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Review: Joni Sternbach at Rick Wester Fine Art

Posted By Administration, Thursday, July 12, 2012
Updated: Friday, January 3, 2014

SurfLand, Revisited 2006-2011

Extended through August 10, 2012


The timelessness to the work of Joni Sternbach is perhaps what first intrigues our gaze. As we wander closer we are enchanted by each heroic subject. Posing with their surfboards along the beach we find Sternbach's dedication to the subject transcends typecasting. Young and old; men, women, and even a few merpeople are captured in groups large and small and in solitary pose. The work may at first seem simple or candid, but the true hand of a master moves seemingly without effort. There is a natural and honest quality to the work, a clean truth behind the American pastime Sternbach has focused on. The prints themselves are tintypes, an almost lost process dating back to the Civil War era. The quality of tone and smoothness of surface renders each work as unique as the figure depicted.


For more information please visit Rick Wester Fine Art

New Yorker Review


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Artist's Reception: Mark Adams at McNamara Gallery

Posted By Administration, Saturday, June 30, 2012
Updated: Friday, January 3, 2014

Te Marua, Onauku, Horahorakakahu, Kakapo, Onuku, Otakou, Rakiura, Ruapuke, Hinerata & Henrietta, 1997

Exhibition Dates: July 6 - July 27, 2012

Reception with the Artist:
Friday, July 6
5:30 pm


Mark Adams uses his work to examine the continued impact of the wave of colonization on the native people of New Zealand. His work bears witness to the effect of the past on the present. The prints on display at McNamara gallery address the legacy of the Treaty of Waitangi. Signed in 1840 in six sites the treaty was intended to give rights and protection to the native Māori people. The effort appeared valiant but was never properly adhered to until the 1970's. Adams' quiet frames trace the injustice, call into question the decisions of history. They are elegant and bold, quiet and brooding. The expansive view infuses the prints with intention and simple landscapes become more, they become totems of troubled history. We stand in quiet reflection as we are enveloped into their stillness.

For more information on the exhibition, please visit McNamara Galelry

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Review: Matthew Brandt at Yossi Milo Gallery

Posted By Administration, Saturday, June 23, 2012
Updated: Friday, January 3, 2014

Lakes, Trees and Honeybees

Through July 20


The LA based photographer's work continues to be well received. In December 2011 Forbes named Matthew Brandt to an elite list of rising stars in an article30 Under 30: Art & Design. Brandt's first New York showLakes, Trees and Honeybeesis again earning praise. The work is memorable, unusual, integrated. The subject itself becomes part of the fabric of the piece. C-prints are soaked in respective water sources inLakes and Reservoirs; paper is made from tree fiber and ink from remaining bits of wood that are burned into charcoal forTrees; and most unusual is a gum-bichromate process where the paper's emulsion is made from a fine grind of the subject-Honeybees.

Each series has its own aesthetic- theLakes and Reservoirsshift from atmospheric representational to complet abstraction.Treesis soft and elegant, and almost resembles an etching or line drawing.Honeybeesis graphic and energised but stark. Depth is drawn only through the size of each insect. The work is fascinating- the dedication to approach pushes the limits of our belief and renders each image precious.

For more information on the exhibition please visit Yossi Milo Gallery

New Yorker Review

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Book Signing: Josephine Sacabo and Dalt Wonk at Verve Gallery

Posted By Administration, Friday, June 22, 2012
Updated: Friday, January 3, 2014

NOCTURNES

Exhibition Dates: July 7 – 28, 2012

Opening Reception and Booksigning
Friday, July 13
5:00-7:00 pm

Poetry Reading, Conversation with Authors: Saturday, July 14, 2pm

 


Noctures is more than a book, it is an experience. The wife and husband team take us on an journey through our own mind on the wings of images, the rhythm of words. We wander the shadows of our longing, and stand naked in the sun of our desire. Josephine Sacabo's black and white prints are rich, thick, and mysterious, the poems in the text are printed on a transparent vellum that allows word and image to mingle, coexist, touch. It is difficult at times to know where the work of one ends and the other begins, the intertwining of work makes our mind wander and our skin flush.

For more information on the exhibition please visit Verve Gallery

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Artists' Reception: The Perfect Storm at Julie Saul Gallery

Posted By Administration, Thursday, June 21, 2012
Updated: Friday, January 3, 2014

Group show featuring work by:
Tom Berenz, Philip-Lorca diCorcia, Julie Heffernan, Bill Jacobson, Simen Johan, Sarah Anne Johnson, Kim Keever, Shai Kremer, Lori Nix, Karin Apollonia Müller and Yuki Shingai

Exhibition Dates: June 28 - August 17, 2012

Artists' Recepton:
Thursday, June 28
6:00 - 8:00 pm
Kim Keever, Lori Nix, Bill Jacobson & Yuki Shingai to attend


This extensive exhibition curated by Edna Cardinale brings together artists who portray natural and man made disasters. The artists are too few to give each their proper due, but together the potency of the work reveals international currents of uncertainty at our current state. Space and place seems to shrink when these works knit together. Our world is global and we are increasingly connected. Some of the impact-zones are tied to place, as in Lori Nix's Flood series that recalls scenes from her childhood and frequent disasters in western Kansas, or Bill Jacobson's out-of-focus images from the terrorist attack on the World Trade Center. These location-based works do help ground or literally root the exhibition. If nothing else they set the stage and the tone for the show. Other pieces begin to expand the locus and work to heighten the sense of common burdon. Yuki Shingai's work is full of longing for the absent, represented with shoes at the seashore, and take us definitively international through images that relate to the Japanese earthquake and tsunami of 2011. Philip-Lorca diCorcia's woman sitting on a bed doesn't identify place, and though it feels western its exact local is anonymous. The sense of disconnect, the quiet before or even perhaps, as we infur from the twister on her television screen, during the storm. Time also stands still with diCorcia's piece, and we identify the present as ever-present; we are not looking at a single moment, we are looking at an evolving current moment. This lasting sense of present heightens the tension in the work. The power of this show is the revelation of our shared interest. The world is small, we are connected, we do have a responsibility to each other and the world we share.

For more information on this exhibition please visit Julie Saul Gallery

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