New Paintings by Julie Langsam

April 30 – May 30  2015

In her newest exhibition Tomorrow-land,  Julie Langsam presents structures built specifically for mid-20th century World’s Fair exhibitions: Philips Pavilion designed by Le Corbusier and Iannis Xenakis, the Tent of Tomorrow & Observation Towers by Philip Johnson and Habitat by Moshe Safdie. In choosing these structures Langsam brings an additional level of engagement to her ongoing exploration into how our ideals as a society are manifest in our collective culture.

In addition to the on-going ‘landscape’ series, Langsam continues to introduce new structures to her body of architectural scenes. Small brightly-colored paintings of floor plans assert the abstract qualities of the architectural blueprint, a two-dimensional depiction of a three-dimensional space. A large collaged floor piece made out of carpet depicts the floor plan of the Director’s Housedesigned by Walter Gropius in Dessau, Germany for the Bauhaus school. Color in these works is chosen through a random system.

In a series of drawings presented in a grid, walls are redacted and covered, [parts of buildings and the adjacent landscape] are replaced with a field of graphite gray. This [simultaneous veiling and overlay] conveys an absence, a void to be filled, but also embodies a curious push/pull effect: the graphic blocking and blotting out of surfaces serves as an intermediary screen that disrupts a structural coherence in reading these pictures. Gray squares, rectangles, trapezoids jump from drawing to drawing. While these images appear historically distant, they are also reanimated.

Langsam’s work playfully negotiates and questions the legacy of modernism on contemporary culture. Representations of toxic landscapes reference the painterly sublime, serving as the ground for modernist architectural marvels, structures that evoke notions of failed utopias. Her work is rendered in a curious flatness, where edges of iconic formalist, modernist paintings are flanked against photographic representations of the building.  For Langsam, the canon appears less as a ‘barricade to storm than a ruin to pick through. The works presented suggest an attempt to navigate multiple legacies at once negotiating personal memory with art historical and institutional history.

Categories: Exhibitions Past


John A. Parks
New York Paintings
March 26 – 6 pm through April 25, 2015

Once again it is a great pleasure to exhibit new paintings by John Alexander Parks and most especially because he has recently been making paintings about New York, his adopted home for more than three decades.  For much of this time Parks has painted subjects that bear on English life using his vantage point as a British exile. Those pictures are often at once nostalgic and gently ironic.  Parks brings a new energy, lively wit and considerable poignancy to his very personal vision of New York.

A gifted colorist, sensitive draftsman and delightful handler of paint, Parks mixes whimsical humor and enormous sympathy for his subjects.  His works are inviting, accessible and entertaining but their full import can take time to sort out and fully savor.  They are the paintings of an artist who is thoroughly and wonderfully engaged with the world around him.

Although he has kept a modest profile as an artist Parks has accrued some serious critical acclaim over the years. Writing in the New York Times as long ago as 1982, the great critic John Russell described Parks as “…a true poet in paint and something of a find.” In December of 2012 Roberta Smith, the current chief art critic of the Times, described Parks’ painting as “…a treat to discover.”

Parks was born in Leeds, England in 1952, and studied at the Royal College of Art in London.  He has lived in and around New York since 1976 and was represented for many years by Allan Stone, the legendary art dealer and gallerist.  He is a member of the faculty of the School of Visual Arts in New York where he teaches drawing and painting.  He recently authored a general introduction to the world of art entitled “Universal Principles of Art,” Rockport Publishing, 2014. His work is in the collection of the Victoria and Albert Museum, London, the Museum of the Rhode Island School of Design and many others.

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February 27 – March 21, 2015

Opening Reception, Thursday February 26, 6-8pm

Curated by Rachel Weingeist

We are pleased to present En Voz Alta (Aloud), an exhibition of works by twelve Cuban-born artists: María Magdalena Campos-Pons, Alberto Casado, Duvier del Dago, Meira Marrero & José Toirac, Liudmila & Nelson, Yunier Hernandez, Joseph Michael Lopez, Armando Mariño, Douglas Pérez Castro, Reynerio Tamayo, Carlos Rodríguez Cárdenas, and Elio Rodríguez – seven living in Havana, four in the United States and one in Europe.

The steady erosion of the United States embargo against Cuba, since 2009, has given hope to many there and abroad that normalization between the two countries is possible. On the island, opportunity, or the perception of it, are more plentiful than ever. Many Cubans are celebrating the potential bounty, hoping that electronic connectivity and open trade are now or soon will be within reach.

The educational system in Cuba has produced prolific and undeniable talent whose artwork is now being lauded by art critics, curators and collectors as the best-kept secret in the art market today. The process of passing on a lineage under the Cuban system of student to artist to professor is as persistent and durable as Cuban culture itself.

En Voz Alta “gives sudden voice to an easy coupling of artists,” according to Rachel Weingeist, the curator, who wanted to respond to “the emotions that Cuban artists are expressing – generated by the recent political shifts.”

