Winkleman Gallery

Winkleman Gallery http://winkleman.com/ Winkleman Gallery | A Contemporary Art Gallery in New York City en Copyright 2010, Winkleman Gallery, Inc. All images copyright of individual artists. Wed, 8 Sep 2010 20:31:02 -0400 Exhibition: Yevgeniy Fiks <div class="exhibition-subtitle">Ayn Rand in Illustrations</div> <div class="exhibition-dates">June 18 - July 30, 2010</div> <div class="exhibition-opening">Opens Friday, June 18, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1915"><img border="0" src="http://winkleman.com/static/dyn-images/35/35134.jpeg" alt="Yevgeniy Fiks, "Ayn Rand in Illustrations," installation view. Photograph by Etienne Frossard." height="333" width="500" /></a> Yevgeniy Fiks, "Ayn Rand in Illustrations," installation view. Photograph by Etienne Frossard. <div class="exhibition-description">Winkleman Gallery is very pleased to present "Ayn Rand in Illustrations," our second solo exhibition by Russian-born, New York-based artist Yevgeniy Fiks. Continuing Fiks' exploration of repressed micro-historical narratives that highlight the complex relationships between social histories of the West and Russia in the 20th century, "Ayn Rand in Illustrations" presents a suite of large works on paper in watercolor, ink, and pencil. This first exhibition from Fiks' ongoing series examining the uncanny resemblance between Rand's aesthetics and that of Soviet Socialist Realist Art presents works referencing Rand's novel Atlas Shrugged. Author Alisa Zinov'yevna Rosenbaum, better known in the US as Ayn Rand, was born in St. Petersburg, Russia in 1905. As a teenager, Rand saw the Russian Revolution unfolding from her bedroom window on the city's largest avenue Nevsky Prospect. Shortly thereafter, her father's pharmacy was nationalized and her family's hardships began. According to Rand, she had rejected the Revolution from the outset and spent her teens and early twenties in a self-imposed "internal emigration," finding escape in 19th century romantic literature. Rand left Russia for the United States in 1926, when the aesthetics that became later known as "Socialist Realism" were just in the process of formation. For each of these drawings, Fiks and his studio combined sections of Rand's prose (as they appear on the page in his copy of Atlas Shrugged, including the page number) with images of Soviet Socialist Realist paintings and sculptures, found in art books and magazines. Each letter of the text was rendered, as was the image of the painting or sculpture in grisaille. In the artist's own words, "The Capitalist utopia of Ayn Rand and Communist utopia of Stalin become symbiotic and interchangeable in this project. The two ideologies rely on the same approach of representation through propaganda, idealization, romanticization, glorification, etc. "Ayn Rand in Illustrations" exposes the mechanics of Rand's aesthetics and that of Socialist Realism indiscriminately. Through the juxtaposition, Socialist Realism and Ayn Rand effectively cancel each other: while Socialist Realist imagery become possible illustrations for Ayn Rand, Socialist Realist Art appears to be only useful today as illustrations for Ayn Rand's writings." Yevgeniy Fiks was born in Moscow in 1972 and has been living and working in New York since 1994. Fiks has produced many projects on the subject of the Post-Soviet dialog in the West, among them: "Lenin for Your Library?" in which he mailed V.I. Lenin's text "Imperialism: The Highest Stage of Capitalism" to one hundred global corporations as a donation for their corporate libraries; "Communist Party USA," a series of portraits of current members of Communist Party USA, painted from life in the Party's national headquarters in New York City; and "Communist Guide to New York City," a series of photographs of buildings and public places in New York City that are connected to the history of the American Communist movement. Fiks' work has been shown internationally, including solo exhibitions at Winkleman Gallery and Common Room 2, both in New York (USA); Contemporary City Foundation, Marat Guelman Gallery, and ARTStrelka Projects in Moscow, and the State Museum of Russian Political History, St. Petersburg (Russia); and the Lenin-Museo, Tampere (Finland). His work has been included in the Biennale of Sydney (2008); Thessaloniki Biennale of Contemporary Art (2007); and Moscow Biennale of Contemporary Art (2009, 2007 and 2005). For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com.</div> http://winkleman.com/exhibition/view/1915 Exhibition: American ReConstruction: An exhibition of new photography <div class="exhibition-subtitle">Organized by Michael Hoeh</div> <div class="exhibition-dates">May 7 - June 12, 2010</div> <div class="exhibition-opening">Opens Friday, May 7, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1899"><img border="0" src="http://winkleman.com/static/dyn-images/33/33999.jpeg" alt="Installation view, "American ReConstruction : a group exhibition of new photography." Photo by Etienne Frossard." height="333" width="500" /></a> Installation view, "American ReConstruction : a group exhibition of new photography." Photo by Etienne Frossard. <div class="exhibition-description">American ReConstruction : a group exhibition of new photography Featuring Matthew Albanese, Jowhara AlSaud, Jeremy Kost, Mark Lyon, Curtis Mann, and Cara Phillips. Organized by Michael Hoeh. May 7 - June 12, 2010 Opening Reception, Friday, May 7, 2010 Winkleman Gallery is extremely pleased to present "American ReConstruction," a group exhibition of new photography by emerging artists Matthew Albanese, Jowhara AlSaud, Jeremy Kost, Mark Lyon, Curtis Mann, and Cara Phillips. Organized by New York collector Michael Hoeh, "American ReConstruction" features artists who construct photography-based work through an array of pre- and post-printing considerations or processes. "Reconstruction" is the act of rebuilding an object or structure that had been destroyed. Hence, the post-Civil War years in US history were called "The Era of Reconstruction." In contemporary America, we are witnessing a new need to rebuild a wide series of systems: our economy, healthcare system, political system, consumer confidence, and in the new age of iPads and Facebook even our methods of communication and visual language. In this exhibition, Hoeh has brought together a group of artists whose work all touch upon these issues. Some of the artists' work is created by physically altering the raw material of photography or its subject matter--by scratching (AlSaud), bleaching (Mann), or directly building detailed models (Albanese) for the making of their images. Others work by innately focusing their camera gaze on society's impulse to rebuild or reconstruct our appearances (Phillips), personas (Kost), or environments (Lyon). For his "Strange Worlds" series, Matthew Albanese first creates highly detailed models in his studio from surprising simple materials. By then maximizing the capacity of photographic techniques (such as scale, depth of field, white balance and lighting), he produces highly emotive landscape photographs from these models in which telltale signs of the artifice compete with the astonishing illusions. Jowhara AlSaud, whose "Out of Line" series deals with the language of censorship as applied to photographic images in her native Saudi Arabia (where it's not uncommon to find skirts lengthened or sleeves crudely added with black markers in magazines or blurred out faces on billboards), etches line drawings directly onto her film and prints her photographs in a traditional darkroom process. By eliminating the faces and skin of her chosen subjects, she circumvents the cultural taboos of photography even as she illustrates how malleable the medium is. Whether the subjects of Jeremy Kost's Polaroid collages are drag queens, club kids, or barely clothed young men, his work always presents a remarkable intimate portrait of someone attempting to present themselves in a fabulous light. The paradox of the subtle insecurities Kost's portraits of extreme extroverts reveal is echoed by the complex, chaotic structure of his collages in which glamor mingles with reality. Mark Lyon's "Landscapes for the People" series focus on the use of romanticized wallpaper landscape photographs found in everyday environments. For Lyon, these photographic murals seem to serve a psychological function, given their potentially intimidating or banal locations, like dental rooms and Laundromats, as they allow the viewer an alternate mindset to nerve racking procedures or the mundane activities of everyday life. Also currently on view at the 2010 Whitney Biennial, Curtis Mann's photography begins with found images from online sources and photo-sharing websites that he orders as printed photographs and distorts with household bleach, which he uses to erase and obscure portions of their compositions. His latest series begins with photographs of the Golan Heights found on flickr. Even more abstract than his previous work, these images reference Rorschach test blotches. Titled "foldings" (referencing how they are made [being folded in half]), they also reference the two sides of the conflict in the Golan Heights and who is the rightful owner of this stretch of land. The two series included by Cara Phillips operate from opposite ends of the reality spectrum on personal beauty. In the "Singular Beauty" series of cosmetic surgeon's offices, Phillips captures the emotional significance of the chairs, beds, machines, and tools through which so many seek happiness. For "Ultraviolet Beauties," she takes head-on portraits using ultraviolet light (a tool plastic surgeon) use to show patients the damage underneath the surface of their skin. This filter allows us to see what beyond the capacity of the human eye, deeper than what a normal camera lens can record. SPECIAL EVENT On Saturday, June 5, 2010, Cara Philips will set up her UV studio at the gallery and offer collectors the opportunity to commission an Ultraviolet portrait. Please call or email for cost information and to reserve your spot if you would like to participate. Michael Hoeh is a member of the Guggenheim Photo Acquisition Committee, the Co-Chairman of Aperture Foundation's 2010 Winter Auction, and was interviewed in the January 2010 issue of Art+Auction as one of the "New Guard" of contemporary art collectors. Hoeh is also the author of the art blog <a href="http://www.ModernArtObsession.com" target="new">www.ModernArtObsession.com</a>, which is listed by The Metropolitan Museum, The Walker Art Center, and The London Times as a top online resource for contemporary art. He has been widely quoted in the press, such as the Wall Street Journal, Smithsonian Magazine, Black & White Magazine, and The Brooklyn Rail about the state of the contemporary art market. Hoeh has also guest lectured or opened his collection to graduate classes at the SVA, FIT, UCONN, and The New School. For more information, please contact Edward Winkleman @ 212.643.3152 or <a href="mailto:info@winkleman.com">info@winkleman.com</a></div> http://winkleman.com/exhibition/view/1899 Exhibition: Decalogue : Films You Can Count on Two Hands <div class="exhibition-subtitle">A mini film festival, organized by Eve Sussman</div> <div class="exhibition-dates">March 27 - May 2, 2010</div> <div class="exhibition-opening">Opens Saturday, March 27, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1867"><img border="0" src="http://winkleman.com/static/dyn-images/33/33181.jpeg" alt=""Decalogue : Films You Can Count on Two Hands," installation view of cinema. Photo by Eve Sussman." height="375" width="500" /></a> "Decalogue : Films You Can Count on Two Hands," installation view of cinema. Photo by Eve Sussman. <div class="exhibition-description">SCREENING TIMES: WEEK 1: MARCH 30 - April 4 Marcus Coates - "Radio Shaman" followed by "The Plover's Wing" Tuesday March 30 - Saturday, April 2 11:30am, 1:20pm, 3:10pm, 5:00pm Sunday, April 4 2:20pm, 4:10pm Jim Finn - "Interkosmos" Tuesday March 30 - Saturday, April 2 12:05am, 1:55pm, 3:45pm, 5:35pm Sunday, April 4 2:55pm, 4:45pm ___________________________________________ WEEK 2 : April 6 - April 11 Erin Cosgrove - "What Manner of Person Art Thou?" Tuesday, April 6 - Saturday April 10 11:50am, 2:10pm, 4:30pm Sunday, April 11 2:10pm, 4:30pm Johan Grimonprez - "dial H-I-S-T-O-R-Y" Tuesday, April 6 - Saturday April 10 1:00pm, 3:20pm, 5:40pm Sunday, April 11 3:20pm __________________________________________ WEEK 3: April 13 - April 17 Matt Stokes - "Long After Tonight" Tuesday, April 13 - Saturday, April 17 every 30 minutes beginning at 11:30am, last show 6:30pm Sunday, April 18 every 30 minutes beginning at 2:30pm, last show 5:30pm Julian Rosefeldt - "Lonely Planet" Tuesday, April 13 - Saturday, April 17 every 30 minutes beginning at 11:40am, last show 6:40pm Sunday, April 18 every 30 minutes beginning at 2:10pm, last show 5:40pm __________________________________________ WEEK 4: April 20 - April 25 Simon Lee & Algis Kizys - "Where Is the Black Beast?" Tuesday, April 20 - Saturday, April 24 every 55 minutes beginning at 11:15am, last show 6:00pm Sunday, April 25 every 55 minutes beginning at 2:15pm, last show 5:00pm Christine Rebet - "The Soul Hunter" "The Black Cabinet" "Tell me about your dreams" "Brand Band News" Tuesday, April 20 - Saturday, April 24 every 55 minutes beginning at 11:50am, last show 6:35pm Sunday, April 25 every 55 minutes beginning at 2:50pm, last show 5:35pm __________________________________________ WEEK 5: April 27 - MAY 2 Leslie Thornton - "Peggy and Fred in Hell" Tuesday, April 27, Thursday, April 29, Friday, April 30 11:50am, 2:40pm, 5:30pm Wednesday, April 28, Saturday, May 1 1:10pm, 4:00pm Sunday, May 2 2:30pm Chris Sollars - "C Red Blue J" Tuesday, April 27, Thursday, April 29, Friday, April 30 1:20pm, 4:10pm Wednesday, April 28, Saturday, May 1 11:50am, 2:40pm, 5:30pm Sunday, May 2 4:00pm ________________________________ Decalogue : Films You Can Count on Two Hands Organized by Eve Sussman March 27 - May 2, 2010 Opening: Saturday, March 27, 6-8 PM Screening- Hours: Tues. - Sat. 11-7 PM, Sun. 2-6 PM Winkleman Gallery is extremely pleased to present "Decalogue : Films You Can Count on Two Hands," an "exhibition as film festival" organized by Eve Sussman and featuring works by 10 international artists and contemporary filmmakers whose work is recognized for its innovative approaches to narrative. Converting the gallery space into a cinema, with vintage theater seating and a state-of-the-art screening system, "Decalogue : Films You Can Count on Two Hands" will operate on a regular cinema house schedule with a new double featuring running continuously each week. OPENING - March 27, 6 - 8 pm Trailers/Excerpts from the ten filmmakers WEEK 1: MARCH 30 - April 4 Jim Finn - "Interkosmos" Marcus Coates - "Radio Shaman" "The Plover's Wing" WEEK 2 : April 6 - April 11 Johan Grimonprez - "dial H-I-S-T-O-R-Y" Erin Cosgrove - "What Manner of Person Art Thou?" WEEK 3: April 13 - April 18 Julian Rosefeldt - "Lonely Planet" Matt Stokes - "Long After Tonight" WEEK 4: April 20 - April 25 Simon Lee & Algis Kizys - "Where Is the Black Beast?" Christine Rebet - "The Soul Hunter" "The Black Cabinet" "Tell me about your dreams" "Brand Band News" WEEK 5: April 27 - MAY 2 Leslie Thornton - "Peggy and Fred in Hell" Chris Sollars - "C Red Blue J" PLUS a few guests and surprises! For more information, please contact Edward Winkleman @ 212.643.3152 or info@winkleman.com</div> http://winkleman.com/exhibition/view/1867 Exhibition: #class <div class="exhibition-subtitle">Organized by Jennifer Dalton and William Powhida</div> <div class="exhibition-dates">February 21 - March 20, 2010</div> <div class="exhibition-opening">Opens Sunday, February 21, 4:00 PM - 8:00 PM</div> <a href="/exhibition/view/1848"><img border="0" src="http://winkleman.com/static/dyn-images/32/32893.jpeg" alt="#class. Organized by Jennifer Dalton and William Powhida. Discussion view." height="333" width="500" /></a> #class. Organized by Jennifer Dalton and William Powhida. Discussion view. <div class="exhibition-description">Feb 19 - Mar 20, 2010 Opening: SUNDAY, Feb 21, 4 -7 PM #class Hours: Wed. - Sun. 2-8 PM Winkleman Gallery is <strike>slightly nervous</strike> pleased to present #class, a month-long series of events organized by Jennifer Dalton and William Powhida. In the artists' own words: "#class will turn Winkleman Gallery into a 'think tank', where we will work with guest artists, critics, academics, dealers, collectors and anyone else who would like to participate to examine the way art is made and seen in our culture and to identify and propose alternatives and/or reforms to the current market system. By 'current market system' we mean the commercial model and attendant commodification of art, but also the unquantifiable, intangible, unpaid aspects of participating in the art world. We will work to physically transform Winkleman Gallery from a showroom into a think tank, where discussions and events will take place from approximately Feb 20 - March 20, 2010. These issues will be approached from three intersecting spheres of artistic practice: 'Think Space', 'Work Space', and 'Market Space'. While thinking is also work, we make the distinction here to separate the labor the organizing artists, Jennifer Dalton and William Powhida, will perform individually from the collaborative and communal dialog that we will facilitate. Among other things, we hope to reduce the amount of certainty that the audience feels when entering a gallery and encountering an art work. The outcome of this project is totally uncertain, and involves risk. We will process this uncertainty and risk artistically and respond as individual artists by making work at tables in the 'Work Space' and and displaying it in a small, marginalized 'Market Space' within the gallery. This will make explicit the conflict artists often feel between their belief in socialist or communal values and their isolated, individualistic artistic work and career. Think Space The gallery will be reconfigured from a display-space into a place for working, thinking, and hanging out. Several walls will be covered in chalkboard paint where artists and others may participate in defining and working out problems consecutively or communally. There will be chairs and tables available for visitors to use to sit and converse. We hope to improve upon and refine our current working definition that "art is a luxury commodity for the wealthy that limits the possibility of ownership, understanding, and access based on class, education and geography". We will work in the gallery to continuously update, record, and modify the information that the public provides. Eventually, we hope to move from identification and definition into analysis to propose solutions. We ourselves, along with other collaborators, will spend as much time in the gallery as possible. During some of this time, we will participate simply by talking, drinking, and working on the walls themselves as we would in a private studio. Members of the public will be welcome to join in on the dialog and make themselves comfortable. We believe that this aspect of the project will implicitly challenge some of the expectations of the market including (1) that most art is produced in private by individual artists and (2) is presented as a finished product ready for consumption. We hope to make our thought process tangible. The last goal of the Think Space will be promote a critical and academic dialog around the project and attendant developing ideas by hosting a series of informal events and discussions involving critics, bloggers, artists, dealers, collectors, academics, and the general public through a call-for-proposals. We would like to avoid the professionalism and authority of traditional panels by making the discussions less formal and encouraging people to speak with greater freedom and candor about the subjects by plying them with food and drink. We will have a full calendar of performances, discussions, and uncategorizable art-like events, all invested with the aim of enlarging and deepening the conversation about the intersection of art and the market. Work Space As the show progresses, the individual artists Jennifer Dalton and William Powhida plan to participate in the market by making art work inspired by the information, events and discussions generated in the space. At the work tables in the space, in public, we will create small works on paper based on our interpretation and documentation of the evolving project. This work will not be priced in the usual commercial manner, premised on 'what the market will bear' based on our past work and reputations. Instead, we plan to offer our work to the highest bidder with no reserve. We may offer suggested guidelines for appropriate prices, such as one day of the buyer's income from his or her job, 0.1% of his or her net worth, etc. However, the buyers will be free to offer whatever price they see fit, and the artists will be obliged to sell the work at the highest offered price. Market Space There will be a clearly defined, physically marginalized Market Space within the gallery where these works can be displayed and marketed to those who would like to view or purchase them. Our transparent complicity in the market and the proximity of the think/market spaces to the work space will help steer the discussion back to the emotional conflict between ideals and reality." For a complete list and schedule of the events and discussion in #class, visit the exhibition's website : <a href="http://hashtagclass.blogspot.com">http://hashtagclass.blogspot.com</a> For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com William Powhida appears courtesy of Schroeder Romero & Shredder, New York</div> http://winkleman.com/exhibition/view/1848 Exhibition: Ulrich Gebert <div class="exhibition-subtitle">This Much Is Certain</div> <div class="exhibition-dates">January 8 - February 13, 2010</div> <div class="exhibition-opening">Opens Friday, January 8, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1821"><img border="0" src="http://winkleman.com/static/dyn-images/31/31723.jpeg" alt="Ulrich Gebert, "This Much Is Certain," installation view. Photo by Etienne Frossard." height="333" width="500" /></a> Ulrich Gebert, "This Much Is Certain," installation view. Photo by Etienne Frossard. <div class="exhibition-description">Winkleman Gallery is very pleased to inaugurate our new location with This Much Is Certain, the first New York solo exhibition by German conceptual photographer Ulrich Gebert. With selections from two series of his image-cycles, Typus (2005) and Life among beasts (2009), This Much Is Certain serves as an introduction to Gebert's work in which he examines explosive topics--such as racism and power structures--via unspectacular motifs presented in quasi-scientific and sometimes unsettlingly humorous arrangements. In each of the three tableaus from the Typus series, for example, Gebert presents 6-7 photographs of coniferous trees ordered by species. Photographed by trekking to remote botanical gardens and parks, often retracing the steps of 19th century scientists, the Typus tableaus are juxtaposed with a "List of Invalid Names": a list of Latin terms that are no longer in use, making the reconciliation of competing names a difficult process and shattering the fantasies of their original christenings toward an authoritative ordering of nature. In doing so, Gebert also alludes to the darker side of cataloging nature, specifically with regards to totalitarian categorizations of humans. Similarly, in the Life among beasts series, Gebert presents tableaus of two to five cropped photographs of humans physically interacting with animals. The results are both disturbing and awkwardly tender. New unusual creatures are suggested through the compositions, as impressions of brutality are counterbalanced with an almost absurd humor. Here again, the crisp aesthetics of the presentation suggest a fantasy of order that undercut by closer consideration. Ulrich Gebert was born in Munich and lives and works in Munich and Leipzig. He received his Masters in Photography at Royal College of Art, London, and studied at the Glasgow School of Art and with Timm Rautert at the Academy of Visual Arts in Leipzig. Recent exhibitions include a solo show at KLEMM'S in Berlin; a group exhibition at project space 176/Zabludowicz Collection, London; and exhibitions at the Kunstverein Hildesheim, the University of Salamanca, and the Pfaffenhofer Kunstverein. For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com. Winkleman Gallery 621 West 27th Street (NEW LOCATION) New York, NY 10001</div> http://winkleman.com/exhibition/view/1821 Exhibition: Ivin Ballen <div class="exhibition-subtitle">Sleepless in Seattle at Winkleman Concert Hall</div> <div class="exhibition-dates">October 30 - December 23, 2009</div> <div class="exhibition-opening">Opens Friday, October 30, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1722"><img border="0" src="http://winkleman.com/static/dyn-images/29/29356.jpeg" alt="Ivin Ballen's "Sleepless in Seattle at Winkleman Concert Hall"" height="333" width="500" /></a> Ivin Ballen's "Sleepless in Seattle at Winkleman Concert Hall" <div class="exhibition-description">Winkleman Gallery is very pleased to present Sleepless in Seattle at Winkleman Concert Hall, our second solo exhibition by New York artist Ivin Ballen. Featuring new paintings and sculpture, including "Stage" (which will double as an actual performance platform and sound system for a series of weekly performances by a line-up of emerging New York area bands), Sleepless in Seattle at Winkleman Concert Hall embodies nostalgia, performance of the moment, and illusion of material to create an effect that anticipates the inevitable change to come. Elaborating on the decision to invite musicians to participate in his exhibition, and its title, Ballen wrote: <blockquote>Sam Baldwin is mourning the loss of his wife and coming to terms with the fact that his happiness is dependent on companionship. It is not an uncommon story. Through tender circumstance, Sam finds his true second love in Annie Reed. Sleepless in Seattle (1993), with Tom Hanks and Meg Ryan, focuses on the trials of renewed life. Although the film's focus is one of an inevitable romance, a strong feeling of bereavement hovers over the plot. It is the loss of life that is spurring the adaptation in Sam's life. Death leads Annie Reed to Sam Baldwin through the radio, which is followed by a fairy-tale chain of events deliberately referencing all but the tragic ending in An Affair to Remember (1957). It gives heartening prospect to see a hopeful outcome in Sleepless in Seattle. Sleepless in Seattle at Winkleman Concert Hall explores inward feelings and draws on how we cope and adapt to chance in life. The stage is introduced into this show literally as a place for performance. Winkleman Gallery is transformed into a makeshift concert hall and a place of rejuvenation for both art watchers and music goers. Life brings unexpected turns and we can be happy to roll with them, taking old objects and reconfiguring them to continue their use cycle. I am advocating a lifestyle of adaptation and am bringing that conversation to the composition of sound and performance.