IAN HUGHES

APRIL 26 – MAY 26, 2012

Gallery 532 Thomas Jaeckel is pleased to present the paintings of Ian Hughes in his second one-man show at the gallery.
In this new body of work, Hughes brings to full fruition the investigation of color, space, and form that has been underway for nearly two decades. The new paintings continue to probe an artistic vein that runs from the eye to the brain and terminates in the viscera. The color field is repurposed as a visual staging area upon which organic forms, vascular and sinuous, shape-shift and commingle. The luminous color space of the background is simultaneously flat and volumetric, like a cloudless sky; it is a resolutely abstract space that asserts the two dimensional nature of painting and creates a dynamic contrast to the illusion of volume in the foreground.

In two related works, Yellow Curtain and Strands (Pink Curtain), the background color acts like a light box, illuminating the transparent forms from behind, analogous to an x-ray image. The reference to curtains has multiple meanings, most literally to the vertical strands hanging from the top and arranged across the picture plane like a beaded curtain (though admittedly, maybe more like flayed meat hanging on a drying rack.) But the transparency of the forms also suggests a diaphanous veil through which the viewer must pass to reach the other side, where lies another world–the world of metaphor and myth. Art historical references also abound, perhaps most poignantly to Morris Louis, whose name Hughes readily invokes as a source of inspiration.

Hughes’ technique is deceptively straightforward. Water is the medium; pigment dispersions and acrylic polymer yield color and form. Together they are poured, floated, and brushed onto the prepared surface; the dance between intent and accident, consciousness and unconsciousness, is set into motion. For Hughes, technique is purely a means to an end. Most important is the degree to which the technique serves the desire to create a state of visual and interpretive flux.

In this endeavor, Hughes aligns himself squarely within the tradition of painters like Paul Klee and Wassily Kandinsky, whose groundbreaking ideas gave rise to a main branch of contemporary American abstraction which espouses the possibility of conveying the full range of human experience through the raw materials of paint and renders moot the distinction between abstraction and figuration.

Please contact the gallery for further information.

Spring has arrived—at last—and with it comes an exciting  group show of gallery artists at 532 Gallery Thomas Jaeckel. The exhibit focuses on what might be, rather than what is, in a Surrealist-inspired showing of paintings, photographs, and sculpture. John Alexander Parks, an English painter, takes us to London in a freely painted street scene that distorts space and makes the viewer wonder where he or she is standing. Nadja Marcin, presents a large-scale photograph that ere-defines the word “pastoral” in a somewhat frightening way.  Christiane Draffehn mixes visual metaphors–earthly, heavenly, and hellish. She has created an image that is reminiscent of the work of Magritte, or even Dali.  Tatjana Busch, an abstract sculptor from Germany, combines aluminum, photographic imagery, and sound, displacing our sense of what sculpture is, and leading us to new ideas about what sculptural space can become.  Kristina Girke combines academic drawing with startling ranges of color, transporting viewers from their comfortable notions of what painting is, to a broader, more inclusive view of where the brush can go. Several  other international artists are represented in this show. Each one brings us closer to fresh ideas about art. Ideas fresh as spring.

Born 1952 in Leeds, England

Education

1973 – 76 M.A.(R.C.A.) in Painting, Royal College of Art. London, England.

1970 – 73 B.A. in Fine Art, Hull College of Art. Hull, England.

Awards

National Endowment for the Arts Grant. 1985

British Institute Award for Figurative Painting. 1974

Scholarship to Skowhegan School of Art, Maine. 1974.

Fullbright Travel Grant. 1974

Solo Exhibitions


2008 
Southern Vermont Arts Center, Manchester VT

2005 
Allan Stone Gallery, New York

2005 
Mabbettsville Gallery, New York

2002
 Cricket Hill Gallery, New York

2002
 Paul Smith, New York

1992
 Coe Kerr Gallery, New York.

1991
 Louis Newman Gallery, Beverly Hills.

1990
 Coe Kerr Gallery, New York.

1987 
Allan Stone Gallery, New York.

1984 
Allan Stone Gallery, New York.

1982 
Allan Stone Gallery, New York.

1979
 Segal Gallery, Boston.

1977
 Allan Stone Gallery, New York.

Selected Group Exhibitions

2012 Art Wynwood, International Contemporary Art Fair, Miami

2011 
Made in the UK. Contemporary British Art from the Richard Brown Baker Collection
Museum of the Rhode Island School of Design. 