Everyone wants to know what is next in Cuba’s future. Perhaps artist duo Meira Marrero and José Toirac’s tarot card deck, bound in leather of 24 cards, titled Profile, will shed light. This work is charged with symbols inspired by the iconic interview that resulted in One Hundred Hours with Fidel, the infamous tell-all in the words of the Revolutionary himself, published in 2006.

In this exhibition, as art often manifests, humor and the realities of daily routine are intertwined. All of the artists in this show are influenced by current and recent political events: Douglas Perez’s painting,  December 17th in the White House, refers to President Obama’s announcing the restoration of a diplomatic relationship with Cuba, and we witness Michelle and Barack Obama dancing on a banquet table, dishes flying in celebration. Duvier del Dago, well known for his light and string drawings, positions a larger-than-life nude Cubana at a podium set in a futuristic public square, orating to a raucous and fictional crowd. María Magdalena Campos-Pons, revered for her sensual imagery, offers Unspeakable Sorrow, a ceremonial black-on-black portrait of despair, loss and abandonment, a howl, in which the flowering Amaryllis is the only trace of life or color.

Rachel Weingeist is a contemporary curator and cultural advisor who has curated over twenty-five Cuban exhibitions that range in theme and scale. Over the last five years, Weingeist built the largest private Cuban art collection to date and created the first contemporary Cuban video archive, which has traveled widely. She is a member of the Harvard Cuban Studies Advisory Board and actively participates internationally in cultural and political dialogue.

Image: Duvier del Dago, The Story Belongs to the One Telling It, 2014 Watercolor & Ink on Paper 28 x 39 inches








Diana Copperwhite

November 13 – January 10, 2015

When describing Diana Copperwhite’s work Colm Toibin wrote:

Her work is about painting first and foremost; [these] references merely serve a purpose.  Thus digital images which freeze and fragment an original image fascinate her, but such images in themselves are not enough, they provide a way into the painting.  It is their visuality which inspires rather than any precise sense of a blurred or fragmented reality.   Because she physically likes making paintings, everything is subservient to what paint will achieve.”

Copperwhite makes paintings that move fluidly between representation and abstraction. Photographs, montage and assemblage all aid the process and become ancillary works that pin down fleeting thoughts, glimpses and reactions to a media saturated age.  Her interests and sources are eclectic and wide ranging, from social media to philosophical debate to art historical references.  Yet, as Toibin points out, her paintings are no more about the image than they are about the process of painting itself.  Her work is phenomenological in that momentarily emotional responses override the need to capture reality.  Something has piqued her interest and from that initial interest she thinks in colour, in tone, and texture, in setting herself a visual problem to which there is no single definitive solution.  Her palette is composed of murky undertones punctuated by bright neon rifts. The fluidity and expressiveness of the painting gives little hint of the rigorous and formal abstract principles applied to the making.

Diana Copperwhite studied Fine Art Painting at Limerick School of Art and Design and the National College of Art and Design, Dublin. She completed an MFA at Winchestor School of Art, Barcelona in 2000.  Diana is a tutor at the National College of Art and Design,Dublin.  Her work is in the collection of the Irish Museum of Modern Art and the Arts Council of Ireland, and also in collections in the United States, Europe and Australia.

The writer Colm Toibin is currently Irene and Sidney B Silverman Professor of Humanities at Columbia University.  He is an IMPAC Dublin Literary Award prizewinner, and has appeared on the Booker shortlist, most recently in 2013 for his play the Testament of Mary.


Marie-Dolma Chophel

Untitled, Oil on canvas,54x76 inches

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


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


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

-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.

-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.

-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.


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


Categories: Exhibitions

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


Categories: Exhibitions Past


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.



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





Categories: Exhibitions Past

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


Categories: Exhibitions Past


Paintings and Sculpture

through February 15



Categories: Exhibitions Past


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


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

Loose Ends

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).

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.

Categories: Exhibitions Past



through May 25th

Julie Langsam

This exhibition features several recent paintings from Langsam’s long-running series of banded montages that set nearly monochromatic, tightly rendered views of iconic modernist buildings on top of a band of gridded abstract motifs inspired by classic modernist paintings and beneath ominously lit skies that invoke Romantic landscape painting.  The skies are, in fact, loose renderings (rather than transcriptions) of skies from Hudson River landscape painting, but they also uncannily recall the pre-Romantic Baroque skies of Giovanni Lanfranco (1582-1647), who himself anticipated Goya in his St. Augustine cycle.  This circuitous route of painterly iconography underscores Langsam’s own “passion” for painting and Modernism, where even Romanticism is revealed to be a construct with foundations appearing close to two centuries earlier than what is held to be its historical moment.