</blockquote> Musical performances are scheduled throughout the duration of the show. Opening night Honne Wells will perform at 6:30 PM, followed by Storms. Other musical artists including, but not limited to: Big Game, Perfect Wieners and Butts, Pete and J, Scandinavian Half-Breeds, and Chris Pandolfi (of The Stringdusters) will be performing on dates to be announced on the exhibition's blog: <a href="http://winklemanconcerthall.blogspot.com">http://winklemanconcerthall.blogspot.com. For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</div> http://winkleman.com/exhibition/view/1722 Exhibition: Andy Yoder <div class="exhibition-subtitle">Man Cave</div> <div class="exhibition-dates">September 10 - October 24, 2009</div> <div class="exhibition-opening">Opens Thursday, September 10, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1721"><img border="0" src="http://winkleman.com/static/dyn-images/26/26340.jpeg" alt="Door Number Four" height="476" width="500" /></a> Andy Yoder, Door Number Four, 2008 Mixed media, 8' x 8' x 4" (244 x 244 x 10cm) <div class="exhibition-description">Winkleman Gallery is very pleased to present Man Cave, our third solo exhibition by Vermont-based sculptor Andy Yoder. In a new body of large-scale and mid-sized sculptures, Yoder continues his exploration of the subtexts of our relationships with domestic objects and the symbols of suburban living. Concerned specifically with the conflicts that arise from human domestication, via cultural expectations of conformity and assimilation, Man Cave takes as its central focus the rooms in American homes generally viewed as "masculine"---the basement, den, or garage---in which men typically arrange as they wish the tools, sporting equipment, and collected objects designed to tame the great outdoors or simply symbolize their more violent nature. The various states of disuse of such objects serves as constant reminders not only of unrealized potential, but their neglect often mocks the very spirit that draws men to them. In Man Cave, through a poetic matching of object and material, Yoder plays with gender stereotypes by feminizing objects that are usually considered male, underscoring the types of universal conflicts that play themselves out inside the privacy of homes...male aggression vs. female submissiveness, machismo vs. domesticity. Surplus hubcaps are cast in lead crystal, with unique additional designs cut by a master craftsman from Ireland. A life-size garage door covered in pink silk flowers, referencing perhaps both abstract painting and caskets. A life preserver is fashioned from red coyote fur, glamorizing the keepsake even as it renders it unusable and a reminder that status and wealth are meaningless on a sinking ship. The centerpiece of the exhibition, Mister D, is a nine-foot-tall bowling pin covered in thousands of bright pink silk roses. Looming over the viewers like a parent over a child, both masculine and feminine, attractive but faintly intimidating, Mister D epitomizes the built-in contradiction Yoder is highlighting throughout the exhibition. Like a bullet, its elegant, Brancusi-like form belies the violence of its function. Andy Yoder has exhibited widely throughout the United States and Europe. In addition to two invitations to the American Academy of Arts and Letters annual exhibitions (2003 and 2007), he has exhibited at the Brooklyn Museum, the Reykjavik Art Museum, and will be included in the upcoming exhibition of new sculpture at the Saatchi Gallery in London titled "Shape of Things to Come." His work has been reviewed in Art in America, The Village Voice, The New York Times, TimeOut New York and others. For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</div> http://winkleman.com/exhibition/view/1721 Exhibition: Shane Hope <div class="exhibition-subtitle">Your Mom Is Open Source</div> <div class="exhibition-dates">June 26 - August 14, 2009</div> <div class="exhibition-opening">Opens Friday, June 26, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1628"><img border="0" src="http://winkleman.com/static/dyn-images/25/25611.jpeg" alt="hyperneckerdeathcube" height="500" width="500" /></a> Shane Hope, hyperneckerdeathcube, 2009 Archival pigment print, 48" x 48" (122 x 122cm) <div class="exhibition-description">FOR IMMEDIATE RELEASE June 6, 2009 Shane Hope Your Mom Is Open Source EXTENDED: June 26 - August 14, 2009 Opening: Friday, June 26, 6-8 PM Summer Gallery Hours: Tue - Fri, 11-6 PM Winkleman Gallery is very pleased to present "Your Mom Is Open Source," our first solo exhibition by New York-based artist Shane Hope. In his latest suite of Molecular Modeling prints ("Mol Mods") and "Compile-a-Child" drawings, Hope collapses possible futures like technoprogressive child's play. Foreseeable advances in neuro-, cyber-, gene-, and nano-technologies will likely snowball our transition into "posthumans," beings whose basic capacities so radically exceed those of present humans as to be no longer unambiguously human by our current standards. Molecular manufacturing, artificial general intelligence, and life extension technologies may make possible the printing of printers, inventing inventors, as well as the expansion of ontological wiggle-room into and across novel substrates. Asserting that art can provide key pictorial explorations into the ramifications of more precise manipulations of the smaller basic building blocks, Hope's "Mol Mods" playfully unravel the world at these scales by foreshadowing newly fantastical conflations of building and growing. Rendered and built with customized versions of user-sponsored open-source molecular visualization systems, these hyper-detailed monotypes anticipate their own actualization by way of nanofacture and picture junk sculptures, seashell crafts, among other molecularly doodled composited chimeras each developing from an embryonic stage; animals fashioned from flowchart cells woven into food webs connected by arrows that hitherto indicated the folds and twists of proteins; carbon nanotube moths flapping amidst balloon animal monkey molecules and less definitive evolutures with buckyballs in their eyes. Hope also traces technological trajectories through his "Compile-a-Child" drawings, which appear as grade-school, diaristic musings of forecasted artificially selected mind-children. These speculative anecdotal vignettes include child instantiations restored from backup; "builtday" party activity lists; getting grounded as a singleton; uplifting sub-sentient life forms and not-quite-so-living things as domesticated pets; and saving money to afford the xmit rights to resurrect relatives. As in our present time, Hope's imagined offspring from the future command an unmistakable candor through which prescient peek-a-boos into all-powerful playpens innocently showcase our forthcoming world of transhumanity. Keywords: Technoprogressivism, Transhumanism, H+ (Humanity Plus), Posthuman, Singularitarianism, Technological Singularity, Futurology, Human Enhancement Technologies (HET), Immortalism, Life Extension Technologies, Strategies for Engineered Negligible Senescence (SENS), Emerging Technologies, Converging Technologies, Uploaded Consciousnesses, Simulation Hypothesis, Self-Improving Friendly AI, AGI (Artificial General Intelligence), Superintelligence, Exocortex, Molecular Manufacturing, Nanofacture, Molecular Nanotechnology, Molecular Machines, Molecular Assembly, Synthetic Biology, Open Source, Post-Scarcity, Computronium, Wearable Computing, Transsubstrational, Afterlife Backdoors, Deathcubes, Augmentally Challenged, Speculativernacular, Fabbers, Fungible Infomorphs, Exprisonment, Spawning, Forking, Meatbodies, Nanoblockonomics, Chronomordant, Biots, Splines, Collablobject-Oriented, Infacteous, Data-Debased, graviTV, Infophagy, Syncthetic, Spinfrastructure, Compile-A-Child, 'Zymes, Turingosity, JunkDNAnarc-Keys, Got-Watt-a-Lot-Bots, Perv'd Plexus, Kilo-IQ, and Morphogenetic Commons. Shane Hope received his MFA from the University of California San Diego in 2002 and has attended the University of California Los Angeles, the San Francisco Art Institute, and the Skowhegan School of Painting and Sculpture. He has exhibited at Virgil de Voldere Gallery in New York; Project Gentili, in Prato, Italy; iMAL (interactive Media Art Laboratory) in Brussels, Belgium, Rosamund Felson Gallery in Los Angeles and Susanne Vielmetter Los Angeles Projects. Hope's work is also currently featured in the 2009 Prague Biennale. For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</div> http://winkleman.com/exhibition/view/1628 Exhibition: Eve Sussman & Rufus Corporation <div class="exhibition-subtitle">White on White: The Pilot (just like being there)</div> <div class="exhibition-dates">May 15 - June 20, 2009</div> <div class="exhibition-opening">Opens Friday, May 15, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1627"><img border="0" src="http://winkleman.com/static/dyn-images/25/25483.jpeg" alt="Installation view, Eve Sussman and Rufus Corporation, "White on White: The Pilot (just like being there)"" height="333" width="500" /></a> Installation view, Eve Sussman and Rufus Corporation, "White on White: The Pilot (just like being there)" <div class="exhibition-description">FOR IMMEDIATE RELEASE April 18, 2009 Eve Sussman and Rufus Corporation White on White: The Pilot (just like being there) May 15 - June 20, 2009 Opening: Friday, May 15, 6-8 PM Gallery Hours: Tuesday - Saturday, 11-6 PM Founded on a premise of 60's-era-evil-think-tank-meets-traveling circus, the group of collaborators known as Rufus Corporation have embarked on an expedition-cum-artwork that morphs into a cinema verité thriller as it moves from Moscow to the Caspian. They encounter time capsules and testaments to both past and present failed utopias. Their search, as they log the banalities of daily life, is for places, devices and people that are prescient as premonitions for the future. In July 2007, inspired by Kazimir Malevich's manifestos and the conundrums of `space', Eve Sussman, Claudia de Serpa Soares, and Jeff Wood attempted to gain access to the Baikonur Cosmodrome in the middle of the Central Asian steppe (the highly secured facility that is the heart of the Russian space program and the launch site of Yuri Gagarin, first man in orbit). Their goal was to resolve Wood's hankering to 'go to space,' a desire he felt was perfectly in line with Malevich's declaration "I am the chairman of space." Stopped at the gate and detained by the Federal Security Service of the Russian Federation (FSB), fingerprinted, iris scanned, and debriefed, they were later released from the Baikonur police station onto the platform of a train bound for the Aral Sea -- site of endless salt residue, where roaming camels and horses rest in the shade of rusting hulks in what locals call the `ship graveyard', one of the biggest environmental disasters known to man. They continued on to a city described to them as the 'arm-pit' of the steppe. An ordered numerical Soviet era utopia built where the desert meets the Caspian. A perfectly planned environment that lacked the essential substance of human life: water. So began Eve Sussman and Rufus Corporation's latest venture. Known for their previous projects 89 Seconds at Alcázar and The Rape of the Sabine Women, Rufus is in production on an expedition-cum-art-work that will culminate in a cinema verité thriller, White on White, that they describe as an improvised film noir culled from everyday life on the road between Moscow and the Caspian. Over the next year, episodes of the project will be released as "TV shows" using every possible platform, including the art gallery, as a means for broadcast. Similarly, cinematic convention is just one of the devices employed. The series also includes photographs, storyboards, installations and sculptures, each episode inevitably ending with...to be continued... Winkleman Gallery is very pleased to present the first of these episodes: "White on White: The Pilot (just like being there)," which will feature two artworks - points of departure on the subjects of time, space, past, future and Sussman's constant subject 'dailiness'. The centerpiece of White on White: The Pilot (the title a word play on the television pilot and famed astronaut and test pilot Yuri Gagarin) is Yuri's Office, a set for the upcoming TV show. Based on Sussman's photograph, Yuri's Office, this detailed recreation, by Sussman and Nicolas Locke, is inspired by the museumification of the real office of Gagarin. The installation takes on the desire to freeze time, to impose cryogenics on space when it is still untenable to freeze people. A second video installation How to tell the future from the Past, v.2 (HtttFftPv.2), by Eve Sussman and Angela Christlieb - shot during a 72-hour train journey across the steppe - conceptualizes time with the manifestation of humanity as the constant, as daily life - history in the making - runs backwards and forwards simultaneously. HtttFftPv.2 elevates the characteristics of humanity that transcend time, exposing us, un-empowered against it. Both pieces act as a visual 'captain's log', marking time, as if to build a dam of toothpicks against the deluge. To read more go to: http://www.rufuscorporation.com/wordpress/ For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</div> http://winkleman.com/exhibition/view/1627 Exhibition: Jennifer Dalton <div class="exhibition-subtitle">The Reappraisal</div> <div class="exhibition-dates">April 3 - May 9, 2009</div> <div class="exhibition-opening">Opens Friday, April 10, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1626"><img border="0" src="http://winkleman.com/static/dyn-images/24/24525.jpeg" alt="Jennifer Dalton, "The Reappraisal," installation view." height="375" width="500" /></a> Jennifer Dalton, "The Reappraisal," installation view. <div class="exhibition-description">FOR IMMEDIATE RELEASE Jennifer Dalton The Reappraisal April 3 - May 9, 2009 Opening: Friday, April 10, 6-8 PM Gallery Hours: Tuesday - Saturday, 11-6 PM Winkleman Gallery is very pleased to present "The Reappraisal," our fourth solo exhibition by New York artist Jennifer Dalton. In 1999 Dalton presented her project "The Appraisal" at Chelsea's Steffany Martz Gallery. At that time, Dalton was 31 years old and living a typical graduate student lifestyle, having been one until just the previous year. Presented in the project space of the gallery, this was her first solo exhibition in New York. Inspired by her "day job" at Christie's auction house where she catalogued the desirable possessions of its clients, in "The Appraisal" Dalton photographed, described and self-appraised every item in the small apartment she shared with her then-boyfriend, including the furniture she had scavenged from the street, the paintings and sculptures she had made in her living room/art studio, and the artworks she had acquired through trades with her artist friends. She then hired Christie's to conduct an official appraisal of her "estate" and compared her appraisal with their professional version to humbling effect. Finally, as part of the project, she sold a cross-section of her belongings on the auction website eBay, in an attempt to find the true value of each object. Ten years later the boyfriend is a husband and Dalton qualifies as a homeowner, a mom, and a not-entirely-reluctant member of the bourgeois class. How does her lifestyle stack up against 2009's recently acquired values of austerity, anti-materialism and green living? Has she become a yuppie? Viewers of the exhibition can decide for themselves, appraising her economic footprint* and the accouterments of her trajectory into middle age. In "The Reappraisal," everything in the house Dalton shares with her husband and four-year-old son is for sale, provided would-be collectors are willing to pay the price arrived at through her family's level of attachment to a particular object. Every household item--from graduate student paintings to the cleaning supplies under the kitchen sink to the planter in the back yard--has been photographed and appraised by both her and, again, Christie's auction house. Presented in simple frames on rows of industrial shelving, like volumes in a library, each photograph and description has been color-coded by object type and placed in order by Dalton's level of attachment to it, and thus by what she calls "Your Price." Each object actually has three values attached to it: What Dalton thinks the item might be worth to other people; what Christie's thinks the item is worth based on their expertise; and "Your Price," the price at which it can be purchased through the exhibition. "Your Price" ranges from $500,000 on the high end for irreplaceable tchotchkes passed down through her family to minus $5, meaning Dalton will give you $5 if you come to her house and take it away. More than a follow-up to the project Dalton first did 10 years ago, "The Reappraisal" is a meditation on materialism, growing up, and the extent to which we can properly judge ourselves and each other by the contents of our bookshelves, refrigerators and medicine cabinets. *h/t www.williampowhida.blogspot.com Jennifer Dalton received her BFA from UCLA and her M.F.A. from the Pratt Institute in New York. Her work has been exhibited throughout the United States and Europe, including in: "Wall Rockets: Contemporary Artists and Ed Ruscha," curated by Lisa Dennison, Flag Art Foundation, NYC; "Attention to Detail," curated by Chuck Close, Flag Art Foundation, NYC; "Made in America," curated by Janet Phelps, Peel Gallery, Houston, TX; "Air Kissing: An Exhibition of Contemporary Art About the Art World," curated by Sasha Archibald, Arcadia University Art Gallery, Glenside, PA; and "The Cult of Personality: Portraits of Mass Culture," Carriage Trade, NYC and Galerie Erna Hécey, Brussels, Belgium. Her work has been reviewed in Artforum, The New York Times, The New Yorker, Art Review, Art + Auction, ArtNews, and Art in America, among other publications. </div> http://winkleman.com/exhibition/view/1626 Exhibition: Christopher Lowry Johnson <div class="exhibition-subtitle">What We Call Progress Is This Storm</div> <div class="exhibition-dates">February 27 - March 28, 2009</div> <div class="exhibition-opening">Opens Friday, February 27, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1594"><img border="0" src="http://winkleman.com/static/dyn-images/23/23631.jpeg" alt="Christopher Lowry Johnson, "What We Call Progress Is This Storm," installation view." height="305" width="500" /></a> Christopher Lowry Johnson, "What We Call Progress Is This Storm," installation view. <div class="exhibition-description">Winkleman Gallery is very pleased to present "What We Call Progress Is This Storm," our fourth solo exhibition by New York artist Christopher Lowry Johnson. In this new body of work, Johnson explores the intersections of modern Americana and American painting through the central themes of ruin, renewal, and remembrance. With imagery sourced in symbols of "modern living"--skyscrapers, satellite images on "Google Maps," suburban neighborhoods, and city scaffolding--Johnson's richly-layered, mosaic-like paintings blend somber palettes with complex, built-up surfaces resulting in works that convey an intense sense of contained agitation. Each painting in this new series is a deliberate consequence of imposing on it multiple possible frameworks; the residual history of its surface helping to determine the eventual form of the picture. From the ruins of earlier efforts a new framework is revealed, one that is not as rigid but precarious, more human. The simplest grids are thwarted, subtlety shaken from their rigidity, in some works suggesting that precise moment just before a total implosion in controlled demolitions. Johnson's images are derived from his contemplating places known and felt, some only half-remembered but from a memory of them like no other. These paintings seem to conjure older forms, modernist and optimistic while simultaneously functioning as an efficacious portrayal of contemporary anxiety. <blockquote>"Where a chain of events appears before us, He sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it at his feet...But a storm is blowing from Paradise and has got caught in his wings; it is so strong that the angel can no longer close them. This storm drives irresistibly into the future, to which his back is turned, while the pile of debris before him grows toward the sky. What we call progress is this storm." ---Walter Benjamin, "On the Concept of History"</blockquote> Christopher Lowry Johnson received his BFA from the Pennsylvania State University and his M.F.A. from The School of the Art Institute of Chicago. His work has been exhibited widely throughout the United States and reviewed in TimeOut New York, The New Yorker, The New York Times, and Contemporary magazine and featured in Harper's magazine and the book by John Waters and Bruce Hainley, Art: A Sex Book. For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</div> http://winkleman.com/exhibition/view/1594 Exhibition: Things Fall Apart <div class="exhibition-subtitle">A Group Exhibition curated by Joy Garnett</div> <div class="exhibition-dates">January 16 - February 21, 2009</div> <div class="exhibition-opening">Opens Friday, January 16, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1581"><img border="0" src="http://winkleman.com/static/dyn-images/22/22741.jpeg" alt="Installation view, "Things Fall Apart"" height="375" width="500" /></a> Installation view, "Things Fall Apart" <div class="exhibition-description">Featuring work by Stephen Andrews Paul Chan + The Front Mounir Fatmi Yevgeniy Fiks Joy Garnett Susan Hefuna Christopher Lowry Johnson Carlos Motta Renata Poljak Susan Silas Winkleman Gallery is very pleased to present Things Fall Apart, a group exhibition curated by Joy Garnett. January 16 - February 21, 2009 Opening reception: Friday, January 16, 6-8pm. Things Fall Apart takes its title from a line in a well-known poem by William Butler Yeats1 that warns of ominous forces unleashed in the political vacuum following World War I. The poem reverberates in twentieth and twenty first century literature and culture, from Chinua Achebe's eponymous novel2 about African societies giving way under colonialism, to Joan Didion's collection of essays on California in the 1960s3, to Oliver Stone's Nixon. Allusions to the poem regularly color news items, notably The Economist's cover story after the U.S. market collapse, and New York Times articles covering the failed war in Iraq, the increasing dysfunction of the U.S. right wing political axis, and the spread of the current economic crisis to global markets. If Yeats' poetic imagery and its subsequent iterations seethe with foreboding and even despair, by contrast, the international group of artists presented in Things Fall Apart mark precipitous global power shifts in their work while positing the darkest moments--when things fall apart--as salient points of departure for change. The graphically political work of Mounir Fatmi (Morocco) directly addresses the constructed political hierarchies at hand: flags of each of the G8 nations are poised like so many icons of power atop push-brooms, symbolizing the burden placed upon those who bear the brunt of the global decision-making system, and emphasizing its forced semblance of equilibrium. Global power dynamics and the intricate process of enemy construction are likewise made legible in the oil paintings of Yevgeniy Fiks (Russia), which point to a forgotten moment in U.S. history (1943-1944) when the goals of the American and Soviet propaganda machines coincided; the story turns poignantly on the ironic twist provided during the McCarthy hearings, when artists fulfilling that particular call to patriotism were rewarded by being blacklisted. Nationalist propaganda is again repurposed as so much raw material when Joy Garnett (USA) re-invents the candy-coated public relations photographs from the Yangtse Three Gorges Development Corporation website in a series of oil paintings that show the earth itself giving way in the widening gyre of China's monumental and controversial public works project. Plucked from televised footage of the earliest US bombardment of Iraq after 9/11, the drawings of Stephen Andrews (Canada) signal the coming of the Americans as "liberators" with a mixture of horror and humor, focusing on those instants, magnified by the media, when everything changes irrevocably. Paul Chan (USA/Hong Kong) and members of the New Orleans-based artist-run collective The Front4 present a selection of drawings, prints and photographs direct from the Ninth Ward, NOLA's ground zero. Displayed salon-style, these works combine images of destruction and displacement, personal memory and political disturbance, reflecting the people and places of the Gulf Coast in the aftermath of Hurricane Katrina. In her new dual-channel video installation, Renata Poljak (Croatia) explores the intersections of the personal and the political, identity and nationalism, by juxtaposing the escalating collapse of a fictional relationship with the suppressed history and memory of the war between Serbia and Croatia. Susan Silas (USA/Hungary) inverts memories of past barbarism through a haunting retrospective lens with her series of paired photographs that reunite images from the Olympic Stadium in what was once West Berlin, with images from the Jewish Cemetery at Weißensee, in what used to be East Berlin. The layered, transparent drawings of multimedia artist Susan Hefuna (Egypt/Germany) play on metaphors of separateness and stereotypes of otherness through the filter of her dual heritage; multiple vantage points and interpretations--from the Modernist grid to Orientalist mystification--infuse her abstract renderings of mashrabiya screens, a traditional Islamic latticework window element that allow a building's inhabitants to observe the outside world while remaining hidden. Carlos Motta's (Colombia) stacked, mass-produced newspapers comprehensively list the history of U.S. global interventions in Latin America in print form, offering a bloody inventory of counterinsurgency, weapons use, psychological warfare, interrogation and environmental degradation; the broadsheet points to the production of alternative histories, and suggests both the potential power as well as possible limitations of distributing information freely to the public. In his latest series of oil paintings drawn from news items covering the implosion of derelict buildings across the country, Christopher Lowry Johnson (USA) zeros-in on our brute fascination with physical destruction, while suggesting a climactic end to the era of American global dominance. Brimming with the heartbreaking drama of a lost "Americana," this work evokes a once powerful and alluring past now very much past its prime and facing the prospect of being torn down in order to start anew. 1. THE SECOND COMING By W.B. Yeats (1920) Turning and turning in the widening gyre, The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born? 2. Achebe, Chinua. 1958. Things fall apart. London [u.a.]: Heinemann. 3. Didion, Joan. 1968. Slouching towards Bethlehem. New York: Farrar, Straus & Giroux. 