Tuesday, July 15, 2014

Sunday, June 22, 2014

ROUGE, 1993


ROUGE, 1993.  Collage on bottles.  Exhibited over the years in Paris and Berlin and London. Photo in my studio by Cecil Touchon.  Click on the image to enlarge.

Saturday, June 7, 2014

UNCOUTH VERMOUTH & A PERFECT FRIEND ON TEE VEE





Bianca Miraglia, creator of Brooklyn-based Uncouth Vermouth, takes to tee vee's Arise Entertainment to talk about her special blend of locally produced (Red Hook, Brooklyn) vermouth, and show off my A Perfect Friend labels for her Vermouth. 

Thursday, June 5, 2014

A LOOK BACK: A KICK IN THE KUNST 2008 BERLIN



A KICK IN THE KUNST : Installation, Drawings. Galerie Rossella Junck, Augustrasse, Berlin, 2008.  Some of these drawings are available.  Contact : KICK.

Wednesday, May 28, 2014

From Ordinary To Extraordinary: Paper As Art at The Cornell Museum of Art - 23 May - 24 Aug 2014

Curated by Melanie Johanson, From Ordinary To Extraordinary: Paper As Art at The Cornell Museum of Art & American Culture - 23 May - 24 Aug 2014 at the Delray Beach Center for the Arts.  Link to exhibition and info: Cornell Museum.  

This premiere exhibit features approximately 75 exquisite works by 16 artists, who have been featured in galleries around the world. The artists in the show all use paper in one form or another to unfold a visual and narrative that is particular, enticing and extremely rare in these days of digital everything.  Cutting, scratching, painting, sewing, wrapping and gluing all come together in what is clearly a well imagined exhibition.

Four works of mine are on view at the Cornell Museum in Delray Beach: Moneygram (2013), Second Nature (2009, 12:05 (2003) and Letters Home (2013).  My work here is represented by Converge Gallery of Williamsport, PA.

Several of the pieces were on view at my wall to wall exhibition, The Letters in the summer of 2013.  A full catalog (PDF) is available here: The Letters.

These works each have a story that might prove interesting.  Here is a  little bit about each:




Left: Letters Home; right, Second Nature, exhibition view, Cornell Museum, Delray Beach, FL

 1. MONEY GRAM: From  The Letters exhibition in 2013, "Money Gram" is a sewn together "collage" of currencies real and antique, a global note on bank notes that takes a hint from Warhol's dollar signs but conceptually calculates not only the many hands in the art game, but the international tenor of the market place. The "gram" rubber stamped and then monogrammed onto the work indicates (beyond the pun) that it was mailed (or wired). Money in the mail from the world over. Calculating the face and current value of the currencies is part of the work as the values change; money is a changing asset, and sometimes valuable sometimes worthless. 

2. SECOND NATURE: A classic collage work that brings together favorite subjects : women playing at being women, wearing masks and dancing to the male gaze. The elements of "Second Nature" all come from vintage 1950s Swiss lifestyle weeklies the artist bought at a massive street fair in Geneva. 

3. 12:05. I've always been attracted to 1930s surrealism and this piece combines a few elements into a simple gesture that talks about time and timelessness, motion and stillness. There's a dash of de Chirico in here and while the boat is not the Titanic, it might as well be.  The collage has been featured in a half dozen magazines and books. 

 
Right: 12:05, collage on board, exhibition view.

4. LETTERS HOME: This work consists of the envelopes of letters sent by a young French soldier (in 1948) from Algiers to his parents in Paris. I discovered them in an old warehouse junk store, bundled together and unloved and immediately I saw the piece unfold before my eyes for my The Letters exhibition: Letters Home. 

The letters reported his daily routine and were sent like clockwork over a period of two years. I was moved by their unconscious boredom. My guess is this was the first time he was away from home, but also serving the French army in a hot spot colony of North Africa. I created a grid of them and asked my local seamstress here in Paris, Madame Yann, if she would sew them together following my chalk drawing of a house. She did and even obliged me by signing the back of the work (in Chinese). 