The three spaces in her paintings are thematically linked and illusionistically self-cancelling.  The “landscape” is pure design, the “photographic” Corbusier or Neutra house refuses to be illuminated by either the pattern below or the ominous atmosphere above.  Langsam has described this conflicted space as a “ ‘nowhere’ – which can only exist in the fiction/reality of painting.” For Langsam, this “nowhere” is symptomatic of our desire for unrealizable sublimities proposed by Modernist ideals.  At the same time, she regards herself as just a susceptible to these same desires.  A lapsing Modernist, Langsam trades a narrow purity for enriching irony, while refusing to relinquish an ambition for a formal beauty and movement. Painting, for Langsam is a visual site for negotiating with her faith and disappointment.  Like a good nouveau realisme film, her paintings are funny, sad, and grand.

Stephen Westfall

Above: Le Corbusier Landscape (Villa Stein)
Oil on canvas 72″x96″

Categories: Exhibitions Past



February 21 – March 30, 2013

 Tatjana Busch, “Fusion“ a synthesis of objects with light, sound, color and motion.

“It could be like this and it could also be like that…,” says Tatjana Busch. But not until we see her latest works in this exhibition, does her meaning become truly accessible. Conceptually, her earliest works appear even more tightly regulated by the obvious influences of the strict, geometric, coloured forms we know from the Bauhaus and Russian Suprematists. Their intuitive shapes continue to spring from Busch’s innermost world, just as they did years ago. Permeating her entire body, they are finally given material form in the outside world by her hands, seeming more carefully planned than they actually are. Her latest works, however, appear to break with any dependence whatsoever on art history. They free themselves even from the shackles of physics and burst forth into freedom and openness – a freedom and openness to which the observer must surrender himself if he is to appre- ciate the true dimensions of these works.

The light installation “Fusion” invites us to broaden our consciousness. It abducts us into a fully-fledged show that immerses the observer into a real-time synthesis of light, form, colour, sound and movement – a synthesis in which the observer loses himself, dissolving, then ultimately uniting with the artwork itself to create a common, new cos- mos.

Initially this bent, folded, silver-shining sculpture named “Fusion” consists merely of outer forms. But it also harbours an inner, hidden form, one that might be referred to as its “inner potential”. This reaches far beyond the visible. It is the energy, the attraction of this artwork, whose extended reach commands the space around it and seeks even to stretch beyond it. The extent of this becomes apparent through the movement of the rays of light that meet its sur- face and create dynamic light-paintings, light-clouds and light-worlds. As they do so, these rays consistently extend, modify and distort the sculpture’s external form. What had initially seemed so static and immutable is sounding out new frontiers all the time, revealing forms that flow and stream. The outer space suddenly consumes the observer, engulfing him to make him part of the artwork itself. The void is no longer a void. Everything hangs together, merges.

Although essentially two-dimensional, the “Goldbubble” and “Hushbubble” videos trick the observer into seeing three-dimensional, dancing, reflecting water worlds. Penetrated by magical clouds of energy, these are immersed in the meditative sound-worlds of composer and former Passport bass guitarist Wolfgang Schmid – worlds inhabited by light orbits and other light creati- ons before they sink into the depths of a planetary universe, worlds which at the same time echo the holistic notion to represent the depths of one’s own inner world.

And finally there are the Snapshots. Created from such kaleidoscopic movements, these still-life photographs of “Fu- sion”, “Goldbubble” and “Hushbubble” would have the observer believe that the ‘Now’ can be captured, that the eternal flow of time and spread of space can be halted.

But can they really? Could this be the way things are? Or could they equally well be different?

Our hopes for a conclusive answer to these questions will be in vain. With their claim to absolute freedom, these works categorically exclude any such possibility. After all, it is freedom that tells us things could be the way they are, but that they could equally well be different. The observer is left completely to his own devices.
Text: Kat Schütz, Sarasota
Translation: Melanie Gridlestone, Munich

Categories: Exhibitions Past


Paint and Memory

Recent Paintings by John A. Parks

through February 16, 2013

In his recent pictures, executed as finger paintings, John Parks explores the memories of his English childhood in a series of richly evocative images. “In a sense I’m using a childish means to recreate a child’s world,” says the artist, “although the resulting paintings are far more sophisticated than those of a child.”  The lush surfaces, gloriously layered color and suggestive drawing work together to create a novel and intensely nostalgic vision. What is remembered are glimpses, sometimes idyllic and sometimes disturbing; cycling through a village on a summer’s day, playing hide-and-seek in a public park, the mayhem of an indoor swimming pool, the sudden formality of a Maypole dance. The limitation of painting with his fingers has forced Parks to simplify the descriptive tasks of the painting. “There is a certain indeterminacy with finger painting,” he says, “you are never exactly sure where an edge is going to go.  Chance events occur that you can edit out or leave in.  The process adds a richness and a very physical engagement with the paint.  Accidents can often be suggestive – they prod the imagination and provide a sense of discovery.  Every mark is truly an adventure.”


Also on view are three large-scale map paintings of London in which the artist manipulates space and point of view to provide a highly entertaining excursion through the streets of his native city. Presented from multiple viewpoints but lodged in a fairly accurate street plan, buildings, monuments, bridges and buses come alive in an unexpected and inventive fashion.

