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Location: 44-02 23rd Street, Long Island City, NY 11101
Hours: Thursday � Sunday 12-6pm

"DRAWING ON PAPER"

January 28, 2010 - February 14 , 2010
Opening Reception: February 4, 6-8pm

M55 44-02 23rd Street Long Island City NY 11101 is pleased to Presents
DRAWING ON PAPER
Jan 28 – Feb 14
Opening Reception
Thursday February 4 6-8 pm

Featuring drawings by gallery artists
Alexis Kuhr
Alfred Martinez
Alix Ankele
Annette Morriss
Assa Bigger
Ed Rath
Eileen Mislove
Garrett Klein
Ilia Reyentovich
Jeff Way
Judy Russell
Karen Gentile
Kathleen Granados
Kenneth Park
Lisa Fellerson
Marcin Wlodarczyk
Melissa Starke
Peter Charlap
Peter J Hoffmeister
Rand Hardy
Richard Pitts
Teresa Jarzynski
Yosuke Ito



Enid Sanford New Paintings

January 7, 2010 - January 24, 2010
Opening Reception: January 14, 2010 6-8pm

M55 44-02 23rd Street Long Island City NY 11101 is pleased to announce
Enid Sanford New Paintings
January 7 – January 24, 2010
Opening Reception Thursday, January 14 6-8 PM

Opening Night Photos:
http://www.flickr.com/photos/m55art/sets/72157623263744490/

“There is a simplicity to this body of work while creating an immediate, complex, and deep relationship with the viewer, at the same time the paintings maintain a resonate relationship to each other.”
Anthony Cafritz

The exhibition consists of paintings and a group of drawings, all created within the last year. They are being exhibited for the first time and this exhibition will be Sanford’ first one-person show at M55 Gallery.

The paintings within this exhibition mark an important step forward in Sanford’ oeuvre. The influence of scientific theory is present in familiar built-up biomorphic patterns upon which the images are built. Sanford continues to investigate the complexities of space that painting alone is able to conjure, drawing on the tension between organic and in-organic forms. Sanford’s new work speaks not of forms but of forces and intensities, not of the stabilities of the pattern but of dynamic movement—some of the conceptual possibilities available to pictorial space when one pushes paint around and through and ultimately off the pattern.

Sanford’s latest work continues to explore new uses for abstraction while incorporating a wide variety of visual influences, from computer-generated graphics, to photography, and to kaleidoscopic formal arrays. The artist’s melding of architectonic composition and organic form is reflected the paintings; they are an organization of varying speeds and intensities—a pragmatic practice of the abstract mixing and rearranging of data. Her pictures are an assembly of generations of ‘readings’ that spring from an initial image, reinterpreted through shifts in color, shape and scale, and through the overlays of multiple webs of paint.

Sanford’s paintings and drawings combine biomorphic imagery with abstract pattern. The muted, earth-tone colors of her early work have progressively become more vibrant.
The artist states, “When I work, it takes me about two hours to get rid of all the babble/soundtrack in my mind. Getting rid of the painting clichés takes a little longer. Sometimes I surprise myself when I paint; then it really gets interesting and I realize what I didn’t know I know. This seems to take place on that mysterious level when we forget about what we think of as ourselves.”

Enid Sanford New Paintings will be on view at M55 Gallery at 44-02 23rd Street Long Island City through January 24, 2010.
Special Gallery Hours: Tuesday through Saturday, from 12:00 P.M. to 6:00 P.M.

For further information please contact
Assa Bigger
Director M55 art
T: 718-729-2988
Email: info@m55art.org



“A Night of 1001 Prints”

December 17 2009– December 20 2009
Opening Reception: Thursday December 17th 2009 5pm-8pm

Cash & Carry Charity Fundraising Event

Everybody. Let the celebration of “A Night of 1001 Prints” begin!

The exhibition celebrates the unique aspect of the printmaking process. This event celebrates the Cultural diversity of visual art and provides viewers with the opportunity to experience the magical aspect of printmaking.
Featuring prints by:
Alex Choi, Alfred Martinez, Anka Jurena, Anthony Martino, Assa Bigger, Bill Opper, Boris Minkovskij, Bryan Coello, Dana Burns, Dongeun Lee, Eniko Szucs, Eric S. Killens, Firth MacMillan, Ged Merino, Jeff Way, Jennifer Congo, John Dowling, Jordan Liv, Joseph F Palumbo, Joshua Tousignant, Kaitlyn Jeffers, Kathleen Granados, Karen Gentile, Karen Holmberg, Kari Emil Helgason, Kirsten Flaherty, Kobi Perez, Lauren Eardley Evans, Lauren Mailey, Lisa Fellerson, Magda Carolina Gomez, Marcel Bronstien, Marcin Wlodarczyk, Maria Luisa Tamara, Maurizio Cattelan, Melissa Starke, Michal Katz, Nils Hasche, Pansum Cheng, Peter J Hoffmeister, Richard Pitts, Richard Prince, Samantha Jasanorsky, Sara Lauth, Susan Kim, Slavko D Juric, Veronica Staenle, Vica Adutov, Vladmir Sheremet, Will Haude, Zhang Qingyun