4. The 14 artists who form The Front are Kyle Bravo, Andrea Ferguson, Rachel Jones, Morgana King, Jenny Le Blanc, Michelle Levine, Jennifer Odem, Stephanie Patton, Julie Pieri, Claire Rau, Jeff Rinehart, Megan Roniger, Natalie Sciortino and Jonathan Traviesa. The Front is located at 4100 St. Claude Ave., New Orleans, LA 70117. More info: http://www.nolafront.org/</div> http://winkleman.com/exhibition/view/1581 Exhibition: Gulnara Kasmalieva and Muratbek Djuamliev <div class="exhibition-subtitle">A New Silk Road</div> <div class="exhibition-dates">November 13, 2008 - January 10, 2009</div> <div class="exhibition-opening">Opens Thursday, November 13, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1435"><img border="0" src="http://winkleman.com/static/dyn-images/20/20951.jpeg" alt="Gulnara Kasmalieva & Muratbek Djumaliev, "A New Silk Road," installation view." height="318" width="500" /></a> Gulnara Kasmalieva & Muratbek Djumaliev, "A New Silk Road," installation view. <div class="exhibition-description">Gulnara Kasmalieva & Muratbek Djumaliev A New Silk Road November 13 - January 10, 2009 Opening: Thursday, November 13, 6-8 PM Gallery Hours: Tuesday - Saturday, 11-6 PM Winkleman Gallery is very pleased to present "A New Silk Road," our second solo exhibition by Kyrgyz artists Gulnara Kasmalieva and Muratbek Djumaliev. Featuring photography and a stunning five-channel video, commissioned in 2007 by the Art Institute of Chicago, together this gorgeous body of work forms an essay on the local impact of global economics. Shot along the highways and small villages connecting China through the Central Asian country Kyrgyzstan to the Western markets--one of the actual routes that still form the renowned "Silk Road"--Kasmalieva and Djumaliev's images and video capture the determination and resourcefulness that define this mountainous, poverty-stricken region. As Lisa Dorin, Assistant Curator of the Art Institute of Chicago's Department of Contemporary Art, wrote in her essay on the commission, "The five-channel video installation...provides an abstract set of instruction for resilience in the face of hardship." Indeed, the central messages of "The New Silk Road" take on a wider poignancy as the entire world begins to reel from an economic crisis that seems to know no boundaries. Subtitled "Algorithm of Survival and Hope," the five-channel video presents a nearly hypnotic panorama of exquisitely edited scenes juxtaposing the dilapidated Soviet trucks (that continuously break down as they haul carriages of scrap metal from Central Asia into China) against the caravan of shiny, behemoth Chinese 18-wheelers barreling through the narrow passes filled with cheaply manufactured good destined for European markets. Along the way, the residents of the Kyrgyz farms and tiny towns exhibit stunning entrepreneurial ingenuity in finding ways to bond with and benefit from the drivers of both sets of trucks. Dorin summarized the piece beautifully, noting "Devoid of nostalgia for the ancient Silk Road, with all of its romantic connotations, the project foregrounds instead the contradictory currents in the existence faced by the living, breathing populations along these well-worn trade routes." Gulnara Kasmalieva and Murtabek Djumaliev live and work in the Kyrgyz capital, Bishkek, where they also organize and curate the highly acclaimed international biennial "Bishkek Contemporary Art Exhibition." In addition to a solo exhibition at the Art Institute in Chicago in 2007, they have exhibited at the Venice Biennale, the Singapore Biennale, the Shanghai Zendai Museum of Modern Art, the Montreal Biennial, the Museum of Contemporary Art in Taipei, and many other international museums and biennial. Their work has been reviewed in Artforum, Flash Art, Frieze, Art in America, and many other arts publications. For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</div> http://winkleman.com/exhibition/view/1435 Exhibition: The Chadwicks <div class="exhibition-subtitle">The Genretron</div> <div class="exhibition-dates">October 10 - November 8, 2008</div> <div class="exhibition-opening">Opens Friday, October 10, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1434"><img border="0" src="http://winkleman.com/static/dyn-images/19/19726.jpeg" alt="The Chadwicks, "The Genretron", interior." height="375" width="500" /></a> The Chadwicks, "The Genretron", interior. <div class="exhibition-description">A reproduction of the Chadwicks' famous Genretron will go on public view, for the first time, October 10th at Winkleman Gallery in New York--637 West 27th Street in Chelsea. The jewel of Chadwick Manor, The Genretron is a panoramic model built by the Chadwicks in the nineteenth century for the close study of Dutch landscape painting. Viewing from the central oculus, the Chadwicks used the surrounding diorama to immerse themselves in the physical atmosphere of their favorite landscapists--Hobbema, Ruisdael, Van Goyen, Van der Neer, Van Ostade, and many of the lesser shipwreck artists. This kind of immersion was crucial for their eccentric and little-known treatises on landscape aesthetics and genre painting, like Foreground Floor Debris (which hangs concurrently in the gallery). Still largely unpublished, this theoretical writing sheds light on the extreme values the family brought to the appreciation of Dutch painting. In one of the latest and most strident of these works--The Onanist Cloud--the Chadwicks wrote of seventeenth-century Dutch art as the definitive moment in which landscape painting "vomited up the tyrant Christian landlords" who had until then "monopolized space with their tired stories." The effect of these stories in the painting, to the Chadwicks' way of thinking, had "contorted surrounding bodies into doctrinal registration machines whose gestures bureaucratized time." For the Chadwicks it was Dutch painting that cleared this situation away, providing "infinite reservoirs of liberatingly mundane sequence"--freed from "managerial psychologies shown `absorbing' heroic narrative messages, or simply undergoing History with a capital H." The Chadwicks wrote of liberating mundanity not because they sought to avoid the `big issues,' but because they found those issues precisely in art, like Dutch genre painting, that dispersed rather than packaged narrative--opening it to an infinity of paths and itineraries. Though the Chadwicks hardly need an introduction, still the family is not as well known now as it was from the seventeenth to the nineteenth centuries, when its prominent role both in polite society of London and in greener colonial outposts like New Amsterdam brought family members constantly before the public eye. As eminent connoisseurs, sea captains, naval engineers and amateur historians, the Chadwicks amassed one of the great collections of nautical figurines, genre paintings and difficult-to-attribute manuscripts in Western culture. Held privately at the family estates for several centuries, this material is now finding its way before the long-curious public. This is a process overseen by the conservator J. Blachly and the literary historian Lytle Shaw, editors of the Chadwick Family Archive--principal overseers, also, of the current Genretron reconstruction. "As editors of the Chadwick family papers, Blachly and Shaw have collaborated on projects for Soft Sites, Institute of Contemporary Art/Bartram's Garden, Philadelphia, PA; Romantic Detachment, P.S. 1/MoMA, Long Island City, NY; and Artists to Artist, Ace Gallery, New York, NY. Jimbo Blachly's work has been exhibited widely including at the Sculpture Center, Long Island City, NY; Elizabeth Harris Gallery, New York, NY; Cirius Arts Center Cobh, Ireland; and Hunter College's Bertha and Karl Leubsdorf Art Gallery, New York, NY. He has received fellowships from the Farpath Fellowship, Dijon, France, and the Bellagio Fellowship from the Rockefeller Foundation. He earned his BFA from The School of the Art Institute, Chicago, IL, and his MFA from University of Wisconsin, Madison, WI. Lytle Shaw's poetry books include Principles of the Emeryville Shellmound, Low Level Bureaucratic Structures: A Novel, Cable Factory 20 and The Lobe. He wrote the critical study, Frank O'Hara: The Poetics of Coterie; and catalog essays on Robert Smithson for DIA Center and on The Royal Art Lodge for The Drawing Center. He is an assistant professor of English at New York University. He earned a BA in English at Cornell University, Ithaca, NY, and Ph.D. in English from University of California, Berkeley." For More Information Contact Winkleman Gallery 637 West 27th Street New York, NY 10001 T: 212.643.3152 F: 212.643.2040 info@winkleman.com Hours: Tuesday - Saturday, 11 - 6 PM</div> http://winkleman.com/exhibition/view/1434 Exhibition: Yevgeniy Fiks <div class="exhibition-subtitle">Adopt Lenin</div> <div class="exhibition-dates">September 5 - October 4, 2008</div> <div class="exhibition-opening">Opens Friday, September 5, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1433"><img border="0" src="http://winkleman.com/static/dyn-images/18/18446.jpeg" alt="Yevgeniy Fiks, "Adopt Lenin," Installation view" height="314" width="500" /></a> Yevgeniy Fiks, "Adopt Lenin," Installation view <div class="exhibition-description">Winkleman Gallery is very pleased to present "Adopt Lenin," our first solo exhibition of new work by Russian-born New York artist Yevgeniy Fiks. Continuing his exploration of the post-Soviet dialog and the legacy of attitudes about Communism in the West today, Fiks presents a critique of the commodification and fetishization of the Russian Revolution's legacy and imagery. Over the 15 years since the fall of the Soviet Union, revolutionary memorabilia, including Lenin's memorabilia, have become a fetish of the post-Communist era, something that has a clear market value, a "Communist antiquity," sold for souvenirs. In this project, Fiks attempts to free Revolutionary icons, with a particular focus on Lenin's memorabilia, from the market and negate their market value. Throughout 2008 Fiks has been purchasing Lenin's memorabilia at his own expense, including Lenin's busts, small statues, posters, photographs, etc. These objects will be on display at the gallery from September 5 - October 4, 2008. Over the course of the exhibition (except during the opening reception), visitors can place a reserve on any available object, on a first-come--first-served basis, and then take it away for free, after the show closes. The reserved objects will remain on display for the duration of the exhibition. To place an object on reserve, however, a visitor will have to sign an agreement between Winkleman Gallery and his- or herself certifying that he or she will never sell, or otherwise enter this object in the market, or make any profit from this object in any shape or form. A copy of the signed agreement will be also exhibited as part of the exhibition. In a statement about the exhibition, Fiks noted, "The choice to adopt Lenin on the part of an audience member is not a manifestation of her/his subscription to communist ideology, but rather an acknowledgement of Communism as one of defining features of the 20th century historical narrative." Yevgeniy Fiks was born in Moscow in 1972 and has been working in New York since 1994. Among his projects on the subject of the Post-Soviet dialog in the West are "Lenin for Your Library?" in which he mailed V.I.Lenin's text "Imperialism: The Highest Stage of Capitalism" to one hundred global corporations as a donation for their corporate library; "Communist Party USA," a series of portraits of current members of Communist Party USA, which he painted from life in the Party's national headquarters in New York City; and "Communist Guide to New York City," a series of photographs of buildings and public places in New York City that are connected to the history of the American Communist movement. Fiks' work has been shown in solo exhibitions at Common Room 2, NY (2008); Contemporary City Foundation, Moscow, Russia (2008); Marat Guelman Gallery, Moscow, Russia (2007); Lenin-Museo, Tampere, Finland (2007); State Museum of Russian Political History, St. Petersburg, Russia (2006); ARTStrelka Projects, Moscow, Russia (2005). Selected group exhibitions include Biennale of Sydney (2008); Thessaloniki Biennale of Contemporary Art (2007); and Moscow Biennale of Contemporary Art (2007 and 2005). For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</div> http://winkleman.com/exhibition/view/1433 Exhibition: The Shallow Curator <div class="exhibition-subtitle">Summer group exhibition featuring work by Gisel Florez, George McCracken, the Spirit, and Kevin Zucker. Curated by Ivin Ballen and Christopher K. Ho</div> <div class="exhibition-dates">July 11 - August 15, 2008</div> <div class="exhibition-opening">Opens Friday, July 11, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1419"><img border="0" src="http://winkleman.com/static/dyn-images/17/17627.jpeg" alt=""The Shallow Curator," installation view." height="375" width="500" /></a> "The Shallow Curator," installation view. <div class="exhibition-description">FOR IMMEDIATE RELEASE The Shallow Curator Gisel Florez, George McCracken, the Spirit, and Kevin Zucker Curated by Ivin Ballen and Christopher K. Ho Winkleman Gallery is very pleased to present The Shallow Curator, a summer group exhibition with neither urgency nor depth. The exhibition skims the surface of art-making, buoyed by such concerns as an artist's sense of style. It features projects by Gisel Florez, George McCracken, the Spirit, and Kevin Zucker. To counter the inevitable meaning that any juxtaposition of works engenders, The Shallow Curator accumulates weak links, none of which dominate and that, collectively, remain isolated intellectual cul-de-sacs. Kevin Zucker produced The Shallow Painting, 2008, specifically for The Shallow Curator. Elaborating a previous series of paintings of standard metal shelving units, Zucker asked other participants in The Shallow Curator to contribute objects to place on the shelves.1 In this sense, the shelving units rhyme with the exhibition's premise, and with the gallery in general: the three are vessels into which disparate objects are inserted, and hence given provisional unity.2 George McCracken, a painter turned designer, presents his Spring 2009 menswear collection, shortly available at Bergdorf Goodman. As The Shallow Curator coincides with the fashion industry's market week, McCracken is meeting buyers at the gallery behind a Corbusier table accessorized with Eames aluminum chairs, all from Design Within Reach.3 The George McCracken Collection features natural materials, superior construction, and discreet colors. Photographer Gisel Florez's Exquisite Taste (Olive) and Exquisite Taste (Bruno), both 2007, depict dogs chewing up handbags and clothing. In a moment of savagery, the otherwise domestic pets critique their own recent devolution into accessories as well as heighten the products' desirability by destroying them and rendering them inaccessible.4 These works, of Florez's own, form the basis on which firms and magazines hire her as a product photographer.5 Channeling John McCracken6, the Spirit created a slightly smaller, less expensive "Art Within Reach" version of a slab piece.7 Made to rest against a vertical surface, John McCracken, 2008, is available is various colors and finishes, and can be reconfigured for any collector's living room.8 The Spirit, a Nevada resident, is also known as Jackie Cohen. The Shallow Curator culls from fine art, design, and fashion as well as (albeit lightly) from the spiritual realm. If there is an argument at all, it is to reconsider the disinterested--or "shallow"--eye of modernism through the prism of elite consumerism, not in order to critique it but to expand it. This prism uniquely joins the quality that only lots of money can buy, and the levity and ludic possibility that befits, and perhaps reflects upon, the summer gallery season. <hr /> Footnotes: 1. Zucker is a former teacher of McCracken; neither is Native American. 2. Just as Zucker juxtaposes three distinct spatial registers--real, digital, perspectival--he holds in tension the printed and painterly mark. In contrast, Florez conflates actual and representational space, where the photos double a moment in reality; further, the digital printing process masquerades as darkroom printing. 3. McCracken's table and chairs are identical to those used by a gallery that Zucker has worked with in the past. The desks in Winkleman Gallery's office were a gift from another gallery with which Zucker has worked. 4. McCracken uses photography to promote his clothes, which will soon be featured in BG Magazine. Florez uses clothing as props for her photographs, which will soon be featured in V Magazine. Florez has never shot McCracken's line. 5. Both Florez and McCracken are at the edge of the fashion industry. The former's photographs are almost advertisements--they generate subsequent commissions--and the latter, at only his second collection, is still emerging. Fittingly, Winkleman Gallery is on Chelsea's outer edges, in a building that now favors tenants in the fashion industry over galleries. 6. McCracken shares a last name with George McCracken; both are from the Bay Area. 7. In this sense, the artist's relinquishing of control over subject matter in Zucker's The Shallow Painting to other participants in The Shallow Curator is structurally analogous to the Spirit's downplaying of originality. 8. If Florez's ad works are unlimited, McCracken's limited editions, and Zucker's originals from series, the Spirit's work is a limited edition forgery. <hr /> For more information, please contact Ed Winkleman at 212.643.3152 or info@winkleman.com.</div> http://winkleman.com/exhibition/view/1419 Exhibition: David Kinast <div class="exhibition-subtitle">The ISM</div> <div class="exhibition-dates">June 6 - July 3, 2008</div> <div class="exhibition-opening">Opens Friday, June 6, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1207"><img border="0" src="http://winkleman.com/static/dyn-images/16/16726.jpeg" alt="David Kinast, "The ISM," installation view." height="375" width="500" /></a> David Kinast, "The ISM," installation view. <div class="exhibition-description">Winkleman Gallery is very pleased to present "The ISM," our first solo exhibition by New York artist David Kinast. With five new canvases, Kinast presents a gorgeous suite of all-over paintings that feature his signature layering of floral forms inspired by traditional Korean geometric patterns. Sometimes subtle, sometimes invigorating variations in his palettes combine with a mesmerizing rhythm to his mark-making to lend these elegant compositions a hypnotic presence. Sprinkled with passages of crosshatches, scribbles, or errant drips, these paintings have a playful irreverence that balances their minimalist appearance from afar with a highly painterly approach upon close inspection. In a wide range of canvas sizes, from moderate to what can only be called "epic" (one is 8' x 18'), Kinast examines the contemporary potential of painting within a self-defined system or doctrine. By choosing a process that could take over and eventually blot out the entire ground were he not to stop at some point, he has highlighted the central challenge for every new artists who puts brush to canvas in this age of Pluralistic practice: which rules to follow. Through an exquisite and painstaking layering, ultimately as open as it is overflowing, Kinast reveals the entire history of each painting for the viewer patient enough to examine his pieces up close. Stepping back again, however, new patterns emerge, revealing sweeping gestures built up from his lighter to darker colors. David Kinast was born in Seoul, South Korea, and raised in Oklahoma. He studied at Temple University Rome, and received his MFA from the Tyler School of Art in 1999. He had a solo exhibition at Steve Turner Contemporary in Los Angeles in 2007. He now lives and works in New York. For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</div> http://winkleman.com/exhibition/view/1207 Exhibition: Rory Donaldson <div class="exhibition-subtitle">PLOT</div> <div class="exhibition-dates">May 2 - May 31, 2008</div> <div class="exhibition-opening">Opens Friday, May 2, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1206"><img border="0" src="http://winkleman.com/static/dyn-images/15/15761.jpeg" alt="SQBLUE08" height="375" width="500" /></a> Rory Donaldson, SQBLUE08, 2008 Chromogenic C-print, 30" x 40" (76 x 102cm), edition of 5, and 50"x 60" (127 x 152 cm) edition of 3 <div class="exhibition-description">Rory Donaldson P  L O T May 2 to May 31, 2008 Opening: Friday, May 2, 6-8 pm Gallery Hours: Tues – Sat, 11 6 pm Winkleman Gallery is very pleased to present PLOT, our first solo exhibition by Scottish-born New York artist Rory Donaldson. Stemming from Donaldson’s body of installation and project-based work, much of it dealing with cultural identity and assimilation (and the complex processes of mutation associated with where they intersect), the new  works in his ongoing series, titled "SQCITY," take as their subjects symbols of movement, transition, and passage. Through a digital process that stretches out the original photograph’s four corners, Donaldson finds unexpected beauty in the graffiti-tagged metal doors and traffic-clogged streets of New York City and other major cities. The central image of each piece (doors, subway platforms, intersections, etc.) is identifiable only upon close inspection. What greets the viewer from a distance looks to be large blocks of solid color, referencing perhaps color field painting. Stripes of pure color (the ubiquitous blues, yellow, grays and reds of city lights and architecture) streak out to the edges of the works. Moreover, the center images often offer complex studies of depth, perspective, and light, highlighting the extraordinary dialog between photography and painting that these works reveal. In the main installation of the exhibition, Donaldson presents a major new work featuring 35 photographs in a grid that suggest the regular block pattern of New York City Streets. In this case, that’s appropriate because each of the images is actually taken from the intersection of where a street crosses an avenue in Manhattan between 18th and 22nd Streets and 3rd to 8th Avenues. The resulting network serves to highlight another element of Donaldson’s project in that the way the streaking colors of each piece communicate with those in their adjacent pieces begins to form a complex Tartan pattern, a motif Donaldson has used to great effect in his cultural identity projects for many years. Rory Donaldson received his BA from Grays School of Art, Aberdeen, Scotland in 1986; his MA from the University of Ulster, Belfast, Ireland, in 1987, and attended the Whitney Museum Independent Study Program, in New York, 1997-98. His work has been exhibited widely throughout United States, the UK and Europe. In 2007, Donaldson was short listed for the prestigious Morton Award, and as a result will be included in their group exhibition at the Royal Scottish Academy in Edinburgh in 2009. </div> http://winkleman.com/exhibition/view/1206 Exhibition: I Dream of the Stans <div class="exhibition-subtitle">New Central Asian Video</div> <div class="exhibition-dates">March 20 - April 26, 2008</div> <div class="exhibition-opening">Opens Thursday, March 20, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1205"><img border="0" src="http://winkleman.com/static/dyn-images/14/14484.jpeg" alt="Jihad" height="375" width="500" /></a> Almagul Menlibayeva, "Jihad" (video still), 2004 Single-channel video, color, sound, 4:48 minutes, edition of 3 <div class="exhibition-description">Co-curated by Leeza Ahmady, Murat Orozobekov, and Edward Winkleman Featuring recent work by Vyacheslav Akhunov, Rahraw Omarzad, Almagul Menlibayeva, Jamshed Khalilov, Gulnara Kasmalieva & Muratbek Djumaliev, Said Atabekov, and Julia Tikhonova and Rustam Khalfin March 20 - April 26, 2008 Opening: Thurs, March 20, 6-8 pm Gallery Hours: Tues - Sat, 11 6 pm <a href="http://www.acaw.net" target="new"><img src="http://artcat.com/static/dyn-images/14/14130.thumb.jpeg" /></a> In conjunction with Asian Contemporary Art Week 2008, Winkleman Gallery is extremely pleased to present I Dream of the Stans, an exhibition of new video by leading contemporary artists in Central Asia and Afghanistan. Co-curated by independent curator Leeza Ahmady, Murat Orozobekov, and Edward Winkleman, the exhibition surveys the range of powerful new works emerging from this often overlooked region of the world. Since the incredible critical acclaim that greeted the first Central Asian Pavilion at the Venice Biennale in 2005, contemporary artists from Afghanistan and the former Soviet Republics of Tajikistan, Uzbekistan, Kazakhstan, and Kyrgyzstan have drawn an increasing amount of attention from Western curators, museums and galleries. Most of the newfound attention centers on the remarkably strong single- and multi-channel video works produced in the region, a fact often attributed to the region's centuries-old traditions of storytelling, street theater, and weaving. I Dream of the Stans brings together works by seven of the area's most important artists (and teams) including Vyacheslav Akhunov, Rahraw Omarzad, Almagul Menlibayeva, Jamshed Khalilov, Gulnara Kasmalieva & Muratbek Djumaliev, Said Atabekov, and Julia Tikhonova & Rustam Khalfin. Known for elaborate multi-channel video installations (including a 5-channel piece recently commissioned by the Art Institute of Chicago), the husband-wife team Muratbek Djumaliev & Gulnara Kasmalieva (Kyrgyzstan) present their 2006 single-channel piece "Something About Contemporary Nomadism," in which a steady stream of seemingly bored airline passengers passing through security blithely submit to what would be seen as highly invasive personal searches in other settings. Guards with rubber gloves pat them down, touching their inner legs and backs and chests, while the passengers seem to hardly notice. In Vyacheslav Akhunov's (Uzbekistan) video "Cleaner" the artist is seen meticulously cleaning the surfaces of various British national monuments in London with his toothbrush. Akhunov was well-known by his peers as the "official anti-official artist" during the Soviet era, but now continues to tackle ideas of cultural superiority, be it intellectual, spiritual or political. In his videos, the subjects often repeat certain actions or gestures in a kind of circular pattern; from bottom to top, one point to another, or just going round and about - all reminiscent of various forms of Sufi meditations. In "Cleaner" Akhunov reminds us that perhaps our sacredly guarded ideas about culture and its production needs some form of cleansing. He is keen on broadening defined notions and unburdening established authorities by exploring conflicts, which are derivative of culture that in itself is subjective. Rustam Khalfin (born in Uzbekistan and resident of Kazakhstan), as follower of Russian historical avant-garde and both teacher and theorist of trends in contemporary art and culture, has played an integral role in training younger artists. In his collaboration video with Julia Tikhonova, entitled "Northern Barbarians, Part II: Love Races," a young couple is making love, nude on horseback, while riding across some desolate woods. Inspired by two series of watercolors from the 18th and 19th centuries (found in the book of "Chinese Eros") the love scenes are re-interpreted. The term "Northern Barbarians" is a reference the name the ancient Chinese called the wild wanderers they were grateful to have the Great Wall of China separate them from. The video is the reconstruction of an ancient way of making love in a region highly connected to its nomadic past and spirit. Considered a masterpiece, the work exemplifies how Khalfin's painterly mind is matched by his conceptual vigor for contextual criticism. Two internationally exhibiting artists also from Kazakhstan, Almagul Menlibayeva and Said Atabakov, address the processes for change and reform in Central Asia with a focus on Asian continental ties and mentality. Said Atabekov is a founding member of the influential collaborative "Kizil Traktor" (Red Tractor). In his video "Neon Paradise," the artist is dressed in his signature dervish outfit made of an odd mixture of absurd objects, materials and props, including an old Soviet-military jug for water. He is seen sitting like an aberration kneeled in a kind of a prayer position repeatedly bowing his head down towards an automatic double glass door that continues to open and shut as he moves. It is not clear whether the doors open into a corporate building, modern super market, or university. What is clear is that in this noble open-ended manner the artist is deconstructing contemporary realities such as economic and environmental decadence and other technologically driven mass global deliriums. Almagul Menlibayeva is known as an experimental artist working simultaneously in a variety of media such as painting, performances, installations and videos. Her gorgeously landscaped and peopled videos translate the various dimensions of what she wishes to express about beauty, decor, ritual and spiritual practices. Her primary concern with women and their role in pre -Soviet, pre-Islamic, and even shamanistic and dervish origins is exemplified in her video "Jihad." Rahraw Omarzad, an artist and professor at Kabul University, established the Center for Contemporary Art Afghanistan (CCAA). He is the conceptual author of the video work "Opening" in collaboration with his students and members of CCAA. Through CCAA, Omarzad has been actively working with young artists in an effort to foster their sense of independence and individuality. Re-education is therefore a pressing; not only in re-thinking art and its making but in rendering visible the various truths that are buried beneath the piles of media-manufactured issues facing Afghanistan. In this video, a dark screen and a loud consistent banging sound slowly opens to a woman's sparkling eyes under her "Chadori". Someone from the outside cuts open a layer of fabric in front of the veiled women, but instead of seeking to come out or to cut off her veil with the scissors, she opts to embroider a beautiful and colorful floral design around the opening with her sensually jeweled and painted hands. The work is a poetic gesture towards woman's creative role in the world as assigned to her by nature and how the subjects of freedom and limitation are relative to internal attitudes, regardless of how dire the external façade. Jamshed Khalilov represented Tajikistan at the Central Asian Pavilion in Venice in 2007. In his charming piece "Bus Stop," each image in a series of photographs of the often highly decorated structures providing shelter for commuters throughout Central Asian countries seems to pause momentarily and then whisk off to the side, as if mimicking the stop-and-start motions of a bus along its route. Often blending Soviet motifs with more ancient and/or Islamic architectural themes and patterns, each of the bus stops is a unique artistic statement even as it serves a public purpose. Sometimes fantastical (one is shaped like the traditional hat worn by natives), sometimes simply beautiful, these now nostalgic structures stand out as oases of expression along the otherwise often desolate roads they punctuate. For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com Winkleman Gallery 637 West 27th Street New York, NY 10001 t: 212.643.3152 f: 212.643.2040 www.winkleman.com Asian Contemporary Art Week Asian Contemporary Art Week March 15 - 24, 2008 http://www.acaw.net</div> http://winkleman.com/exhibition/view/1205 Exhibition: Joy Garnett <div class="exhibition-subtitle">New Paintings</div> <div class="exhibition-dates">February 15 - March 15, 2008</div> <div class="exhibition-opening">Opens Thursday, February 21, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1009"><img border="0" src="http://winkleman.com/static/dyn-images/13/13335.jpeg" alt="Harbor (2)" height="442" width="500" /></a> Joy Garnett, Harbor (2), 2008 Oil on canvas, 60" x 70" (152 x 178cm) <div class="exhibition-description">FOR IMMEDIATE RELEASE January 25, 2008 Joy Garnett New Paintings February 15 - March 15, 2008 Opening: Thursday, February 21, 6-8 pm Gallery Hours: Tues - Sat, 11 6 pm Winkleman Gallery is very pleased to present a solo exhibition of new paintings by New York artist Joy Garnett. In four large canvases Garnett continues her groundbreaking exploration of the malleability of instantly globalized images and how they have begun to replace written language as the markers of mankind's collective memory or consciousness. Unlike her last three New York exhibitions, which centered on specific themes of conflict or violence, this grouping is united only by the loose suggestion of images possibly taken at precisely the same moment in very different locations around the world. Garnett circles the planet to underscore perhaps the unstoppable imperative of this new lingua franca. The images Garnett paints are culled from digital mass media outlets and then archived for sometimes months at a time, permitting their context to evaporate. Returning to the image with a fuzzy at best memory of what it reportedly documented, Garnett's process highlights the role misremembering plays in this new dubious "reality." The optimistic rising sun in Morning in China references the economic ascent of the Asian giant, even as its smoggy landscape hints at the potential environmental disaster such rapid expanse can bring. The explosion and chaos suggested in the bright daylight of Noon points to the inescapably volatile nature that defines the seemingly ubiquitous power grabs taking place around the globe or simply the natural