Educated at the Royal College of Art in London, Parks has made paintings over the last thirty years that have focused on themes of English life seen through expatriate eyes. The artist has lived for decades in New York and teaches at the School of Visual Arts.  Throughout that time the artist’s work has evolved expressively and stylistically. His early and intense realist work was closely associated with the realist revival but carried with it from the start a lyrical and intensely personal quality.  John Russell, writing in the New York Times, dubbed him “A true poet in paint and something of a find.”   In the mid eighties and nineties Parks adopted a larger scale approach to paint images of public monuments in a series of paintings that explored the unease of national identity and its attendant rituals.  These works included a highly irreverent series of English soldiers, often shown dancing or otherwise cavorting.

Parks has been represented by several major New York galleries including Allan Stone Gallery and Coe Kerr Gallery.  His work is included in a number of museum collections including the Victoria and Albert Museum, in London and the Museum of the Rhode Island School of Design. This exhibition marks his debut with 532 Gallery Thomas Jaeckel.

New York Times review by Roberta Smith

The New York Review of Books

Video: John Parks talks about his work

For more images and information :



Categories: Exhibitions Past


Art Basel Miami Dec 3-9, 2012


UNTITLED. - Miami Beach, FL

Monday Dec 3rd

VIP Private Preview & Vernissage
First Look 6-9pm


Proceeds from Paddle8 Auction to Benefit the Bass Musuem of Art

Dec 5-9, 2012 Located directly on the beach in the heart of South Beach at 12th Street and Ocean Drive.

Tuesday, Dec 4

VIP Preview First View 5:30-10pm

 The CONTEXT Art Miami Pavilion BOOTH D30
 Wynwood Arts District, 3201 NE 1st Avenue, Miami, FL

Categories: Exhibitions

Nadja Marcin

Tina B.– Festival for Contemporary Art presents my live performance “King Kong Theory (1977)” inside the Klementinium – one of the oldest and most beautiful libraries in the world. 17th Oct, 6 pm.
Ruhrbiennale 2012 is showing the performance-based photographs “Cat”, “Man”, “Eve”, “Spaghetta” and the series “No Country” at the Deutsche Bank Duisburg and Altes Medizinisches Institut. Oct 7th till Nov 15th 

Bideodromo festival is screening //KIDS// at Museo de Reproducciones in Bilbao on Oct 24th.


“Kids” 13’18. Nadja Verena Marcin (USA)

Nadja Verena Marcin narrates through a conceptual revision of the cult film “Kids” (New York, 1995, Larry Clark) the interaction of a group of young adults; the smooth transition between shocking rituals and its adaption as lifestyle.

 29. Kasseler Dokumentarfilm- und Videofest has nominated her film //KIDS// for the price A38- Produktions-Stipendium. It will be screened on 16th Nov. Dortmunder Kunstverein and Werkstatt Bleichhäusschen / Castle of Rheda are presenting the institutional solo exhibition “Action Manual” on Nov 10th and Nov 19th till Dec 22nd. The commissioned performance “Reise nach Ägypten” will lead 40 guests from Dortmunder Kunstverein to Skulpturenmuseum Glaskasten in Marl to the Castle of Rheda. More infos soon!
In the spring of 2013: Participating with the live performance “King Kong Theory (2005)” in the Peekskill Project V at the Hudson Valley Contemporary Art Center.

Categories: Exhibitions News


The Waste Land


Armando Marino

October 11 – November 7

532 Gallery  Thomas Jaeckel is pleased to present the Solo exhibition in New York of Armando Mariño, entitled The Waste Land.

This solo show features new oil on canvas paintings and works on paper. The title of the show refers immediately to the T.S Eliot poem, but the paintings that Marino shows are far from an illustration of it. In these paintings the artist recognizes the poem as a background to his work. “It helped me put together all the paintings,” he said. “The style of the poem overall is marked by hundreds of allusions and quotations from other texts, like my paintings.”

If the subject of his previous show was the mass protests, revolution, and tumult of last year, the artist is now more focused on the contradiction and friction between spirituality and the chaotic world we live in. The imagery in his paintings come from different sources: two Tibetan monks, a holy man from India, and a Western landscape in autumn are some of the images that serve as material for the new show.
Marino employs photos taken from magazines, web sites or books, which he crops, edits and transforms to create a new narrative or history that matches his interests. The result are large-scale paintings, colorful and intense, classic and obscure; “highbrow” and “low-brow” layered ad infintum, so that the viewer has to look closely to discover it all.
Marino is one of the most prominent Cuban artists from his generation. He has exhibited extensively in museums and galleries in Europe and USA.

