The Two Hands Art Store:  Infinite Dimensions

Gulay Alpay’s Gold Thought at Art Expo

March 25-28, 2010 | PIER 94 on the Hudson River

This March Turkish artist Gulay Alpay will construct of her signature environmental installations, at the Art Expo show New York. The Two Hands Art Store Alpay’s most recent happening, is a collaborative effort between herself and the audience which she creates using florescent paints and a variety of other media. In such environments, Alpay recreates her studio, a free-for-all, anything-goes space where anyone and everyone can draw, paint, talk, move, and interact and make marks on any surface he or she sees fit. Curator of The Two Hands Art Store is Turkish artist Emre Erturk, who has collaborated with Alpay on previous works. Erturk will also create a performance featuring his own geometric box design. The “box” has an opening where Erturk and Alpay invite art lovers to look within. Initially the viewer is shocked and surprised by the vision of a real naked person within, however upon closer inspection the viewer realizes there is actually real condoms in the hole light with bulbs and startiling message of ' use condom unless you want to produce useful kids to this planet!” Participants become a part of the visual field, interacting not only with the artist, but also with the imagery around them, effectively capturing the energy and vitality of human communication. Through her unique vision, Alpay evokes a range of theoretical positions from the phenomenological to the psychoanalytic in her surprising and exciting performative extravaganzas.

Following from the long list of previous artists engaging with relational or participatory practices, from Allan Kaprow’s happenings, to Fluxus’ performances, as well as the contemporary practices of artists associated with “relational” practices, such as Rikrit Tiravanija, Thomas Hirschorn, and Liam Gillick, Alpay carries these artists’ legacies infusing her work with her own unique voice. Such artists all have one thing in common – activating the spectator. This is exactly the track that Alpay takes up. However, much like Jacques Rancière who argues in the “Emancipated Spectator” that the spectator is already intrinsically activated by the very fact that she is an active, thinking subject, Alpay does not underestimate her audiences. She treats her viewers as equals in an endeavor aimed at producing a group artwork, for whom authorship is shared equally among all.

Much like her compatriots, the Turkish collective, Oda Projesi, Alpay honors the participant and viewer, treating him/her as an artist himself, capable of producing a valuable contribution to her creations. The creative act is social, one of healing and companionship in which people come together to construct something larger than themselves. This is a spiritual and moral act that implies the betterment of humanity. Ultimately, this is a gesture of love and companionship. From the psychoanalytic perspective, her constructed environments could be seen as what D.W. Winnicott calls the “holding transitional environment,” a space for pure freedom and play where emotional healing and transformation, psychological integration can fully occur. For Alpay, each artistic act is a creative and transformative ritualistic experience. For every gesture that she takes – from applying paint to silk, to painting her own body – are spiritual acts of rebirth, expressions of love for humanity. Challenging the boundaries of the art world, she stretches her own imagination and ours, to envision another kind of world where people interact freely and openly in love and companionship.

Broadway Gallery NYC

“MY FUNNY VALENTINE” A Tribute to Chet Baker
February 1st - 15th, 2010, opening Thursday, February 4th, 2010 6:00 - 8:00 PM

Like the moth unceasingly propelled towards the light, oblivious to its death…
Like the burning spark, longing to be reunited with water…

Sweet Comic Valentine
You Make Me Smile With My Heart
You’re Looks Are Laughable,
Un-photographable
Yet You’re My Favorite Work Of Art
Is Your Figure-Less Than Greek
Is Your Mouth A Little Weak
When You Open It To Speak
Are You Smart
Don’t Change A Hair For Me
Not If You Care For Me
Stay Little Valentine Stay
Each Day Is Valentine’s Day—

— My Funny Valentine, Chet Baker

Tchera Niyego brings together Ayşe Küçük, Ilsabé von Dallwitz, Carl Andre, Jennifer Contini Enderby, Michelle Sakhai, Robert LeBiez and Rudi Keimel in this very special show which explores the alternately political, passionate, melancoly, and spiritual means by which life is experienced and observed. The exhibition employs each artist’s own idiosyncratic fluency in multifarious forms of discourse from painting, and sculpture, to digital work, collage and impressionism. Through each of the poetic works, My Funny Valentine consciously conceals the borders between art and life, fiction and reality, and private and public.

Featuring legendary American Minimalist Carl Andre, My Funny Valentine utilizes the notoriety of Andres personal relationships (including that of his wife, artist Ana Mendieta) to form a layered conceptual show. From love gained, desired, to lost, Tchera Niygeo forms a dialogue that speaks to every viewer.

Captivated and inspired by Chet Baker’s tale of love and passion, Tchera Niyego is most agile at recreating the beauty of Baker’s blues in this powerful show. From the soft and gentle curves of Ilsabé von Dallwitz, to Rudi Keimel’s imagery of the horizon and landscape rendered in muted orange, yellow ochre, deep purple, My Funny Valentine brings to mind the sun burning the last bit of its energy before disappearing into the nightfall. A dexterous sculpture and colorist, Robert LeBiez invites viewers to rejoice with him in his contemplative and poignant rendition of the human body in its bare state.