consequences of so much movement all at once. The South American seascape at moonlit dusk seen in Harbor (2) belies a calm similar to the Chinese morning, even as the blood red reflections hint at something sinister. And the overwhelmingly dark and massive destruction conveyed in the rubble of the World Trade Center in Night reminds us that there remains the potential for as-yet unimaginable nightmares. The first painting Garnett has been able to paint of the aftermath of the 9/11 attacks (despite it being the single most photographed event in human history), Night is a tour-de-force of expressionistic recollection visited upon its ubiquitous source image. It is also the only incident that's clearly identifiable among the exhibition's paintings, but as the event that only served to speed up an already insanely speedy world it has already taken on legendary status and become the central catalyst of the enhanced and panicked race to globalize. Joy Garnett received her MFA from The City College of New York and studied painting at L'Ecole Nationale Superieure des Beaux-Arts in Paris. Her notable exhibitions include, Strange Weather at the National Academy of Sciences, Washington, DC; Image War, organized by the Whitney Museum of American Art (2006); When Artists Say We, Artists Space (2006); Visionary Anatomies, Smithsonian Traveling Exhibition (2004-2007); and Without Fear or Reproach, De Witte Zaal, Ghent, Belgium (2003). For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</div> http://winkleman.com/exhibition/view/1009 Exhibition: Christopher K. Ho <div class="exhibition-subtitle">Happy Birthday <img src="http://winkleman.com/static/dyn-images/12/12523.gif" width="12"></div> <div class="exhibition-dates">January 10 - February 9, 2008</div> <div class="exhibition-opening">Opens Thursday, January 10, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1008"><img border="0" src="http://winkleman.com/static/dyn-images/13/13035.jpeg" alt="Christopher K. Ho, "Happy Birthday <img src="http://winkleman.com/static/dyn-images/12/12523.gif" width="12">," Installation view." height="383" width="500" /></a> Christopher K. Ho, "Happy Birthday <img src="http://winkleman.com/static/dyn-images/12/12523.gif" width="12" />," Installation view. <div class="exhibition-description">Christopher K. Ho Happy Birthday<img src="http://winkleman.com/static/dyn-images/12/12523.gif" width="12" /> January 10 - February 9, 2008 Opening: Thursday, January 10, 6 - 8 pm Hours: Tuesday - Saturday, 11 am - 6 pm Winkleman Gallery is very pleased to present Happy Birthday, our first solo exhibition by New York artist Christopher K. Ho. In five new pieces, Ho explores how collaboration, willing or not, between protagonists of the art world--artists, collectors, critics, and gallerists--ascribes aesthetic and monetary value to an artist's work. Happy Birthday culminates and continues Ho's decade-long collaborative practice. In all but one work, Happy Birthday to Jen, Ho approaches collaboration as the basic condition of possibility for contemporary art. This approach does not diverge from his previous, literal collaborations with other artists, so much as evidences a more complex understanding of collaboration as an inherent characteristic of almost all art to be made manifest. Each work systematically and often humorously interrogates the inter-subjective relations between pairs of protagonists (artist-artist, artist-gallerist, gallerist-collector, and artist-critic). Additionally, the viewing public is implicated in Happy Birthday from Nuit and Happy Birthday to Mrs. X, which exist partially through word-of-mouth. Happy Birthday consists predominantly of hints of previous transactions or agreements: a red dot accompanying the exhibition's title; an anachronistic catalogue featuring sited, ephemeral works that have been re-dated and retroactively priced; an actual birthday party during the opening reception; and a rumor (or two) about a change in gallery ownership. Ho's exhibition operates within the prevalent context of commercial art, even as it largely denies the viewer the conspicuous signifiers of such a context. Rather than obvious items for sale or contemplation, the gallery is empty except for a somewhat hidden, monochromatic life-sized sculpture of the gallerist, Edward Winkleman, in his "birthday suit." As art historian and critic Nuit Banai notes in her accompanying catalogue essay, "Ho not only gives up any notion of the integral author, but decenters the work and its meaning into an expanded field of massculturally produced protagonists, techniques, and supplements that simultaneously articulate, maintain, and subvert the logic of capital by both instantiating it and continuously deferring it." Christopher K. Ho has exhibited at the Queens Museum of Art; the Jamaica Center for the Arts; the H.F. Johnson Museum of Art; Marvelli Lab; the Municipal Art Society of New York; the Lower Manhattan Cultural Council; Socrates Sculpture Park; Sara Meltzer Gallery; Smack Mellon Studios; the Asian American Art Center of New York; the Kunsthalle, Zurich; Galerie 5eme Etage, Paris; Tou Scene, Norway; and Fieldgate Gallery in London. He received his B.F.A. and B.S. from Cornell University and his M.Phil from Columbia University. For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</div> http://winkleman.com/exhibition/view/1008 Exhibition: Ivin Ballen <div class="exhibition-subtitle">50/50</div> <div class="exhibition-dates">November 29, 2007 - January 5, 2008</div> <div class="exhibition-opening">Opens Thursday, November 29, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1007"><img border="0" src="http://winkleman.com/static/dyn-images/11/11879.jpeg" alt="Ivin Ballen, 50/50, installation view, featuring (l. to r.) "Warren," "Poodle," and "Grapemine."" height="301" width="500" /></a> Ivin Ballen, 50/50, installation view, featuring (l. to r.) "Warren," "Poodle," and "Grapemine." <div class="exhibition-description">Winkleman Gallery is very pleased to present "50/50," our first solo exhibition of paintings by New York artist Ivin Ballen. Featuring a brilliant new series of paintings, and a triptych incorporating an operating stereo system, Ballen offers an insightful and humorous exploration of our relationships to everyday materials via painting. Composing maquettes from cardboard, duct tape, plastic bottles, garbage bags, and other recyclable commonplace items, Ballen casts fiberglass and aqua resin sculptures of their negative space that he then paints with acrylic and watercolor paints, often with trompe l'oeil passages that reference the original found objects. Although the illusion is temporarily quite convincing, closer inspection of the paintings reveals subtle differences in textures and colors that expose the process, reinforcing Ballen's central investigation of the act of looking and perceiving. Corresponding with his first New York solo exhibition is Ballen's first solo exhibition at Hilberry Gallery in Detroit, MI, November 9 -January 5, 2008. For more information, please contact Edward Winkleman at info@winkleman.com or 212.642.3152. Ivin Ballen 50/50 November 29 - January 5, 2008 Opening reception: Thursday, November 29, 2007, 6-8 pm Winkleman Gallery 637 West 27th Street New York, NY 10001 t: 212.643.3152 f: 212.643.2040 info@winkleman.com www.winkleman.com</div> http://winkleman.com/exhibition/view/1007 Exhibition: Carlos Motta <div class="exhibition-subtitle">The Leningrad Trilogy</div> <div class="exhibition-dates">October 19 - November 17, 2007</div> <div class="exhibition-opening">Opens Friday, October 19, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1003"><img border="0" src="http://winkleman.com/static/dyn-images/10/10614.jpeg" alt="" height="255" width="500" /></a> <div class="exhibition-description">Winkleman Gallery is very pleased to present "The Leningrad Trilogy," the first New York solo exhibition by Carlos Motta. In a 3-channel video installation and a series of 36 photographic diptychs, Motta presents a thought-provoking meditation on St. Petersburg, Russia, a city whose rich and tumultuous history can be revealed through its public spaces, architecture, and monuments, as much as by how its current inhabitants relate to these historical markers. "Leningrad," (8 min., B&W, sound) is a contemplative montage of some of the city's monuments built during the years of political repression under Stalin. A reading of two important poems (Anna Akhmatova's Petrograd, 1919, and Osip Mandelstam's Leningrad, 1930) serve as a soundtrack to the images, which suggest Leningrad's character as a literary muse as well as a witness of political victory and defeat. "Leningrad, Petrograd, Petersburg (Part 1)" (44 min., color, sound) offers an intriguing before-and-after look at landmark cityscapes, based on a 1954 government-published book of photographs of the city. Visiting the city 52 years later, Motta re-photographed each of these locations, revealing changes to Soviet monuments and architecture. The accompanying voiceover is a recorded conversation between curator Elena Sorokina, artist Yevgeniy Fiks, and Motta in which they respond to the images and the many political, historical and cultural aspects that these invoke. Thirty-six of the location pairings are presented also in photographic diptychs, which show a wide spectrum of degree of change over time. In the third video, "Leningrad, Petrograd, Petersburg (Part 2)" (40 min., color, sound), Motta conducts a series of interviews with local residents around St Petersburg's two most prominent Soviet monuments to V.I Lenin. The interviewees respond to questions that attempt to investigate the public perception of these monuments and how they affect the contemporary landscape of the city fifteen years after the fall of the Soviet Union. As a whole "The Leningrad Trilogy" presents St. Petersburg as a contested site of confronted ideologies in an attempt to inquire about the imprint of historical events onto the fabric of individual and collective subjectivities. Carlos Motta is a graduate of the Whitney Museum Independent Study Program (2006), received an MFA from the Milton Avery Graduate School of the Arts at Bard College, in 2003, and a BFA in photography from The School of Visual Arts in 2001. His work has been widely exhibited, including in the CCS Bard Hessel Museum of Art, Annandale-on-Hudson, NY; Palazzo Papesse, Siena, Italy; Foam_Fotografie Museum, Amsterdam, Holland; Museum of Modern Art, Bogota, Colombia; SF; and Fries Museum, Groningen, Holland. Recent awards include the International Artists Studio Program in Sweden (IASPIS), 2007; the Swing Space Program, Lower Manhattan Cultural Council, 2007; the DaNY Arts Grant (with HOMEWORK), Danish Arts Council, 2007, and the Subvention Grant, Cisneros Fontanals Foundation (CIFO), 2006. ---- Produced with the generous support of The Cisneros Fontanals Art Foundation (CIFO) 2006 Grants Program ---- For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com.</div> http://winkleman.com/exhibition/view/1003 Exhibition: Thomas Lendvai <div class="exhibition-subtitle">Between Pain and Boredom</div> <div class="exhibition-dates">September 6 - October 6, 2007</div> <div class="exhibition-opening">Opens Thursday, September 6, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/994"><img border="0" src="http://winkleman.com/static/dyn-images/9/9614.jpeg" alt="Between Pain and Boredom (Installation view)" height="667" width="500" /></a> Between Pain and Boredom (Installation view) <div class="exhibition-description">Winkleman Gallery is pleased to present "Between Pain and Boredom," a new site-specific sculpture and our second solo exhibition by New York artist Thomas Lendvai. In a spectacular new work that literally breaks through the walls of the gallery, Lendvai furthers his exploration of the fundamental questions about sculpture that he examined in his 2005 gallery-sized installation, "A Series of `Nows'." For "Between Pain and Boredom" (the title of which is taken from Schopenhauer's description of the extremes of life that we all oscillate between), Lendvai has constructed a series of 16-foot beams of raw White Pine that arc through the gallery. Generated via catenaries, the precise curves of the beams (which break through interior and exterior walls of the gallery to revel both factory-cut ends in places, as well as crudely sawed-off ends in others) are the result of Lendvai's application of construction technology that pre-dates computers by millennia. Further, whereas a sub-theme of "A Series of `Nows'" was its implication of infinity, this new installation unequivocally and unceremoniously comes to an end. Similar to his 2005 piece, however, about which The New Yorker noted, "These very simple forms create a surprisingly complex sculptural and architectural effect,"1 entering into this new installation offers an unexpectedly elaborate viewing experience, highlighting the relativity of optimum vantage point in viewing sculpture. Because it extends beyond the gallery walls, not only is it impossible to see the entire work all at once, but also one's own height complicates where one must stand to experience the formal qualities of the piece. Viewing the main section of the work with other people in the gallery makes for a peculiar sociological experience as well, as one is often able to see only the bottom or top half of other viewers. Thomas Lendvai received his BF from SUNY Stony Brook, NY, in 1998 and his MFA in sculpture from the School of Visual Arts in 2002. He has exhibited widely in the United States and in Japan. His work has been reviewed in The New Yorker, The Brooklyn Rail, and on artnet.com. _____________ 1The New Yorker, February 7, 2005. Thomas Lendvai Between Pain and Boredom September 6 to October 6, 2007 Opening Reception: Thursday, September 6, 6-8 PM Hours: Tuesday - Saturday, 11 am to 6 pm Winkleman Gallery 637 West 27th Street New York, NY 10001 T: 212.643.3152 F: 212.643.2040 info@winkleman.com www.winkleman.com</div> http://winkleman.com/exhibition/view/994 Exhibition: Sarah Peters <div class="exhibition-subtitle">Being American</div> <div class="exhibition-dates">June 15 - July 27, 2007</div> <div class="exhibition-opening">Opens Friday, June 15, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/954"><img border="0" src="http://winkleman.com/static/dyn-images/8/8334.jpeg" alt="Sarah Peters: "Being American"" height="375" width="500" /></a> Sarah Peters: "Being American" <div class="exhibition-description">June 15 to July 21, 2007 Opening Reception: Friday, June 15, 6-8 pm Winkleman Gallery is extremely pleased to present "Being American," our first solo exhibition by New York artist Sarah Peters. Through her ongoing exploration of the earnestness with which early American artists strived, but often failed, to match the formal achievement of their European counterparts, Peters presents a spellbinding vision of an imagined paradise where the artworks of 18th Century America that missed the mark (often due to their creator's misreading of an ideal that never really was) went to spend eternity. This invention is presented, in part, as a 20-foot drawing with sweeping vistas of an idyllic countryside populated with the specters of those naively rendered sculptures, overly ornate memorial urns, and a host of peculiar characters. In spite of the shared awkwardness or failure that defines this landscape, however, its overriding sensibility is one of utter bliss. Other smaller drawings focus on particular individuals or settings, each more eccentric than the next. With hints of preternatural forces and all the earthly delights one would hope to find in paradise, these images suggest they might have been the ones edited out of the Peale family scrapbook. Standing watch over the exhibition is Peters' self-portrait, a bust Ю la the terra cotta self-portrait of the first classical American sculptor, William Rush, with his head emerging from a log. Clearly pained by the fruits of her labor, the grimaced artist nonetheless looks patient and perhaps even hopeful that some viewer will see that the journey taken to this place was its own triumph. Sarah Peters credits her fascination with early American art to her study at the Pennsylvania Academy of Fine Arts, in Philadelphia. She completed her BFA at the University of Pennsylvania, and her MFA in Sculpture at the Virginia Commonwealth University. This is Sarah's first solo exhibition in New York.</div> http://winkleman.com/exhibition/view/954 Exhibition: Andy Yoder <div class="exhibition-subtitle">Donald, Martha & Sam</div> <div class="exhibition-dates">May 11 - June 9, 2007</div> <div class="exhibition-opening">Opens Friday, May 11, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/995"><img border="0" src="http://winkleman.com/static/dyn-images/8/8828.jpeg" alt="Andy Yoder: Donald, Martha & Sam" height="336" width="500" /></a> Andy Yoder: Donald, Martha & Sam <div class="exhibition-description">May 11 to June 9, 2007 Opening Reception: Friday, May 11, 6-8 pm Winkleman Gallery is extremely pleased to present Donald, Martha & Sam, our second solo exhibition by sculptor Andy Yoder. Continuing his use of domestic objects, the focal point of the show is a group of three portrait busts, each in the form of an oversized glass piggybank. Over three years in the making and cast in brilliant colored lead crystal, they depict Donald Trump in a golden amber, Martha Stewart in pale green, and Wal-mart founder Sam Walton in gun-metal blue. With prominent raised coin slots, the banks are a reflection of the varying degrees of notoriety each of them share concerning money, while the idealized, monumental styling of the heads reflects their status as celebrity icons of consumer culture. The use of colored crystal also serves as a metaphor for the fragile nature of success: despite its seductive beauty, it is easily shattered. Accompanying these works are a series of Amish-style quilts draping the walls of the gallery, with symbols for money incorporated into their colorful, highly-patterned designs. As his last name indicates, Yoder's family background includes Amish ancestry, lending these works an extra degree of personal resonance. For the artist, the slow accumulation of coins and meticulous piecing together of quilts are timeworn activities drenched in nostalgia, contrasting sharply with present-day concerns for money, success, and speed. Rounding out the exhibition are a group of watercolor drawings showing likenesses of Donald Trump, Martha Stewart and Sam Walton depicted in miraculous circumstances, similar to the face of Mary appearing in the bark of a tree, or the Shroud of Turin. Among many public sculpture projects and exhibitions, Andy Yoder was invited to exhibit in the 2007 American Academy of Arts and Letters Invitational Exhibition of Contemporary Art. For more information please contact the gallery at info@winkleman.com or 212.643.3152. Andy Yoder Donald, Martha & Sam May 11 to June 9, 2007 Opening Reception: Friday May 11, 6-8 PM Hours: Tuesday - Saturday, 11 am to 6 pm Winkleman Gallery 637 West 27th Street New York, NY 10001 T: 212.643.3152 F: 212.643.2040 info@winkleman.com www.winkleman.com Directions: C or E train to 23rd Street. Walk North to 27th Street. Winkleman Gallery is between 11th and 12th Avenues.</div> http://winkleman.com/exhibition/view/995 Exhibition: Yes (to everything) <div class="exhibition-subtitle">Rhode Island School of Design MFA Photography Thesis Exhibition</div> <div class="exhibition-dates">April 25 - May 5, 2007</div> <div class="exhibition-opening">Opens Thursday, April 26, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/996"><img border="0" src="http://winkleman.com/static/dyn-images/8/8829.jpeg" alt="RISD MFA Photography Graduates" height="358" width="500" /></a> RISD MFA Photography Graduates, Exhibition Invitation, 2007 <div class="exhibition-description">Winkleman Gallery is very pleased to host Yes (to everything), a RISD 2007 MFA Photography Thesis Exhibition. Organized by MFA candidate Cortney Andrews, whose work will be shown along with the photography of candidates Jonathan Cana, Maureen Keaveny, Amy Lovera, Patrick Madigan and Millee Tibbs, the exhibition's title refers to the varied style and approach of these six students as well as the limitless opportunities that may await them upon completion of their degree program. The work in the exhibition ranges in narrative from the mundane to the surreal, from menacing to mechanical, to images of the self, within and without comfort. "Ranging from luscious color prints to multimedia installations, the diverse work of these artists raises issues and reconfigures traditions of sexuality, topography, technology, fantasy and time passage (just to name a few). Are things risky? Do we worry? Can we contribute to a larger, more pertinent conversation? Will we be part of the generation that reroutes the direction in which things seem to be heading? - Yes (to everything)". --- Cortney Andrews For more information please contact the gallery at info@winkleman.com or 212.643.3152. Yes (to everything) Rhode Island School of Design MFA Photography Thesis Exhibition April 25 to May 5, 2007 Opening Reception: Thursday April 26, 6-8 PM Hours: Tuesday - Saturday, 11 am to 6 pm Winkleman Gallery 637 West 27th Street (Ground Floor) New York, NY 10001 T: 212.643.3152 F: 212.643.2040 info@winkleman.com www.winkleman.com Directions: C or E train to 23rd Street. Walk North to 27th Street. Winkleman Gallery is between 11th and 12th Avenues.</div> http://winkleman.com/exhibition/view/996 Exhibition: Christopher Lowry Johnson <div class="exhibition-subtitle">Chorus</div> <div class="exhibition-dates">March 23 - April 21, 2007</div> <div class="exhibition-opening">Opens Friday, March 23, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/997"><img border="0" src="http://winkleman.com/static/dyn-images/8/8945.jpeg" alt="Chorus" height="333" width="500" /></a> Christopher Lowry Johnson, Chorus, 2006 Oil on linen, 36" x 48" (91 x 122cm) <div class="exhibition-description">Winkleman Gallery is extremely pleased to present Chorus, our third solo exhibition by New York artist Christopher Lowry Johnson. In a devastatingly beautiful new series of paintings, Johnson continues to negotiate a balance between familiar contemporary content and a combination of art historical styles, here via a group of canvases that share the landscape format and a somber tone. Essentially depopulated scenes (such as decorated pines and carved mountain sides) insinuate a human presence in the natural world, a deliberate summoning of the Romantic Movement wherein human longing is irrevocably analogous to the vast potentialities of Nature. As suggested by the title Chorus, these paintings emphasize harmony achieved through the use of repetition, culling from a diverse array of sources ranging from Islamic tile work and Theosophical Society telepaths to Minimalism and fractal geometry. While the works in the exhibition are imbedded in order, their painterly, agitated surfaces impose a tension that reflects how even as the color is cool the underlying themes are much darker. The basis of the series, as in Johnson's last exhibition, is a response to our troubling times. Formations of pine trees adorned with twinkling lights become silent personifications of soldiers. The weighed down branches are an aggregation of weather and the burden of time. The chiseled appearances of the presidents on Mt. Rushmore are disembodied and silly as well as grim reminders of loss. Hints of snow capped mountain ranges, ice, and foamy pools are evocations of real or imagined tragedies like Hurricane Katrina or Moby Dick. For more information please contact the gallery at info@winkleman.com or 212.643.3152. Christopher Lowry Johnson Chorus March 23 to April 21, 2007 Opening Reception: Friday, March 23, 6-8 PM Hours: Tuesday - Saturday, 11 am to 6 pm Winkleman Gallery 637 West 27th Street (Ground Floor) New York, NY 10001 T: 212.643.3152 F: 212.643.2040 info@winkleman.com www.winkleman.com Hours: Tuesday thru Saturday, 11am to 6pm or by appointment. Directions: C or E train to 23rd Street. Walk North to 27th Street. Winkleman Gallery is between 11th and 12th Avenues.</div> http://winkleman.com/exhibition/view/997 Exhibition: Cathy Begien <div class="exhibition-subtitle">See Begien, NYC</div> <div class="exhibition-dates">February 16 - March 17, 2007</div> <div class="exhibition-opening">Opens Friday, February 16, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1002"><img border="0" src="http://winkleman.com/static/dyn-images/8/8332.jpeg" alt="Black Out" height="374" width="500" /></a> Cathy Begien, Black Out, 2004 Single-channel video,, 7 Minutes, Edition of 5 <div class="exhibition-description">Winkleman Gallery is very pleased to present "See Begien, NYC," the first solo New York exhibition by San Francisco artist Cathy Begien. A member of a small group of experiment filmmakers increasingly gaining national attention, Begien here presents three video installations that incorporate props, movie posters, and photographs in a strikingly fresh exploration of social identity, sexual identity, and popular culture. The exhibition's main installation features Begien's compelling 2004 video "Black Out." In turns hilarious and devastating, the video features the artist (blindfolded and seated facing the viewer) retelling of a heavy night on the town with her friends. The narrative is delivered rather monotonously as several people continuously hand her drinks, cigarettes, and other props, acting out the evening's excesses. As the story grows ever more messy, however, the stark set and low-budget production values serve to balance the overwhelming heartache of the episode's climax, offering the viewer a rare, but safe, window into a raw, exquisitely sincere sentimentality. In the second installation, Begien recreates the interior of a home-style Vietnamese restaurant as the setting for her video of her continuously eating her favorite foods. The obsessiveness suggested by her systematically eating meal after meal stands in stark and funny contrast to the cheesy furniture and menu photos of the referenced eatery. The final installation combines the hyper-meta predilections of the age of blogs and personal websites with the unyielding pace of contemporary society, as Begien displays a series of short trailers for her already short films within a background of bootleg versions of her work and worn wheat-pasted posters. Cathy Begien's films have been screened in numerous film festivals across the country, including recently at the Lincoln Center in New York, as well as at the Yerba Buena Center for the Arts in San Francisco, the 18th Street Art Center in Santa Monica, and the Getty Center and the Angela Hanley Gallery in Los Angeles. For more information please contact the gallery at info@winkleman.com or 212.643.3152. Cathy Begien See Begien, NYC For more information, please call 212-643-6152 or email info@winkleman.com. February 16 to March 17, 2007 Opening Reception: Friday, February 16, 6-8 pm Winkleman Gallery 637 West 27th Street (Ground Floor) New York, NY 10001 T: 212.643.3152 F: 212.643.2040 info@winkleman.com www.winkleman.com Hours: Tuesday thru Saturday, 11am to 6pm or by appointment. Directions: C or E train to 23rd Street. Walk North to 27th Street. Winkleman Gallery is between 11th and 12th Avenues.</div> http://winkleman.com/exhibition/view/1002 Exhibition: Boyce Cummings <div class="exhibition-subtitle">Versus</div> <div class="exhibition-dates">November 30, 2006 - January 6, 2007</div> <div class="exhibition-opening">Opens Thursday, November 30, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1005"><img border="0" src="http://winkleman.com/static/dyn-images/8/8947.jpeg" alt="invitation" height="296" width="300" /></a> Boyce Cummings, Invitation, 2006 <div class="exhibition-description">Winkleman / Plus Ultra Gallery is very pleased to present "Versus," the first New York solo exhibition by Boyce Cummings. In seven new paintings and a large mixed-media wall installation, Cummings explores the workings of conflict in both visual art and human endeavors. Whether "high vs. low," "abstraction vs. realism," or "formalism vs. narrative," themes and constructs of visual art parallel personal conflicts in our day-to-day lives---such as "man vs. nature," nature vs. machine," "winning vs. losing," etc. Cummings blends these parallel arenas, resolving elements that we expect not to work together through an exquisite sense of composition. Representational and abstract elements within Cummings' paintings demand to be connected on an experiential human level. But they consistently defy any sensible narrative, eventually leading the viewer to the realization that it's the very fact that the elements are at odds with one another that serves as the glue that holds the compositions together. On one wall of the gallery, Cummings has also collaged drawings, framed and unframed, with knickknacks and other found objects, forming an extensive installation that serves as a legend to the vocabulary of his paintings as well as its own expressionistic composition. With a broad range of styles and subjects, his drawings are mixed to reflect his personal choices but---like his paintings---the juxtapositions eventually lead the viewer along just so far before some compositional roadblock places their growing narrative in limbo, highlighting the experiential impact of conflict itself. Boyce Cummings received his BFA and MFA from the School of Visual Arts. As a 2005/2006 Rome Prize Winner, he spent a year in Italy, but now lives and works in New York. For more information, please call 212-643-6152 or email info@winkleman.com. Boyce Cummings Versus November 30, 2006 to January 6, 2007 Opening Reception: Thursday, November 30, 6-8 pm Winkleman / Plus Ultra Gallery 637 West 27th Street (Ground Floor) New York, NY 10001 T: 212.643.3152 F: 212.643.2040 info@winkleman.com www.winkleman.com Hours: Tuesday thru Saturday, 11am to 6pm or by appointment. Directions: C or E train to 23rd Street. Walk North to 27th Street. Galelry is between 11th and 12th Avenues.