2008
Chicago International Art Fair

2007 
Art Basel Miami Beach

2006 
Art Basel Miami Beach

2006
 Armory Show, New York

2004
 “Group” Allan Stone Gallery, New York

2000 
”Forty Years” Allan Stone Gallery, New York.

2000 
”New Realism” Jenkins-Johnson Gallery, San Francisco.

1999
 “Landscapes” Allan Stone Gallery, New York. Exhibition including work by de             Kooning, Wayne Thiebaud, Franz Kline, Richard Estes and others.

1998 
”London/Paris/New York” at the Beadleston Gallery, New York. An exhibition of cityscapes including work by Monet, Pissaro, Bonnard, Stuart Davis and others.

1996 
Allan Stone Gallery, New York.

1995 
Allan Stone Gallery.

1994 
Hollis Taggart Gallery, Washington DC.

1993 
Gerold Wunderlich Gallery, New York.

1988 
Chicago International Art Exposition.

1987
 Duke University, Durham, NC.

1983
 Kornblee Gallery, New York.

1972
 Royal Academy, London.

Collections

Victoria and Albert Museum, London.

Royal College of Art, London.

Oklahoma City Museum of Art.

Museum of the Rhode Island School of Design.

Numerous private collections.

Reviews and articles on the work

Arts Magazine, September and November 1978

New York Times. May 30th 1982. John Russell.

ArtSpeak. February 1984. “John Parks at Allan Stone.”

American Artist. May 1992. Major article with reproductions by Jane Cottingham.

Pulse Magazine. June 2005. Interview

New York Sun. June 30th 2005. Review of the exhibition at Allan Stone Gallery

Passport Magazine. Winter 2005-6. Major article with reproductions.

Teaching

Teaching at the School of Visual Arts, New York, NY since 1979 as well as various visiting assignments.

Joergen Geerds

January 26 – March 3, 2012

Through five panoramic photographs, artist Joergen Geerds explores the interconnections of space and community, humans and habitats, inside and out, self and other.

Start anywhere and you’ll quickly slip into Geerds-vision: Central Park is a space for enjoying grass and trees, inviting the warmth of the wilderness into the heart of the city. But the other side of the Park is its persistent emptiness (it is literally a hole in a field of skyscrapers), signalled here by a field of snow. This Park is not a lonely place, but very much an outside that has been invited in—a vampire of sorts, both awing and terrifying.

Astoria’s other side is its past: Here, a working class neighborhood was transformed into New York’s most diverse, becoming an anchor point in Robert Moses’s plan to transform the city. Geerds has lived in Astoria for many years; it cannot hide from him. In his image of historical Astoria, he catches an older building in the act of growing an enchanted hedge around itself—protection against a change that is inevitable, already creeping into the frame.

The Astoria pool, emptied of humans, also betrays its other side: It is an outdoor space, even when it’s treated as a private room. It is an outdoor space, yet it feels like an aqueous family den walled in by two bridges and the New York skyline. The pool, like the Park, is not lonely, but re-exteriorized… The sushi restaurant at the Esplanade, just south of the World Trade Center site in Battery Park, hints at a warm interior—only to have this warmth dragged out, in neon, into the empty street… The East River Park is caged by the installation above, but brought back outdoors by the fact it’s used only as a dog-run…

Geerds highlights here not a dissociating modern city, but its underlying structures and spaces, which—temporarily scrubbed free of people by the power of the camera—allow for unity, for community. Geerds’s alchemy shows us that the city is not so much a succession of insides and outsides as it is a plastic network of other sides.

In this critique of city spaces, Geerds’s photography recalls the maximal, place-focused interrogation of industry practiced by Allan Sekula and Noël Burch in The Forgotten Space. But—odd for a New York artist—Geerds does not bring a politics of exchange into his work.