All enquiries : Casey Gleghorn at Converge Gallery.   Press: Sun-Sentinel Article.

Tuesday, April 29, 2014

SO, Collage on Wood Construction, 2000



SO, collage on wood construction, 2000. With two swinging doors. 65 x 65 cm (not including the doors). Made for a wedding that went bust. How prescient.  Interested? Contact: SO.

Wednesday, April 16, 2014

Thursday, March 13, 2014

The Letters: The Catalog [Free To Download]

 Installation View, The Letters, July - August 2013, Converge Gallery, Williamsport, PA.

See the entire exhibition with an interactive PDF catalog of The Letters.  The catalog is free to download, click here: The Letters.  For prices, please contact the gallery.

Saturday, March 8, 2014

SCOPE ART FAIR NYC 2014



























Converge Gallery booth with my works on board and canvas 12:05, top, and Breathless, bottom.  Visible: Works by Anthony Cervino (left), sculptures by  Chad Andrews, and (right) book sculptures by Ekaterina Panikanova More here: http://www.convergegallery.com/

Wednesday, February 26, 2014

Fantasy : Musée Magazine


Musée Magazine published a few works of mine in their "Fantasy" issue (No. 108), this winter, featuring several emerging artists.  The three pieces were all collage works on paper including Immaculate Perception, Days Like These and A Perfect Friend, the latter two images of books of collages of the same name.  I was asked about the relationship of photography to my work but that text was not published. My response was directed more towards current work but it applies to these works as well as they implicate and recycle photography in different ways.  

On Photography & Collage

I’m not a photographer.  But some years ago I developed some double exposures from a cheap plastic camera – the images I discovered were accidents – the film did not advance as it should have. I’d printed out a contact sheet, and had a half dozen produced large and in color. Prior to that I’d taken a photograph of my niece. She was a baby, sitting on the kitchen floor playing with bowls and spoons. I printed the photo and then cut out her silhouette, which flattened all her features.  Some thought the “baby” was a “thalidomide” baby.  That silhouette formed the basis of a collage series that spanned nearly 10 years – I used the silhouette as a kind of light to illuminate other images and surfaces; it shaped ideas, and gave a supra-impression of  a full range of ideas, extending even to mosaics and sculpture. 

As I’ve expanded my range of collage subjects and techniques, the photograph has become a support in many interesting ways.  For one I’ve come to regard most magazine images I use – as well as photocopies – as photographs. I find myself intrigued with the magazine and vintage book papers these images are printed on. All printed material, particularly pre-1960, offer rich image possibilities due to the printing technology used. I cut and alter these images, sometimes using paint, sometimes sandpaper, sometimes water. I will sometimes turn them to undecipherable bits; other times using fragments in combination with others – scratching their color away. I’m interested in all sorts of photographed and printed images, and can sometimes hunt for bits of red or blue or yellow for a specific work, combining it so the results are often abstract. Usually the pieces, particularly in the more recent Suicide Specials launch a distilled but many-faceted narrative.

Other works, however, are extremely direct and employ only a handful of elements. I seek out photographs of objects or people that have, with their vintage printing and papers, a faraway, often nostalgic feel.  I’ve come to view photography as something – anything actually – that has been reproduced mechanically using optics and printing technology. And I’ve no issues with reprinting images using my own store of vintage papers – some virgin some already printed.  


Prints for the Immaculate Perception (the girl in the lemon tree) work are still available via Keep Calm Gallery in London, UK.  Click here to see them: Immaculate Perception Keep Calm.

Sunday, February 23, 2014

CONVERGE GALLERY : SCOPE NEW YORK 2014


New York, NY (March 6, 2014) - Converge Gallery is pleased to announce its participation in the prestigious SCOPE New York Art Show. The gallery has curated an exceptional collection of new work by Chad Andrews, Anthony Cervino, Lawrence Charles Miller, Ekaterina Panikanova, Matthew Rose and Trey Speegle.