A new breed of collage, painting and sculpture Jennifer Contini Enderby’s work invites viewers to a world full of vibrant colors and mysterious visages. Enderby gracefully incorporates picturesque elements into the collages she creates—works that stand for a reality observed through her own eyes, imagination and wedding dress. The result is a representation that is dreamy, capricious, and out of this world. Ayşe Küçük’s atmospheric palette captures the mood perfectly. Her art teaches the viewer that pure art springs from a meditative state of mind. Expressive and fantastical, the innovative imagery of this multifaceted artist reveals the hidden side of her subjects’ personalities.

Many of the works in My Funny Valentine have a delirious, hallucinatory air, as if the artists are attempting to transcend both the clinical environment of the gallery space, and the usual expectations of the art world.

Andrea Padovani
February 1st - 15th, 2010, opening Thursday, February 4th, 2010 6:00 - 8:00 PM

Known for his technical brilliant and startling use of light and color, Andrea Padovani incorporates a plethora of references from literature, and mythology, to landscape and personal relationships. His works form a mixed media investigation concerning the multiplicity of marginal spaces, states, emotions and spaces that exist within the emotional landscape. Padovani’s works, allude to a space-between, a place of ambiguity and transition, a site of passage in which borders, boundaries and thresholds are crossed. It is an indeterminate zone of interactions and exchange between Padovani and the viewer. Padovani, whose diverse artistic practice engages with the concept of love and liminality and their relationship to our global landscape, utilizes the strength and subtleties of paint in order to create an art based on light and movement that in turn explores color, luminosity, and sculptural space—through movement and composition.

Conceiving his visual art on the canvas surface, Padovani conveys inventive points of view that form a synthesis between abstract and figurative elements. Padovani creates a narrative with light, utilizing abstract compositions that reveal a life within the clinical world of painting. His works deliver compelling patterns with graceful colors, methodical lines and arches, an aesthetic that can be closely identified with a deep spirituality. Working toward being an impulse to change, with creative energy, and inspiration, he brings his knowledge of painting, sculpture and the arts to every piece. At its core his art is an experiment of movement, light, contemplation and ritual, each perfectly composed in order to touch the viewer on a more profound level.

Broadway Gallery NYC

ART 2010 ANNUAL PREVIEW EXHIBITION
January 2nd - 30th, 2010

NY Arts Magazine and World Art Media are pleased to announce a continuation of the international traveling exhibition Global Perspectives which will be shown in three different continents; Europe, North America and Asia.

From January 2 to 30, 2010 the next exhibition Global Art Perspectives: Art 2010 Annual Preview will be on display at Broadway Gallery, in conjunction with several Internet projects, the exhibit will continue to offer writers and viewers the chance to submit essays and comments on the nature and significance of biennials, fairs and public exposure for new and emerging artists. Featuring over 200 artists with on-site commissions, new and older works, of all mediums, dynamically executed on paper. The curators include Basak Malone and Tchera Niyego from New York, Agustina O’Farrell and Santiago Bunge from Buenos Aires, L.Brandon Krall from New York, Cosimo Di Leo Ricatto from Amsterdam, and Stefano Pasquini from Italy.

Utilizing the ideologies of the international art fair, exhibition and symposium, this unique exhibition emphasizes the process of creation and discovery. Marked by local and global relationships, aesthetics, and practices Global Art Perspectives: Art 2010 Annual Preview comments on visual culture in a wider context, than the traditional art fair exhibition.

The first exhibition in this traveling show Works On Paper, A Global Perspective was previously on display at Pavillion Consorzio Cantieristica Minore Veneziana, concurrent with the 53rd Biennale di Venezia, and featured eight international curators working with a dozen different countries. Global Art Perspectives will also be shown at a different New York location in March concurrent with NYC Art Fair’s week including The Armory Show. Soon afterwards the exhibit travels to Beijing, China where it will be on display at Arts Space Beijing.

Featuring International Artists:

Jennifer Reeves, Yue Kyoeng sub, Emma Braslavsky, May Stevens, Bailey Doogan, Edamon Namusiv, Carl E, Hazlewood, Kilian Kerner, Rudolf Baranik, Carol Flax, Hearne Pardee, Lauren O Neal, Victoria Hanks, Tony Zaza, Robert Sievert, Michael Wilson, Paul Parcelllin, Graeme Sullivan, David Berger, Frances Devuono, D.Dominick Lombardi, Claire Wolf Krantz, Ana Tiscornia, Markus Winkler, Charles Giuliano, Richard Huntington, Claudia Ruth Schomig, Nancy Dohn, Raul Zamodio, Mark Van Proyen, John Perreault, John Antoine Labaie, Abraham Lubelski, Leigh Trifari, Phong Bui, Jamey Hecht, Deborah Garwood, Jeanne C.Fryer-Kohles, Victoria Korb, Kay Miler, Janet Culbertson, Jeffrey Carr, Jemes Rosenthal, Lori Don Levan, Patricia Miranda, Maureen Mullarkey, James Little, Diane Calder, Elisabeth Kley, Betty Collings, Leon Golub, Mario Naves, Nelleke Nix, Alison Knowles, Roger Boyce, Christopher Chambers, Matt Freedman, Joel Silverstein, Robert C.Morgan, Howardena Pindell, Daniel A.Heyman, Loren Munk, Jan Estep, Gary Duehr, Robert Taplin, J.D.Javis, Patritia Pac, Siri Berg, Alejandro Montaldo, Juan Pavlovsky, Julieta Barderi, Peter Leonard, Santiago LLorente, Andres Ghiorzo, Adriana Torregrossa, Dario Solman, Fabrizio Rivola, Federika Ponnetti, Grace Rim, Jennifer Schmidt, Kaz, Laura Serri, Marco Fantini, Marina Gasparini, Mili Romano, Natalija Ribovic, Oreste Baccolini, Roberta Piccioni, Sabrina Muzi, Saeri Kiritani, Stefano Cagol, Stefano Pasquini, Frans Goddijn, Hans Franz, Joanneke Meester, Josien Vogelaar, Kurt Nahar, Maartje Folkeringa, Patricia Kaersenhout, Saskia De Brauw, Ana Bonamico, Jean James, Marco Antonio Abbagnara, Masaki Asakawa, Matthew Lauretti, Maz Jackson, Michel Beaucage, Sisko Ruskokivi-Runeberg, Sophie Hedderwick, Whitney Mcveigh, Andrea Amelung, Anna VanMatre, Ayse Kucuk, Dilek Ozmen, Francois Geffray, Hanna Scheriau, Heidemarie Kull, Juergen Buhre, Keith Morant, Andres Giles, Claudia Lucini, Leonardo Pellegrini, Marcelo Linares, Santiago Bunge, Santiago Deramo, Tomas Ghiorzo, Valentina Cambiaso, Carla Gannis, Carter Hodgkin, Jerelyn Hanrahan, Karni Dorrell, Dirk, Janjager, Georgeta Stefanescu, Heleen Wiemer, Maaike van der Linden, Richtje Reinsma, Roosmarijn Schoonewelle, L. Brandon Krall, Nura Petrov, Patrice Lerochereuil, Seth Carnes, Teri Hackett, Gunilla Oldenburg, Vernita Nemec, William S. Stone, Ari Liimatainen, Beatrice Englert, Destroy Be, Hansen Thiam Sun, Ioanna Voskou, Carlos Aquilino, Theodor Barr, Iuri Izrastzoff, Patrick Fenech, Helmut Zwerger and many more.

Broadway Gallery NYC

François Geffray
Andy Wilhelm
Maria Malo-Molina

François Geffray

François Geffray
December 16th - 31st, 2009, opening Friday, December 18th, 6 to 8pm.

Curated by Tchera Niyego

In his art François Geffray transforms painterly movements into something tangible, something intriguingly fluid on canvas, upon seeing which viewers can’t help the desire to touch and feel. His works are intuitive and vibrant, composed of shapes and lines that are free-spiritedly manipulated to form a world of fanciful naïveté yet his portrayal of humans and objects echo Classicism, while exuding warm, ominous, or eccentric atmosphere. The work is vivid and refreshing, creating an otherworldly atmosphere where nature comes to life on canvas and invites viewers for a walk in Geffray’s world. French artist Geffray is no stranger to new challenges. With an extensive array of mediums from digital art to painting, his body of work is vast and varied.

Geffray’s visual interpretations are deceptively child-like, minimalist and captivating works, which he creates through detailed ink, acrylic and oil paint, and also in his use of bold, vibrant, colors. His paintings are a kind of electrified impressionism; with a palette of bright hues Geffray captures light and movement with an unusual forcefulness. Manipulating linear and geometric shapes, Geffray creates imagery that is at once surreal and rooted in an affinity to reality.

Geffray’s artwork takes a psychological perspective of the “other.” Drawing on images from day-to-day life Geffray’s work highlights both the highs and lows, contrasts and similarities between human relationships by producing morphed images that combine literal representation with metaphor.

Andy Wilhelm

Andy Wilhelm
December 16th - 31st, 2009, opening Friday, December 18th, 6 to 8pm.

Andy Wilhelm’s sculptures are made out of wood, bronze, gypsum cement, Styrofoam and glue. The objects are made up of a diverse collection of forms: some fundamental, like spheres, and others vaguely figurative, and yet others resembling tools. All have been rendered in a manner that reveals a time consuming practice. The process of making communicates a need to create a structure to explore the limits of material, and it’s ability to anchor ideas to the present time and place. Within this formal structure there is allusion to objects and potential phenomenon that exist on a much different scale than the one the viewer and the object currently occupies.

Clamp Ball, 2009, is made entirely out of many wooden hand-screw clamps, clamped to themselves in a frenetic jumble. The clamps vary in size, and are organized in a pattern of descending scale. The smallest elements on the fringe are dwarfed by the larges clamps positioned in the center of the arrangement. The entire volume looks like a dense ball of frenzied matter, with subtle variations in color, alluding to some imagined particle or cluster.

The cast bronze sculpture Untitled(Octomom), 2009, seems to sprightly balance on top of its steel stand. Conjoined spheres appear to have arranged themselves along electrically charged polar axes.