If anything, he empties New York of its value as a site of exchange. He flattens the New York of capital (snowy parks, busy restaurants, bright streets) with the New York of snow and streets.

This attention to the elemental is what makes Geerds’s images so arresting: Are these photographs dark comments on a New York underneath, around, and above us all the time, hiding from us, shaping our lives?

Or are they agnostic, or even stoic works—intended to ask us questions about our city, yes, but also intended to question the spaces themselves, to bring them, in answering, into concert with one another, in the not-quite-dark of the long-exposure night?

Regardless of how we interpret or are questioned by Geerds’s many-sided New York, we can’t help but look at it, and look again.Text by Wythe Marschall

BIRTHE BLAUTH

December 9 – January 21, 2012

532 Gallery Thomas Jaeckel is pleased to present  four new works by Birthe Blauth, in her first solo show in the US.

Plato likens the restricted nature of human perception and recognition to being in a cave. Humans are trapped, chained down, and see nothing but the shadows of the outside world projected onto the walls of rock by the fire behind them. We are prisoners of our own neurological and biological structures, but also of our cultural and biographic backgrounds. We are unable to perceive the “real” world. We have no way of doing so. But still we strive to see beyond the limits of our own mental caves.

Birthe Blauth’s conceptual video works and installations explore the conflict between the individual stands and his limitations. Her interest is divided equally between two areas. On the one hand, she focuses on subjective perception. On the other, she explores the subjective thinking and effort individuals undertake to relate themselves to their surroundings. Her precise, pared-down works appear simple at first. But as soon as the observer takes the time to open up to them, their complexity and effectiveness unfold. Her works are meditative and “unhurried”. Her approach to time is more at home in the cultures of the Far East. Often, the boundaries between fiction and reality, between art and the observer, between art and non-art become dissolved.

M.A. and doctorate in Chinese Studies, Ethnology and European Art History at Ludwig-

Maximilians-University, Munich. Specialist area: iconology, mythology, religious anthropology

Lives and works in Munich.

WORKS IN PUBLIC COLLECTIONS AND BUILDINGS

2011             Kunstmuseum Bonn/Germany

2011            Johanneshouse Saarbrücken/Germany, acquisition of the archbishopric Trier

PRIZES AND AWARDS

2011            City of Munich, studio sponsorship

2011             Winner of the competition of the archbishopric Trier about the best art concept for the lobby Johanneshouse in Saarbrücken.

2011             Bavarian Studio Sponsorship

2010             BundesGEDOK Kunstpreis, Dr. Theobald Simon Preis

2010             International Studio & Curatorial Program (ISCP), New York

2010             City of Munich, extra studio sponsorship

2010             Galerie Bezirk Oberbayern, catalogue sponsorship

2009             Prinzregent-Luitpold-Foundation, Munich, project sponsorship

2005             Rotbuchen Award, second prize

2005             Andreas Art Award

2004             HausderKunstAward, Munich

BIOGRAPHY

Santiago de Cuba, Cuba.

Lives  and  works in New York. USA

1980-1987    Escuela Provincial de Arte “Joaquín Tejada”. Santiago de Cuba. Cuba.

1987-1992     Facultad de Educación Artística del Instituto Superior Pedagógico

“Enrique José Varona”. La Habana,  Cuba.

2004-2005 Rijksakademie van beldeende kunsten.Amsterdam .Holland

SELECTED SOLO EXHIBITIONS

1993

“Arqueología de la Simulación”. Centro de Arte 23 y 12. La Habana. Cuba.

1996

“Nostra Nusquama”. Galería Espacio Estudio. La Habana. Cuba.

“Des-Colon-izando el entorno”. Centro Wifredo Lam. La Habana. Cuba.

1997

Obra Reciente. Galería Ángel Romero. Madrid. España *.

1998

Obra Reciente. Sala de Exposiciones Palacio de Abrantes. Salamanca. España.

1999

Recent Works. Gary Nader Fine Art. Miami. (USA)*

ROPA USADA. “Para los otros del tercer mundo”. Galería Ángel Romero. Madrid.    España.

