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

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 at the School of Visual Arts, New York, NY since 1979 as well as various visiting assignments. Courses taught have included advanced drawing, figure and portrait painting, gouache techniques, issues in realism. Other assignments have included organization of student exhibitions and supervision of graduate students. In 1999 taught a course on the history of composition at the New York Academy of Figurative Art.

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.

September 8 – October 15, 2011

Anna Borowy’s motifs are primarily human characters and moments, depicted portrait-style and manifesting particular events. The reduced appliance of outlines and forms connects the figures with the backgrounds and accompanied diaphane images of animals. The apparent youth and grace of the portrayed are distorted by flawed structures and sinister traits.

Technically remarkable is the soft, silhouette-like application of color. Though appearing  like water colors, the applied paint is oil-based with a special consistency allowing the blending with water. The base white coat of the painting is not being colored completely by the artist but serves as a continuous bright background on which the paint is thoroughly arranged. Thus the figures of the paintings appear partly overexposed, corresponding to the overlapping of several transparent image elements. Since the resulting point of view, i.e. transparency normally can only be achieved by alternating perspectives, the effect in Anna Borowy’s paintings is one of particular dynamic. This way her works fulfill not only a spacial but also a temporal perspective.

Through the limited use of paint the white background is being conserved as a structure or matrix for content, causing lightness on the one hand expressing emptiness on the other. Emphasis on the later skillfully highlights and complements the manifested motifs and forms.

Repeatedly Anna Borowy joins animals with the human protagonists in her paintings. The expression of this fauna ranges from symbolic meaning to common gestures, but either way the affinity to humans is very imminent and perceivable. Humans and animals are not shown as counterparts, but as reciprocal allegories and impressions without their identities being merged Ovidian-style.

It is not easy nowadays to phrase legitimately a primarily positive aesthetic attraction. But Anna Borowy’s works succeed in generating genuine  beauty and are capable of deriving from this constituent any other inanimate facet.

Tanja Selzer draws her motifs from the daily media-related flood of images as components of human sceneries, figures in wild natural scenes or single persons and animals in  front of or inside a natural background. She changes these images by composition, shift of colour and an ease of paint application, so they appear in the guise of a pretended, mostly idyllic scene.

In the works of the series Gib mir dein Rot (Give me your red) Selzer additionally emphasizes the dynamics of her nature-bound protagonists and scenes to the point of fight-like confrontations and compositions. The idyllic backgrounds remain perceptible as bearings for the image as a whole but are not only contrasted by the drastic actions in the foreground but also are stirred up and involved in it. The alternating depiction of humans and animals also their interactions are an expression of their mirror-symmetric anima. Selzer stages this without psychological abstractions but with the genuine intensity of a direct line to the source of fables.

Thietmar Bachmann

June 28 – July 16, 2011      Summer hours: Tue – Fri 11- 6 pm, or by appointment

532 Gallery Thomas Jaeckel is showing a special Farewell exhibit for a dear friend and artist. His artworks brings together photography and painting on the same canvas, stimulating the eyes of the viewer and inviting to virtually “dive” into the pictures, going places around the world.

Thietmar Bachmann, was born in Coburg, Germany. His artistic interest focused first on painting, working both in oil and watercolor, as well as on etching, expanding to photography later on. Some of his work has been shown at the Federal Photography exhibit in 1983.

During the day Mr. Bachmann served as the Head of the Cultural Department of the German Consulate New York for the last three years, currently he is getting ready for a new posting in Europe.

Transatlantic Climate Change II, Oil on canvas 12×16 in.

Joergen Geerds is opening his first solo show in Europe in June 1st. 2011 at the Pousada de Palmela, about 30km south of Lisbon, Portugal.

He will be showing 15 of his large scale night panoramas until the end of August 2011. The show is open to the public.

More info at www.palmela2011.com/featured/lumin-o-city-a-panoramic-photography-exhibit-by-joergen-geerds