Untitled(Pick A Hole and Stick With It), 2009, is a hollowed out shell made of thin cast gypsum cement that hovers in space. It has a ghostly figurative presence, that is at once a curving, sensual form, but also skeletal and drained of life.

Untitled, 2006, is undulating spiral of wood shavings and glue that seem to have grown by accretion around an ordinary ballpoint pen.

Maria Malo-Molina

Maria Malo-Molina
December 16th - 31st, 2009, opening Friday, December 18th, 2009, 6 - 8 pm.

Maria Malo-Molina was born in Santiago de Cuba, Cuba and raised in the United States. She received her BFA in Painting with a minor in Photography in 2006, from the Ringling School of Art and Design. While attending Ringling School of Art she was awarded a space for a semester in both Parsons in 2005 and Lamar Dodd School of Art in Cortona Italy to focus on her independent studio practice. She has traveled to various countries and is continuously fascinated with cultures of which she draws inspiration from.

Her work ranges from painting, photography, installation, sculpture and performance. Mixed media has always been an important part of her work.

In her current works, Malo-Molina collects clippings from photographs and printouts from various road trips and other travels including the place she resides, New York City. She then reassembles and constructs images of city escapes, urban streets and collossal buildings. After embedding the materials to the panel, the surface of the painting is worked slowly with glazes, transparent at times, which cover and expose parts of the fabricated image. This process allows her to focus on creating environments that evoke emotion, mood and individuality for the collaged images. Her expansive palette reflects beautifully in her paintings that maintain hefty color variations and subtle tonal shifts. She states: ‘I am interested in fabricating saturated and rich land masses, escapes of rooftop views and panoramas similarly to how the memory would. It is mostly filled with drama and emotion.’

Malo-Molina has been exhibited in Pulse Contemporary Art Fair (Miami), NYSP Gallery (New York City), Selby Gallery (Sarasota, Florida), Crossley Gallery (Sarasota, Florida), City Museum of Washington D.C and AR Contemporary Gallery in Milan, Italy.

You can see her work online at http://mmalomolina.carbonmade.com

Broadway Gallery NYC

François Geffray

François Geffray

François Geffray, A Solo Show
December 16th - 31th, 2009, opening Thursday, December 18th, 6 to 8pm.

Curated by Tchera Niyego

In his art François Geffray transforms painterly movements into something tangible, something intriguingly fluid on canvas, upon seeing which viewers can't help the desire to touch and feel. His works are intuitive and vibrant, composed of shapes and lines that are free-spiritedly manipulated to form a world of fanciful naïveté yet his portrayal of humans and objects echo Classicism, while exuding warm, ominous, or eccentric atmosphere. The work is vivid and refreshing, creating an otherworldly atmosphere where nature comes to life on canvas and invites viewers for a walk in Geffray’s world.
French artist Geffray is no stranger to new challenges. With an extensive array of mediums from digital art to painting, his body of work is vast and varied.
Geffray’s visual interpretations are deceptively child-like, minimalist and captivating works, which he creates through detailed ink, acrylic and oil paint, and also in his use of bold, vibrant, colors. His paintings are a kind of electrified impressionism; with a palette of bright hues Geffray captures light and movement with an unusual forcefulness. Manipulating linear and geometric shapes, Geffray creates imagery that is at once surreal and rooted in an affinity to reality.

Geffray’s artwork takes a psychological perspective of the “other.” Drawing on images from day-to-day life Geffray’s work highlights both the highs and lows, contrasts and similarities between human relationships by producing morphed images that combine literal representation with metaphor.

Broadway Gallery NYC

Obscure Narratives
Igor Zaytsev
Recessive Traits: In the Absence of the Dominant Element

Obscure Narratives

Obscure Narratives
December 1st - 15th, 2009, opening Thursday, December 3rd, 6 to 8pm.

Curated by Christine Kennedy

Featuring Carlos Aquilino, Claudia Emanuela Coppola, Gulselin Cagiroglu, Piero Golia, KAWS, Keanne van de Kreeke, Sean Landers, and Viggo Salting.

Obscure Narratives investigates the concept of personal ritual as explored by the place of the individual within society. The aim is to encourage empathy, allowing the viewer to consider his or her own musings and create a time of reflection. This aspect of the exhibition presents a possible point of transference for intellectual and emotive concerns to develop between the relationship of the work and the observer of the work. Obscure Narratives offers a time to consider the ramifications of personal history within the broader context of self, society, and the other

Igor Zaytsev

Igor Zaytsev
December 1st - 15th, 2009, receptions Thursday, October 22nd, 6 to 8pm and Thursday, December 3rd, 6 to 8pm.

Igor Zaytsev’s paintings have the swirling energy of many great classical painters, they also suggest something quite different: the murmuring of numerous voices beneath each layer. The artist’s work has changed greatly over the years, and is seldom truly traditional. He courageously goes beyond the given and familiar, pioneering new techniques and materials in order to expand his own vision. Heavy, multi-layered surfaces and mixed media prevail in his earlier works, where pigmented layers exaggerate brushwork creating an exaggerated physicality.