2000

“Más Allá”. Centro Wifredo Lam. La Habana. Cuba.

Recent painting. International Art Studio Valjevo. Yugoslavia

2001

Más Allá”. Museo Iberoamericano de Arte contemporáneo.(MEIAC)Badajoz. España.

La angustia de las influencias”. Galería Theredoom. Barcelona. España.

“In utero”.Gary Nader Fine Art.Miami.USA.*

2002.

Arte en las Venas.Sala Rivadavia. Fundacion de la Diputacion Provincial de Cadiz.España

Arte en las Venas.Museo Cruz Herrera. La Linea de la Concepción.Cadiz.España.

From my bathtub. Galeria RAY GUN. Valencia.España.

Con permiso de mi antropólogo. Galeria Ad Hoc. Vigo .España.

2003.

Esteticamente correcto. Galeria Fernado Pradilla. Madrid.Spain.

2004

Paintings..Project room east.Rijsakademie van beeldende kunsten.Amsterdam.Holland

2005

Beautiful World. Project Room Oost. Rijksakademie van Beeldende

Kunsten. Ámsterdam.  Holland.

Ámsterdam. Recent Paintings. Galeria Fernando Pardilla. Madrid Spain.

2006

Crash/Clash.Hof &Huyser Gallery .Ámsterdam.The Netherlands

The Night inside of the painter’s house. Galerie Jean Brolly. Paris France

2007

Tervuern’s Tales . Grusenmeyer Art Gallery Deurle. Belgium.

Interiors. Fernando Pradilla Gallery. Madrid. Spain.

2009

Drilling America. Pan American Art Projects. Miami.FL.USA

SELECTED GROUP EXHIBITIONS

1990

El Objeto esculturado”. Centro de Desarrollo de las Artes Visuales. La Habana. Cuba.

1994

“Los dados de medianoche”. Galería Espuela de Plata. Centro de Desarrollo de las Artes Visuales.

La Habana. Cuba.*

Salón Provincial de Dibujo de Ciudad de la Habana. Centro Provincial de Artes Plásticas y Diseño. La Habana. Cuba.

1995

Primer Salón Nacional de Arte Contemporáneo Cubano. Castillo de la Fuerza y Palacio de Bellas Artes. La Habana. Cuba.*

1996

Río Almendrales. Ni fresa ni chocolate. CENCREM. La Habana. Cuba.*

Tercera Bienal de Pintura del Caribe. Museo de Arte Moderno. Santo Domingo. República Dominicana. *

1997

Cuatro Artistas Cubanos”. Exposition Identification. Salle Allende. Université Libre de Bruxelles. Bruselas. Bélgica.

VI Bienal de La Habana. Casona del Fondo Cubano de Bienes Culturales. La Habana. Cuba.

“Inside”. International Art Exhibition. Kassel. Germany.

1998

Hidden Art of Revolution. Contemporary Cuban Art. Toronto. Ontario. Canadá.*

“Caribe, exclusión, fragmentación y paraíso” M.E.A.C. (Museo Extremeño e Iberoamericano de Arte Contemporáneo. Badajoz. España.*

XXXe Festival internacional de la Peinture. Château-Musée Grimaldi. Cagnes sur Mer. Francia.*

1999

Internacional Exhibition. ART/OMI Residency. New York. USA.

Heterotopias. Project rooms-Cambres d’art. INTERART 99’. Valencia. España.*

2000

The Young Ones. Gary Nader Fine Art. Miami. USA.

Paraíso Cero. Eventa 5. Bienal de Arte Contemporáneo. Uppsala. Suecia. *

2002

Itinerarios.VII  Convocatoria Becas de Artes Plasticas Marcelino

Botin.Fundación Marcelino Botin.Santander.España *

Decada de los 90.The Berardo Modern Art Collection.Museo de Sintra .Portugal.

2002

Atravezados.Fundación Telefónica.MADRID.ESPAÑA*

Show y Basura.Foro Sur.Caceres.Extremadura.España

DerGlobalKomplex. OK.CentrumfurGegenwartskunst.     Linz.Austria.