</div> http://winkleman.com/exhibition/view/1005 Exhibition: Rosemarie Fiore <div class="exhibition-subtitle">House of Fiction</div> <div class="exhibition-dates">October 20 - November 25, 2006</div> <div class="exhibition-opening">Opens Friday, October 20, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1006"><img border="0" src="http://winkleman.com/static/dyn-images/8/8948.jpeg" alt="invitation" height="315" width="500" /></a> Rosemarie Fiore, invitation, 2006 <div class="exhibition-description">Winkleman / Plus Ultra Gallery is very pleased to present House of Fiction, our second solo exhibition by New York artist Rosemarie Fiore. Known for her experimental use of materials and technology in her paintings, Fiore employs more established techniques for her newest series. Within six landscape oil paintings, Fiore has synthesized a broad range of her earlier imagery, much of it culled from mechanically generated gestures and innovative vocabularies she developed in projects where she painted with everything from lawnmowers to pinball machines, and windshield wipers to live fireworks. Balanced in each painting are signifiers of construction interfacing with indicators of destruction (explosions, guns, industrial waste, etc.). The construction indicators reflect Fiore's decision not only to assemble her previously invented imagery, but to build from them new narratives combined with plein air observations. This juxtaposition of construction and destruction, allows Fiore to continue her exploration of violence and technology in the context of art making and serves as commentary on what she sees from her vantage point. Conceptually, Fiore here allows her earlier series--in which the artist's hand was intentionally removed from the process--to serve as investigative studies for her oil paintings, in which she controls every decision and builds narratives far more complex than she could with automated mark making---a decidedly anti-Duchampian impulse. Also in the exhibition are the latest in Fiore's ongoing series of fireworks drawings. These large works on paper are made by exploding and containing live fireworks, resulting in bursts of saturated color that Fiore overlaps and collages into gorgeous abstract compositions. For more information, please call 212-643-6152 or email info@winkleman.com. Rosemarie Fiore House of Fiction October 20 to November 25, 2006 Opening Reception: Friday, October 20, 6-8 PM Winkleman / Plus Ultra Gallery 637 West 27th Street (Ground Floor) New York, NY 10001 T: 212.643.3152 F: 212.643.2040 info@winkleman.com www.winkleman.com Hours: Tuesday thru Saturday, 11am to 6pm or by appointment. Directions: C or E train to 23rd Street. Walk North to 27th Street. Gallery is between 11th and 12th Avenues.</div> http://winkleman.com/exhibition/view/1006 Exhibition: Jennifer Dalton <div class="exhibition-subtitle">Would You Rather Be a Loser or A Pig?</div> <div class="exhibition-dates">September 7 - October 14, 2006</div> <div class="exhibition-opening">Opens Thursday, September 7, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1010"><img border="0" src="http://winkleman.com/static/dyn-images/8/8884.jpeg" alt="This Is Not News (installation view)" height="333" width="500" /></a> Jennifer Dalton, This Is Not News, 2006 5 strings of 100 light bulbs, ink on colored paper, string, Dimensions variable (each string 101 feet), edition of 10 <div class="exhibition-description">Winkleman / Plus Ultra Gallery is really quite pleased indeed to present "Would You Rather Be a Loser or a Pig?" our third solo exhibition by New York artist Jennifer Dalton. Known for large-scale installations, often with quasi-scientific or corporate motifs, Dalton develops incisive visual systems that facilitate instantaneous, concise conclusions from otherwise overwhelming amounts of data. For this exhibition, she presents a series of works focused on the reality behind what it means to be a contemporary artist working today. Each is an exercise in testing conventional wisdoms about the "art world" and its players (including artists and their families, collectors, critics, gallerists, auction houses, and art schools). For How Do Artists Live? (2006, projected slide show), Dalton conducted an extensive, Internet-based survey of more than 850 anonymous artists in Fall 2005. Her presentation of the results examines the lifestyles and economic situation of working artists and finds some surprising answers to the title question, including that 20% of artists with incomes over $200K/year do not have health insurance; women artists are twice as likely as men artists to be primarily supported by their partner; and men artists are more than twice as likely as women artists to primarily support themselves with art sales. Highly praised in multiple art publications after its debut at New York's Pulse Art Fair in March 2006 The Collector-ibles (2006, mixed media installation, edition of 3) features five large glass-fronted cabinets with 200 figurines representing the "Top 200 Art Collectors," as catalogued in ArtNews magazine's 2005 list. Each figure is a gilded Marvel or DC superhero mounted on a handmade base. The type of figurine and the treatment of the base denotes where the collector's money comes from including business; finance; the arts & media; science & computers; real estate; law; energy (oil or mining industries, etc); and inheritance. In addition, each figure is holding different colored miniature shopping bags, color coded and also labeled in tiny printing to represent the type of art the collector collects. He Said, She Said (2005, chalk pastel and blackboard paint on paper) places literal hatch marks on the marital headboard of husband and wife art critic couple Roberta Smith and Jerry Saltz, keeping count of the number of their reviews of female vs. male artists over one year. Also exploring the disparity between men and women artists is the Art Guide series (2006, mixed media). Maps taken directly from the "Chelsea Art Guide" distributed free at galleries-with each piece using color-coded map pins to indicate male (blue) solo exhibitions, female (pink) solo exhibitions, and mixed-group (white) exhibitions--show a consistent Chelsea ratio of approximately 2 to 1 exhibitions of male vs. female artists. The title piece, Would You Rather Be a Loser or a Pig? offers the viewer an extreme choice between one of two free bracelets: one reads "Loser," the other reads "Pig," reflecting the increasing tendency within the art world to define achievement solely in terms of financial earnings and conspicuous consumption. Mourning the loss of a past when being a struggling artist was part of an honorable tradition, and there was some contempt for "marketable" artwork, this work's implications go far beyond the art world, to address this dichotomy within many other professions and lifestyle decisions, and reflects the increasing political polarization and rising extremism it fosters. Other recent and upcoming exhibitions of Dalton's work include Superstars: The Celebrity Factor: From Warhol to Madonna, Kunsthalle, Vienna, Austria, 2005 and Personal Geographies, curated by Joanna Lindenbaum, Hunter College Times Square Gallery, NYC, 2006. For more information, please call 212-643-6152 or email info@winkleman.com. Jennifer Dalton Would You Rather Be a Loser or a Pig? September 7 to October 14, 2006 Opening Reception: Thursday, September 7, 6-8 PM Winkleman / Plus Ultra Gallery 637 West 27th Street (Ground Floor) New York, NY 10001 T: 212.643.3152 F: 212.643.2040 Hours: Tuesday thru Saturday, 11am to 6pm or by appointment. Directions: C or E train to 23rd Street. Walk North to 27th Street. Galelry is between 11th and 12th Avenues.</div> http://winkleman.com/exhibition/view/1010 Exhibition: Gulnara Kasmalieva and Muratbek Djumaliev <div class="exhibition-subtitle">Into the Future</div> <div class="exhibition-dates">June 15 - July 29, 2006</div> <div class="exhibition-opening">Opens Thursday, June 15, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1011"><img border="0" src="http://winkleman.com/static/dyn-images/8/8966.jpeg" alt="Into the Future" height="200" width="500" /></a> Gulnara Kasmalieva and Muratbek Djumaliev, Into the Future, 2005 Dual-Channel Video (one with audio), 5 minutes, 40 seconds, Edition of 6 <div class="exhibition-description">Plus Ultra Gallery is extremely pleased to present Into the Future, the first New York solo exhibition by Kyrgyz artists Gulnara Kasmalieva and Muratbek Djumaliev. Collaborating for many years, the husband-wife artists are renowned for their documentary-style video installations and photography exploring the ramifications of political upheaval and modernization. Working in their hometown of Bishkek, Kyrgyzstan, which has been the center of change and protest since the collapse of the Soviet Union and recent overthrow of the widely criticized administration of former Kyrgyz president, Askar Akayev, Kasmalieva and Djumaliev exhibit here their 2005 dual-channel video installation "Into the Future." Filmed in Siberia, "Into the Future" offers a direct and thoughtful verification of the effects of change and transformation. Through the juxtaposition of slowly changing images of industrial wastelands and the matter-of-fact recording of people boarding a ferry, they offer a complex, non-ironic look into that ambiguous point at which the future becomes the present and how we cope with that. In addition, Kasmalieva and Djumaliev present a selection of photographs from their "New Menhirs" series. Referencing the giant stone structures (or "menhirs") that jut out of the ground, marking prehistoric burial grounds, throughout Central Asia, this series catalogs desolate, often destroyed landscapes of factories and their surroundings. Standing, like menhirs, as monuments to a lost epoch, the ghostly structures in these images symbolize the contemporary stagnation that has replaced the brighter future they once promised. Gulnara Kasmalieva and Muratbek Djumaliev's work has been exhibited extensively around the world, including in the Central Asian Pavilion at the 51st Venice Biennale; the OK Centre for Contemporary Art for `Biennale Cuvee' in Linz, Austria; the Ujazdowski Castle Contemporary art Centre in Warsaw, Poland; and the Sydney Mishkin gallery in New York. Their work will also be included in the upcoming Singapore Biennale which opens in September 2006. For more information, contact the gallery at info@plusultragallery.com or 212-643-3152. This exhibition was made possible through the generous assistance of Murat Orozobekov. Gulnara Kasmalieva and Muratbek Djumaliev Into the Future June 15 to July 29, 2006 Opening reception: Thursday, June 15, 2006, 6-8 pm Plus Ultra Gallery 637 West 27th Street (Ground Floor) New York, NY 10001 t: 212-643-3152 f: 212-643-2040 Hours: Tuesday thru Saturday, 11am to 6pm or by appointment. Directions: C or E train to 23rd Street. Walk North to 27th Street. Plus Ultra is between 11th and 12th Avenues.</div> http://winkleman.com/exhibition/view/1011 Exhibition: Joe Fig <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 27 - June 3, 2006</div> <div class="exhibition-opening">Opens Thursday, April 27, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1012"><img border="0" src="http://winkleman.com/static/dyn-images/8/8950.jpeg" alt="Installation" height="208" width="400" /></a> Joe Fig, April and Eric, 2006 <div class="exhibition-description">Plus Ultra Gallery is very pleased to present the third solo exhibition of new work by gallery artist Joe Fig. Following Joe's solo exhibition at the Bass Museum in Miami Beach in 2005, this new body of work furthers his series of conceptual portraits of contemporary painters via exquisite miniature sculptures based on extensive research into their studio practice. In addition to a major new double-studio sculpture this exhibition includes 16 new sculptures of painting tables, which incorporate audio tracks from Joe's growing library of interviews with important contemporary painters. The heart of the exhibition is Joe's largest sculpture to date, an exquisitely detailed miniature of the side-by-side Long Island studios of artist couple Eric Fischl and April Gornik. An architectural marvel in its own right, the structure includes two practically identical buildings connected by an elegant entrance and represents the second time Joe has realized a husband-wife sculpture (the first was Inka Essenhigh and Steve Mumford) highlighting one of the central themes of his exploration, the romance we associate with the artist in his/her studio. New to Joe's work is the integration of audio into his sculpture, filling the space with the voices of the artists, which enhances the intimacy of the viewing experience. Also exhibited are 16 new sculptures that focus on the artists' painting tables. This on-going project includes portraits of the following New York area artists: Gregory Amenoff, Chuck Close, Will Cotton, Karin Davie, Eric Fischl, Barnaby Furnas, Bill Jensen, Ryan McGinness, Julie Mehretu, Philip Pearlstein, Matthew Ritchie, Alexis Rockman, Fred Tomaselli, Dana Schutz, Amy Sillman, and Joan Snyder. In contrast to Joe's full-studio sculptures, which include a figure of the artist, in these gem-like pieces, the unique set-up and elements of the painting table itself stands in as a process-related psychological portrait of the artist. Further, each piece is enclosed in a vitrine, referencing art historical artifacts, and each includes the audio of Joe's interview with that painter, forming an extraordinary document of the ideas and practices of a wide range of important contemporary artists. Joe Fig has exhibited widely in the United States and in Europe. His work has been included in exhibitions at PS1-MoMA, the Bass Museum, and the Brooklyn Academy of Music, and is represented in the following collections: the Altoids Collection, the Fogg Art Museum, and the Hood Museum of Art. For more information, contact the gallery at info@plusultragallery.com or 212-643-3152. Joe Fig April 27 - May 27, 2006 EXTENDED UNTIL JUNE 3RD Opening reception: Thursday, April 27, 6-8 pm Plus Ultra Gallery 637 West 27th Street (Ground Floor) New York, NY 10001 t: 212-643-3152 f: 212-643-2040 Hours: Tuesday thru Saturday, 11am to 6pm or by appointment. Directions: C or E train to 23rd Street. Walk North to 27th Street. Plus Ultra is between 11th and 12th Avenues.</div> http://winkleman.com/exhibition/view/1012 Exhibition: Nancy Baker <div class="exhibition-subtitle">City of God</div> <div class="exhibition-dates">March 30 - April 22, 2006</div> <div class="exhibition-opening">Opens Thursday, March 30, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1013"><img border="0" src="http://winkleman.com/static/dyn-images/8/8952.jpeg" alt="Pubic Wars, II" height="494" width="500" /></a> Nancy Baker, Pubic Wars, II, 2006 <div class="exhibition-description">Plus Ultra Gallery is very pleased to present City of God, the first New York solo exhibition by North Carolina-based artist Nancy Baker. In this new series of elaborately imagined landscapes, Baker---who admits to having an "inexplicable" attraction to Medieval Christian art---explores the intersection of contemporary American culture and religion at its most idealized (and perhaps absurd) extremes. With an astonishingly complex vocabulary that she appropriates from across the span of art history, Baker walks a razor thin tightrope between kitsch and high art. As noted in a catalog essay by curator Luis Camnitzer, Baker sees her dance with kitsch as not just about dubious taste, it's "also about play with forbidden taste, subversion of highbrow arrogance, poking the provincial attitudes of hegemony that determine and separate the good and valid from the bad and invalid...." Fueling the theme (and providing the title) of Baker's exhibition is the dichotomy of the human condition explored so thoroughly in St. Augustine's landmark book, The City of God, which was primarily a philosophical response to the sacking of Rome by the Visigoths in 410 AD. Many Romans believed this catastrophe represented the wrath of the pagan gods because their countrymen had embraced Christianity. Augustine of Hippo sought to counter these beliefs, drawing a distinction between those who live for the pleasures in the earthly "City of Man" and pious believers who suffer but focus on their eventual joy in the "City of God." While meant to be a consolation to the Roman Christians who were reeling from the shocking attack on their capital, St. Augustine's text here paradoxically serves as the pretext for Baker's humanist counter-assertion that although good deeds in the light of death may seem absurd, it's all that we've got and therefore reason enough to live one's life that way. In addition to the general themes of the text, Baker's series draws from the imagery of an illuminated manuscript of City of God by "Maître François" for Jacques d'Armagnac, Duke of Nemours (d. 1477). Lifting other imagery from along the path of art history up to and including pop iconography, Baker connects the dots between the famous response to the attack on Rome and our response to recent events in the US. For more information, contact the gallery at info@plusultragallery.com or 212-643-3152. Nancy Baker City of God March 30 - April 22, 2006 Opening reception: Thursday, March 30, 6-8 pm Plus Ultra Gallery 637 West 27th Street (Ground Floor) New York, NY 10001 t: 212-643-3153 f: 121-643-2040 Hours: Tuesday thru Saturday, 11am to 6pm or by appointment. Directions: C or E train to 23rd Street. Walk North to 27th Street. Plus Ultra is between 11th and 12th Avenues.</div> http://winkleman.com/exhibition/view/1013 Exhibition: Alois Kronschläger <div class="exhibition-subtitle">Repercussions: A Series of Surprisingly Divisive Events </div> <div class="exhibition-dates">March 2 - March 25, 2006</div> <div class="exhibition-opening">Opens Thursday, March 2, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1014"><img border="0" src="http://winkleman.com/static/dyn-images/8/8959.jpeg" alt="Untitled (Repercussions series; gray on gray)" height="547" width="400" /></a> Alois Kronschläger, Untitled (Repercussions series; gray on gray), 2005 Paper, latex caulk, polystyrene base, 39" x 27.5" x 6" <div class="exhibition-description">Plus Ultra Gallery is extremely pleased to inaugurate our new location with Repercussions: A Series of Surprisingly Divisive Events, the first New York solo exhibition by Austrian-born artist Alois Kronschläger. With a site-specific installation and a striking new series of wall sculptures, Kronschläger continues his ongoing exploration in representing time and space via geometry. In contrast to the multitude of artists, architects and designers engaged in digital investigations of this topic, Kronschläger has developed a hand-made process for recording a complex series of events and actions within curvilinear space. The resulting sculptures constitute frozen points in time within these complex narratives, presented as a composition for the viewer's consideration. To prepare his sculptures, which playfully reference the early pinstripe paintings of Frank Stella, Kronschläger lines sheets of archival paper with a latex caulk. These evenly spaced lines then serve as measures for recording the pending actions--crunching, pinching, folding, crinkling, etc.--that impact the pictorial plane. Kronschläger then sets the chosen compositions with a polystyrene base. Unlike earlier explorations with shaped or slashed canvases, however, these pieces maintain the integrity of their original plane's vertical and horizontal limits, even as the caulk lines emphasize both the beat of the actions and the topographical aspects of the now three-dimensional space they occupy. The shift in scale in his site-specific installations takes Kronschläger's approach one step further in that he blurs the line between objects and construction, between space and applied artifact. By using the gallery's planes to emphasize the resulting negative space around his intricate surfaces, his large installations underline the progression into multi-dimensionality within his process. For additional information, please contact Joshua Stern or Edward Winkleman at 212-643-3152 or info@plusultragallery.com Alois Kronschläger Repercussions: A Series of Surprisingly Divisive Events March 2-25, 2006 Opening Reception: March 2, 6-8 pm</div> http://winkleman.com/exhibition/view/1014 Exhibition: The Expression of Elemental Passions... <div class="exhibition-subtitle">(Or, Damn Everything But the Circus)</div> <div class="exhibition-dates">June 3 - July 11, 2005</div> <div class="exhibition-opening">Opens Friday, June 3, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1015"><img border="0" src="http://winkleman.com/static/dyn-images/8/8962.jpeg" alt="Group Exhibition" height="257" width="175" /></a> Winkleman Gallery, Group Exhibition, 2005 <div class="exhibition-description">Plus Ultra Gallery is extremely pleased to present "The Expression Of Elemental Passions...(Or, Damn Everything But The Circus)," an exhibition featuring work by gallery artists and friends, including Nancy Baker, Leslie Brack, Amanda Church, Jennifer Dalton, Nicholas Gaffney, Kate Gilmore, Joe Fig, Rosemarie Fiore, Jeff Hand, Christopher Johnson, Alois Kronschläger, Thomas Lendvai, Max-Carlos Martinez, Analia Segal, and Andy Yoder. Lifted from a quote in which Pope Benedict XVI condemns rock music as "the expression of elemental passions," the first part of the exhibition's title is answered in its subtitle by Corita Kent's infamous declaration that embodies the spirit of this summer celebration of the gallery's artists and extended family. With photography, video, sculpture, paintings, drawings, and mixed media pieces, the exhibition reflects the range of the gallery's programing and offers a glimpse at what lies ahead, as well as a few surprises, like a good circus should. For more information about contact us at 718-387-3844 or info@plusultragallery.com The Expression 0f Elemental Passions... (Or, Damn Everything But the Circus) Nancy Baker, Leslie Brack, Amanda Church, Jennifer Dalton, Nicholas Gaffney, Kate Gilmore, Joe Fig, Rosemarie Fiore, Jeff Hand, Christopher Johnson, Alois Kronschläger, Thomas Lendvai, Max-Carlos Martinez, Analia Segal, And Andy Yoder June 3 To July 11, 2005 Opening: Friday, June 3, 7-9 Pm</div> http://winkleman.com/exhibition/view/1015 Exhibition: Trevor Wentworth <div class="exhibition-subtitle">Eight Guardians of the Sacred Prize </div> <div class="exhibition-dates">April 29 - May 30, 2005</div> <div class="exhibition-opening">Opens Friday, April 29, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1016"><img border="0" src="http://winkleman.com/static/dyn-images/8/8963.jpeg" alt="Eight Guardians of the Sacred Prize" height="229" width="175" /></a> Trevor Wentworth, Eight Guardians of the Sacred Prize, 2005 <div class="exhibition-description">Trevor Wentworth eight guardians of the sacred prize april 29 - may 30, 2005 opening: friday, april 29, 7-9 PM plus ultra gallery is extremely pleased to present "eight guardians of the sacred prize," the first solo exhibition by new york artist trevor wentworth. in a series of mixed media wall pieces and tabletop three-dimensional prints landscapes of historically influenced but anachronistically and spatially abstracted microscopic environments, wentworth presents nearly three-years of splendidly obsessive and meticulous work. layer after layer of almost impossible detail reveal themselves in these allegorical sculptures and installations that form an environment in turns as dense as history or sparse as the space between parts within molecules. referencing both the scientific accomplishments of the celebrated 17th century maker of microscopes, anthonie van leeuwenhoek, and the war between england and the netherlands that stood as a backdrop to leeuwenhoek's incredible life story, wentworth appropriates vocabulary via a method perhaps best described as a visual stream of consciousness. from magnifications of cellular creatures to dutch royal insignias and architectural flourishes, the signifiers jostle, overlap, merge and mutate in an organic free-form of association and creation as opulent as it is ponderous. for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com trevor wentworth eight guardians of the sacred prize april 29 - may 30, 2005 opening: friday, april 29, 7-9 PM</div> http://winkleman.com/exhibition/view/1016 Exhibition: Jeff Hand <div class="exhibition-subtitle">The Shadow of Doubt</div> <div class="exhibition-dates">March 25 - April 25, 2005</div> <div class="exhibition-opening">Opens Friday, March 25, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1017"><img border="0" src="http://winkleman.com/static/dyn-images/8/8981.jpeg" alt="The Shadow of Doubt" height="651" width="500" /></a> Jeff Hand, The Shadow of Doubt, 2005 <div class="exhibition-description">plus ultra gallery is very pleased to present "the shadow of doubt," our second solo exhibition by nashville-based artist jeff hand. with three major new pieces and a collection of hilarious new drawings, hand continues his humorously irreverent deconstruction of 20th century art movements and examines the lingering assumptions about art making and art history we may still be too involved with to recognize fully. from the dadaists to the pop artists, the abstract expressionists to the conceptualists, hand explores their range of overlapping concerns and suggests through brilliant juxtapositions that they left behind a surprising array of unanswered questions with regards to authorship, ownership, the division between high art and low art, and what it is that makes someone an artist. central to this exploration is hand's signature utilization of nontraditional media in his stunning reproductions of seminal works of art. skewering dekooning, warhol, oppenheim, and duchamp, among others, hand suggests that despite the explosion of ideas the last century bore witness to, contemporary artists' desire/ability to synthesize it all remains its greatest legacy. for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com jeff hand the shadow of doubt march 25 - april 25, 2005 opening: friday, march 25, 7-9 PM</div> http://winkleman.com/exhibition/view/1017 Exhibition: Brian Walker <div class="exhibition-subtitle">Lost in Queens: A Natural History Museum in 7 Parts</div> <div class="exhibition-dates">February 18 - March 21, 2005</div> <div class="exhibition-opening">Opens Friday, February 18, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1018"><img border="0" src="http://winkleman.com/static/dyn-images/8/8982.jpeg" alt="Lost In Queens" height="340" width="500" /></a> Brian Walker, Lost In Queens, 2007 <div class="exhibition-description">Brian Walker Lost In Queens: A Natural History Museum In 7 Parts February 18 To March 21, 2005 Plus Ultra Gallery is very pleased to present "Lost in Queens: A Natural History Museum in 7 Parts," a solo exhibition by New York artist/architect Brian Walker. As an experiment in extreme artistic constraint, Walker presents 7 architectural drawings of 13 proposed natural history museum buildings located throughout the New York borough of queens. Each proposal is located on one of the highly improbably, oddly shaped and sometimes all but inaccessible lots actually purchased by Gordon Matta-Clark for his 1974 project "fake estates." Walker traveled to each of these locations in a self-imposed ritualistic process, including eating the same breakfast in a neighborhood diner after each visit. He thoroughly documented the lots, researched the city's zoning regulations, and then designed a building for actual natural history collections of various animals, including bees, passenger pigeons, dodo birds, ants, and a tyrannosaurus rex. His designs include display spaces, storage facilities, a theater, a café, and a research laboratory throughout the 7 buildings. Walker's results are as fantastic as they are humorous and inspiring. For more information about contact Joshua A. Stern or Ed Winkleman at 718-387-3844 or info@plusultragallery.com Brian Walker Lost In Queens: A Natural History Museum In 7 Parts February 18 To March 21, 2005 Opening: Friday, February 18, 7-9 pm Plus Ultra Gallery 235 South 1st Street Brooklyn, NY 11211 718-387-3844 Gallery Hours: Friday thru Monday, 12 to 6 or by appointment.