In 2010 Marino moved to New York from Madrid for one year as part of the ISCP Brooklyn. That year he also participated in the exhibition Queloides: Race and Racism in Cuban Contemporary Art at the Mattress Factory Museum Pittsburgh.
Between 2010 and 2012, his work drew the attention of critics and curators in the U.S., prompting invitations to participate in exhibitions, such as El Museo del Barrio’s Biennial (S) Files (2011) and Building Identities: Contemporary Cuban Art from the Shelley and Donald Rubin Private Collection, presented in the Cleveland Clinic’s Art Program of the Arts & Medicine Institute. In addition to an Artist’s Studio residency at the Bronx Museum of the Arts (2011-12), Marino was awarded a The Pollock Krasner Grant that year.
Marino’s work is held by many private and public collections, such as The Donald and Shelley Rubin Collection, the Deutsche Bank Collection U.S., The Berardo Collection Portugal, The Farber Collection U.S., The Netherland Bank Holland, the National Museum of Fine Art Cuba, and The Coca Cola Foundation Spain, among others. Marino’s first solo show in New York, Recent Paintings From the Year of the Protester, took place in the nonprofit space The 8 Floor, with the support of the Rubin Foundation and The Bronx Museum of the Arts. This show prompted invitations to participate in Project V at the Hudson Valley Contemporary Art Center in Peekskill in 2012/2013, and Skyline Adrift Cuban Art and Architecture at Art Omi in Ghent, New York (September 2012-spring 2013).
The Waste Land is Marino’s first solo gallery show in New York City.



NEUE WILDEN WORKS from the 80s

Stefan Szczesny

September 13 – October 9, 2012



The exhibit explores the early 80s, when Szczesny emerged as one of the protagonists of a young generation of bold figurative painters in the German-speaking world who came to be known as “Neue Wilde.”  Contact the gallery for more information.




Modernism In The Service Of The Pleasure Principle:  Stefan Szczesny’s Art by Donald Kuspit