Premio L’Oreal de Arte Contemporáneo.XVIII Edición.Madrid

Erased Border.ContemporarFair.ProjectRoom.Miami   FL.USA

2003

Centimetro a centimetro.Galeria Fernado Pradilla.Madrid .Spain

Catastrofe Minime.Museo de Nuoro.Cerdana.Italy.

La Colección.Espacio Camargo.Cantabria.Spain.

VIII Bienal de la Habana.La Cabaña.C.Habana .Cuba.

2004

Inside/outside.Contemporary Cuban Art.Charlotte and Phillp Hanes Art Galllery.Wake Forest University.Florida.USA.

Colectiva.Galeria METTA,Madrid..Spain.

Open Ateliers.Rijskakademie van beeldende kunsten.Amsterdam.Holland.

Affirming a Legacy .Art from Robert E. Holmes Collection H.C. Taylor Gallery of the Dudley Building.North Carolina .USA

2005

Contemporary Paintings of LatinAmerica. The DeVos Museum. Northen Michigan University USA.

Mi  Cuerpo ,Mi Pais. Cuban Art Today. U.V.A Art Museum.University of Virginia.Virginia.USA

Open Ateliers.Rijskakademie van beeldende kunsten. Amsterdam. Holland.

Berezdivin Collection. Espacio 1414 .Opening Exhibition. San Juan .Puerto Rico

Winter Show. Hof & Huyser Gallery. Ámsterdam.Holland

Young Painters. Grusenmeyer Art Galerie. Deurle. Belgium.

New Paintings. Group show Hof & Huyser Gallery.Ámsterdam.Holland

New adquisitions.The Nederlandsche Bank.Ámsterdam

2006

New Adquisitions. CBK Ámsterdam.Holland

Looking Back, Looking Black African-American, African, and Latino Images  from the Robert E. Holmes Collection.  The Kansas African-American Museum .Kansas USA.

More than Meet the Eyes.Perpectives from The Robert E Holmes Collection.California Africa-American Museum L.A USA

2007

Cuban Avant-garde:Contemporary Cuban Art from the Farber Collection..Harn Museum of Art . Florida USA

Cuban Avant-garde:Contemporary Cuban Art from the Farber Collection.. Ringling Museum.Tampa Flordida.USA

Restos.Estudio Arteologico.Muestra tematica de la coleccion permanente.  Contemporary Art Museum of  Puerto Rico. San Juan.Puerto Rico.

2008

Deconstruct. Hof & Huyser Gallery. Amsterdam .Holland

Cuban Avant-garde:Contemporary Cuban Art from the Farber Collection. Jordan Schnitzer Museum of Art. California. USA

Visiones Publicas .Pasiones Privadas. Museo de Arte Contemporaneo de Vigo.Vigo. Spain

Something and Something Else .Exhibition Oce Art Foundation in Museum Van Bommel van Dam.Venlo Holland

2009

Peregrinatio.Arte en las Ermitas de Sagunt.Sagunt.Valencia.Spain.

Cuban Avant-garde:Contemporary Cuban Art from the Farber Collection.The Winnipeg Art Gallery.Winnipeg Canada.

2010

Without Mask.Contemporary AfroCuban Art. Johannesburg Art Gallery. Johannesburg.South Africa

Cuban Avant-garde:Contemporary Cuban Art from the Farber Collection.Lowe Art Museum.University of Miami.FL.USA

Keloids.Centro Wifredo Lam.La Habana.Cuba.

Keloids. Mattress Factory.Pittsburg.USA

Sinergias.Latinamerican Art in Spain.MEIAC.Badajoz.Spain.

Cuban Avant-garde:Contemporary Cuban Art from the Farber Collection.Katonah Art Museum.New York .USA.

Open Studios ISCP .Brooklyn New York. USA

2011

Sinergias. Latinamerican Art in Spain Macuf – Museo de Arte Contemporaneo de Union Fenosa. Coruna. Spain

Open Studios ISCP .Brooklyn New York. USA

Keloids. Race and Racism in the Cuban Contemporary Art .The 8^th Floor. Shelly and Donald Rubin Foundation. New York. USA

Buy what you love 2011.The Rema Hort Mann Foundation. Marianne Boesky Gallery. New York.

