WOM’D explores the relationship between environment and the development of young individuals within a specific societal context. Employing stereotypical poses related to religion, culture, and social development, the whole series assumes an exaggerated and ironic character. One culture’s physicality cross references another’s societal failure, and familiar conventions of pose and gesture are recognizable, yet challenged by each subject’s cultural physique. History and the contemporary collide. What is usually predictable is presented here in a revolving manner, defying any categorical imposition. Although each of the six boys bears his own cultural trappings, an essential physicality unites them. In the drama of their incipient motion, they appear as toys frozen in action. However the juvenile imagination they evoke reminds us of their vulnerability. Their flesh looks plush and sensitive, their nudity triggering a desire to clothe them. Ironically, in the midst of this youthful playground there are no smiles or signs of laughter. The boys appear possessed, almost by some sort of “wind-up” mechanism set at the controlled speed of an operator. They are not autonomous beings but actors, and impart the uneasy sense of having been programmed or invaded. These alien boys glitter with paradoxes, beginning with the suppleness of warm flesh rendered in cold aluminum. They are innocent yet threatening, at an age of purity yet absolutely corrupt. Although fashioned with delicacy, they are hard-nosed, brawny, and demanding of attention with their hypnotic physiques. At the very core of this series is a provocative realism. This does not serve as a visual handout, but rather as an extra layer for viewers willing to take the time to read each sculpture. These boys represent the potential future of the world, as well as the possible weapons of its destruction.
“Once upon a time there was square, a circle, a triangle and a rectangle and the passion for color and form”.
Tatjana Busch’s words remind us of the Bauhaus. Indeed, the artist has close connections to the German Bauhaus way of thinking as well as to Russian Suprematism and the Dutch De Stijl movement, or neoplasticism. Most of all, her works echo Josef Albers’ famous squares and his studies of the interplay between colors, and they also recall Malevich’s Black Square. But what does Tatjana Busch actually do with these icons of classic modern art? She crumples them, turning their clear, precise, geometric forms into something mobile, playful and baroque. Had these works been created in the 1980s, they might have been categorized as “anything goes” post-modernism. She would have been said to be rebelling against the rational forms of dogmatic, rigid modernism by quoting history and approaching it with irony, appropriating and treating it subjectively. And yet, in the case of Tatjana Busch, none of this is true. Tatjana does not feel the need to liberate herself from anything by giving her art a theoretical underpinning. Instead, she says: “It could be like this and it could also be like that…”. There is no contradiction – and no contradiction with ironic intent – between the geometric and the distorted, the minimalist and the baroque, or the solid and the light. In Tatjana’s work the coincidental is one important factor; the search for shapes and colors is an intuitive process.
Some (Are) Painting
2010 Summer Group Show, curated by David Gibson and Thomas Jaeckel
Peggy Bates, Barbara Campisi, Malena Grabherr, Sean Greene, Halsey Hathaway, Cate Holt, Madeleine Hatz, Tricia Keightley, Jesse Lambert, Michelle Mackey, John Mullen, Claudia Sperry, Hendrik Smit
The promise of painting, especially abstract painting, has to do with its ability to take us into various models of the world. Each painter attempts to delineate a specific perspective on how matter is organized, how space is allotted, how color and light, depth and viscosity work to establish standards for understanding how the universe affects us. Each of the artists participating in “Some (Are) Painting” has achieved a level of mature investigation into such matters and succeed in manifesting a reality which accrues while it adds both truth and beauty to the already known, making the sensible fantastic and the useful a dream on its own terms.
Turning The Corner
June 10 – July 6, 2010
The title of this exhibition invites a host of interpretations, each of which describes an aspect of Iliyan Ivanov’s art and may allude to the fact that the right side of the triptych called Apocalyptic Unicorn wraps from one of our gallery’s walls to the next. The abrupt 90 degree turn animates the mythical beast, separating the dark, equine body from its pale, one-horned head. Perhaps we should say further separating, in view of the difference between the way the head and body are painted – opaque off-white acrylic versus black rivulets that look a bit like an oil slick and a bit like a Pollock.