In paintings such as Refraction3 Appearance, the works look like scratchings on an old, stained plaster wall. Rather than being tough and raw, the effect is delicate. In contrast, recent pictures are the most liberated the artist has ever done. Zaytsev’ epic conceptions marry together the context and knowledge of years of work with explosions of lush color that evoke the spatial atmospherics of 19th-century landscape painting, and renaissance grandeur. Their illusionism is tempered by viscous paint, applied in subtle, rapid brushstrokes and lustrous pools.

In the case of Blue Crystal, it is a shock of aquamarine blue and antique white with flecks of chartreuse that dominate the painting’s side. The composition suggests an avenging presence hurtling toward slates of midnight blue, which culminates in an apocalyptic void at the painting’s center. The arrangement suggests an artist who has always blended a proclivity for visual drama with a keen interest in the physicality of paint.

Recent works, specifically Sketch for reflections and Mystery , reference the cosmological phenomenon of dark energy—a hypothetical form of energy that permeates all of space and tends to increase the expansion of the universe. These layered “universescapes” express a creative force within—and beyond—the physical constraints of the canvas, where each ripple and crack acts as an internal explosion.

Working with layers of paints and interacting glazes, the paintings often use gravity as the force for directing the movement of the paint on the surface. Zaytsev’s ambition for painting as a carrier of meanings that are accessible to all is evidence of his own immersion in the culture of painting and its potential for transformation.

Recessive Traits—In the Absence of the Dominant Element

Recessive Traits—In the Absence of the Dominant Element
November 2nd to December 15th, 2009, receptions: Thursday, November 5th and Thursday, December 3rd, 2009, 6 - 8 pm.

A Best of New York Project by Broadway Gallery, Recessive Traits exhibits photographs that lack information derived from facial expressions—the dominant element that delivers the most direct message in a photograph. In the absence of this dominant element, the photograph’s recessive traits are unmasked and deeper meanings emerge. The selected photographs involve a range of subjects, from figurative images, to urban landscape, to still‐life objects. They are united in demanding that the viewers abandon traditional modes of interpretation to derive their meaning. The group show contains two parts. Each part features the works of 10‐12 artists. The artists include both award‐winning and emerging photographers. In part I, we present the works of Heungman, Ivy Finkelstein, Christina Kerns, Katie Humphries, Lexi Adams, William Knipscher, Magda Biernat, Gabriela Herman, Jessica Bruah and Kelly Shimoda. In part II, we present the works of Carl Wooley, Natalie Chan, Rachel Barrett, Katherine Finkelstein, Savannah Sakry, Nat Ward, Marten Elder, Ahndraya Parlato, Sigurjon Guojonsson and Kotaro Okada.

Broadway Gallery NYC

The Shining Mantis: Kangarok VIII, The Kneon Knives are Sharp On Broadway
Recessive Traits—In the Absence of the Dominant Element
Politics, Practices and Emotions

The Shining Mantis: Kangarok VIII, The Kneon Knives are Sharp On Broadway

The Shining Mantis: Kangarok VIII, The Kneon Knives are Sharp On Broadway
November 1st - 15th, 2009, opening Thursday, November 5th, 6 to 8pm.

The Shining Mantis is a Brooklyn base collaboration of Mike Estabrook and Ernest Concepcion. The primary works done by the duo are the legendary battle drawings known simply as “Kangarok”. This is a fusion of the unnamable presence of the Mephistophelic Kangaroo, and Ragnarok, the Nordic apocalypse.

“Our work is about antagonistic collaboration: battle drawings. We fight each other through spontaneous bursts of imagination. These drawings most often take the form of large-scale chalk drawings, done directly onto the wall. We often execute these drawing as a live performance.

For their exhibition at the Broadway Gallery show, The Shining Mantis will expand our usual repertoire to include two video monitors facing the entrance to the gallery, depicting a Praying Mantis Warrior and a Demon Kangaroo (these would be Ernest and Mike in masks), the primary enemies of the Kangarok Saga, screaming taunts at each other. The drawing (which will be done in chalk) will be installed on sheets of black paper that would be cut to fit the walls and other, more oddly shaped, spaces in the gallery, as well as on free-standing sculptural elements positioned around the gallery.

Recessive Traits—In the Absence of the Dominant Element

Recessive Traits—In the Absence of the Dominant Element
November 2nd to 30th, 2009, opening reception: Thursday, November 5th, 2009, 6 - 8 pm.

A Best of New York Project by Broadway Gallery, Recessive Traits exhibits photographs that lack information derived from facial expressions—the dominant element that delivers the most direct message in a photograph. In the absence of this dominant element, the photograph’s recessive traits are unmasked and deeper meanings emerge. The selected photographs involve a range of subjects, from figurative images, to urban landscape, to still‐life objects. They are united in demanding that the viewers abandon traditional modes of interpretation to derive their meaning. The group show contains two parts. Each part features the works of 10‐12 artists. The artists include both award‐winning and emerging photographers. In part I, we present the works of Jessica Bruah, Ivy Finkelstein, Heungman, Gabriela Herman, Katie Humphries, Christina Kerns, Kotaro Okada, Ahndraya Parlato, and Nat Ward. In part II, we present the works of Magda Biernat, Natalie Chan, Marten Elder, Katherine Finkelstein, Sigurj.n Gu.j.nsson, William Knipscher, Savanna Sakry, Kelly Shimoda, Elizabeth Weinberg and Carl Wooley.