</div> http://winkleman.com/exhibition/view/1018 Exhibition: Thomas Lendvai <div class="exhibition-subtitle">A Series of Nows</div> <div class="exhibition-dates">January 7 - February 7, 2005</div> <div class="exhibition-opening">Opens Friday, January 7, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1019"><img border="0" src="http://winkleman.com/static/dyn-images/8/8784.jpeg" alt="A series of Nows" height="375" width="500" /></a> Thomas Lendvai, A Series of Nows, 2005 Douglas Fir, 20' x 18' x 11' (.006 x .005 x .003km) <div class="exhibition-description">Thomas Lendvai A Series Of 'Nows' January 7 to February 7, 2005 Opening: Friday, January 7, 7-9 PM Plus Ultra Gallery is very pleased to present "A Series Of 'Nows'," our first solo exhibition by New York sculptor Thomas Lendvai. In a new site-specific installation, Lendvai transforms plus ultra with a series of unpainted joists, spaced at the construction standard of 16" on center. The exposed wooden beams descend through the space at an angle, as if another building had come crashing through the gallery. Taking Lendvai's earlier explorations of intersecting planes to their most extreme conclusion, this untitled piece blends cubist notions of time and space with an understated theatricality. Referencing the notion that there is no perceptible past or future, only a series of "nows," Lendvai's installation, although obviously constructed right out of the walls with heavy-duty timber, gives viewers the impression that should they come back five minutes later it will be in a different position. This sense of movement is enhanced by the way that the installation is subtlety activated by the viewer-each vantage point changes the relationships of the beams to the floor and walls (near the front of the gallery the beams are well above the viewer's head, near the back one must enter the work to stand up fully)-heightening the expectation of what part of the "other building" one might see next. For more information about contact Joshua A. Stern or Ed Winkleman at 718-387-3844 or info@plusultragallery.com Thomas Lendvai A Series Of 'Nows' January 7 to February 7, 2005 Opening: Friday, January 7, 7-9 PM</div> http://winkleman.com/exhibition/view/1019 Exhibition: Analia Segal <div class="exhibition-subtitle">Wallpaper 10.01.04 </div> <div class="exhibition-dates">November 19 - December 20, 2004</div> <div class="exhibition-opening">Opens Friday, November 19, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1020"><img border="0" src="http://winkleman.com/static/dyn-images/8/8983.jpeg" alt="Wallpaper 10.01.04" height="235" width="175" /></a> Analia Segal, Wallpaper 10.01.04, 2004 <div class="exhibition-description">Analia Segal wallpaper 10.01.04 november 19 to december 20, 2004 opening: friday, november 19, 7-9 PM plus ultra gallery is very pleased to present "wallpaper 01.01.04," our second solo exhibition by new york artist analia segal. via a large installation of exquisite drawings, segal offers a startling new architectural intervention, an experiential paradox of the familiar and the unsettling. tiled across the gallery, the drawings of "wallpaper 01.01.40" form a grid-rectangular panels joined by delicate corner markings suggesting hair, skin, and orifices. suggesting the most personal of body parts, segal's latest installation is impossible to view passively. the viewer is both seduced and confused, as the ambiguously gendered patterns force one to rethink acceptable boundaries, all the while offering the reassuring structures we associate with brickwork and foundations that counter the shock of one's original associations. creeping out from the crevices, the architectural hair conveys the notion of the uncanny in our habitats, while destabilizing the notion of the constructed space as shelter. once the viewer recovers from an initial unease, however, what remains are works of painstaking precision and beauty. like no two bodies, no two panels are exactly the same. each conveys a quiet, majestic uniqueness and splendor, as does each human body. plus ultra gallery is also pleased to congratulate analia segal on recent prizes and grants, including a nyfa grant in the category of "architecture and environmental structures, a pollack krasner grant, and first prize in london's 100% design contest for her tile installation titled "w.c. (water closet - white cube)". for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com for more information, contact joshua stern or ed winkleman at 718-387-3844 or visit us online at www.plusultragallery.com. analia segal wallpaper 10.01.04 november 19 to december 20, 2004 opening: friday, november 19, 7-9 PM</div> http://winkleman.com/exhibition/view/1020 Exhibition: Kate Gilmore <div class="exhibition-subtitle">If My Shoes Matched My Dress I Could Destroy You</div> <div class="exhibition-dates">October 15 - November 15, 2004</div> <div class="exhibition-opening">Opens Friday, October 15, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1021"><img border="0" src="http://winkleman.com/static/dyn-images/8/8984.jpeg" alt="If My Shoes Matched My Dress I Could Destroy You" height="168" width="200" /></a> Kate Gilmore, If My Shoes Matched My Dress I Could Destroy You, 2004 <div class="exhibition-description">Kate Gilmore if my shoes matched my dress i could destroy you october 15 to november 15, 2004 opening: friday, september 10, 7-9 PM plus ultra gallery is very pleased to present "if my shoes matched my dress i could destroy you," our first solo exhibition by new york artist kate gilmore. featuring a powerful new 16-minute video (entitled "heart breaker"), gilmore's latest sculptural installation continues her exploration of the symbols, behaviors, and sentiments associated with stereotypical expectations of women. with a compelling blend of humor and violence, gilmore offers a devastating reality check on contemporary romance, its signifiers, and the limiting roles and attitudes they encourage. central to the installation is a giant valentine-shaped sculpture in gilmore's signature junkyard wood-remnants construction style. dressed in a pale yellow dress, matching scarf, hair ribbon, and high-heeled shoes, the character in the video (played by gilmore) surveys the heart sculpture and then walks off camera. returning with a hatchet (which also matches her dress), she begins to hack repeatedly at the structure, and continues well into a state of exhaustion. as she steadily works, nail-bearing boards fly across the space, suspending wires snap and fly furiously, and blood splashes out from pockets within the sculpture. defying the expected anesthetization of repetition, however, gilmore's video maintains a fierce tension. as the character barely misses chopping into her free hand or legs or being buried by the unstable structure that towers over her, the viewer is witness to a nearly unbearable determination. the installation also includes the remnants of the original sculpture, revealing just how precarious a venture it was to demolish it. for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com kate gilmore if my shoes matched my dress i could destroy you october 15 to november 15, 2004 opening: friday, september 10, 7-9 PM</div> http://winkleman.com/exhibition/view/1021 Exhibition: Nicholas Gaffney <div class="exhibition-subtitle">Treasure Hunt </div> <div class="exhibition-dates">September 10 - October 11, 2004</div> <div class="exhibition-opening">Opens Friday, September 10, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1022"><img border="0" src="http://winkleman.com/static/dyn-images/8/8985.jpeg" alt="Treasure Hunt (Sno Balls)" height="257" width="200" /></a> Nicholas Gaffney, Treasure Hunt (Sno Balls), 2004 <div class="exhibition-description">Nicholas Gaffney treasure hunt september 10 to october 11, 2004 opening: friday, september 10, 7-9 PM plus ultra gallery is very pleased to present "treasure hunt," the first solo exhibition by new york artist nicholas gaffney. in a witty and beautiful new series of landscape photographs, gaffney explores the notions of purity and "natural" in pristine environments. through the sometimes subtle, sometimes humorous placements of junk food items like marshmallows or guacamole chips in nature, he invites the viewer to imagine these objects have always been there, waiting to be discovered, if one were to only look for them. paying homage to the tradition of natural landscapes as subject, gaffney introduces objects into these settings as means of creating a new reality and ever-so-fleetingly owning them. in gaffney's world, pretzels become logs, mallomars become stones on a beach, or pink snoballs become exotic blooms or strange fungi among lush foilage. in many of these works the introduced items are all but imperceptible. in others what the object is takes some time to recognize. in all of the photographs, visual puns disarm the viewer and momentarily offer a window into a delightful vision where natural beauty is magical and wondrous. for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com nicholas gaffney treasure hunt september 10 to october 11, 2004 opening: friday, september 10, 7-9 PM</div> http://winkleman.com/exhibition/view/1022 Exhibition: A Dot That Went for a Walk <div class="exhibition-subtitle">Katinka Ahlbom, Vanessa Conte, Rosemarie Fiore, and Medrie MacPhee</div> <div class="exhibition-dates">June 25 - July 31, 2004</div> <div class="exhibition-opening">Opens Friday, June 25, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1023"><img border="0" src="http://winkleman.com/static/dyn-images/8/8986.jpeg" alt="Group Exhibition" height="119" width="175" /></a> Winkleman Gallery, Group Exhibition, 2004 <div class="exhibition-description">A Dot That Went for a Walk opening: friday, june 25, 2004, 7 to 9 pm featuring katinka ahlbom, vanessa conte, rosemarie fiore, and medrie macphee for more information, contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com</div> http://winkleman.com/exhibition/view/1023 Exhibition: The Truck Stops Here <div class="exhibition-subtitle">In conjunction with Project: Transmotion</div> <div class="exhibition-dates">May 28 - June 14, 2004</div> <div class="exhibition-opening">Opens Friday, May 28, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1024"><img border="0" src="http://winkleman.com/static/dyn-images/8/8987.jpeg" alt="Group Exhibition" height="170" width="250" /></a> Winkleman Gallery, Group Exhibition, 2004 <div class="exhibition-description">The Truck Stops Here featuring diane carr, elaine chow, boyce cummings, kate gilmore, tom lendvai, alois kronschläger, christopher reiger, anne spurgeon and robyn winston. may 28 to june 14, 2004 opening: friday, may 28, 7-9 pm in conjunction with project: transmotion, plus ultra gallery is very pleased to present "the truck stops here," a group exhibition featuring new work by new york artists diane carr, elaine chow, boyce cummings, kate gilmore, tom lendvai, alois kronschlaeger, christopher reiger, anne spurgeon and robyn winston. on may 21st and may 22nd, project: transmotion, a mobile art installation on an 18-wheeler flatbed, measuring 45' x 8', will drive through all five boroughs of new york city. the construction on the flatbed, fabricated by nine artists, serves as both art transport and artwork; art about art transportation. a combination of mad max renegade stylings, 1970s low-rider rococo tailfins and glossy corporate finishes allows the viewers a voyeuristic glimpse of the trucking culture. by removing the walls of the truck, project: transmotion exposes what is usually hidden from view. following the event, the nine artists collaborating on the installation will exhibit individual works at plus ultra. by presenting documentation of a collaborative installation alongside the artists' own work, "the truck stops here" explores the duality of artist collectives, providing an opportunity to examine how individual visions combine and cooperate for the benefit of the overall project as well as inform what each artist brings to the table. for more information about project: transmotion*, contact alois kronschlaeger at (917) 513-1170 for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com the truck stops here featuring diane carr, elaine chow, boyce cummings, kate gilmore, tom lendvai, alois kronschlaeger, christopher reiger, anne spurgeon and robyn winston. may 28 to june 14, 2004 opening: friday, may 28, 7-9 pm</div> http://winkleman.com/exhibition/view/1024 Exhibition: Jennifer Dalton <div class="exhibition-subtitle">Getting to Know the Neighbors</div> <div class="exhibition-dates">April 23 - May 24, 2004</div> <div class="exhibition-opening">Opens Friday, April 23, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1025"><img border="0" src="http://winkleman.com/static/dyn-images/8/8879.jpeg" alt="Getting to Know the Neighbors" height="333" width="500" /></a> Jennifer Dalton, Getting to Know the Neighbors, 2004 Handmade book (mixed media), pedestal unique, 216" x 115" x 57.5" (549 x 292 x 148cm) <div class="exhibition-description">Jennifer Dalton Getting to Know the Neighbors April 23 to May 24, 2004 Opening: Friday, April 23, 2004, 7 - 9 pm Plus Ultra is very pleased to present "Getting to Know the Neighbors," our second solo exhibition by New York artist Jennifer Dalton. Continuing her exploration of the systems that affect artists and the art world, Dalton presents a major new work-over 100-feet in length-that examines the epa-regulated properties in the adjoining Wlliamsburg and Greenpoint districts of Brooklyn, New York, reportedly one of the most polluted neighborhoods in New York Cityand home to more artists per capita than any other neighborhood in the world. Having been dubbed the "superego" of the art world1 and, more recently, "the art world's private cardiologist"2 for her installations and multimedia work that catalog and deconstruct the marketing and critiquing systems of contemporary art, Dalton now turns her attention to the living and working environment of some of the most famous young artists in the world (and her own as well). In a handmade, accordion-paged book (inspired by Ed Ruscha's Every Building on the Sunset Strip), Dalton documents the 396 addresses in Williamsburg and Greenpoint listed on the Environmental Protection agency's website as polluting or potentially hazardous businesses. "Getting to Know the Neighbors" is presented as a long row of deadpan yet beautiful snapshot photographs, with handwritten captions underneath each photo listing which of the five regulatory "polluting" categories each property falls under. This work continues Dalton's use of a quasi-scientific presentation of data while it documents a personal approach to investigating questions about pollution, community, and personal choice. after all, the information it reveals is easily accessible to anyone who wants it, and new people are choosing to move into this desirable neighborhood at an unprecedented rate. Displayed on an eye-level platform that snakes through the gallery, the installation reiterates the performative aspects of the making of the work, by mimicking a walk through the neighborhood, and, as is the case with all of dalton's work, leads us to view the world around us differently. 1 "Jennifer Dalton," by Frances Richard, Artforum, may 2002 2 "Clinical Studies: Artist Jennifer Dalton Casts a Critical Eye on the Systems that Mythologize Artists," by Ana Finel Honigman, Art on Paper, March/April 2004 For more information, contact us at 718-387-3844 or info@plusultragallery.com Jennifer Dalton Getting to Know the Neighbors April 23 to May 24, 2004 Opening: Friday, April 23, 2004, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1025 Exhibition: Christopher Lowry Johnson <div class="exhibition-subtitle">The Crowd Was Mute and Moveless</div> <div class="exhibition-dates">March 19 - April 19, 2004</div> <div class="exhibition-opening">Opens Friday, March 19, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1026"><img border="0" src="http://winkleman.com/static/dyn-images/8/8941.jpeg" alt="The Grape Heap" height="429" width="500" /></a> Christopher Lowry Johnson, The Grape Heap, 2004 Oil on canvas, 46" x 54" (117 x 137cm) <div class="exhibition-description">Christopher Lowry Johnson The Crowd Was Mute And Moveless March 19 to April 19, 2004 Opening: Friday, March 19, 2004, 7 - 9 Pm Plus Ultra is very pleased to present "The Crowd Was Mute And Moveless," our second solo exhibition by New York artist Christopher Lowry Johnson. In this powerful new series of painting, Johnson expands his exploration of the inherent bankruptcy within material and spiritual excess. Focused again on a very American sense of desire, he has broadened his investigation to include our role in recent global events. Viewed through Johnson's distinctive co-opting of pan-art-historical allegory and approaches to painting, the crossroads where America's vulnerability intersects with our hunger for abundance provide a rich source for this provocative critique. The large canvases in this exhibition vary greatly in tone, density, and style, quoting from rococo painting, fairy tales, rock music imagery, epic poetry, and popular culture. This disparity of motifs emphasizes the wish that they not be read as one statement, but that they reflect the complexity and inconsistencies within the world's current state of affairs. "The Crowd Was Mute and Moveless," is a quote from a poem by Shelley, and, although whether Johnson's critique is read as "romantic" falls to the individual viewer, he does reference the romantic's fascination with middle eastern themes and textures. Commanding attention among the paintings is "crusader," an intense and colorful work based on the "I Dream Of Jeanie" TV show. Set in the plush magic bottle dwelling of the title character (a native of Baghdad), "crusader" presents a moment of surprise as a group of nativity figurines comes to live and unleashes a muscular blue genie from his bottle. A young American man--playing with the Arab figurines and American toy soldiers, while virtually drowning in the pool of treasures around him--and the friendly, iconographic Jeanie fall back, astonished at the sudden intrusion of this idealized character into their domestic drama. In "idle beauty," a nude woman stands innocently at the foot of a large strong tree in which dozens of bizarre characters are busily draining it of sap. Even a huge rock nearby is assaulted and tapped for the valued resources it contains. Seemingly unaware of what is happening around her, the woman dreamily contemplates some small object in her hands. And dream-like, somewhat sleepy expressions on the seven dwarves (and an odd assortment of others) in "the grape heap" betray the encroaching peril as they're buried under a mountain of luscious fruit. Out head of the juicy heap, an ostensibly ambivalent snow white holds an apple she's eaten down to the core. And in the airy "intoxicated crusader (after Tiepolo)," based on the 18th century artist's depiction of "Rinaldo enchanted by Armida, the updated seductress reclines on a mount of treasure, apparently complicit with the forces she's supposedly fighting against. Rinaldo remains transfixed by his own reflection, while Disney-esque bluebirds lift his lover's flowing skirt to reveal odd characters cavorting underneath. For more information, contact us at 718-387-3844 or info@plusultragallery.com Christopher Lowry Johnson The Crowd Was Mute and Moveless March 19 to April 19, 2004 Opening: Friday, March 19, 2004, 7 - 9 Pm</div> http://winkleman.com/exhibition/view/1026 Exhibition: All the Roses That Were Ever Painted <div class="exhibition-subtitle">Jon Berzinski, Limor Gasko, and Gary Petersen</div> <div class="exhibition-dates">February 20 - March 15, 2004</div> <div class="exhibition-opening">Opens Friday, February 20, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1027"><img border="0" src="http://winkleman.com/static/dyn-images/8/8988.jpeg" alt="Group Exhibition" height="170" width="250" /></a> Winkleman Gallery, Group Exhibition, 2004 <div class="exhibition-description">All the Roses That Were Ever Painted jon berzinski, limor gasko, and gary petersen february 20 to march 15, 2004 opening reception: friday, february 20, 2004, 7 - 9 pm plus ultra is very pleased to present "all the roses that were ever painted," an exhibition of recent work by new york artists jon berzinski, limor gasko, and gary petersen. referencing a quote by henri matisse about the ubiquitous burden of history on each new generation of painters, "all the roses that were ever painted" brings together the work of three artists representing the spectrum of contemporary painting form. examining the overlapping similarities of each, this exhibition asks the question: are the goals of abstract and representational painting any longer distinguishable? . the savvy abstractions by gary petersen stand at one end of the spectrum. loosely suggesting systems, body parts, or worlds within worlds, they combine a geo-organic vocabulary with a playful, but disquieting palette, all the while carefully avoiding representation of anything specific. still concerned with the metaphorical potential of paint that has informed abstraction historically, peterson consciously flirts with representation, rather than abstracting something that is actual, thereby creating windows into imaginary worlds. in the middle of the spectrum are the abstractions of actual interiors by jon berzinski. based on photographs of the capital punishment chambers in various prisons, berzinki's paintings blend politically loaded subject matter with pop-chartered commentary via a treatment that both reflects and deflects the cold, clinical reality that takes place there. clearly identifiable forms combined with a nonrepresentational palette and hard geometric abstraction defy easy definition within either form. approaching photorealism, limor gasko's deftly painted still lives stand at the other end of the spectrum. in compositions of arranged mice, birds, or flowers on fields of electric colors, gasko's crisp palette blends with subtle allegories that stop short of what would be called "surrealism" but still tap into psychological responses by the viewer. competing with her mostly solid grounds for domination, gasko's unusually composed figures construct larger shapes and relationships commonly associated with abstraction. of course, lingering in the shadows of this investigation and complicating any discussion of artists' goals remains the ever-present specter of irony. although it would seem that the question of irony is no longer the tenure of the artist alone (it's now at least partially decided by the viewer as well), the emergence of overlapping similarities between forms in contemporary painting seem to render the question less relevant. for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com all the roses that were ever painted jon berzinski, limor gasko, gary petersen february 20 to march 15, 2004 opening reception: friday, february 20, 2004, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1027 Exhibition: Rosemarie Fiore <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 9 - February 9, 2004</div> <div class="exhibition-opening">Opens Friday, January 9, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1028"><img border="0" src="http://winkleman.com/static/dyn-images/8/8989.jpeg" alt="Roadrunner" height="200" width="300" /></a> Rosemarie Fiore, Roadrunner, 2004 <div class="exhibition-description">plus ultra gallery is very pleased to present a solo exhibition by new york artist rosemarie fiore. in an amazing new series of ceramic table-top landscapes, fiore continues her exploration of technology, violence, and war as it relates to art-making through three-dimensional recreations of actual scenarios from the "roadrunner" cartoon series. conceptually, this series examines the role of the creative trickster, a long-running theme in fiore's performances, videos, and works on paper. contrary to what always happened in the cartoon, for which the writers followed strict rules (including that the roadrunner must be "good" and not actively harm the coyote, as much as simply undo the coyote's creativity with a simple act of "dumb luck"), in fiore's landscapes what nearly everyone who ever watched the series wanted actually happens: the coyote finally succeeds. drawn to the subject by the wildly creative weapons the coyote developed in each episode, which fiore had first recreated in papier mache, she expanded her project to include entire landscapes after attending a residency in new mexio that had a ceramics kiln available. attracted by both the colors and textures of the new mexico desert and the callenge of realizing two-dimensional narratives in three-dimensional sculptures, fiore presents this series of ceramic tableaus that--unlike their benignly decorative, almost peaceful italian or french precedents--reveal gruesome ends to the coyote's creative endeavors. fiore also presents a series of drawings on acetate (referencing cartoon cells), each one capturing the moment at which the roadrunner is exploding into hundreds of pieces. with bits of cacti or desert brush, as well as roadrunner purple body parts, flying in all directions, these works suggest unused cells collected from the cartoon studio's cutting room floor, revealing, perhaps, an unrealized desire on the part of the series' original creators. for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com rosemarie fiore january 9 to february 9, 2004 opening reception: friday, january 9, 2004, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1028 Exhibition: Team Lump <div class="exhibition-subtitle">Beggars & Theives</div> <div class="exhibition-dates">November 21 - December 22, 2003</div> <div class="exhibition-opening">Opens Friday, November 21, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1029"><img border="0" src="http://winkleman.com/static/dyn-images/8/8990.jpeg" alt="Group Exhibition" height="257" width="175" /></a> Winkleman Gallery, Group Exhibition, 2003 <div class="exhibition-description">plus ultra gallery is very pleased to present beggars & thieves, an exhibition by raleigh, nc, artist collective team lump. featuring new work by team lump artists michael salter, laura sharp wilson, lump lipshitz and gary smith, beggars & thieves highlights the talent, energy, and sheer audacity that has come to be associated with the ground-breaking programming at raleigh's legendary showcase for emerging art, lump gallery/projects. along with works on paper by other team lump crew members, beggars & thieves includes a limited t-shirt, complimentary cigarettes and krispy kreme doughnuts (while they last). working organically, team lump adapts to each new exhibition space, installing a mix of paintings, drawings, sculpture, wall drawings, and video to create an installation that offers a seemingly chaotic vision, but still offers access into individual works of surprising materials and poignant commentary. included in beggars & thieves are laura sharp wilson's densely patterned paintings on japanese paper imbuing organic forms and decorative motifs with a sense of vitality, creating intense visual narratives that serve as the vehicle for her psychological musings. michael salter offers commanding, often-humorous digital drawings, a kinetic sculpture and a wall drawing as he continues his investigation into the impact of mass media, mass communication and brand identity on our ability to decipher meaning. taken from popular science fiction or simply made up, the stunningly detailed solid tin foil sculptures of heroes and creatures by gary smith capture the awe and wonder of the future. and lump lipshitz's video "my long wet summer," drawings, and paintings reemphasize the theme running through all team lump's work: the desire to sort out and focus an infinitely chaotic flow of information...trying to read between the lines, when even the lines don't make sense. for information contact joshua a. stern or ed winkleman at 718-387-3844 / info@plusultragallery.com team lump beggars & theives november 21 to december 22, 2003 opening reception: friday, december 22, 2003, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1029 Exhibition: Joe Fig <div class="exhibition-subtitle">Contemporaries</div> <div class="exhibition-dates">October 17 - November 17, 2003</div> <div class="exhibition-opening">Opens Friday, October 17, 6:00 PM - 8:00 PM</div> <a href="/exhibition/view/1030"><img border="0" src="http://winkleman.com/static/dyn-images/8/8991.jpeg" alt="Inka Essenhigh" height="202" width="300" /></a> Joe Fig, Inka Essenhigh, 2003 <div class="exhibition-description">Joe Fig contemporaries october 17 to november 17, 2003 opening reception: friday, october 17, 2003, 7 - 9 pm New York Times review Artnet.com review plus ultra gallery is very pleased to present contemporaries, the second solo exhibit of new work by joe fig. a remarkably gifted painter in his own right, fig continues his exploration of the working process of other artists / painters through a series of exquisite miniature sculptures of their studios (1 inch = 1 foot scale). fig also presents photographs of his sculptures, which at first are often mistaken for film stills or photos of the actual artist, but which on careful inspection reveal tell-tale signs of their artificiality and reemphasize the artistic processes being examined. following his series of studios of abstract expressionists (which were exhibited at ps1/moma in october 2001), fig has recently expanded his project to include an in-depth examination of important contemporary artists. in addition to recording a formal interview, he photographs the artist's studio, inside and out, and recreates their space, thereby capturing a moment in the pre-provenance of specific works, as well as accurate, intimate