Boldly self-conscious, and confrontational, in his two Self-Portraits of 1984 Stefan Szczesny presents himself as the classical Expressionist painter:   passionate and rebellious, as the historian Douglas Kellner put it, a sort of transgressive Übermensch, as he adds, superior to the bourgeois “herd” by reason of his creativity, symbolized by the brush and palette he holds in one of the self-portraits.  In that same self-portrait he is flanked by the sketch of a female nude and a more sedate female head, the former suggesting the body and the latter the soul of the Eternal Feminine, as Goethe called her, that “draws us on,” as he said at the end of Faust.  The former is erotically romantic, her body there for the sexual asking, facing us in unashamed nakedness, the latter peculiarly remote and “classical,” a detached, insular profile, a woman with a mind of her own, unlike the odalisque, who seems all body and no mind.  The contour of the odalisque’s young body is blue, the profile of the more mature woman is spotted with blue, but both are luminously white, suggesting they’re ghosts.
Indeed, they haunt Szczesny’s art, recurring with obsessive regularity, complementing each other, even oddly one:  the eternal feminine, in all her indulgent nakedness, may be physically accessible, but she is emotionally inaccessible, strangely indifferent to the male artist’s penetrating gaze.  She is, after all, eternal, that is, above it all, however seductively feminine and earthy her body may be.  The point is made clear by the Blue Nude and Yellow Nude, both also painted in 1984—wonderful tributes, not to say idealizing homages to the Fauvist nudes of Matisse and the Brücke nudes of Kirchner.  The blue nude is turned away from us, the yellow nude faces us, but she looks downward, with a kind of contemplative melancholy.  Both seem unaware of the artist’s presence, although he’s clearly present in the Blue Nude.
Szczesny is excited by their bodies, as the flurry of painterly activity around them—dramatically black, with the yellow nude framed by an amorphous blur of passionate red—strongly suggests, but they couldn’t care less.  He looks intensely at her in the Blue Nude, an intensity which spills over into the painterliness, but she turns away, and the contours of her body are intact, suggesting that she’s self-contained and impenetrable, making her mysterious for all the vividness of her flesh.  The feminist historian Carol Duncan famously argued that the paintbrush was a surrogate phallus, but however powerful the expressionist painter’s handling it was unable to penetrate the female subject’s naked body, spilling its painterly seed over it in a futile attempt at intercourse.  Duncan’s interpretation is somewhat extreme, but the point remains:  the expressionist painter “manhandles” the female model’s body all he wishes, but his wish is never consummated, reminding us that expressionist paintings of the female nude are dreams, that is, surrogate wish fulfillments, as Freud said a dream is.
Let us recall that Faust sold his soul to the devil for sex—and his mind, for he was a great scholar and intellectual—but in the end was saved by a heavenly chorus.  He wanted wealth and power, and finally married Venus, and had a family with her, but none of it gave him lasting pleasure.  Nonetheless, his “striving” saved him, especially when it led him to reclaim land from the sea in the Netherlands, sublimating his instincts and thus recovering his reason.  Striving is self-evident in Szczeny’s paintings—rational striving for aesthetic fulfillment, not just irrational striving for sexual fulfillment.  Szczesny’s art may be erotomanic, but it also shows a great deal of aesthetic intelligence.  His bust of a female nude epitomizes his obsession with woman in all her perverse majesty, but it is also an artistic tour de force, a pure work of art epitomizing modernist ideas about art.  It may celebrate woman, but in the end more importantly it successfully brings together two basic strands of modernism:  the emphasis on the medium for its own material sake, as Clement Greenberg put it, and the attempt to articulate what Kandinsky called the “dissonance” and “discontinuity” of modern life, involving the seemingly insurmountable conflict between the material and spiritual, in the “dynamic equilibrium”—ironic harmony?–of a “new (visual) music.”  The bust is a consummate, masterly realization of these two goals.
The vivid colors—the familiar red and black–with their vigorous handling, clash and contrast, adding an expressionistic surface to the classical bust, seemingly made of pure white light, but they also bizarrely harmonize, as they do in an all-over painting.  There may be reckless abandon in the painterliness, but the extravagant gestures, seemingly straight from the unconscious, form a self-conscious whole.  The seemingly uncontrollable, “wild” gestures—reminding us that Szczesny was one of the major painters in the German Neue Wilden movement that emerged into international prominence with the “New Spirit of Painting” exhibition held in Berlin and London in 1981—are in fact under complete aesthetic control.  The colorful surface is in effect a pure painting—painting for the sake of painting, aesthetically refining raw pigment, giving it what the materialistic Greenberg himself called “unconscious and preconscious” meaning, borrowing the terms from the topographical model of the psyche that Freud described in The Interpretation of Dreams.  Similarly, Szczesny integrates two-dimensional painting and three-dimensional sculpture, making for a kind of Gesamtkunstwerk.  Dynamic painting is in effect three-dimensionalized, adding to the projective power of the color, and static sculpture two-dimensionalized into a canvas that becomes a kind of cornucopia of color.  Szczesny’s painted sculptures are aesthetically profound, for they reconcile the opposites by emphasizing their opposition.
The bust is a kind of dialectical masterpiece.   Once Szezesny abandons the equivocally eternal feminine, and turns to the even more equivocal—relentlessly contradictory—modern world, as he does in a number of urbanscapes, he comes into his dialectical own.   In Noratlas, 1980 a diagonal cuts across fragments of urban space, reminding us, as Theodor Adorno emphasized, that modern art is a sum of fragments rather than a preconceived whole, like the modern world and unlike traditional art.   The work evokes Malevich’s Aerodynamic Suprematism—the first phase of Suprematism–thus taking us back to the abstract beginnings of modern art and its fascination with modern technology.  The two airplane fragments seem to have a direct predecessor in Gorky’s 1937 design for a mural—now painted over–at Newark airport.   The black diagonal cutting through an untitled urbanscape conveys the dynamics of the city and the jumble of fragmentary building facades its unsettling energy—an energy evident everywhere in Szczesny’s art.  It is concentrated in the objects in his wonderful still lives.  Shedding the eternal feminine, Szczesny comes into his masculine own:  his objects have a geometrical sturdiness, solidity, and solemnity—the objects in one still life allude to Cézanne’s idea that painters should “treat nature by the cylinder, the sphere, the cone” (in effect eternalizing nature)–that his curvaceous, exciting females lack, perhaps because they are the objects of desire rather than objects that have what the psychoanalyst Donald Winnicott called the indisputable separateness of reality.
Szczesny’s David, 1984, a deceptively simple portrait—certainly less busy, or at least more restrained and straightforward than many of Szczesny’s works–of his young son, crouching with his hands on his knees, is another “objective” masterpiece, as the eternalizing geometry of his body—his triangular torso, flanked by curved buttocks—makes clear.  Abstraction and representation ingeniously converge, even as they remain at odds, making the figure uncanny.  Szezesny “argues” for their inseparability–the aesthetic necessity of both—but the tension between them is excruciating, suggesting their inherent difference.  Their simultaneity confirms their estrangement even as it unites them.  Apollinaire famously said that “the simultaneity of colors through simultaneous contrasts and through all the quantities that emanate from the colors, in accordance with the way they are expressed in the movement represented…is the only reality one can construct through painting,” but Szczesny shows that this is not exclusively so.  The simultaneity of colors can also be used to “construct” human reality, however autonomous and “self-serving” they remain:  quantity can become quality.  David’s  confrontational pose and intense wide-eyed stare–set in a face that harks back to the mask-like “primitivized” faces in Matisse’s portraits of his son—suggest that he’s a Neue Wilden in the making.
The conflict between the blue and red suggests his inner conflict:  the dialectic of his being is unresolved.  Primary colors are always at odds, however reconcilable in complementary colors, but there are no complementary colors in Szczesny’s painting, making it even more starkly expressive.  It brings to mind Kirchner’s Seated Girl, 1910—she’s as defiant as David–but it has orange, yellow, and green it, compromising the strong red and blue planes.  They are uncompromisingly in-your-face in Szczesny’s portrait.  They are more dramatically insistent than in any expressionist portrait.  Once again blue represents reason, red represents instinct, which are perennially at odds, but they make powerful aesthetic and emotional music together in Szczesny’s masterpiece.