Politics, Practices, and Emotions

Politics, Practices, and Emotions
October 16th - November 15th, 2009, receptions Thursday, October 22nd, 6 to 8pm and Thursday, November 5th, 6 to 8pm.

Darren Jones, Joseph Farbrook, Andrea Cucchi, Jordi Aguilar, Dilek Ozmen, Milena Jovicevic Popovic, Igor Zaytsev, and Maria Luisa Imperiali

Politics, Practices and Emotions is a group exhibition curated by Basak Malone that focuses on the construction, and deconstruction of communication. In this multidisciplinary show, the creative act is explored through a variety of sources, from landscape and body, to sexuality and gender. The timeless subject of practice is characterized in Politics, Practices and Emotions—from the emotion art can create, to the conceptual and theoretical act of the artists vision. The exhibition explores unseen territories within contemporary art, juxtaposing Formalism, biography, and psychoanalysis, the works explore how personal politics help us dig deeper into our own selves, allowing us to know ourselves better and to find the answers within us. In the same way artists take time to reflect and respond to their medium or environment, the viewer will also. With this collection of artists Malone shows us how wonderful it is to explore the art of both emotion and creation.

e-World Art Media

Politics, Practices and Emotions
Bermuda Watercolors / Cultural DNAism

Politics, Practices, and Emotions

Politics, Practices, and Emotions
October 16th - 31st, 2009, opening Thursday, October 22, 6 to 8pm.

Darren Jones, Joseph Farbrook, Andrea Cucchi, Jordi Aguilar, Dilek Ozmen, Milena Jovicevic Popovic, Igor Zaytsev, and Maria Luisa Imperiali

Politics, Practices and Emotions is a group exhibition curated by Basak Malone that focuses on the construction, and deconstruction of communication. In this multidisciplinary show, the creative act is explored through a variety of sources, from landscape and body, to sexuality and gender. The timeless subject of practice is characterized in Politics, Practices and Emotions—from the emotion art can create, to the conceptual and theoretical act of the artists vision. The exhibition explores unseen territories within contemporary art, juxtaposing Formalism, biography, and psychoanalysis, the works explore how personal politics help us dig deeper into our own selves, allowing us to know ourselves better and to find the answers within us. In the same way artists take time to reflect and respond to their medium or environment, the viewer will also. With this collection of artists Malone shows us how wonderful it is to explore the art of both emotion and creation.

Bermuda Watercolors / Cultural DNAism

Bermuda Watercolors by Maureen Dougherty
Cultural DNAism by Jamie Dalglish
October 16th - 31th, 2009, opening reception: Thursday, October 22nd, 2009, 6 - 8 pm.

Husband and wife duo Maureen Dougherty and Jamie Dalglish will present separate yet concurrent exhibition at the Broadway Gallery NYC.

Maureen Dougherty

“Over many years of traveling throughout the Caribbean I finally visited Bermuda this past July lured by its close proximity to New York City a direct one hour and forty minute flight! I was immediately overwhelmed by the abundance and girth of native Norfolk Island pine, local flora in summer was bursting with cobalt greens, blues and cadmiums of many vital shades. I returned in September to continue painting where I found another palate shaped by the unpredictable weather patterns of fall native to the island. Along her shores I painted the experience of the movement of crystalline light as it travels from deep across the emerald horizon over the grey volcanic reefs that circle the island forming an ultramarine cobalt violet barrier that merges with turquoise and lands on pink shore lines. These colors create rhythm of time and space, a medium like watercolor is perfection for capturing this synthesis.”

After taking a course with Peter Agostini at the NY Studio School Dougherty never let go of his prescribed technique of treating the medium of watercolor. His use of intuitively layering and pushing transparent color over another with a dry napkin absorbing excess water creating space time intervals of light reflecting off the surface of the cold pressed paper. It is through these transparences where you enter the painting and travel through it experientially as if you are part of the process of making the painting.

Jamie Dalglish

CULTURALDNAism

Continuing morphoglyph and holding a part of the cultural front.

Morphoglyphs progress thru pixels.

An hueristic gesture can I?

Visions coming into me into you.

My late friend Lawrence Alloway also noted the presence of “interruption of authorship”. In 1991 morphoglyphs engage a cinematic presence in my painting. The colors of my soul reveal oblique actions and character changes for each time one looks or doesn’t.

BEFORESPLITTING

Delaying gratifacation in a back and forth manner.

Occuring again and again. Differently each time.

ITSAYSNOITSAZ/ YES.

As in frames per second wearing a tie with the very right knot. Phenomena occurs by way of engaging the cinematic presence. By way of staying liquid knowing when to hold ‘em…..fold ‘em.

By way of Robgrille the equal panels I paint on separate bubble and play. In a grand stylistic manner. From the top to the bottom a female column. Drawing a morphoglyph with equal panels becoming another morphoglyph. In the gloaming glow of decay by an apple orchard and cows up there on the hill.