“A Night of a 1001 Prints” is a charity event, which all sales from this event will be donated to Angel Wish Foundation. Angel Wish was created in 1999 with the mission to provide the public with an easy way to grant wishes to the millions of children that are living with HIV/AIDS around the world. http://www.angelwish.org/

Opening Reception: Thursday Dec. 17th 2009 5pm-8pm

Event hours: Thursday Dec. 17th – Sunday Dec 20th 12pm-10pm



“A Night of 1001 Prints” Application

Thursday December 17th - Sunday December 20th
Opening Reception: Thursday December 17th 2009 5pm-8pm

Open Call To all Artists

*Please submit all prints with the form below by December 6th , 2009 *There is $5.00 entry fee for each print. This will be used for the rent of the space, display, wrap service, and promotional purposes. *Please submit your Prints without matt-board or frame.

“A Night of a 1001 Prints” Application

Hand or send your entry to:
Gallery at 44-02 23rd Street, Long Island City, 11101
www.M55Art.org
718-729-2988

Acceptance to this exhibition necessitates that your work will remain on view for the duration of the exhibition and loan period. Artists should have their own insurance for their art. Include your name on all your artwork submissions. Delivery and pick up of the work is the artist’s responsibility. The pick-up dates are between Jan. 13th~Jan. 16th, 12pm to 6 pm. The Gallery will not storage any work after the pick up deadline. If you cannot make a visit during the pick-up dates, please send stamped, return envelop with your works along with your application.
Questions should be directed to Assa or Alex at: info@m55art.org

Download the word format submission here http://www.angelwish.org/events/m55/1001prints.doc

Download the PDF format submission here http://www.angelwish.org/events/m55/1001prints.pdf



*40 x 19 x 11 emerging artists*

November 12, 2009 – December 6, 2009
Opening Reception: Thursday, November 12, 6-9pm

M55 Art44-02 23rd Street Long Island City NY 11101
is pleased to announce
40 × 19 × 11
emerging artists
a group exhibition by Art Collective

November 12, 2009 – December 6, 2009
Opening Reception
Thursday, November 12, 6-9pm

PRESS RELEASE

When the various guilds of fifteenth-century Florence were commissioned to fill the niches of the Orsanmichele Church with representations of their respective patron saints, their strategies were fundamentally similar: create works unique enough to establish their presence within the shared space. Knowing that most guilds were working with a classical approach, the wealthy Arte di Calimala, or wool merchants’ guild, hired Lorenzo Ghiberti to sculpt their St. John the Baptist within the International Gothic style. The aesthetic not only communicated their wealth and power—associations central to the style—but also served to distinguish them from a predominantly classical context. The very nature of competition was responsible for the appearance of many such artworks; receiving public attention meant greater prestige for both patron and artist alike. Such is the state of affairs that is intensely familiar today.

In a city with many more artists than available niches, the competition for space has never been greater in any other point in history, and neither has its diversity. Because art is reflective of the society that produced it, and changes stylistically depending on the pace of change within society, present-day artists create in a time of change so quick and dramatic that it is inevitable that their work would respond to it. What is more, our excavations and appropriations of non-Western art over the last few centuries have made the world’s immeasurably diverse artistic heritage readily available to us, expanding our standards, our expectations, and our view of the earth, diversifying our styles and exhibitions within it.

The title of the exhibition, 40’ x 19’ x 11’, uses the dimensions of the gallery to refer to our own niche carved within the four corners of the space. Just like the guilds and artists of Orsanmichele, it describes the honest concerns of the emerging, and no doubt, even the established artist: mainly, how one looks in a greater artistic context. The juried nature of the exhibition further emphasizes this idea, as it was through competition that artists were selected to display their work. This fight for space and attention is a critical part of the artists’ hopes of creating unique and compelling works that still manage to captivate even when viewed within a broad range of contexts.

Vladimir Sheremet, participating artist
November 2009

Featuring work by:
Nicole Devens, Christine Marzano, Faith Edeson, Jade Chan, Edyte Bialkowsli, Maria Luisa Tamara, Anka Jurena, Cassandra Holden, Princess Campbell, Carla Villaroman, John Furth, Zhi Huang, Hyungyung Bae, Anastasiya Tarasenko, Elijah Robinson, Katie Huber, Siobhan Mullan, Harold Hernandez, Leela le Noury, Josh Tousignant, Joanne Ambia, Arianna Santoriello, Magda Carolina Gomez, Dana Burns, Lauren Mailey, Miguel Brito, Kathleen Granados, Cristina Razzano, Heidi Wenzel, Emma Taylor, Vlad Sheremet, Pansum Cheng, Bill Opper, Ashley Alcime, Teresa Jarzynski & Mollie Bassett.