The Museo’s Biennal (S) Files. Museo del Barrio. Rotunda Gallery .Brooklyn. New York. USA

PUBLIC COLLECTIONS

Deutsche Bank Collection USA

21cMuseum.Kentucky.USA

Shelley and Donald Rubin Private Collection. New York. USA

Howard Farber Collection. New York .USA

Centro Wifredo Lam. La Habana. Cuba.

ART/OMI Residency. Nueva York. USA

ASU Art Museum: Arizona. USA

Colección Berardo Museo de Arte Moderna.. Sintra. Portugal

Museo Extremeño Iberamericano de Arte Contemporáneo. MEIAC.

Fundación Marcelino Botín.Spain

National Museum of Valjevo.Yugoslavia.

Espacio C. Camargo. Cantabria. España.

Diputación Provicial de Cadiz .Sala Rivadavia. Cadiz. España

Fundación COCA COLA .España

CEGAM.Centro Gallego de Arte Contemporaneo.Galicia .España

University of Virginia Art Museum.Virginia. USA

Rijskakademie van beeldende kunsten . Amsterdam. Holland.

Museo  Nacional de Bellas Artes. La Habana . Cuba.

Stichting Oce Kunstbezitp. Venlo. Holland

De Nederlandshe Bank. Holland.

Arttoteek Den Hagg. Holland

PRIZES AND AWARDS

Segundo Premio I Salón Nacional de Arte contemporáneo Cubano.

Castillo de la Fuerza y Palacio de Bellas Artes. La Habana. Cuba.

Mención de Honor XXXe. Festival International de la Peinture. Château-Musée Grimaldi. Cagnes sur Mer. Francia

RESIDENCIES/Fellowships/stipends.

Artist Studio in Residency Bronx Museum 2011

Chashama Studios. Brooklyn. New York 2011

The Pollock–Krasner Foundation Grant. New York. 2011

The Christopher Reynolds Foundation. New York. 2010

Ford Foundation. New York .2010

Mattress Factory Residency Programs. 2010

ISCP. Brooklyn. NY.USA 2010 \ 2011

Raid Project. Los Angeles California.2009

Dutch Ministry of Foreing Affairs, DCO/IC.2005

Dutch Ministry of Foreing Affairs, DCO/IC.2004

Rijksakademie van beeldende kunsten/Dutch Ministry of Education,Culture and Science,2004-  2005

Fundación Marcelino Botín 2000.España

ART/OMI Residency. Nueva York. USA. Julio de 1999.

SELECTED BIBLIOGRAPHY

Catalogues,magazines and newspapers.

La resurrección del símbolo. José Manuel Noceda. Palabras al catálogo de la exposición Des-Colon-izando el Entorno. C. Wilfredo Lam. 1996. La Habana. Cuba.

Catálogo de la Sexta Bienal de La Habana. Lupe Álvarez. Mayo/ junio 1997. La Habana. Cuba.

Fuga en espejo de Armando Mariño. Carino Pinos Santo. Revista Revolución y Cultura Nº2/97 año36.

La Habana. Cuba.

Art exhibit provides glimpse into Cuba. Christopher Hume. What’s on. Thursday, May 15, 1997. Toronto. Canadá.

Textualidad y dialogismo en la pintura de Armando Mariño. Rufo Caballero. Revista Unión, 29/1997. La Habana. Cuba.

Analyse d’une oeuvre”. Monique Mirabel, Valérie John, Mathilde Titina. Revista Arthéme Nº4. Septiembre 1999, Martinica.

Mariño, la modernidad y la jungla. José Marín-Medina. El Cultural. 26.12.99. El Mundo. Madrid. España.

Andanzas de un negro. Fernando Castro Flores. ABC Cultural. 8 de enero de 2000. Madrid. España.