DONANONOBISPACHEM

pachem

Keep the crossroads away out from the crucible out of my soul. My soul waits and senses a deft touch distracted feeble it falls down again.

Never mind the mosquitos.

Because the first frost packs the air.

Hands on the red rock granite wall looking at the plinth of water light sea.

Within my colors based on my nature yields the threshold of light. I’m pulling liquid matter from within. Searching around architectonic paths.

ASIGNSAZ

“Number of conc=secutive daze error”.

By way of holding liquid colour the spatial scope becomes form.

“That didn’t take long”.

Evanescent and cinematic

“ODDSANDENDSDETAILStheblackbearon the skylight” odds and ends details.

Avoiding facism, Free, Stillnessses, Breathnesses. Like a dance like a saraband like a passagalia like a roll in the hay or down a hill that no one can take away

STOP.

Morphoglyph matter rises organically.

The subjective site within the subjective use of equal panels. Finding the very right placement. Not. Maybe. Before. After.

REPOZ

These equal panels become the phenomena of frames per second in “WWI WWll VIETNAM”and boots on the ground ANDBOOKSTOSITON ASPERMSAZIAM

Music composing morphoglyphs. Revealing an oblique presence maybe.

“EARTHAIRFIREWATERAIR”

“WhyTHETree?

Because of Pain AND BECAUSE RAIN CUNSAROU AND SAZND

Melting SNOWBALLS where the sun setting in the river GOZ WHERE FIREY GLOW GOZ MELTING SNOW”

“I have the energy to make you laugh brothers are as two knee caps”.

Broadway Gallery NYC

Politics, Practices and Emotions
Bermuda Watercolors / Cultural DNAism

Politics, Practices, and Emotions

Politics, Practices, and Emotions
October 16th - 31st, 2009, opening Thursday, October 22, 6 to 8pm.

Darren Jones, Joseph Farbrook, Andrea Cucchi, Jordi Aguilar, Dilek Ozmen, Milena Jovicevic Popovic, Igor Zaytsev, and Maria Luisa Imperiali

Politics, Practices and Emotions is a group exhibition curated by Basak Malone that focuses on the construction, and deconstruction of communication. In this multidisciplinary show, the creative act is explored through a variety of sources, from landscape and body, to sexuality and gender. The timeless subject of practice is characterized in Politics, Practices and Emotions—from the emotion art can create, to the conceptual and theoretical act of the artists vision. The exhibition explores unseen territories within contemporary art, juxtaposing Formalism, biography, and psychoanalysis, the works explore how personal politics help us dig deeper into our own selves, allowing us to know ourselves better and to find the answers within us. In the same way artists take time to reflect and respond to their medium or environment, the viewer will also. With this collection of artists Malone shows us how wonderful it is to explore the art of both emotion and creation.

Bermuda Watercolors / Cultural DNAism

Bermuda Watercolors by Maureen Dougherty
Cultural DNAism by Jamie Dalglish
October 16th - 31th, 2009, opening reception: Thursday, October 22nd, 2009, 6 - 8 pm.

Husband and wife duo Maureen Dougherty and Jamie Dalglish will present separate yet concurrent exhibition at the Broadway Gallery NYC.

Maureen Dougherty

“Over many years of traveling throughout the Caribbean I finally visited Bermuda this past July lured by its close proximity to New York City a direct one hour and forty minute flight! I was immediately overwhelmed by the abundance and girth of native Norfolk Island pine, local flora in summer was bursting with cobalt greens, blues and cadmiums of many vital shades. I returned in September to continue painting where I found another palate shaped by the unpredictable weather patterns of fall native to the island. Along her shores I painted the experience of the movement of crystalline light as it travels from deep across the emerald horizon over the grey volcanic reefs that circle the island forming an ultramarine cobalt violet barrier that merges with turquoise and lands on pink shore lines. These colors create rhythm of time and space, a medium like watercolor is perfection for capturing this synthesis.”

After taking a course with Peter Agostini at the NY Studio School Dougherty never let go of his prescribed technique of treating the medium of watercolor. His use of intuitively layering and pushing transparent color over another with a dry napkin absorbing excess water creating space time intervals of light reflecting off the surface of the cold pressed paper. It is through these transparences where you enter the painting and travel through it experientially as if you are part of the process of making the painting.

Jamie Dalglish

CULTURALDNAism

Continuing morphoglyph and holding a part of the cultural front.

Morphoglyphs progress thru pixels.

An hueristic gesture can I?

Visions coming into me into you.

My late friend Lawrence Alloway also noted the presence of “interruption of authorship”. In 1991 morphoglyphs engage a cinematic presence in my painting. The colors of my soul reveal oblique actions and character changes for each time one looks or doesn’t.

BEFORESPLITTING

Delaying gratifacation in a back and forth manner.

Occuring again and again. Differently each time.

ITSAYSNOITSAZ/ YES.

As in frames per second wearing a tie with the very right knot. Phenomena occurs by way of engaging the cinematic presence. By way of staying liquid knowing when to hold ‘em…..fold ‘em.