" LETTERS FROM THE MOON "

October 22 - November 7, 2009
Opening Reception: Thursday, October 22nd, 6-9pm, 2009

M55 ART is pleased to announce
LETTERS FROM THE MOON
An exhibition of works by:
Kathleen Granados
Peter J Hoffmeister
Teresa Jarzynski

October 22 – November 7
Opening Reception
Thursday, October 22nd, 6-9pm

44-02 23rd street
Long Island City, NY 11101
Gallery hours: Wednesday – Saturday 12-6pm
T: 718-729-2988
M55art.org

Opening Night Photos:
http://www.flickr.com/photos/m55art/sets/72157623139044321/



Michal Shapiro : Mosaic Series in Recycled Media

June 23- July 12, 2009
Opening Reception: Thursday, June 25

Michal Shapiro painting

I have painted for many years on canvas, but my current body of work is created from the styrofoam trays grocery stores package meat and produce in. They do not degrade but for some reason are not recycled. About five years ago I stopped throwing them out and started using them in my artwork. The process I have evolved begins as I paint on the trays directly, randomly cut them up and thoughtfully glue them to canvas. I realize that each painted piece I cut is a microcosm (a beautiful abstraction in and of itself.) So I let the pieces lead me to a conclusion or I subordinate them to a larger, planned structure. The spontaneity of this process is engrossing, and I find myself stimulated by the aesthetic statements these pieces make in combination, which I might not have chosen under other circumstances. Color, texture and pattern collide, collude and create passages that are surprisingly organic for pieces that are geometric in shape. The surface activity can be linear or spatial or modular, sometimes sculptural and sometimes all of these. The gestures can be small, or grand; the paintings can be complex or simple. The process can take on the feeling of a cadavre exquise, though of course, I always have the ultimate say! My work is a combination of process and decision-making. Formerly I characterized my artistic endeavors as “chasing colors and shapes across a canvas.” This particular medium has expanded that chase.



Assa Bigger - Genesis 1: 1-31

June 6 - 21 , Seven Days a week, Sunset until Sunrise
Opening Reception: june 6 7-10 pm

*Gallery 2—Assa Bigger: Genesis 1: 1-31

Assa Bigger Genesis 1: 1-31 is a time base & sound installation consisted of a collection of frames superimposing images of old masters’ works from the book of Genesis with numerous translations of Genesis chapter 1.
Having reconstruction these images as the background for the scrolling translation the work examine and highlights the issues of irony, history, assumption, diversity, mystical time, spiritual space, artistic authenticity and image consumption.
The sound that involved major figures in the artists life create another layer for the complicity of the text and to the babelion aspect that we enjoying every day in NYC
Celebration of life, beginning, diversity, sound & language.
The video installation is projected every night from sunset till sunrise!
The time base installation emphasizes the mystical and spiritual time on which the projection accrues.

The exhibition will feature a multilayer channel video installation and accompany with an artist book, both of which explore art historical representations m through the use of appropriated material.

The images produced by superimposing and re-photographing images of works by Renaissance and Modern masters Titian, Raphael that was borrowed from the wide world web.

The images, related to a series published in an artist book that examine how art history constructs the artist as a Tran historical subject and, in particular, how that construction is articulated in relation to representations of language. The resulting images are dissonant and grotesque, a mash-up of Renaissance figuration and lost in translation the language abstraction.
The conflict between the religious Disneyland and the meditative sanctuary!
Sharing the same physical room is the work of the polish born NY base artist Marcin Wlardotszk titled “Saints “. In his work he uses the sense of saint with the irony that the project got influence by famous criminals.

Genesis 1, 1-31 is a multilayer time based & sound installation combining images, language and sound through different mediums such as print, sound and video. It includes numerous translations of the text of Genesis chapter 1, voices of the people that are reading the text, images of old masters’ from the Renaissance and an ingenious sound track. The installation will be projected from inside of the Gallery to the glass window where passersby will find themselves in the middle of a sound and visual experience in a public realm. The installation will take place between sunset and sunrise –a spiritual timing indistinct whether it is a beginning or an end. The project’s emphasis is on the singular bond among all humans in all their diversity. The images as the background for the scrolling text translations of Genesis 1 and the voices with the sound track create the ambiance for the installation where the translations, the images and the sound are mixed indiscriminately. The project examines and highlights the issues of history, diversity, spirituality, artistic authenticity and image consumption. It reveals the complexity of the Babylonian aspect of any metropolitan city across the world.