records of a usually very private realm. for contemporarires, fig presents his latest sculptures, photographs and drawings, including the studios of fred tomaselli, inka essenhigh and steve mumford, matthew ritchie, and others. for information contact joshua a. stern or ed winkleman at 718-387-3844 / info@plusultragallery.com we are also very pleased to congratulate joe on being selected for inclusion in the altoids curiously strong collection this year! joe fig contemporaries october 17 to november 17, 2003 opening reception: friday, october 17, 2003, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1030 Exhibition: Art & Letters <div class="exhibition-subtitle">Jonathan Ames, Dave Eggers, Susan Minot, and Will Self</div> <div class="exhibition-dates">September 19 - October 13, 2003</div> <div class="exhibition-opening">Opens Friday, September 19, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1031"><img border="0" src="http://winkleman.com/static/dyn-images/8/8992.jpeg" alt="Group Exhibition" height="119" width="175" /></a> Winkleman Gallery, Group Exhibition, 2003 <div class="exhibition-description">Art & Letters featuring artwork by jonathan ames, dave eggers, susan minot, and will self september 19 to october 13, 2003 opening reception: friday, september 19, 2003, 7 - 9 pm plus ultra is extremely pleased to present art & letters, the first in an ongoing series of exhibitions of paintings and drawings by contemporary novelists, this time including work by jonathan ames, dave eggers, susan minot, and will self. invited to exhibit their visual artwork, each of these artists--better known for written word--continually draws or paints for reasons we'll let them explain in words they chose. jonathan ames i've been happily doodling my whole life. mostly what i doodle are tormented looking fellows. for this show my piece, thanks to its title, is rather self-explanatory: "my doodles during my phone therapy with dr. p. (june/july 2003)." dr. p. is located in new jersey and i've been talking to him for a few years now and i very much like our conversations. they've been a great help. one thing about doodling/drawing that i used to think about was this: charles schulz said that when he drew his characters he tried to feel what they were feeling, and that this would translate through his pen. i think that's what he said. i always liked that idea and i used to apply that to my doodles, and must do so subconsciously now, though i'm not so tormented, except maybe when i'm leeching my torment to dr. p. i also apply that charles schulz principle to writing; it's akin, actually, to something hemingway said about depicting the feeling of an action . . . so those are two pretty good role models: ernest hemingway and charles schulz. dave eggers dave eggers is the editor of mcsweeney's and the author of two books. he studied drawing and painting at the university of illinois and the art institute of chicago, but gave up at some point, for various reasons. for many years he's been painting versions of oral surgery, and these paintings reflect the latest incarnation of the series. his design work has been featured in many books and annuals, and is currently on view in the smithsonian's design triennial. he's written about art for parkett, frieze and other magazines. susan minot susan minot has been painting watercolors all along, though the great part of it when travelling. using small notebooks the size of cigarette packs which have grown to postcard and notebook size, she keeps a record of pretty much what appears in front of her: an island in the fog, the montana road through the car windshield, a hotel radiator in omaha, the slip drying in an african doorway, the new york desk in front of her. she paints as a kind of meditaion. during grueling periods of writing, she would frankly rather be painting. will self i took up cartooning in my teens because i very much wanted to write seriously but knew fine well that i had nothing much to say beyond a series of gag-like conceits. cartooning gave me the ability to express these in my crudely amateurish way, and although i did eventually teach myself the rudiments of perspective it was already too late, because the captions were getting longer and longer while the drawings were becoming sketchier and sketchier. eventually i abandoned the drawings altogether and began writing books. latterly i've been involved in some strange public art projects involving 'action writing' - for want of a better term. i have written a novella live in a gallery, and a long short story live in abandoned tower block on a rough liverpool housing project. i have also created a giant newspaper 'l'ennui', full of kafkaesque articles about nothing. why do i do these things i'm sorry? i have absolutely no idea at all. for more information, contact joshua stern or ed winkleman at 718-387-3844 or visit us online at www.plusultragallery.com. art & letters featuring artwork by jonathan ames, dave eggers, susan minot, and will self. september 19 to october 13, 2003 opening reception: friday, september 19, 2003, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1031 Exhibition: Steve Silver <div class="exhibition-subtitle">Space Is the Place</div> <div class="exhibition-dates">June 6 - June 29, 2003</div> <div class="exhibition-opening">Opens Friday, June 6, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1032"><img border="0" src="http://winkleman.com/static/dyn-images/8/8993.jpeg" alt="Space is the Place" height="193" width="175" /></a> Steve Silver, Space is the Place, 2003 <div class="exhibition-description">Steve Silver space is the place june 6 to june 29, 2003 opening reception: friday, june 6, 2003, 7 - 9 pm plus ultra is juiced to present "space is the place," a solo exhibit of recent work by new york artist steve silver. in a dazzling new series of abstracted landscapes, silver presents lushly impasto acrylic works on polystyrene. unified by their shared horizon line and square shapes, each painting is a complex formal study in color, shape and movement. admirers of sun ra will have no trouble recognizing the title silver has selected for his series (it's taken from another of sun ra's uninhibited and wildly joyous musical extravaganzas), which is all the more fitting for silver's virtuoso performance of wet-on-wet painting, with palettes running the gamut from simple to extraordinarily complicated, resulting in extremely beautiful objects, where meaning is cloaked, but the shocking harmonies of the real world are revealed. for more information, contact joshua stern or ed winkleman at 718-387-3844 or visit us online at www.plusultragallery.com. steve silver space is the place june 6 to june 29, 2003 opening reception: friday, june 6, 2003, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1032 Exhibition: Andy Yoder <div class="exhibition-subtitle">In a Perfect World</div> <div class="exhibition-dates">May 2 - June 1, 2003</div> <div class="exhibition-opening">Opens Friday, May 2, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1033"><img border="0" src="http://winkleman.com/static/dyn-images/20/20903.jpeg" alt="" height="337" width="450" /></a> Andy Yoder, Licorice Shoes, 2003 Styrofoam, silicone, licorice, rice paper, 87" x 32" x 31" (221 x 81 x 79cm) each <div class="exhibition-description">Andy Yoder in a perfect world may 2 to june 1, 2003 opening reception: friday, may 2, 2003, 7 - 9 pm plus ultra is in pure ecstasy to present in a perfect world, a solo exhibit of recent work by new york artist andy yoder. presenting a pair of giant licorice sculptures, yoder continues his investigation into the wonderment, fears and unwritten rules that form our domestic environment and our behavior within it through extraordinary twists in scale, materials, and perspective of common household objects. based on two specific childhood memories-the black wingtip shoes yoder's father wore to the office and the crock of black licorice his grandmother kept at her house-"in a perfect world" transcends the pop references of oldenburgesque sculptures to explore more intimate realms of memory and desire. as yoder notes in a recent statement about finding his father's shoes in a closet while a young boy: "along with the armor-like spring forms he used to maintain their shape, they seemed enormous, complicated and impossibly heavy. it added another layer of mystery to idea of growing up:what sort of world, i wondered, requires this kind of equipment?" in describing his choice of medium for this work, yoder notes that licorice, with a flavor that is both sugared and crude, references the bittersweet experience of nostalgia. for more information, contact joshua stern or ed winkleman at 718-387-3844 or visit us online at www.plusultragallery.com. andy yoder in a perfect world may 2 to june 1, 2003 opening reception: friday, may 2, 2003, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1033 Exhibition: Rebekah Rutkoff <div class="exhibition-subtitle">Color Therapy for Oedipal Conflicts</div> <div class="exhibition-dates">March 28 - April 27, 2003</div> <div class="exhibition-opening">Opens Friday, March 28, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1034"><img border="0" src="http://winkleman.com/static/dyn-images/8/8995.jpeg" alt="Color Therapy for Oedipal Conflicts" height="119" width="175" /></a> Rebekah Rutkoff, Color Therapy for Oedipal Conflicts, 2003 <div class="exhibition-description">Rebekah Rutkoff color therapy for oedipal conflicts march 28 to april 27, 2003 opening reception: friday, march 28, 2003, 7 - 9 pm featuring work by adam burke, peter eudenbach, spiro ginis, zac lowing, franklin miller, gayil nalls, vicente razo, pedro velez, and siebren versteeg plus ultra is psyched to present "color therapy for oedipal conflicts," a solo exhibit of recent work by new york artist-curator rebekah rutkoff. in an installation of video (both curated and her own) and original photography, rutkoff continues her pursuit of a reliable route to aesthetic gratification through an exploration of the logic of the color spectrum as a central ordering device. on a single monitor, rutkoff presents a program of color exploration through the video works of adam burke, peter eudenbach, spiro ginis, zac lowing, franklin miller, gayil nalls, vicente razo, pedro velez, and siebren versteeg, as well as her own work. rutkoff's video program illustrates the logic of curatorial selection, the centrality of borrowing in the creation process, and her own particular drive to order elements in her work. her installation suggests that the medium of video exists somewhat like the psychoanalytic subject-in-progress, lacking the authority and claims of endurance of both painting and film, existing in a netherworld in the marketplace of art, and often provoking skepticism, about its capacity to make deep incisions as a form. therapeutic treatment comes via intersubjectivity (incorporation of the works of other artists) and structure (exposure to the dictates of the color spectrum). rutkoff's installation also includes serial photography pieces generated from point-and-shoot imagery, installed in horizontal strips, which likewise rely on the color spectrum to turn them into art. for more information, contact joshua stern or ed winkleman at 718-387-3844 or visit us online at www.plusultragallery.com. rebekah rutkoff color therapy for oedipal conflicts march 28 to april 27, 2003 opening reception: friday, march 28, 2003, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1034 Exhibition: Jeff Hand <div class="exhibition-subtitle">Fake Faux</div> <div class="exhibition-dates">February 21 - March 23, 2003</div> <div class="exhibition-opening">Opens Friday, February 21, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1035"><img border="0" src="http://winkleman.com/static/dyn-images/8/8996.jpeg" alt="Fake Faux" height="256" width="175" /></a> Jeff Hand, Fake Faux, 2003 <div class="exhibition-description">Jeff Hand fake faux february 21 to march 23, 2003 opening reception: friday, february 21, 2003, 7 - 9 pm plus ultra feels all warm and fuzzy about presenting "fake faux," the first new york solo exhibit of work by nashville artist jeff hand. in his latest installation of portraits in fake fur and felt-by-number box kits, hand offers a dizzying deconstruction of the ownership, authorship, and value of art through the metaphor of celebrities cashing in on their fame to peddle products few people would want without their endorsement. starting with the glossy head-shots found in promotional materials (already questionable in their reality), hand works in fake fur to create his large portraits of suzanne sommers, george foreman, and other celebrities perhaps better known now as the spokesperson for they products they sell than for their original claims to fame. hand then creates images of their respective products in multiple-edition, felt-by-number sets to be assembled by the collector. packaged in mass-produced boxes, hand's do-it-yourself box sets blur the lines between high and low art, good and bad taste, and ownership and authorship. the humor in hand's installation is complex; derived from his materials but then compounded by its implied relationship to his subjects, it becomes cyclical. the shear pleasure in viewing these exquisitely textured and masterfully rendered works, however, is the real fun in hand's work. for more information, contact joshua stern or ed winkleman at 718-387-3844 or visit us online at www.plusultragallery.com. jeff hand fake faux february 21 to march 23, 2003 opening reception: friday, february 21, 2003, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1035 Exhibition: Stacy Greene <div class="exhibition-subtitle">Movies I'll Never Make</div> <div class="exhibition-dates">January 10 - February 16, 2003</div> <div class="exhibition-opening">Opens Friday, January 10, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1038"><img border="0" src="http://winkleman.com/static/dyn-images/9/9008.jpeg" alt="Movies I'll Never Make" height="146" width="150" /></a> Stacy Greene, Movies I'll Never Make, 2003 <div class="exhibition-description">Stacy Greene movies i'll never make january 10 to february 16, 2003 opening reception: friday, january 10, 2003, 7 - 9 pm plus ultra is thrice happy to present "movies i'll never make," a solo exhibition of recent work by new york artist stacy greene. unveiling three new groups of photographs, greene turns slightly from the anthropological tenor of her previous series of portraits via lipsticks, fingernails, perfume bottles, and back seat views of luxury cars to a more encompassing panorama of concerns intersecting where romance meets reality. in the first series greene presents individual photographs of decrepit drive-in theaters. empty and exposed in the noonday sun, these theaters reveal a blank movie screen, which serves as the subject of the photos as well as a guide through the rest of the show. a second series is made up of groups of photos (usually three or more) composed to create a single piece. curious narratives emerge. drastic shifts in viewpoint and scale underscore a sense of drama. and the subject of these works seem to hover in the (metaphoric) space between the images. the final group of photos juxtapose attractive women in platinum blonde wigs with houses in a california suburb. the blondes carouse a city at night, innuendoes of sex, drugs and rock and roll abound. as well as a certain tawdriness. the cropping is unexpected, the camera angles spontaneous, this is street photography over portraiture. the houses all seem built around the 1930s in that california bungalow style, and are brightly lit by the sun. a vernacular style, emphasized by bulbously trimmed hedges, or classic cars, or decorated homes, evokes robert venturi's architectural examinations of society, desire, and buildings. these are "portraits" of homes, where expression evokes and decoration signifies. combined, we emerge at that emptiness again. but what an emptiness, full of critique of what seems to pose as freedom (to shop) in a capitalist society, of layers of pastiche that hint at fundamental lackings (thus desires) lurking. for more information, contact joshua stern or ed winkleman at 718-387-3844 or visit us online at www.plusultragallery.com. stacy greene movies i'll never make january 10 to february 16, 2003 opening reception: friday, january 10, 2003, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1038 Exhibition: Analia Segal <div class="exhibition-subtitle">Tracy and Bobby</div> <div class="exhibition-dates">November 15 - December 22, 2002</div> <div class="exhibition-opening">Opens Friday, November 15, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1039"><img border="0" src="http://winkleman.com/static/dyn-images/9/9009.jpeg" alt="Tracy and Bobby" height="245" width="175" /></a> Analia Segal, Tracy and Bobby, 2003 <div class="exhibition-description">Analia Segal tracy & bobby november 15 to december 22, 2002 opening reception: friday, november 15, 2002, 7 - 9 pm plus ultra is completely beside itself to present "tracy and bobby," the first new york solo exhibition by argentine-born artist analia segal. in her latest site-specific installation, segal continues her exploration of the physical impact we have on the spaces we inhabit and the residual psychological impact of those spaces on us. through subtle, sensuous alterations of the gallery's walls, she presents the viewer with an experiential paradox of the familiar and the unsettling; the austere and the overt; the shared response to the ubiquitous white walls of exhibition spaces and the self-conscious reaction to unexpected sensual imagery. segal's bodily shapes suggest intimate histories, memories, or gestures and open up the imagination to the psychologically charged space beyond the wall. by referencing the potential of the repeated touch to wear away even the most resistant structures, segal's incisions challenge the grandiose assumptions of architecture, essentially emasculating the authority of the white cube. "tracy and bobby" is a specific composition of shapes, placed according to how a viewer moves through the gallery, emphasizing the physical traces of the interaction of the human body in an architectural space. segal's provocative vocabulary echoes this movement, while highlighting architecture's vulnerability to sensuality. by stimulating our fantasies, segal's work triggers personal reactions that transcend the boundaries of the spaces we inhabit. for more information, contact joshua stern or ed winkleman at 718-387-3844 or visit us online at www.plusultragallery.com. analia segal tracy & bobby november 15 to december 22, 2002 opening reception: friday, november 15, 2002, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1039 Exhibition: Jani Leinonen <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 18 - November 10, 2002</div> <div class="exhibition-opening">Opens Friday, October 18, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1040"><img border="0" src="http://winkleman.com/static/dyn-images/9/9010.jpeg" alt="Installation view" height="131" width="175" /></a> Jani Leinonen, Installation view, 2002 <div class="exhibition-description">plus ultra is as pleased as punch to present a solo exhibition by helsinki-based artist jani leinonen. incorporating recent work by an anonymous artist, david humphrey, jani leinonen, liisa lounila, sami lukkarinen, alun williams, and robin winters, leinonen offers an exhibition as experiment set up to explore the conventions of the contemporary new york art market. with artists representing a wide range of name value and career success, he sets up an environment that challenges viewers to participate directly in placing a value on art and on artists. upon entering the gallery, viewers are faced with seven equal-sized frames fitted with opaque glass. only the artists' names are visible until the posted amount of money is deposited in the frames' built-in coin slots, at which point the glass becomes transparent for 15 seconds. at the beginning of the exhibition, the price to view each work is determined by the artist's position in the art market. after the first day, however, a tally starts, and the prices begin to follow the laws of supply and demand. the most viewed pieces become more expensive; the least viewed become cheaper to view as the exhibition continues. for more information call joshua stern or ed winkleman at (718) 387-3844 or (917) 972-5881 or visit our website at http://www.plusultragallery.com. jani leinonen featuring recent work by anonymous david humphrey jani leinonen liisa lounila sami lukkarinen alun williams robin winters october 18 to november 10, 2002 opening reception: friday, october 18, 2002, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1040 Exhibition: Leslie Brack <div class="exhibition-subtitle">Art in America</div> <div class="exhibition-dates">September 13 - October 13, 2002</div> <div class="exhibition-opening">Opens Friday, September 13, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1041"><img border="0" src="http://winkleman.com/static/dyn-images/9/9011.jpeg" alt="Art in America" height="245" width="175" /></a> Leslie Brack, Art in America, 2002 <div class="exhibition-description">Leslie Brack art in america september 13 to october 13, 2002 opening reception: friday, september 13, 2002, 7 - 9 pm plus ultra is tickled pink to present "art in america," a solo exhibition of recent paintings by new york artist leslie brack. in a series of mouthwatering oils on panel, brack presents a fearless, full-frontal exploration of the imagery and text that symbolize the pan-cultural, pan-social american dream of a better life. painting from collages, brack blends fragments of song lyrics, art, advertising, and writing in the same piece. over exquisitely reproduced paintings by 20th century, mostly american masters, she arranges ransom-note lettering to spell out products, slogans, recently coined phrases, or popular refrains. in one piece the word "lotto" arcs across an idyllic maine landscape by fairfield porter; in another, eminem lyrics top a melancholy jack pierson photograph. more than simply emphasizing the distance between such disparate signifiers, however, brack's thoughtful combinations underscore the sentiments they share. in other work, brack composes pointed, often hilarious juxtapositions of familiar images that both celebrate and critique today's media culture. a young steve martin smoking five cigarettes is painted over the hindenburg exploding on a led zepplin album cover; a bikini-clad model's lower half completes the surreally disembodied front of a stag in the woods in a painting by richter. reflecting her own vast range of influences and tastes, brack's work synthesizes the daily jumble of media consumption where the personal, the cultural, the political, and the humorous lose their separation. for more information, contact joshua stern or ed winkleman at 718-387-3844 or visit us online at www.plusultragallery.com. leslie brack art in america september 13 to october 13, 2002 opening reception: friday, september 13, 2002, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1041 Exhibition: Tract: systemic sprawl <div class="exhibition-subtitle">Curated by Amanda Church and Courtney J. Martin</div> <div class="exhibition-dates">June 15 - July 21, 2002</div> <div class="exhibition-opening">Opens Saturday, June 15, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1042"><img border="0" src="http://winkleman.com/static/dyn-images/9/9012.jpeg" alt="Group Exhibition" height="118" width="175" /></a> Winkleman Gallery, Group Exhibition, 2002 <div class="exhibition-description">plus ultra is very pleased to present "tract: systemic sprawl," a group exhibit of recent work by five new york artists. curated by amanda church and courtney j. martin, "tract" features an installation by louis cameron and paintings by guillermo creus, erick johnson, tricia keightley, and rachel urkowitz. among the multiple meanings of "tract" are its definition as a physical expanse of space or area of land and its reference to systems, such as body parts or organs. it is through these related concepts and their implications that a context is provided for the visual interplay of the work in this show. there is both a physical and psychological structure inherent in the notion of tract, and it is the intersection of the two-the mapping of perception along dual lines-that the five artists in this show deal with. formal systems and structure prevail in the work of louis cameron. his installation of mirrors on the floor manipulates form and light to create a reflected arc on the wall. along these lines, rachel urkowitz mimics another system of representation by replicating and ordering organic structure; she deliberately obscures objective visibility and replaces it with impressions/depictions of light and shadow. tricia keightley's abstract amalgams of form and color cite myriad sources. her choice of muted, artificial colors and paradoxical juxtapositions undermine obvious associations to create enigmatic and eclectic compositions. merging references to landscape, architecture, and the body, the paintings of erick johnson balance tension and spontaneity, resulting in complex, overlapping configurations on delicately calibrated fields of color. guillermo creus' iconic, amorphous forms function as psychedicized lumps of flesh on flat white fields. their visceral fluidity is at once beautiful and menacing. by integrating their idiosyncratic systems of signage into the language of their work, the five artists in "tract" convey multiple meanings embedded in a firm formal structure. for more information, contact joshua stern or ed winkleman at 718-387-3844 or visit us online at http://www.plusultragallery.com. tract systemic sprawl curated by amanda church and courtney j. martin louis cameron guillermo creus erick johnson tricia keightley rachel urkowitz june 15 to july 21, 2002 opening reception: friday, june 21, 2002, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1042 Exhibition: Brooklyn á Paris : Paris in Brooklyn <div class="exhibition-subtitle">Exchange with Galerie Éric Dupont</div> <div class="exhibition-dates">April 26 - June 9, 2002</div> <div class="exhibition-opening">Opens Friday, April 26, 5:30 PM - 8:30 PM</div> <a href="/exhibition/view/1043"><img border="0" src="http://winkleman.com/static/dyn-images/9/9014.jpeg" alt="Brooklyn á Paris" height="120" width="175" /></a> Winkleman Gallery, Brooklyn á Paris (exchange exhibition, 2002 <div class="exhibition-description">Brooklyn á Paris leslie brack, stacy greene, philip riley june 6 to june 29, 2002 vernissage: june 6, 2002 5:30 to 8:30 pm galerie éric dupont 13, rue chapon 75003 paris 33 (0) 1 44 54 04 14 plus ultra, in collaboration with the paris brooklyn exchange, is very pleased to announce an exhibit at galerie éric dupont featuring the work of new york artists leslie brack, stacy greene, and philip riley. the collage-based, colorful paintings by leslie brack combine high and low american culture. each work superimposes a pop or advertising icon over a reproduction of a fine art painting, sometimes featuring ransom-note letterings of the most direct appeal to the lowest common denominator (such as "time to shop" or "free beer"). meticulously crafted, brack's work broaches the subversive in its party-girl approach to art and politics. in stacy greene's video rorschach striptease, amateur strippers dance and disrobe to an original buoyant soundtrack. each dancer is shown in silhouette, flattening the body into an elusive black shape in a throbbing color field. the screen is split in half and reversed on one side, so that each individual becomes two, a mirrored duo of themselves, that sometimes collides and swallows parts of itself. the body undressing is a rorschach into which we assert our own particular fantasies. philip riley's wall drawings combine science, art history, and site-specific history to reveal surprising synchronicities of live, science and art. for this exhibit, riley is executing a drawing from a new series. each drawing is chosen specifically for the location and has some historical relationship with its site and/or event. for more information, please contact joshua stern or ed winkleman at 718-387-3844 or visit us online at http://www.plusultragallery.com. brooklyn á paris leslie brack, stacy greene, philip riley june 6 to june 29, 2002 vernissage: june 6, 2002 5:30 to 8:30 pm galerie éric dupont 13, rue chapon 75003 paris 33 (0) 1 44 54 04 14 paris/brooklyn exchange parisians invade brooklyn, april 26 & 27 ten exhibitions of french contemporary art until june, 2002 the first events of this project to exchange exhibitions of contemporary art between paris and brooklyn will happen in brooklyn on april 26. eight galleries in williamsburg will have opening receptions that evening for shows they are hosting from eight galleries in paris. the following evening, april 27, a group exhibition of french artists entitled "rendez-vous", curated by claire le restif will be opening at smack mellon in dumbo. a specially commissioned installation by french artist, hugues reip will also be visible at the brooklyn museum of art from april 29. at the beginning of june, the return event will take place as brooklyn artists and galleries take paris by storm on june 6 and 7, with exhibitions in eight galleries and a group show curated by kathleen gilrain at espace