About the Artists
Chad Andrews is a contemporary artist whose work is informed by change, transformation and intellectual movement. Andrews routinely works with the processes of printmaking, the techniques of which imply a mental and physical presence that belie his fluid theme of transformation. As a result, a stealth gravitas is implanted in his work. Importantly, this element places Chad Andrews body of work in the twenty first-century dialectic.

Born out of memory, introspection and intuition Anthony Cervino’s sculptures are startling in their emphatic physicality. This contrast of mind and form are further exasperated by the presence and sometimes absence of the maker’s hand and his omnivorous use of materials. In the past he has used wood, steel, found objects, cast bronze, and aluminum. Cervino begins each project open to all possibilities. His work is conceptual, personal, and universal.

Lawrence Charles Miller seems to make pictures that imply their own fiction. So, in a sense, these are pictures within and about pictures. The human figure appears to be the given in equations of signs, symbols and odd bits of nature’s shorthand. There is a strain of humor in Miller’s work that ponders a thicket of chaos.

All contemporary artists skate on the surface of humanity’s impossibly deep history. Ekaterina Panikanova uses civilization’s trajectory as a medium. She incorporates direct evidence of mankind’s gradual awakening and accumulated knowledge into her own poetic vision. Here, information becomes a sort of spiritual, intellectual landscape. Panikanova’s work is informed by civilization’s constant ponderings. Nature stands indifferently in its center. Ekaterina Panikanova was born in Russia and lives and works in Rome.

Matthew Rose is a new breed of artist who, while he is known for his collages, might be better called a multimedia artist. [Right: Matthew Rose's Second Nature, 56 x 56 cm, 2009, collage on wood, will be on view at Scope NY 2014].  His work has a conceptual, international component that has translated seamlessly into the digital era. Educated at Brown University, he studied semiotics, linguistics, art, film and writing. Later, in New York, he wrote about the art scene, principally the East Village, Fluxus, Dada and Mail Art. Rose’s exhibitions read as conceptual events where he fills a space floor to ceiling with work that merges literary elements with painting, photography, sculpture and yes – collage. Matthew Rose currently lives and works in Paris.  MATTHEW'S PDF CATALOG.

Trey Speegle lives and works in New York City, dividing his time between his Meatpacking District studio in Manhattan and a converted barn in the Catskill Mountains in upstate New York. When Michael O’Donoghue, (former head writer at Saturday Night Live) died in 1994 Speegle inherited his friend’s 200-piece collection of vintage paint-by-number paintings. These images eventually began to seep into the word art that Speegle was making at the time. The hybrid of language and the straightforward clarity of the paint-by-numbers resonated mysteriously.

About CONVERGE GALLERY
Founded 2011 Converge Gallery has received recognition in the art world for its ambitious program. While the gallery is based in Williamsport, PA it also mounts exhibitions in New York City and at international art fairs. Director Casey Gleghorn visits artists’ studios in New York, Los Angeles, Chicago, San Francisco and internationally. Converge Gallery shows the work of notable emerging and mid-career artists.  For prices and information: Casey/Converge Gallery.

Converge Gallery
140 West Fourth St. Williamsport, PA 17701
Scope Event Information
Converge Gallery at Booth B03
SCOPE New York
312 West 33rd Street
New York, 10001
www.scope-art.com

Monday, January 6, 2014

LEMON BOX (FUCK OFF) 1998 - FLUXBOX/FLUXFEST 2014




























































1998 Lemon Wax Fuck Off Box with hole and lemon for FLUXBOX / FLUXFEST, curated by Keith A. Buchholz. Exhibition at the Joan Flasch Artistbook Library Gallery, School of the Art Institute, Chicago.  Reception on Feb. 20, 2014 in conjunction with FLUXFEST 2014.

Wednesday, December 18, 2013

Sunday, December 15, 2013

Saturday, December 14, 2013

SUICIDE SPECIALS (PART 2), 2013

Suicide Specials, Part 2. Collage works on paper. Each 51.5 cm x 34 cm; all 2013.

Click on any image to launch the Suicide Special slide show.

Curious/interested? E mail: Suicide.