The interactive aspect of the project is essential. The sound and emphasizes the diversity and brings different cultures, backgrounds and languages together. Another aspect is the invitation of the community to interact, engage and enjoy during the installation period. The goal is to create an art installation as if it weren’t a formal exhibition at all, but a gathering of friends, sharing stories and temporarily escaping the pervasively isolated nature of contemporary life in their natural habitat. The audience for this project is everyday people that don’t usually go to art events or never even thought becoming a part of an art installation; let alone thinking of their neighborhood and community as a place for art. The place would transform into a totally different environment applauding the people to stop, look, listen and remark. Their input will continue the dialogue and develop the project. During the research time I will interact with local community services, libraries and so forth. This will open the project for more information and knowledge – so far I have 28 languages I would like to use, but open to see if there are more.

A single piece of written text, the most popular in the history of the world, presented in a different context, will make people relate to one another, start a dialogue, broaden their knowledge without leaving their habitat. Using language, image and sound – which are all available matters – in a new way to bring mutual appreciation in the community. The goal of this project is to open up the casual space to dialogue, to allow for chance interactions and to physically show the fraying of the seams between art and life.

The main idea of the project is to explore the dynamics of visual, conceptual and linguistic presentation with a specific text and imageries. The project shows different perspectives of people sharing the same environment. The idea of using a space in an unusual way, in an unconventional time with everyday people is inspiring and stimulating. The mission of the project is to open the physical space and the people in it to a traditional and innovative dialogue during the creation and presentation of project. The exchange of ideas, thoughts, opinions, views, feelings, judgments and dreams – among the people in the community – are the core of this project; making it available to everyone, in a public space involving different senses to experience art.

The project will bring people from different backgrounds, cultures, mentalities, languages and religions to interact. The project will encourage the meaningful aspect of creation. Since the project deals with the concept of language, the way we read, hear and interpret different king of languages; the interaction will happen through out the project origin, production and presentation.
The project will celebrated the diversity of the community and will connect each and every person in that community.

Presenting the installation for the first time in Queens was a natural choice for being according to a 2001 Claritas study, the most diverse county in the United States among counties of 100,000+ populations and for the 138 languages spoken in the borough.



Yosuke Ito

June 4 - June 21, 2009
Opening Reception: June 6, 2009 7-10pm

Gallery 1—Yosuke Ito : Lighting Loop

Yosuke Ito

> Yosuke Ito is a Tokyo-based artist and international exhibitor. His artistic subject has focused on environmental issues through lighting, images and their gathering followed by their dispersal. In 2006-2007, Ito showed “Reflected Landscape” and “Floating Landscapes” at 55 Mercer Gallery. Ito used loops to symbolize a connection between shooting and projecting. While we normally take photographs the same way that Camera Obscura creates image/perception through the eyes, then projects the images in a dark space to show them, Ito instead set several hand mirrors between a projector and the walls to spread the reflected fragmented images, just as if the shot images were given back to the landscapes in situ.
>
> This time at M55 Art, Ito develops his ideas into a visual narrative. The dispersal of light is transferred to the circular motion of propellers powered by solar cells, suggesting the far-reaching implications regarding current global environmental issues.



Ed Rath

May 14 - May 31,2009
Opening Reception: Saturday May 15. 2009

Gallery 1—Ed Rath : Terrible Trees

Ed Rath
In his latest acrylic paintings on view at M55Art Ed Rath pushes the idea of “the landscape as a representation of our inner world” to new heights. Through the use of anthropomorphic trees Rath depicts fantasies and behaviors that he has only hinted at in his earlier work. Combined with his repertoire of expressionistic color and flat abstract design, these characters personify various emotional states with total abandon and a new directness. Acting out scenarios of murderous rage, fear, sensuality, and loving tenderness, Rath’s trees get drunk, smoke, chop each other up, cavort, laugh, and at times are out of control. Embodying the angst of the “everyman” archetype, these caricatures express emotions that we cannot always act upon in real life.

Ed Rath’s work is a continual evolution of the figurative and metaphorical. This series is no different, and indeed follows a path that was started in Minnesota, where the artist was born, to the Yale University MFA program and finally to DUMBO, where the artist lives and works. For more information on Rath please contact M55Art



Ed Rath - Terrible Trees

May 14 - May 31,2009
Opening Reception: May 16, 2009 6-8PM

Gallery 1—Ed Rath : Terrible Trees

Ed Rath
In his latest acrylic paintings on view at M55Art Ed Rath pushes the idea of “the landscape as a representation of our inner world” to new heights. Through the use of anthropomorphic trees Rath depicts fantasies and behaviors that he has only hinted at in his earlier work. Combined with his repertoire of expressionistic color and flat abstract design, these characters personify various emotional states with total abandon and a new directness. Acting out scenarios of murderous rage, fear, sensuality, and loving tenderness, Rath’s trees get drunk, smoke, chop each other up, cavort, laugh, and at times are out of control. Embodying the angst of the “everyman” archetype, these caricatures express emotions that we cannot always act upon in real life.