By way of Robgrille the equal panels I paint on separate bubble and play. In a grand stylistic manner. From the top to the bottom a female column. Drawing a morphoglyph with equal panels becoming another morphoglyph. In the gloaming glow of decay by an apple orchard and cows up there on the hill.

DONANONOBISPACHEM

pachem

Keep the crossroads away out from the crucible out of my soul. My soul waits and senses a deft touch distracted feeble it falls down again.

Never mind the mosquitos.

Because the first frost packs the air.

Hands on the red rock granite wall looking at the plinth of water light sea.

Within my colors based on my nature yields the threshold of light. I’m pulling liquid matter from within. Searching around architectonic paths.

ASIGNSAZ

“Number of conc=secutive daze error”.

By way of holding liquid colour the spatial scope becomes form.

“That didn’t take long”.

Evanescent and cinematic

“ODDSANDENDSDETAILStheblackbearon the skylight” odds and ends details.

Avoiding facism, Free, Stillnessses, Breathnesses. Like a dance like a saraband like a passagalia like a roll in the hay or down a hill that no one can take away

STOP.

Morphoglyph matter rises organically.

The subjective site within the subjective use of equal panels. Finding the very right placement. Not. Maybe. Before. After.

REPOZ

These equal panels become the phenomena of frames per second in “WWI WWll VIETNAM”and boots on the ground ANDBOOKSTOSITON ASPERMSAZIAM

Music composing morphoglyphs. Revealing an oblique presence maybe.

“EARTHAIRFIREWATERAIR”

“WhyTHETree?

Because of Pain AND BECAUSE RAIN CUNSAROU AND SAZND

Melting SNOWBALLS where the sun setting in the river GOZ WHERE FIREY GLOW GOZ MELTING SNOW”

“I have the energy to make you laugh brothers are as two knee caps”.

Broadway Gallery NYC

Derived, Borrowed, and Stolen
David Kastner

Derived, Borrowed, and Stolen

Derived, Borrowed, and Stolen
October 1st - 15th, 2009, opening reception: Thursday, October 1, 2009, 6 - 8 pm.

Derived, Borrowed, and Stolen brings together artists whose work addresses the nature of originality and its complicated relationship with the visual arts. The central theme and title is inspired by the well-known quote, “talent borrows, genius steals,” which is said by some to have come from none other than Picasso (rumor has it that it might also have been Morrissey’s, of the rock band Smiths, or even Oscar Wilde’s). The uncertainty surrounding the origins of the quote is ironically apt. Linked by this common thread, the works in this show raise questions about what constitutes creativity in today’s world, one in which the Internet has rendered copying and plagiarizing in the visual arts easier and more socially acceptable. Over a plethora of visual styles, these innovative artists find new ways to pay homage to their artistic inspirations while producing wildly inventive pieces. The viewer sifts through the rich layers and discovers, through the eyes of the artist, the difference between simple pastiche and ingenious reinterpretation.

David Kastner

David Kastner
October 1st - 15th, 2009, opening reception: Thursday, October 1, 2009, 6 - 8 pm.

David Kastner’s work is vast and varied. Working both three-dimensionally and two-dimensionally, his oeuvre boasts several bodies of work. In this exhibition of work Kastner presents a collection of paintings that respond to issues surrounding the senses, and emotional reaction.

Kastner’s new works are the result of a process the artist creates three-dimensional structures from an assortment of materials, and then use sunlight to diffract light. The motion of the cameras captures the diffraction of light. The final image is then printed using a twelve-color inkjet onto watercolor paper. The result is a soft, almost velvety progression of colors, not unlike nebula.

Kastner’s work has evolved to an aesthetic that pushes the boundaries between energy and light; capturing the actual moment energy begins to transform itself into existence, creating what has been described as “cosmic space captured in the moment of transformation”. Using fluorescent light and movement to explore color, luminosity, and sculptural space, David Kastner’s work depicts the energy of the life. Conceiving his visual art behind a camera lens, Kastner conveys inventive points of view that form a synthesis between abstract and figurative elements. Creates a narrative with light, utilizing abstract compositions that reveal a life within the darkness of the studio. His works deliver compelling patterns with graceful colors, methodical lines and arches, broadly colored yet intricately detailed, each piece renders a psychedelic depiction of life that conveys an atmosphere of confinement and isolation.

Presented in a sequence of scenes, the exhibition forms a narrative that tells a story about everyday existence. Kastner’s work captures moments of tranquility, which contrast with uneasy oneiric elements. He uses unusual color combinations, and depicts scenes from unexpected angles, all contributing to give his work a magic realist feel.

Kastner’s work has manifested a singular personal vision, drawing on a diverse cross-section of cultures and styles to realize his wide range of visual and conceptual ideas. He is an intuitive artist who has developed a new and unique contribution to the art and culture of his times. His extensive travels have been a major influence, releasing him from the usual conventions of art making. Kastner’s method is contemplative, meditative, and sanguine. He maintains a fantastical, exotic vision, even when dealing with the commonplace. With a bravery and intuit, Kastner’s latest work travels down many new paths, exploring new techniques and aesthetics. Light and its power to transform, however, will remain a central focus throughout his creation.