paul ricard. the exhibitions taking place in brooklyn will mostly be visible until the end of may and propose a diverse cross-section of the dynamism of contemporary practice in france today. some of the exhibiting artists are highly regarded and well-known in france but have had little visibility in new york, while others have been chosen from the freshest crop of emerging young talent on the parisian scene. schroeder romero will present work by seven photographers from galerie anne barrault. the diversity of this exhibition gives an interesting overview of new photography from paris, with works by caroline bach, philippe calandre, anne deguelle, manuela marques, eric nehr, magdi senadji and christophe mauberret. roebling hall presents a solo show by the painter, dominique gauthier, represented in paris by galerie filles du calvaire. well-known in europe since his early successes with solo shows at the pompidou center and fondation cartier, gauthier represents the energy and freshness of french abstraction today. pierogi exhibits intriguing work by christophe cuzin, from galerie bernard jordan, an artist extending the limits of geometric, minimal painting into the architecture of gallery spaces. saturated color and structured lines manipulate the gallery until it becomes fused with the artwork itself. at parker's box, two exciting young artists from galerie michel rein, will collaborate in an exhibition mixing drawing, objects and installation. saâdane afif's exploration of language in relation to objects, will infiltrate fabien verschaere's wall drawings, themselves juxtaposing different registers of imagery. momenta collaborates with four walls, and together they present a video work by nicolas moulin from galerie chez valentin in paris. this work, already acclaimed in previous showings in berlin and paris, shows the streets of the french capital with its inhabitants digitally erased. at southfirst, isabelle lévénez from galerie anton weller, presents multi-disciplinary work including video, photography, drawing and wall writings. this obsessive work, which has already generated a following in paris, deals with the ambiguous frontier between childhood and womanhood. plus ultra shows three artists from galerie eric dupont, ranging from emerging to established, who take on the gallery's compact space in contrasting, coherent and refreshing ways. all three tend to conquer space through installation techniques, didier mencoboni with negative space and color, corinne sentou with repeated volumes, lines, and shapes and damien cabanes, with repetitive, small sculptures of familiar but transformed objects. star 67 presents work by five artists from espace huit novembre. renaud auguste-dormeuil, olga boldyreff, françoise maisongrande, roland schär and yann toma form a diverse and interesting group of artists dealing variously with fiction, illusion, games and interaction through video, performance, drawing, painting, installation and photography. the group exhibition at smack mellon in dumbo (opening april 27) has been curated independently of the gallery exchange, by the young french curator, claire le restif and includes photography, drawing, painting, sculpture, installation and video by younger french artists who have all had recognition in europe. le restif invited stéphane calais, delphine coindet, véronique joumard, françois paire, paul pouvreau, hugues reip and david renaud to produce new in-situ works in direct response to the space and its particular architecture. in addition a video program will also be shown, of work exploring the urban and human context of the city by laurent grasso, timothy mason, françois nouguiès, florence paradeis, cécile paris and brigitte zieger. at the brooklyn museum of art (on show from april 29), hugues reip whose work also appears at smack mellon will be presenting another site-specific installation. reip was recently artist in residence at art in general. this project has been made possible with generous support from afaa (association française d'action artistique), the city of paris, the cultural services of the french embassy in new york, the florence j. gould foundation, act association, adiaf, pernod ricard usa and france, atelier 4, iat, the brooklyn brewery, zingmagazine and galapagos art space. galerie anne barrault 22 rue saint-claude 75003 paris 33 (0) 1 44 78 91 67 mardi-vendredi 14h - 19h samedi 11h -13h & 14h - 19h. schroeder-romero 173a north 3rd street brooklyn ny11211 (1) 718 486 8992 friday-sunday 12-6pm and by appointment. galerie eric dupont 13, rue chapon 75003 paris 33 (0) 1 44 54 04 14 mardi-samedi 14h - 19h et sur rdv plus ultra 235 south 1st street brooklyn ny 11211 (1) 718 387 3844 saturday-monday 12-6pm and by appointment. galerie les filles du calvaire 17, rue des filles du calvaire 75003 paris 33 (0) 1 42 74 47 05 mardi-samedi 11h - 18h30. roebling hall 390 wythe avenue brooklyn ny 11211 (1) 718 599 5352 friday-monday 12-6pm. galerie bernard jordan 5, rue chapon 75003 paris 33 (0) 1 42 77 19 61 mardi-samedi 14h30 - 19h et sur rdv. pierogi 177 north 9th street brooklyn ny 11211 (1) 718 599 2144 friday-monday 12-6pm. galerie michel rein 42 rue de turenne 75003 paris 33 (0) 1 42 72 68 13 mardi-samedi 11h - 19h. parker's box 193 grand street brooklyn ny 11211 (1) 718 388 2882 friday-monday 12-7pm. galerie chez valentin 9 rue saint-gilles 75003 paris 33 (0) 1 48 87 42 55 mardi-samedi 14h30 - 19h. momenta @ four walls 138 bayard street brooklyn ny 11211 (1) 718 218 8058 / (1) 718 388 3169 saturday & sunday 12-6pm. espace huit novembre 52, boulevard voltaire 75011 paris 33 (0) 1 47 00 32 31 mardi-samedi 14h - 19h. star 67 67 metropolitan avenue 3rd floor brooklyn ny 11211 (1) 718 486 0387 saturday & sunday 1-6pm. galerie anton weller 57, rue de bretagne 75003 paris 33 (0) 1 42 72 05 62 mardi-samedi 14h - 19h. southfirst:art 55 nassau avenue brooklyn ny 11222 (1) 718 599 2500 friday-sunday 12-7pm. espace paul ricard 9, rue royale 75008 paris 33 (0) 1 53 30 88 00 mardi-samedi 14h - 19h. smack mellon 56 water street, brooklyn ny 11201 (1) 718 834 8761 / (1) 718 422 0989 wednesday-sunday 12-6pm. brooklyn museum of art 200 eastern parkway brooklyn ny 11238 (1) 718 638 5931 wednesday-friday 10am-5pm saturday & sunday 11am-6pm. Paris in Brooklyn damien cabanes, didier mencoboni, and corinne sentou april 26 to june 9, 2002 opening reception: friday, april 26, 7-9 pm in collaboration with galerie éric dupont and the paris brooklyn exchange, plus ultra is pleased to present the work of three french artists: damien cabanes, didier mencoboni, and corinne sentou. damien cabanes, an artist that works both two- and three-dimensionally, exhibits a series of small plaster sculptures working independently to form a sculptural installation. like his paintings, cabanes' sculptures are both effervescent and commanding as he uses color and gesture to achieve forms that are, while familiar, organically transcendent objects. didier mencoboni's large gouaches on paper works are built through a variety of colorful lines into series of forms and shapes. an exquisite colorist, mencoboni's use of the negative space work together to create an extensive vocabulary of form that exists substantially on the paper, while floating in an otherworldly, plastic environment. corinne sentou is an artist that has a rare combination of both the obsessive and the playful. while often using marbles, or simple repeated series of circles or squares, sentou uses this repetition of line to expand space and increase volume. she fills her space with a symphony of simple duplication. please see details below on the other galleries participating in the paris brooklyn exchange: paris in brooklyn damien cabanes, didier mencoboni, and corinne sentou april 26 to june 9, 2002 opening reception: friday, april 26, 7-9 pm</div> http://winkleman.com/exhibition/view/1043 Exhibition: Alexa de Ferranti / Sara MacKillop <div class="exhibition-subtitle">To Restore Silence Is the Role of Objects</div> <div class="exhibition-dates">March 29 - April 21, 2002</div> <div class="exhibition-opening">Opens Friday, March 29, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1044"><img border="0" src="http://winkleman.com/static/dyn-images/9/9023.jpeg" alt="Two-person exhibition" height="232" width="175" /></a> Winkleman Gallery, Two-person exhibition, 2002 <div class="exhibition-description">plus ultra is very pleased to present "to restore silence is the role of objects," a two-person show of recent work by london artists alexa de ferranti and sara mackillop. in their work, both artists highlight the inherent qualities of mostly unaltered, common found objects, setting up an intimate dialog between the viewer and the objects. in her installation "walking possession," de ferranti invites viewers to enter an elevated floor made of stretched lycra. on this floor are scattered dozens of personal objects, as if someone had emptied the contents of their bag. as the viewer moves through the installation the objects gather at their feet and follow them wherever they go. the more the viewer attempts to free him/herself from the objects the more they get underfoot. in this environment of animated objects, the potential exasperation caused by their persistent dumb presence is balanced by the comfort one might find in their always being near. mackillop's sculptures, installed on walls or placed on plinths, are very slightly manipulated or juxtaposed mass-produced found objects. elevated to the stature of museum pieces, mackillop places her reconsidered ready-mades to focus the viewer's attention on their formal qualities, as well as to make them more sensitive to their relevance and presence. although the original state of each object remains clear, their manipulations subtly reference art history, revealing the inherent poetry and humor of the things our culture creates. for more information call joshua stern or ed winkleman at (718) 387-3844 or (917) 972-5881 or visit our website at http://www.plusultragallery.com. alexa de ferranti / sara mackillop to restore silence is the role of objects march 29 to april 21, 2002 opening: friday, march 29, 2002 7 to 9 pm</div> http://winkleman.com/exhibition/view/1044 Exhibition: Jennifer Dalton <div class="exhibition-subtitle">A Task No One Assigned</div> <div class="exhibition-dates">February 22 - March 24, 2002</div> <div class="exhibition-opening">Opens Friday, February 22, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1045"><img border="0" src="http://winkleman.com/static/dyn-images/8/8880.jpeg" alt="What Does An Artist Look Like?" height="321" width="500" /></a> Jennifer Dalton, What Does An Artist Look Like?, 2002 436 snapshot photo, Dimensions variable, edition of 3 <div class="exhibition-description">Jennifer Dalton A Task No One Assigned February 22 to March 24, 2002 Opening: Friday, February 22, 2002, 7-9 PM Plus Ultra is very pleased to present "A Task No One Assigned," a solo exhibition of recent work by New York artist Jennifer Dalton. In three mixed media works, Dalton explores the perceptions of artists as seen through the eyes of an image-savvy, corporation-influenced culture. The title of Dalton's exhibit is taken from a review by The New Yorker art critic Peter Schjeldahl, who in reference to works at a group exhibition wrote, "What makes these exercises art? Well, what else might they reasonably be? They perform tasks that no one assigned." He went on to explain, "they involve real work that is really gratuitous. In a world of tightly knit job descriptions, that's distinction enough." How artists are perceived by popular media and perceived by the public is addressed in Dalton's installation of 350 snapshots cataloging every photograph of an artist appearing in The New Yorker from 1999 to 2001. Categorized according to discipline, gender, and style of portrayal (on a scale ranging from "pinup" to "genius"), each artist's image forms part of a bar graph lining three of the gallery's walls. How artists are viewed by one of their own ranks is addressed in a PowerPoint presentation titled "Contemporary Art According to Jen." in this work that "names names," Dalton categorizes artists in lists ranging from "the artist as librarian" to "the artist as healer" to "the artist as loser." viewers are encouraged to suggest additions to the lists, anticipating a multi-viewpoint version of the piece to come. Finally, Dalton presents an 8-foot drawing of lists of adjectives culled from the pages of Artforum, comparing the words used by art world insiders and dividing them by the gender of the artist described. Although the quasi-scientific representations in "A Task No One Assigned" lend an air of carefully gathered, statistically sound data with specific conclusions as their goal, Dalton willingly admits that each piece is filtered through her own choices and experiences and that the conclusions, where obvious, are her own. Through their elegance and humor, her installations stop short of moralizing, even as they remain eye opening and absorbing. For more information (718) 387-3844 or (917) 972-5881 or visit our website at www.plusultragallery.com. Jennifer Dalton A Task No One Assigned February 22 to March 24, 2002 Opening: Friday, February 22, 2002, 7-9 PM</div> http://winkleman.com/exhibition/view/1045 Exhibition: Christopher Lowry Johnson <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 18 - February 17, 2002</div> <div class="exhibition-opening">Opens Friday, January 18, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1046"><img border="0" src="http://winkleman.com/static/dyn-images/9/9034.jpeg" alt="First exhibition invitation" height="245" width="175" /></a> Christopher Lowry Johnson, First exhibition invitation, 2002 <div class="exhibition-description">Christopher Lowry Johnson January 18 to February 17, 2002 Opening: friday, January 18, 2002, 7-9 PM Plus Ultra is pleased to present a solo exhibition of recent paintings by New York artist Christopher Lowry Johnson. In four new canvases, Johnson continues to explore the paradoxical parallels between fantasy and desperation and the melancholy inherent in supposedly cheerful celebrations. An overabundance of lavish textures dominates two of the new works. silks, chiffons, furs, jewelry, flesh, and lots and lots of hair abound. Each painting depicts a group of young, beautiful, fast-living archetypes: playboy bunnies and rock stars. Their baroque-like rendering references the gangs of drunken revelers in works by Franz Hals; at once splendid in their finery, offensive in their shameless exhibitionism, and all too human in their vulnerability. tempered with hints of decay, these scenes of unbridled revelry suggest the inevitability of death and the ultimate price of excess. Vulnerability is also an underlying theme in the latest of johnson's ongoing series of roadside adult book store paintings. Found along the highways of midwestern states, these fairly nondescript buildings might be mistaken for lodges or rural groceries were it not for their neon signs or the silhouettes of naked women on their painted-out windows. As patrons live out cheaper versions of celebrities' fantasies in supposed privacy, however, their indiscretions are made public through the distinctive trucks, cars, and mini-vans in plain view in the parking lot. Finally, Johnson takes his exploration to an extravagant conclusion in a 6' x 8' panorama of hundreds of people at an elegant celebration, apparently posing for a camera. Wearing costumes and hairstyles of an era gone by, they seem to represent a more innocent time. their innocence and elegance do not bear up, however, as on closer inspection nearly every face is seen to reveal some sense of dread. Grotesquely tight smiles and clenched fists betray many of the partygoers, who--forced to be gleeful for posterity--inadvertently drop the masks the occasion requires of them. For more information, please contact us at 718-387-3844 or visit us online at http://www.plusultragallery.com. Christopher Lowry Johnson January 18 to February 17, 2002 Opening: friday, January 18, 2002, 7-9 PM</div> http://winkleman.com/exhibition/view/1046 Exhibition: Salon Style <div class="exhibition-subtitle"></div> <div class="exhibition-dates">December 14, 2001 - January 13, 2002</div> <div class="exhibition-opening">Opens Friday, December 14, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1047"><img border="0" src="http://winkleman.com/static/dyn-images/9/9033.jpeg" alt="Group Exhibition" height="199" width="175" /></a> Winkleman Gallery, Group Exhibition, 2001 <div class="exhibition-description">Featuring Lara Alcantara-Lansberg, Meredith Allen, John Berens, Liz Deschenes, Amy Eshoo, Stacy Greene, Heather Halliday, Karolyn Hatton, Nick Kline, Claire Lesteven, Joe Ovelman, Laurie De Swarte, Sara Wight, and Mark Woods</div> http://winkleman.com/exhibition/view/1047 Exhibition: The Exquisite Day Project <div class="exhibition-subtitle">Curated by Jordin Isip and Rodger Stevens</div> <div class="exhibition-dates">November 16 - December 9, 2001</div> <div class="exhibition-opening">Opens Friday, November 16, 7:00 PM - 10:00 PM</div> <a href="/exhibition/view/1048"><img border="0" src="http://winkleman.com/static/dyn-images/9/9035.jpeg" alt="Group Exhibition" height="126" width="175" /></a> Winkleman Gallery, Group Exhibition, 2001 <div class="exhibition-description">plus ultra is very pleased to present the exquisite day project, an exhibit of 7 continuous pieces by 92 artists. curated by new york artists jordin isip and rodger stevens, the exquisite day project brings together painters, sculptors, illustrators, designers, and photographers from across the u.s. and europe. based on the surrealist drawing game, the exquisite corpse, in which several artists contribute a portion of a drawing to create a finished piece without seeing the other portions, the exquisite day project (which took nearly a year to complete) has culminated in 7 separate collective works. the project was executed almost entirely through the mail, with instructions, materials, and the artworks themselves traveling between the artists and the curators. tiled together, the various fragments cohere into 7 composite visions of the project's theme: the exquisite day. featuring lindsey adelman keira alexandra amanda alic jose arenas dan aycock damien barchowsky melinda beck mike bellamy gregory benton annette berry erika borboa tim bower claudia brandenburg calef brown thomas campbell ken chen saiman chow noël claro christian clayton rob clayton holly cluse paul corio michael coughlan erin courtney ethan crenson edward del rosario michele delguerico paul donald carl dunn ingo fast patrick jb flynn bella ciel foster david fremont james gallagher madelon galland jason glasser johanna goodman karen hsu jordin isip rich jacobs craig kane misaki kawai colin kerr hiroshi kimura antonia kohl jeroen koolhaas stephen kroninger jim leveillee jodi levine sophie mathoulin margaret mccartney hannah mccaughey adam mccauley barry mcgee melissa mcgill richard mcguire taylor mckimens bjarne melgaard jeff meyer e.t. micha tezh modarressi james austin murray sylvie myerson gregory nemec ron nemec dan o'donnell helen quinn jeff quinn marty resetar les rogers jonathon rosen carlos salgado kim schifino anu schwartz kate sheperd simone shubuck paul slifer joe sorren rodger stevens georgie stout katherine streeter mark todd samara umschweiss william van rhoden leslie wagner chip wass esther watson david weeks eric white mike wodkowski james yang bill zindel for more information call joshua stern or ed winkleman at (718) 387-3844 or (917) 972-5881 or email us at info@plusultragallery.com. the exquisite day project curated by jordin isip and rodger stevens 92 artists 7 continuous pieces november 16 to december 9, 2001 opening: friday november 16, 2001, 7 - 10 pm</div> http://winkleman.com/exhibition/view/1048 Exhibition: Joanne Carson <div class="exhibition-subtitle">Bouquet</div> <div class="exhibition-dates">October 19 - November 11, 2001</div> <div class="exhibition-opening">Opens Friday, October 19, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1049"><img border="0" src="http://winkleman.com/static/dyn-images/9/9037.jpeg" alt="Bouquet (detail)" height="245" width="175" /></a> JoAnne Carson, Bouquet (detail), 2001 <div class="exhibition-description">plus ultra is very pleased to present bouquet, a solo exhibit by new york artist joanne carson. a single sculpture that virtually fills the entire gallery, bouquet transforms the space into an alice in wonderland-like environment that offers a bee's eye view of an imaginary world of flora grown out-of-control. a fanciful celebration of the artificial and the endless possibilities of invention, bouquet envelops the viewer in a breathtaking experience of wonderment and beauty. although seemingly based in reality, the piece does not display the same formal composition one might expect from a florist's arrangement. distinctly non-mimetic, it exists instead as a phantasmagoria of the ineffable. this 8½-foot-tall spray of flowers-made from aqua resin, thermaplastic, and copper-ranges from huge roses (more than three feet across) to small silk petals delicately painted in watercolor, calling attention to both the power and fragility of nature. referencing overabundance, fertility, and the spectacle of homemade gardens, bouquet imitates organic growth, yet seems frozen in time and space. for more information call joshua stern or ed winkleman at (718) 387-3844 or (917) 972-5881 or email us at info@plusultragallery.com. joanne carson bouquet october 19 to november 11, 2001 opening: friday, october 19, 2001, 7-9 pm</div> http://winkleman.com/exhibition/view/1049 Exhibition: Joe Fig <div class="exhibition-subtitle">Work in Progress</div> <div class="exhibition-dates">September 14 - October 14, 2001</div> <div class="exhibition-opening">Opens Friday, September 14, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1050"><img border="0" src="http://winkleman.com/static/dyn-images/9/9039.jpeg" alt="First exhibition invitation" height="245" width="175" /></a> Joe Fig, First exhibition invitation, 2001 <div class="exhibition-description">Joe Fig work in progress september 14 to october 14, 2001 opening: friday, september 14, 2001, 7-9 pm plus ultra is pleased to present "work in progress," a solo exhibition of recent work by new york artist joe fig. primarily a painter, joe fig has been examining the process of other artists/painters through a series of remarkable pieces that show artists creating their work. in the vein of contemporary artists such as thomas demand and james casebere, fig presents photographs of three-dimensional manufactured spaces, yet his work stands apart in that while necessarily being self-referential it also examines the processes of other artists. and he does this by showing the artists in the intimate setting of their studios. fig's art serves as portraiture, homage, historical illustration, and voyeurism. in one series sits a smoking, contemplative barnett newman in his immaculate and modest studio. in contrast, willem dekooning stands with brush in hand, directly in front of the canvas, flanked by tables of paints and brushes. other works show the infirm matisse toward the end of his career, and his photos of steve defrank reveal a contemporary at work. fig's works explores and ultimately reveals the introspective process of making art. through his detailed constructs he offers a glimpse into a private realm that he's made both accessible and pleasurable. for more information call joshua stern or ed winkleman at (718) 387-3844 or (917) 972-5881 or email us at info@plusultragallery.com. joe fig work in progress september 14 to october 14, 2001 opening: friday, september 14, 2001, 7-9 pm</div> http://winkleman.com/exhibition/view/1050 Exhibition: Wall Projects <div class="exhibition-subtitle">Featuring work by David Brody, Amanda Guest, Philip Riley, and Margitta P. Zachert</div> <div class="exhibition-dates">June 15 - July 22, 2001</div> <div class="exhibition-opening">Opens Friday, June 15, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1051"><img border="0" src="http://winkleman.com/static/dyn-images/9/9042.jpeg" alt="Group Exhibition" height="125" width="175" /></a> Winkleman Gallery, Group Exhibition, 2001 <div class="exhibition-description">Wall Projects by david brody, amanda guest, philip riley, and margitta p. zachert june 15 to july 22, 2001 opening: friday, june 15, 2001, 7 - 9 pm plus ultra is pleased to present an exhibit of site-specific wall projects by david brody, amanda guest, philip riley, and margitta p. zachert. given one of the gallery's four walls, each artist has been challenged to realize a project within 10 days and with only a description of what the other three artists have proposed prior to the start of that time. as the walls are very different, the artists will also be faced with a unique set of architectural limits and boundaries. while the media they have chosen range from pencil to nails, from acrylic to bubble wrap, each artist has chosen a process that encourages exploration in themselves, the viewer, or both. wall projects by david brody, amanda guest, philip riley, and margitta p. zachert june 15 to july 22, 2001 opening: friday, june 15, 2001, 7 - 9 pm</div> http://winkleman.com/exhibition/view/1051 Exhibition: Skank <div class="exhibition-subtitle">Featuring work by Jose L. Cortes, James Esber, Stacy Greene, Heather Halliday, Marc Hulson, Christopher Lowry Johnson, Joan Linder, Harold Nolan, Robert Melee, Esther Planas, and John Waters</div> <div class="exhibition-dates">May 4 - June 3, 2001</div> <div class="exhibition-opening">Opens Friday, May 4, 7:00 PM - 9:00 PM</div> <a href="/exhibition/view/1052"><img border="0" src="http://winkleman.com/static/dyn-images/9/9046.jpeg" alt="Group Exhibition" height="119" width="175" /></a> Winkleman Gallery, Group Exhibition, 2001 <div class="exhibition-description">Skank may 4-june 3, 2001 opening: friday, may 4, 2001, 7-9 pm plus ultra is pleased to present its inaugural exhibition: skank, a group show about sex and politics, featuring jose l. cortes james esber stacy greene heather halliday marc hulson christopher johnson joan linder harold nolan robert melee esther planas john waters it's been said that efforts to rid new york city of its seedy underbelly are tantamount to shoving all the sex down a manhole on 42nd street, just to have it pop up everywhere else. indeed, the current regime's attempt to disneyfy new york city-replacing the stripper with the ubiquitous mouse-is showing signs of reversing itself already. despite being a city of power brokers and money makers, new york can't endlessly sublimate desire with the giddiness of success; sexual frenzy can explode at any given moment. there are more explicit displays of sex in the bars and clubs than before the crackdown began, and a similar resurgence of sleazy attitudes and behavior is happening in cities around the world. blending a decidedly unglamorous raunchiness reminiscent of the berlin cabarets in the late 1920's with the raw, unkempt, "cinema verite" look of the 1970's, the accoutrements of the emerging sexual rebellion embody the celebration of sleaze aethetics. skank explores the use of these aesthetics in new works by artists from new york, london, and barcelona, including paintings, photography, video and mixed media. for more information call joshua stern or ed winkleman at (718) 387-3844 or (917) 972-5881 or visit our website at www.plusultragallery.com. skank may 4-june 3, 2001 opening: friday, may 4, 2001, 7-9 pm</div> http://winkleman.com/exhibition/view/1052 News: Yevgeniy Fiks @ Temple Gallery, Tyler School of Art Yevgeniy Fiks: Communist Conspiracy in Art Threatens American Museums Curated by Stamatina Gregory September 8 – November 6 Temple Gallery 12th and Norris Streets, Philadelphia, PA 19122 (215) 777-9144 Hours: Wed - Sat, 11 am - 6 pm Opening with the artist and curator: Friday, September 24, 6 - 8 pm Taking its title from a 1952 quote by former Michigan Congressman George A. Dondero—best known for his widely publicized claims that modern art was a Communist plot hatched to bring down the US—this exhibition explores the historical ties between modern art and twentieth-century communist movements. Comprising prints, drawings, sculpture, and reenacted speeches, Fiks’ installation imagines an artistic trajectory located between fact and fiction, between accusations from Washington and directives from Moscow, posing questions on the fundamental relationship between Communism and Modernism. Several programs are planned in conjunction with "Communist Conspiracy in Art Threatens American Museums," including a lecture at Paley Library, Temple University, followed by a public discussion about his work and its relationship to politics with students from Tyler School of Art. http://winkleman.com/news/view/1452 Press: Yaelle Amir, "Art Demographics [Jennifer Dalton "Making Sense: FLAG Art Foundation ]" ArtSlant, 8/22/2010 <a href="http://www.artslant.com/ny/articles/picklist#p18404">link</a> http://www.artslant.com/ny/articles/picklist#p18404 Press: Ken Johnson, "Jennifer Dalton 'Making Sense'" at the FLAG Art Foundation, New York Times, August 13, 2010 <img src="http://winkleman.com/static/dyn-images/36/36161.jpeg" alt="Ken Johnson, "Jennifer Dalton 'Making Sense'" at the FLAG Art Foundation, New York Times, August 13, 2010" /> http://winkleman.com/press/view/2737