Ed Rath’s work is a continual evolution of the figurative and metaphorical. This series is no different, and indeed follows a path that was started in Minnesota, where the artist was born, to the Yale University MFA program and finally to DUMBO, where the artist lives and works. For more information on Rath please contact M55Art



Tyrome Tripoli | Found Architecture

April 2 - April 18, 2009
Opening Reception: Saturday, April 4, 5-8pm

Exhibition in Gallery 2

Tyrome Tripoli works in Bushwick, Brooklyn as a full time mixed media sculptor creating installations as well as executing architectural metal work commissions. Tripoli’s Found Architecture at M55 Art is grounded in his interest in creating sculpture that mimics the urban setting in which he works. His new sculptures re-vision various urban icons. Tripoli’s “skyscrapers,” assembled plastic, wood and metal “garbage” fastened simply with a few screws, evoke a city with tall, tenuous futuristic architecture made from banal objects of the past.

“De-contextualizing objects from their original purpose as well as emphasizing the negative spaces in forms fascinates me,” explains Tripoli about his mixed media sculpture in Found Architecture. “Made from a deco 1950s vacuum cleaner, disparate objects form a factory building of the future. To highlight the old world craftsmanship and to accent the balance between objects, space, the past and the future, is the essence of my work.”

In 2001 Tripoli participated in the San Francisco Refuse and Recycle Artist in residency program. It was there he discovered the potential of working with mixed media and creating conceptual sculpture. Focusing on assemblage sculpture and installation, Tripoli collects found objects from the streets of Brooklyn and masters his creations in a garage studio in Bushwick while also fabricating large metal pieces in New York.

View Artist’s Page

More Works



Randee Silv | Endangered Gestures

April 2 - April 18, 2009
Opening Reception: April 4, 2009, 5-8:00 P.M.

Exhibition in Gallery 1


Randee Silv

With this most recent group of painting, Silv brings our attention back to the very origins of painting while exposing the roots of our visual culture. These pieces are distinct in the way that they consider the process of image-making in a way that is both current and extraordinarily old.

In “The Mind in The Cave: Consciousness and the Origins of Art,” David Lewis-Williams compares the controversial abstract marks in Upper Paleolithic cave paintings with entoptic forms that have been documented during altered states of consciousness. These zig-zags, dots, meandering lines and nested curves are what we all see on the edge of our vision.

It is within these most primordial moments, before these flickering forms congeal into recognizable imagery, that Silv finds parallels with her own work. She asks us, in viewing these paintings, to consider whether the concept of art may have been initially triggered by abstract rather than iconic imagery. And i we acknowledge this, these endangered marks could widen our dialogue with the transitional potentiality of abstract gesture.

Randee Silv.com



Michael Biddle | The Respondent Surface: Paintings 2005-2009

March 12 - March 29, 2009
Opening Reception: March 14, 5-8:00 pm

Basha’s Palace, 2009, oil on canvas, 60 × 50 inches

Exhibition in Gallery 1

An M55 Art Guest Artist Exhibition

Michael Biddle’s work is always endowed with a sense of playfulness, which definitely pervades this recent group of paintings. But, there is also an element of disquiet, due in no small part to the tensions that he creates by contrasting a multitude of irregular shapes, surfaces and colors. One cannot help but consider the lessons from Hans Hoffmann, when confronted with, what Hoffmann termed, the “push-pull” of the picture plane. However, Biddle’s palette does not reveal such immediate artifice, with subtle gray shapes that are juxtaposed with warmer hues, often with a more bold and painterly application, again to assert the tensions that are so important to his elaborate surfaces.

There is a charm to these canvases that resonates with the artist’s sincere experiences throughout the process of artistic creation and they seem devoid of illusion, though the movement throughout the picture plane is definitely some kind of trick. Another of Biddle’s contrasting dynamics are his use of raw, sensitive and fluid lines that delineate shapes or otherwise contain the surfaces that he has worked up to a fat, often heavily textured bravado, with nothing raw about them. In and around these often sculptural textures, there are broad flat planes of paint that are reminiscent of a beautiful Venetian plaster.

These paintings are abstractions, but many of the shapes interact in a lively and whimsical way that is evocative of some sort of primative symbolism, which could be open to multiple interpretations. Further primitive references are inevitable when trying to decipher his emotive use of line, often repeated or morphed into the shapes. Michael Biddle’s titles sometimes give a clue as to how we might reference his meaning, but they do not seem to elucidate so much as complement the work. Basha’s Palace is the largest piece in the show and has a decorative aspect that reminds one of an oriental rug or a multitude of hanging tapestries in a private place. Other works similarly evoke a sense of place: Venice and Blue Lagoon seem to beckon to some far off watery location. Some works are more suggestive of an occurrence than of a location, as in the painting Collapse, with elements seemingly tumbling out from the heart of a tumultuous event. This series of works also appears to be compartmentalized in a way that could refer to the complicated design of a potentate’s exotic sanctum.