Midnight Maids places Titian’s comely, fur-clad young lover in the company of an androgynous figure derived from Gold, a symbolist work painted in 1899 by the Czech artist Frantisek Kupka. In Evening Maids, one of Tintoretto’s angels flies in to greet Velazquez’s sole surviving nude, The Rokeby Venus. The pair depicted in Morning Maids trace their lineage back to Francois Boucher. All of these old, august icons are punctuated by bits of modern-day static that take the form of inverted letters, dollar and cent-signs.
May 10 – June 7, 2010
532 Gallery Thomas Jaeckel is pleased to present INSIDE OUT an exhibition of paintings by Ian Hughes, an outstanding mid-career painter, in his first one-person show in a New York gallery. Hughes’ paintings (here represented by large, medium and small scale works) re-examine and renew the always delicate relationship between color and form. Hughes’ forms are strangely suggestive, but of what exactly: primordial ooze, cell division run amok, fragments of the cosmos, a frozen oil spill, decay or growth, plant, animal, or human? As the painted forms shift and mutate, so do the associations. Everything is in flux. A form is related, via color shifts, to an adjacent form, which itself is related to another, then another. This set of internal relationships causes the viewer’s eye to move about the canvas, picking out new ideas. Each interior form in a Hughes canvas can activate a different memory. Taken together, they can create a new universe of ideas for the viewer.
March 18 – May 1, 2010
532 Gallery Thomas Jaeckel presents Diary, an exhibit of mixed media work by Stefan Szczesny, renowned German painter and sculptor. The pieces on display, called “photo-paintings,” combine two related areas of the artist’s creative endeavor. Since 1985, Szczesny has been making images that integrate photos taken in a variety of settings with figure studies rendered in his characteristically expressive style. The result of the juxtaposition of realistic, photographic imagery with the abstract, painterly records of the artist’s hand, cause the viewer, at first glance, to pause—has Matisse returned to us, reincarnated as a graffiti artist? Far from it! The French artist’s influence as a draftsman is apparent in the work, but Szczesny’s clever extension of the figure into realistic, photographic space is unique—and surprising.
The World is Floating
February 12 – March 13, 2010
532 Gallery Thomas Jaeckel is pleased to present a solo show of works by Danish artist Per Adolfsen. Although the artist’s figurative abstractions may appear crude at first glance, closer examination reveals works vibrating with energy and pulse, creating an all-out assault on the viewer’s concept of reality. In the title work, The World is Floating, images emerge out of nothing and figures float away into a one point perspective which seems non-existent. The transience of these images reflects the mutability of the human condition and consequent feelings of anxiety and denial. Adolfsen reflects the conditionality of everyday life, in which myriad random events beyond our control, from the minute to the epic, intervene not only upon our senses or our definition of the real, but our individual fate as well. It is left up to the viewer as to whether these are the results of chaos or phenomenology.
Hendrik Smit “Untitled #21”
November 5 – December 24, 2009
Smit is one of the last true inhabitants in the world of action painting, a place where the process of creating a work receives much more emphasis than the finished product. Reminiscent of the Tachishme style of the 1940s and 1950s Smit’s paintings lack any sort of predetermined structure, but are conceived within the moment. In an indefinable instant, the artist and his emotions become one with the paint. Fraught with an indescribable internal energy, each piece explores a different combination of vibrant pigment and violent momentum giving each canvas a vitality it can hardly contain. Formidable and engaging, a unique energy radiates from each work.
Chris Twomey, “Pines”
Paper in the Wind – 2009 Summer Group Show curated by David Gibson
Rosa Almeida, Marcy Brafman, Zac Braun, Amy Chaiklin, Chrissy Conant, Veronica Cross, Alicia Gibson, James Gilroy, Ian Hughes, Liz Insogna, Yuliya Lanina, D. Dominick Lombardi, Sandra Mack-Valencia, Norma Markley, Jesse McCloskey, John Monteith, Mary Murphy, Mark L. Power, Grace Roselli, Mary Ann Strandell, Roya Tabib, Adam Thompson, Ginna Triplett, Chris Twomey, Kathleen Vance, Ruth Waldman, Deborah Wasserman.