Categories: Exhibitions Past



July 11, 2012- July 26, 2012

Reception: July 10, 6:00 pm – 8:00 pm

Hilary Doyle, Anthony Giannini, Rachel Klinghoffer, Francisco Moreno, Kimo Nelson, Arthur Pena, Michelle Rawlings, Astrid Toha, Page Whitmore, Bruce Wilhelm

RISD MFA Painting 2012 … It is often said that the brightest stars are not stars at all, but planets. In this exhibition we present 10 rising stars whose bright light and way-out orbit challenge easy categorization. The paintings of HILARY DOYLE make a world most fluid where there is much fact and little friction … but wait! … we can hear that little rhyme that kids say as they pull the petals off a daisy one by one. There stirs here in its early days a new imagined world never before seen and a new way to paint it. We see before us -Trompe Doyle! Characteristic of the most recent paintings of ANTHONY GIANNINI is a great press forward like the surge of a crowd toward the stage. The noise and the urgency are inescapable. These works can be maverick or can define forward-looking for us all – or do both. RACHEL KLINGHOFFER paintings like the flying buttresses outside the walls of the Temple of Earthly Delights create a space for elegance and lift. As they serve the beauty inside and can themselves be frightening, these paintings separate blossom from bloom, bosom from boom. Between the territory of Outside-looking-in and Inside-looking-out FRANCISCO MORENO travels so easily as to be more or less borderless. An observer whose strategic acquiescence and stubborn resistance crossover in collaborative self-definition…significantly Francisco collaborates with Moreno. The only paintings that could lower sea levels and restore the polar ice caps are here in the work of KIMO NELSON. Not because of ‘cool’ though they bring that, but because they are a most hopeful map of possibilities. Nelson is a chaos-tician studying complex systems. Vexingly chimerical, but wonderfully alchemical, one could say that ART PEÑA’s paintings have an Ionic soul in a Doric body. Like fulgurites (ZAP!) he presents mysterious compounds from outer space made of familiar elements in unknown proportions. Familiar elements in unknown proportions propel LAUREN MICHELLE RAWLINGS protean and quixotic adventures in self-portraiture. Subject and object switch roles back and forth in self or any portraiture making them necessarily motion pictures. So it is with Rawlings’ mercurial installation. Our Bard said the Land of Milk and Honey has become the land of money. PAGE WHITMORE sees this as an historian of the Future and her paintings move from the quotidian to an imagined world ahead where deception is employed with both humor and critical consequence. BRUCE WILHELM can be called a Master of Disguise, but only if properly seen as all “Master”, much “guise”, and no “Dis”. His studio is a research lab producing more tower than tunnel. That is, we don’t dig deep in critique, we build up high for vista. Channeling and funneling light ASTRID TOHA works with light’s leaking fluidity to create a kind of visual glissando in her resplendent prints and projections … And … Yes, dear, you will be in her headlights! – Dennis Congdon

Categories: Exhibitions Past




Oil on canvas, 38x65 inches


June 8 – July 3, 2012

532 Gallery  Thomas Jaeckel is pleased to announce an exhibition of paintings by Kasia Domanska. This is her first solo exhibition in New York.

„I look out on a summer’s day, a beach where we can daydream freely, where we look at the sky and we notice more than we do in everyday life. Everything seems easy, light and pleasant. We contemplate.“

The Artists’ works speak of the affirmation of life and it’s fleeting beauty: the sunshine, sparkling bright light bringing out the color intensity, suggesting thoughts of the eternal but often forgotten union between man and nature.

With fairy-tale like colors contrasting and blending into one another, the artist creates a work of purity and balance which does not give rise to worry or confusion, but peace and calm. The compositions give us moments of silence and stillness while transforming her pictures into living forms, pulsating with vital energy, life-giving, like a salty summer breeze, the sound of waves crushing on to the beach, a  place where everything is go with the flow, forgetting schedules, rushing and stress, uniquely capturing  reality at its most fleeting and temporary. The force and the power in her work is the light, it plays a decisive role in the theme as do the mood and balanced composition. It is brightness, joy, day and life, creating an idyllic climate.

The affirmation of nature and life becomes the background for a symbolic celebration of emotions, moods and reflections. Behind the literal meaning there is another, hidden meaning, which the artist allows to speak freely. Her paintings are testaments to a passion for beauty in all its forms, from the sublime to the everyday. Get ready for an endless summer.

Lives and works in Warsaw Poland, (1972 Warsaw)

Studied at the Department of Painting
and Sculpture at the Academy of Fine Arts in Warsaw, graduated in 1995.