Michael Biddle has had numerous exhibitions, was the recipient of a NYFA Grant and a Research Foundation Grant from the State University of New York. He taught at and was Chair of the Fine Arts Department at the Fashion Institute of Technology.



Michael Sanzone | Wood

March 12 - March 29, 2009
Opening Reception: March 14, 5-8:00 pm

Wood Construction 5, 2008, wood and mixed media, 32 × 21 inches

Exhibition in Gallery 2

This exhibition represents Michael Sanzone’s third solo exhibition in New York and is simply titled Wood. This is a selection of the artist’s wood constructions completed over the last three years. Each piece demonstrates Sanzone’s meticulous concentration towards his chosen medium, specifically the idiosyncrasies which occur through time and how such natural peculiarities cannot be duplicated through artifice. About his research Sanzone said, “I find it important in my new work to collect materials (wood) from specific locations, to get to know those locations and the history of the wood that now lies in the finished piece of artwork.” .

The works included in Wood represent distinct periods of time for the artist. The wood constructions developed in the workshop of the artist’s father, a skilled carpenter, who had salvaged the remains of a demolished hat shop that was founded in 1908, in New Haven, CT. The varied color, texture, and natural deterioration of the deserted wood fragments led to the first piece in the series. Increasingly fascinated by the history of his materials, and in turn his surroundings, Sanzone began fervently collecting remnants from a variety of locations including broken down movie sets and demolished barns. The artist’s use of atypical sustainable materials comprise most of the wood constructions and serve as a manifestation of the ultimate recycling process.

Sanzone was chosen to participate as an Artist in Resident at the Glenfiddich Distillery in Dufftown, located in the Scottish Highlands, where he continued his interest in sculptural paintings constructed from found wood pieces. The works completed in Scotland were included in the exhibition ‘Scottish Landscape’ in November 2008 at 532 Gallery, New York. Inspired by the journey of wood used to make the casks, some over fifty years old, Sanzone’s interest developed as he became more informed about the pedigree of the materials. The barrels were built from Spanish or American oak, transported to Scotland, and then filled, tagged, coded, tended to, used, thrown away, found, and finally resurrected. These wood constructions not only convey the narrative of this journey, but also act as a memento of Sanzone’s experiences in Dufftown. The distinct color and shape of each piece is the Scottish Landscape from the artist’s viewpoint.

For this exhibition, Sanzone has also included a new collaboration, with fellow New York based artist, Earl Barrett Holloway, titled Boys and Girls. The work is a collection of 104 pieces of wood ( 52 per artist,) in which the only guideline was to compose a drawing related to the title. The humorous, sad, and anomalous images are a combination of each artist’s memories and reflections on childhood, fundamentally rooted in the aspects of exploring and discovering one’s self in the most obtuse and absurd manner possible.

Michael Sanzone was born in 1977 in Connecticut, and currently lives in New York and works in both New York and Connecticut. His work is in private and public collections, including Cafiero Select and an installation in the Truffles Building, Tribeca. Recent exhibitions of his work include solo shows at 532 Gallery, The Glenfiddich Distillery Gallery, and 55 Mercer Gallery, and group shows at 532 Gallery, M55 Art, and HERE Gallery. He was curator of the exhibition entitled 5 at 55 at 55 Mercer Gallery in 2007. In December 2008, Sanzone’s work was included at Fountain Art Fair, Miami. His next solo exhibition is scheduled for the 2009-10 season at Infantree Gallery in Lancaster, PA.

Recent articles and press are available at:
Michael Sanzone.com, Glenfiddich, Artist in Residence and This is North Scottland



Robert Schecter | Pile

February 19--March 8, 2009
Opening Reception: Saturday, February 21, 5-8 pm

Pile, 2008, wood, hot glue and latex paint, dimensions are variable

Exhibition in Gallery 2

Pile is an installation representing Robert Schecter’s additive approach to forms by assembling a vast number of cubes in various sizes and shapes, which when combined, become permutations of larger cubes. In this large scale wooden installation, he further explores his particular approach in the use of sculpture as a means of drawing with form by systematically building lines and shapes that interact in real space. As Amy Brook Snider noted in Art’s Magazine of Schecter’s “search for new ways to draw”, “The painted and sculpted objects themselves are the marks that record the speed and energy of the drawing.”

These intricate assemblages of cubes were constructed with a liberal application of hot-glue that literally oozes from the joints between the rough hewn blocks. This serves not only to bond the elements together, but to further underscore the overall rugged and tactile surface throughout the piece. The process of building these forms remains integral to the overall treatment that is further mitigated by Schecter’s familiar and steadfast use of black paint throughout the sculpture, as a means of unifying the forms and creating a multitude of grays and blacks with light and shadow. Rejecting the countless possibilities of any calculated organization or design of the constructed shapes, Schecter chooses to stack them all together in a giant “pile”. The resulting mass that is reminiscent of steel parts, which have been stacked for apparent use in some monstrous machine, becomes a seemingly dense, weighty, and edgy confluence of building blocks, which occupy a space with significant presence.