Charles Mingus III
The “Human Condition” is reflective art in real time as a collection of digital prints composed from impulses; that mental stuff zipping around in all our heads like bits of psychological soup or any number of the multitude appropriate metaphors of inside-outside colliding vectors of mass communication and personal communication. These works are printed on paper, and as a result contain some surprises, delivering crackling artifacts of our culture as well as fresh bases of positive new myth and iconography .
February 12 – March 14, 2009
532 Gallery Thomas Jaeckel is pleased to show the new works of Jac Lahav. The new series of interpretive portraits by painter Abshalom Jac Lahav combines faces of famous persons out of history, and specifically out of the belief system of American ideology and creed, with the bodies of fashion models wearing sleek, sometimes nearly transparent outfits.
Oil on canvas, “Red Dot”
January 8 – 30, 2009
532 Gallery Thomas Jaeckel is pleased to present Monochrome Utopia, a group exhibition featuring artists Sharon Brant, Matthew Deleget, Daniel Levine, Olivier Mosset, Erik Saxon and Li Trincere.
Collage – Assemblage
December 6 – December 22, 2008
Collage is the perfect medium for our fast-paced, information packed times. Since the beginnings with its first champions, Kurt Schwitters and Max Ernst, this humble art form has become the darling visual expression for writers. Recently, Pulitzer Prize winning poet John Ashbery received enormous attention for his collage show. Ashbery collaborated with fellow author and artist, the late Joe Brainard who headlines the show “Ripped and Torn”.
Artists in show:
Star Black, Amy Ernst, John Evans, India Evans, Judy Rifka, Bob Heman, Madeline Weinrib, Tom Walker, Lewis Warsh, Bruce Weber, Jeffrey Cyphers Wright, Valery Oisteanu, Rakien Nomura, Micci Cohan, Sali Taylor, Charles Mingus III, Angelo Jannuzzi, Lucien Dulfan, Laurance Rassin, David Shapiro, Allan Sheinman, Toni Tiger and Luigi Cazzaniga.
October 16 – November 11, 2008
532 Gallery Thomas Jaeckel presents “Barachois,” a series of new paintings by Peggy Bates in which the artist continues her fascination with the signification and expressivity of organic form as a direct charismatic link to the natural world.
John Berens, Abshalom Jac Lahav
John Berens, Abshalom Jac Lahav
532 Gallery Thomas Jaeckel shows two artists who have made a traditional practice of painting into a signature motif. Yet they are not merely making rote, reliable, and commonplace versions. They are working in the periphery of that traditional practice, reaching for achievement beyond recognizable limits, making what is usually considered an acceptable form into something rigorous and subtle. Both artists ask the same questions: what is this form, and how far can I take it?
Truth or Consequences
Truth or Consequences
May 15 – June 7, 2008
Marcy Brafman’s paintings deal with the dark and light of the cultural landscape and the nature of character. They reflect on the demons and deities of the memory as seen on our devices, online, on television, billboards, boxtops, catechisms, illustrated classic comic books, masterpieces in the Frick, old paperback covers, graffiti and signage on moving vehicles and packaging detritus of every shape and kind. Concern with brand identity as a genuine spiritual state plays a strong role in the work, an examination of painting as a mirror to internal and external states, individual and social intentions. Each painting represents a logo poem, a distillation of an array of ideas into a simple painted statement. Each one plays a character in a private cast alphabet.
David Askevold and Peter Hutchinson
David Askevold and Peter Hutchinson
March 27 – April 26, 2008
532 Gallery Thomas Jaeckel and Curator David Gibson are pleased to announce an exhibition featuring two pioneer conceptual artists, David Askevold and Peter Hutchinson, who have established the connections between language, the found photographic moment; and an interaction with nature and the intricacies of the mind between actual and intellectual experience. Though Hutchinson has an ecologic sensibility and Askevold a metaphysical one, both of their oeuvres has added something distinct, useful, and inspired to the practice of Conceptualism.
Group show, curated by David Gibson
January 18th – February 10, 2008
Marcy Brafman, Jenny Carpenter, Mary Murphy