Solo exhibitions:

2014  Kuratorium Gallery, Warsaw
2012    ENDLESS SUMMER, 532 Gallery Thomas Jaeckel, New York
2011    BK Contemporary, Poznan
2009    ”SUMMER” Flying Gallery, Warsaw
2005    ”SWIMMING POOL” Bochenska Gallery, Warsaw
2003    ’FL0WERS ARE BEAUTIFUL’ Bochenska Gallery, Warsaw
1997    Brama Gallery, Warsaw
1996    Brama Gallery, Warsaw

Group exhibitions:

2014    Kuratorium Gallery, Warsaw
2014    Art Palm Beach, 532 Gallery Thomas Jaeckel,Palm Beach, FL
2013    SCOPE BASEL, Untitled Projects L.A., Basel, Switzerland
2012    CONTEXT Art Miami, 532 Gallery Thomas Jaeckel, Miami, FL
2009    ”All the best” Flying Gallery, Warsaw
2005     SPRING BACK, Bloxham Gallery, London
2004    ”The Painting of the Year 2003″, National Museum in Warsaw
2003    FLORENCE BIENNALE, Florence
2003    ”The Painting of the Year 2002″, National Museum in Warsaw
2002    The National Festival “The Supermarket of Art III” – DAP Gallery, Warsaw
2002    ”Warsaw Painting Show” – DAP Gallery, Warsaw
2001    The National Festival “The Supermarket of Art II” – DAP Gallery, Warsaw
2000    ”Formidable brushes”, National Museum in Warsaw
1997     Brama Gallery, Warsaw
1996     State Art Gallery, Legnica
1995     Wodozbior Gallery, Warsaw

Categories: Exhibitions Past


Birthe Blauth

Video Still

The conceptual video works and installations explore the conflict between the individual stands and his limitations. I explore the subjective perceiption and thinking and the effort individuals undertake to relate themselves to their surroundings. How do biological and social limitations and rules force us into certain schemes? And what do these schemes look like and how can they change? Connected to this field I am thinking about how we perceive our live, the passing of time and our transience.

lives and works in Munich.

Born in Munich. 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 and New York.


2011     Kunstmuseum Bonn/Germany
2011    Johannesfoyer Saarbrücken/Germany, acquisition of the bishopric Trier

2014    Sponsored booth on the UNPAINTED media art fair
2013    ikonotv, Artist Of The Month June
2011    City of Munich, studio sponsorship
2011    Winner of the competition of the bishopric Trier about the best art concept for the lobby and staircase of the Johannesfoyer in Saarbrücken/Germany
2011    Bavarian Studio Sponsorship
2010    BundesGEDOK Kunstpreis, Dr. Theobald Simon Preis
2010    International Studio & Curatorial Program (ISCP), Brooklyn, New York
2010    City of Munich, extra studio sponsorship
2010    Gallery Bezirk Oberbayern, catalogue sponsorship
2009    Prinzregent-Luitpold-Foundation, Munich, project sponsorship
2008    City of Munich, travel sponsorship
2005    Rotbuchen Award, second prize
2005    Andreas Art Award
2004    HausderKunstAward, Munich

SHOWS (selection)
2014    still on view: Kunst im Bau 5, installation in the former engineering workshops of the Isarthal Railway, Munich (curator Christoph Nicolaus)
UNPAINTED media art fair, Munich, lab 3.0: positions of media art (curator Li Zhenhua)
2013    ikono On Air Festival on ikonotv, ikono Menasa and numerous locations in Berlin
Villa Biesental, Berlin, K-Geist 100 Economy Pack
Installation in the studio building of the City of Munich, K-Geist 100 Studio, (with Jutta Burkhardt)
2012    Satellite For Contemporary Art, Platform 3, Munich, Raw Material Artistic Spirit
Repository For Knowledge And Art in the Syntopic Salon, Potsdam, Germany, a collaboration with the Berlin Brandenburg Academy of Science
Biennale For One, KloHäuschen Munich, Germany
German Consulate General, New York, Etsi Omnes Ego Non
2011    532 Gallery Thomas Jaeckel, New York, USA, The Shadows of the Fire in my Mind, (solo show)
Regensburg New Art Society, Regensburg, Germany, kitchnapping goes shopping
Kunstherberge Birkenau, Munich, Germany, The Driftwood Project (Feb – Mai)
Salon, ISCP Gallery, Brooklyn, New York, USA
Künstlerforum Bonn, Germany (solo show)
2010    Open Studios, International Studio & Curatorial Program (ISCP), Brooklyn, New York, USA
Gallery Bezirk Oberbayern, Munich, Germany, Et In Arcadia Ego, (solo catalogue)
2009    Ebersberg Art Society, Ebersberg, Germany
Brainwash, performance at St Luke’s Church, Munich
Art Meets Fashion,, Prater Island, Munich
2008    The Medium of Drawing, Great Art Show, Haus der Kunst, Munich, Germany
2007    The Dark Side of Beauty,, Munich, Germany
real, sortiert, fingiert, Linhof-Gallery, Munich, Germany
Centre for Contemporary Art, Plovdiv, Bulgaria
Goethe Institute, Sofia, Bulgaria
2006    Landshut Art Society, Landshut
2005    Ebersberg Art Society, Ebersberg
art/s/hopping, Munich, Germany, (solo show)
2004    lab 30, Laboratory for Experimental Video and Sound, Kulturhaus abraxas, Augsburg, Germany

Categories: Exhibitions





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.


Categories: Exhibitions Past


Spring – Group Show

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.











Categories: Exhibitions Past

The Other Side


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









Categories: Exhibitions Past