El Caribe una identidad de diferencias. Santiago B. Olmo. Art Nexus Nº31. Enero/marzo. Miami. Colombia.

Armando Mariño”. Exposiciones. Santiago B. Olmo. Revista Lápiz, Nº 160. Año XIX. Madrid. España.

Marcel Duchamp a propósito del negro. Notas introductorias al objeto muerto de risa. Armando Mariño. Revista Cimal Arte Internacional Nº 52. 2000. España

El Negro (conceptual)de Armando Mariño. Denis Matos. Pagina

web.www.cubaencuentro.com. 8 marzo 20001

Armando Mariño. Galería Theredoom. Luis Francisco López. Revista Lápiz nº174. 2001.España

Change the Joke, Slip the Yoke. Franklin Sirmans. Catalogo de la exposición In útero. ”Galería Gary Nader Fine Art. Agosto.2001. Gary Nader EDITION.

Arte en las Venas. El artista o el extranjero.Una mirada que retorna. Javier Fuentes Feo.Catalogo de la Exposición Sala Rivadavia-Musep Cruz Herrera.Cadiz.Enero-Marzo.2002.España.

Armando Mariño.Parodist of the canon. Fernado Castro Flores. Catalogue.Der Global Komplex..OK.Centrum fur Gegenwartskunst.Linz Austria Jun-July.2002.

Armando Marino. Entrevista/Pintura.. Javier Diaz Guardiola. Blanco y Negro Cultural.El Cultural del MUNDO.11,Oct.2003.pag 27. Spain.

Inside/ outside. Contemporary Cuban Art. David Hart.

Exhibition catalogue. Wake Forest University. 2003.

Armando Marino. Review. Jose Jimenez. Artnexus.No.51 Volume 2003.

Octava Bienal de La Habana Bienal de La Habana.

Julia P Heizberg. Artnexus No 52,April 2004

The diffused diaspora. Dennys Matos. Magazine ARCO Contemporary Art. Number 30,winter 2003.Spain

Imagen y representacion. Dennys Matos. Exhibition catalogue. Arte y Naturaleza Centro de Arte.2004. Spain

Fighting spirit. Kay Hartenstein Saatchi. Art Review.Volume LIV. March 2004.

The Painting’s gesture. Ruben de la Nuez.Art Notes. International Art Magazine.12. 2006 Spain

Armando Marino. Abelardo Mena. Cuban Avant-garde: Contemporary Cuban Art from the Farber Collection. Samuel P Harm Museum Of Art, Florida. Gainesville Florida.2007

El que no tiene de Congo tiene de Carabali. Sara Cooper. Essay Published by the  STATE University of California Chico.2008.

Armando Marino,born manipulator. Fernando Castro Florez. Keloids .Catalogue. Mattress Factory. Pittsburgh. USA 2010.

Brooklyn .USA .2011

November 30 – December 4, 2011

GROUP SHOW

Peggy Bates

October 20 – November 26,  2011

Presenting new acrylic paintings on canvas by abstract artist Peggy Bates in an exhibition entitled Channels inspired by the artist’s recent observations of light and color in California’s Channel Islands. Although Bates’ experiences with the landscape and seascape in her frequent travels inspire her work, her oeuvre is not landscape painting per se. They seem to be painted from a different angle than traditional landscapes. Looking at her work is like experiencing the land and the sea from the sky, with the horizon outside of one’s point of view. Bates encourages viewers to look, not for the facts of landscape, but for a remembered sense of air, land and water. What we see in Channels is carefully constructed, non-objective painting based on memory of ocean and land. Bates revisits her memories by creating a robust iconography that has a charmingly lyrical feel to it. Vivid hues of poured blues, greens, and oranges contrast and interact with pale blue, lavender or grey grounds. In Bates’ work, the active synthesis of hard-edged shapes and pale, flat grounds is uncommon. This is not simple figure-ground painting, and the fields in the paintings are never static. Following Bates’ colors on their journeys through imagined space is a joyful experience. As our eyes wander about in one of her paintings, we become aware of the breadth and depth of Bates’ vision, and of her bold attempt at designing a new, non-art-historical, abstract painting.