In his essay for Robert Schecter’s Museum at FIT exhibition catalog, Richard Pitts describes the work as “intuitive and emotive, packed with attitude”, as evidenced here by the unpredictable way in which he constructs the elements and the always present handmade quality. The resulting impact becomes a personal dialogue between artist and spectator, devoid of trickery and presented with a straightforward affinity to the materials.

Robert Schecter is a New York based artist who has exhibited his work at the Bertha Urdang Gallery, DeCordova Museum, Sculpture Center, Museum at the Fashion Institute of Technology, and other one person and group shows.

www.robertschecter.com



Jeff Way | Paintings & Drawings

February 19, 2009 - March 8, 2009
Opening Reception: February 21, 2009, 5-8:00 P.M.

Grid Head Couple R/G, 2008, acrylic on canvas, 30 × 33 inches

Exhibition in Gallery 1

Jeff Way’s latest paintings are a continuation of the Grid Head Series, based on the use of a mask-like face with interwoven bands of color and minimal features. He utilizes the ambiguity of features to manipulate the common precepts with which we usually view a face or portrait, making these images at once no one, someone and everyone.

The vividly colored grid patterns of the heads are nestled in a variety of lush and beautifully realized drapery. The drapery interacts with the bending, stretching and twisting of the Grid Heads, juxtaposing the transitory dreamlike images with the permanence of a space that appears believable and real. In these paintings, the grid, which is usually a device for structure and stability, becomes completely destabilized, while a similar treatment on the drapery serves to anchor them in time and space.

In this new series, Way has incorporated two heads for each composition, creating a dynamic relationship between the two that becomes very like a dramatically staged event. At times, in the composition, the drapery serves as a forceful element, exerting energy and movement, but in other places it allows a calm respite, with cool colors and stable forms. Due to the artist’s mastery of color and form, the work evokes a paradoxical uneasiness by being simultaneously funny and intense, calm and emotionally charged. Way’s vivid palette and chiaroscuro treatment of space gives these paintings of “couples” an emotional and compelling intensity that is tempered by an undeniable sense of humor.

Jeff Way is from Ohio and is a resident of New York City. He has a BA from Kenyon College and an MA from NYU. His work has been shown in numerous solo and group exhibitions in galleries and museums since 1970. His paintings, masks, and drawings are in museum, corporate and private collections including: the Whitney Museum, The Philadelphia Museum of Art and the Chase Manhattan Bank. He is currently the Assistant Chair of the Fine Arts Department at the Fashion Institute of Technology where he has taught since 1985.

jeffwayart.com



John Allen | Stereo Float Field Paintings (What's Up with Red, Yellow, & Blue?)

January 29, 2009 - February 15, 2009
Opening Reception: January 31, 2009, 4:00-7:00pm

Stereo Float Field Blue, 2008, acrylic on linen, 55” x 55” (detail image to right).

JohnAllen.com

Exhibition in Gallery 2


An M55 Art Guest Artist Exhibition

When I don’t have red I use blue.
–– Attributed to Picasso

The Stereo Float Field paintings are abstract works of hand drawn, close-packed fields, bordered by hard-edged color frames.

Based on an optical phenomenon Allen discovered over a year ago, his structured arrangement of repeated elements creates vibrating spatial fields of three-dimensional illusion when viewed in everyday variable-focus stereo vision. These pieces continue the themes Allen has pursued of spatially ambiguous planes compounding hand drawn geometry with rigorous symmetry in what he calls an experiential approach to conceptual painting. By combining optical, formal, perceptual, and symbolic-emotional components, Allen’s work invites meditation on the form as well as references to art history and the everyday experience of the viewer.

In their reduction to field and frame, the Stereo Float Field paintings represent a crystallization of form and expression for Allen. The exhibition’s subtitle––What’s Up with Red, Yellow, and Blue?––refers to Allen’s use of color and is a play on a Barnett Newman title by way of Edward Albee, Woody Allen, and an exhibition last summer at Tony Shafrazi Gallery conceived by Urs Fischer and Gavin Brown.

John Allen was born in Japan in 1955. His work in painting and sculpture has been exhibited in New York, Minneapolis, Stockbridge, and the Kingston Sculpture Biennial in 2005. He is a recipient of New York Foundation for the Arts Fellowships in Painting in 1994 and 2000. This is the artist’s first one-person show at M55 Art.



Garrett Klein, Kenneth Park, Melissa Starke | em BARK!

