Newstand No.101 (80 Languages) - 2008 - 2009
oil on canvas
54 x 72 in. (137 x 183 cm)
Masaaki Sato's newstand imagery grows out of an ongoing processing of visual information inspired by living in New York surrounded by it's vibrant culture. In his paintings, the artist seeks to remove barriers and broaden horizons by exposing the viewer to foreign ideas and notions of perception. With singular concentration and seriousness of purpose, he pointedly critiques but also praises the consumer culture he observes.
Feral 10 - 2010
50.5 x 47.5 in (128 x 120.5 cm)
It is only when materials have existed in one situation in the world and been discarded, that they begin to be interesting to Keith Long as a potential medium for his constructed wall sculptures. He sees the wear and tear of the material as a kind of archeological or anthropomorphic recorded history of its existence to-date. He then reassembles them in a way that , while never denying their previous existence, engages them in a new image, a Phoenix-like reemergence from the junk heap to the wall in a form that seems to ignore the relentless strain of gravity- for all their apparent weight and obvious joinery, these pieces seem to leap, to float, and often, to fly. As rough and direct as these pieces are, Keith Long's work nevertheless intertwines humor, grace, and a certain lightness of being which engages and lifts the spirit of the viewer.
S(anti) Claus Goes Home to Visit His Folks - 2010
12 L x 13.25 W x 15 H in. (30.5 L x 33.5 W x 38 H cm)
The Adventures of S(anti) Claus
In 2005, photographer Mark Perrott gained access to recently closed Pittsburgh, Pennsylvania's Western Penitentiary, and especially E BLOCK, a series of cells, reserved for first time prisoners and returning parole violators. The whitewashed walls of these cells were covered with graffiti; raw words, mostly about rage, longing, hurt, and remorse, accompanied sometimes, by child-like drawings that depicted bigotry, abuse, sex, and adult violence. His photographs of this place include images of these surfaces, and photographs of Western Penitentiary's architecture of confinement.
Edge #3 - 2010
birch plywood, ash veneer, and acrylic color
13 x 13 x 4.5 in. (33 x 33 x 11.5 cm)
Architecture and functional objects inform the vocabulary of Richard Bottwin's work. The planes of the birch plywood sculptures, folding inward, parallel to each other, or lying flat againts the wall are shaped to change alignments and appear to move as one walks around them. The surfaces, laminated with wood veneers or painted with acrylic colors, are configured to reveal surprising shapes and patterns with shifts in the viewer's perspective. A sense of disorientation, implied weightlessness and the element of surprise are created by the reductive forms and subvert the modernist vocabulary of the simple constructions.
Atlantic Ocean - 2010
pen and ink on paper
8.5 x 11 in. (21.5 x 28 cm)
The drawings in this exhibition have been developed from a daily process during which the artist Leonard Dufresne extemporaneously creates forms and imagery pulled from his stream of consciousness. They begin as unplanned doodles, and slowly coalesce into distinct, substantial, narrative scenes.
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