extension of the figure into realistic, photographic space is unique—and surprising.

The world is floating

0 CommentsFriday • February 12, 2010 • by admin

Per Adolfsen

February 12 – March 13, 2010

532 Gallery Thomas Jaeckel is pleased to present a solo show of works by Danish artist Per Adolfsen. Although the artist’s figurative abstractions may appear crude at first glance, closer examination reveals works vibrating with energy and pulse, creating an all-out assault on the viewer’s concept of reality. In the title work, The World is Floating, images emerge out of nothing and figures float away into a one point perspective which seems non-existent. The transience of these images reflects the mutability of the human condition and consequent feelings of anxiety and denial. Adolfsen reflects the conditionality of everyday life, in which myriad random events beyond our control, from the minute to the epic, intervene not only upon our senses or our definition of the real, but our individual fate as well. It is left up to the viewer as to whether these are the results of chaos or phenomenology.

Sweet Divide

0 CommentsThursday • January 14, 2010 • by admin

Vince Contarino

January 14 – February 6, 2010

“Sweet Divide” a series of paintings which address the specific challenges faced by abstract artists working today. Describing a finished or successful painting as possessed of a nice awkwardness, differentiating an atypical abstract painting from a great one, conscious of existing within the cultural context of abstraction, which adds to our understanding of emotion, logic, sensation, and concrete reality while at the same time existing at a critical distance from them. The paintings are mostly spare, with negative space sparring for dominance with gestures that either fill up the middle distance or squirm in the margins. The colors are like the crystals mixing in a kaleidoscope, or the neon lights of Times Square. They express an emotive tonality, a setting of the background noise into which our eyes trace a liminal pathway of esthetic joy. The space is both flat and transparent, the shapes hard and soft. These paintings do not establish a territory so much as hint at a direction away from the commonplace.

Eyewall

0 CommentsThursday • November 5, 2009 • by admin

Hendrik Smit

November 5 – December 24, 2009

Smit is one of the last true inhabitants in the world of action painting, a place where the process of creating a work receives much more emphasis than the finished product. Reminiscent of the Tachishme style of the 1940s and 1950s Smit’s paintings lack any sort of predetermined structure, but are conceived within the moment. In an indefinable instant, the artist and his emotions become one with the paint. Fraught with an indescribable internal energy, each piece explores a different combination of vibrant pigment and violent momentum giving each canvas a vitality it can hardly contain. Formidable and engaging, a unique energy radiates from each work.

Rift

0 CommentsThursday • September 10, 2009 • by admin

Kylie Heidenheimer, September 10 – October 30, 2009

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