January 29, 2009 - February 15, 2009
Opening Reception: January 31, 2009

Exhibition in Gallery 1

Garrett Klein, Kenneth Park and Melissa Starke

Garrett Klein’s recent works are assemblage paintings that focus on making a connection and interaction with disparate materials, as well as the effects of time. Klein explores the innate and illusory qualities of the impermanence to his materials. These recent works combine a variety of mediums such as traditional brittle plaster elements juxtaposed with the use of the more contemporary and plastic poly-resins. The utilization of posters from the streets and subways of New York City intimate the portents of the effects of time as a symbolic reflection on the New York landscape. These works are intended to suggest the affect on us when confronted with the ineffable results that time imposes on our immediate surroundings. Klein is an active member of the artist collective, Urban Studio/Unbound.

Kenneth Park’s work explores the differences and similarities between various cultures, incorporating the influences of his Korean roots and his adoptive home in Brooklyn, New York. The nuances in life that are dictated by the connections, dissociations and digressions of everyday social experiences inform his creative process in a compelling use of color and gestural surface. These works are an exploration of the convertibility of ideologies that often represent antagonistic and/or monotonous values. Like many of his contemporaries, Park reflects on the rich history of painting, particularly the vitality and breadth of the abstract expressionist movement in New York. He allows his technique to be guided by the often fortuitous chance occurrences that result when the painter accepts the dictates of spontaneity and intuition in the decision making process. For this exhibition Park created paintings and intimate works on paper that utilize a variety of mediums that result in personal and beautiful imagery.

Melissa Starke’s current work is from a series that she creates with the additive collaging of a variety of materials that are either painted or raw. Her paintings integrate recycled elements from previously discarded efforts which have been cut up to become the building material for new works, along with string, brown paper and anything that fulfills the tactile assertion of these complex surfaces that virtually ripple with conviction. The work has a layered, built upon quality that creates a series of complex relationships throughout the surface. Starke has chosen to work with a limited palette to help emphasize the cohesiveness of the various shapes and textures throughout the picture plane. Starke resides in New York City and holds positions as Department Coordinator for Fine Arts at FIT and Art Project Coordinator for the artist collective, Urban Studio.



fifty unspoken words: emerging artists

December 12, 2008--January 4, 2009
Opening Reception: Saturday, December 13, 4-7pm

A joint exhibition by Urban Studio and Art Collective


Featuring work by:
Alex Choi, Jessica Barnum, Demetrio Belenky, Edyta Bialkowski, Dana Burns, Helen Carabajal, Jade Chan, Pansum Cheng Alessandra DeLaCruz, Nicole Devens, Matthew Gilli, Kathleen Granados, Yeonbin Jeong, Garrett Klein, Iva Kruljevic, Rachel Luyster, Lauren Mailey, Aleksandra Markovich, Maxine Martinez, Emery Medina, Jason Mitja, Siobhan Mullan, Paige Niluna, Raisa Nosova, Leela Le Noury, Kenneth Park, Ginger Pennington, Jose Miguel Pichardo, Cristina Razzano, Jon-Paul Rodriguez, Sandrine Ronvaux, Allan Sachs, Vladimir Sheremet, Errol Smith, Christianna Soumakis, Melissa Starke, Maria Luisa Tamara, Emma Taylor, Josh Tousignant, Paule Trudel-Bellemare, Maria Tsaguriya, Gabrielle Volano, Tabitha-Ann Whitley, Marcin Wlodarczyk

www.usunbound.org
fitartcollective@gmail.com
contact: Melissa Starke 212.217.5895



Recent Work | Alexis Kuhr

November 13-December 7, 2008
Opening Reception: Saturday, November 15, 4-6pm

Alexis Kuhr presents new drawings that combine elaborate linear grids with found pattern, elevating ideas about the “commonplace” and giving a sense of transience to the absolutes of geometric form.

View artist’s page



Tom Evans & Rand Hardy

October 23-November 9, 2008
Opening Reception: Saturday October 25, 4-6pm

Installation view with works by Rand Hardy.

Gallery 1: Tom Evans
Gallery 2: Rand Hardy



Reload M55 Art in L.I.C

September 25 - October 19, 2008
Opening Reception: September 28, 2 - 5pm

M55 Art, formerly 55 Mercer, the historic artist-run gallery, is proud to announce its new location on the ground floor of the LIC Center. For four decades, 55 Mercer Gallery contributed to the art community in Soho, and M55 Art looks forward to continuing to offer talented artists exhibition alternatives in this new center for contemporary art.



Don't Know Mind | New Paintings by Alix Ankele

September 4--21, 2008
Opening Reception: Sunday September 7, 3-6pm

A guest-artist exhibition of new abstract paintings.



Peter Charlap

September 4--21, 2008
Opening Reception: Sunday September 7, 3-6pm

Gallery 1
Recent paintings and drawings by the Vassar College professor.