Winkleman Gallery

Winkleman Gallery http://winkleman.com/ Winkleman Gallery | A Contemporary Art Gallery in New York City en Copyright 2008, Winkleman Gallery, Inc. All images copyright of individual artists. Wed, 23 Jul 2008 20:31:03 -0400 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> <br/> <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> <p><p>"The Shallow Curator," installation view.</p></p> <br /> <div class="exhibition-description"><p><span class="caps">FOR IMMEDIATE RELEASE</span></p> <p><b>The Shallow Curator</b><br /> Gisel Florez, George McCracken, the Spirit, and Kevin Zucker<br /> Curated by Ivin Ballen and Christopher K. Ho</p> <p>Winkleman Gallery is very pleased to present <i>The Shallow Curator,</i> 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, <i>The Shallow Curator</i> accumulates weak links, none of which dominate and that, collectively, remain isolated intellectual cul-de-sacs.<br /> <br /> <b>Kevin Zucker</b> produced <i>The Shallow Painting,</i> 2008, specifically for <i>The Shallow Curator.</i> Elaborating a previous series of paintings of standard metal shelving units, Zucker asked other participants in <i>The Shallow Curator</i> to contribute objects to place on the shelves.<sup>1</sup> 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.<sup>2</sup> </p> <p><b>George McCracken,</b> a painter turned designer, presents his Spring 2009 menswear collection, shortly available at Bergdorf Goodman. As <i>The Shallow Curator</i> 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.<sup>3</sup> The George McCracken Collection features natural materials, superior construction, and discreet colors.<br /> <br /> Photographer <b>Gisel Florez's</b> <i>Exquisite Taste (Olive)</i> and <i>Exquisite Taste (Bruno),</i> 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.<sup>4</sup> These works, of Florez's own, form the basis on which firms and magazines hire her as a product photographer.<sup>5</sup><br /> <br /> Channeling John McCracken<sup>6</sup>, <b>the Spirit</b> created a slightly smaller, less expensive "Art Within Reach" version of a slab piece.<sup>7</sup> 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.<sup>8</sup> The Spirit, a Nevada resident, is also known as Jackie Cohen.<br /> <br /> <i>The Shallow Curator</i> 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.</p> <p><hr /><br /> Footnotes:</p> <p>1. Zucker is a former teacher of McCracken; neither is Native American.</p> <p>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.</p> <p>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.</p> <p>4. McCracken uses photography to promote his clothes, which will soon be featured in <i>BG Magazine.</i> Florez uses clothing as props for her photographs, which will soon be featured in <i>V Magazine.</i> Florez has never shot McCracken's line.</p> <p>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.</p> <p>6. McCracken shares a last name with George McCracken; both are from the Bay Area.</p> <p>7. In this sense, the artist's relinquishing of control over subject matter in Zucker's <i>The Shallow Painting</i> to other participants in <i>The Shallow Curator</i> is structurally analogous to the Spirit's downplaying of originality. </p> <p>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.</p> <p><hr /><br /> For more information, please contact Ed Winkleman at 212.643.3152 or info@winkleman.com.</p></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> <br/> <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> <p><p>David Kinast, "The <span class="caps">ISM,</span>" installation view.</p></p> <br /> <div class="exhibition-description"><p>Winkleman Gallery is very pleased to present "The <span class="caps">ISM,</span>" our first solo exhibition by New York artist <b>David Kinast.</b> 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.</p> <p>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. </p> <p>David Kinast was born in Seoul, South Korea, and raised in Oklahoma. He studied at Temple University Rome, and received his <span class="caps">MFA </span>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.</p> <p>For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</p></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> <br/> <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> <p>Rory Donaldson, <em>SQBLUE08</em>, 2008</p> <p> Chromogenic C-print, 30" x 40", Edition of 5 </p> <br /> <div class="exhibition-description"><p><strong>Rory Donaldson</strong> <br /><br /> P  L <br /> O T <br /><br /> May 2 to May 31, 2008<br /> Opening: Friday, May 2, 6-8 pm <br /> Gallery Hours: Tues – Sat, 11 6 pm <br /></p> <p>Winkleman Gallery is very pleased to present <em><span class="caps">PLOT</span></em>, our first solo exhibition by Scottish-born New York artist <strong>Rory Donaldson</strong>. 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. <br /><br /> 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. <br /><br /> 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. <br /><br /> <em>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. </em><br /></p></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> <br/> <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> <p>Almagul Menlibayeva, <em>"Jihad" (video still)</em>, 2004</p> <p> Single-channel video, color, sound, 4:48 minutes, edition of 3 </p> <br /> <div class="exhibition-description"><p>Co-curated by Leeza Ahmady, Murat Orozobekov, and Edward Winkleman</p> <p>Featuring recent work by Vyacheslav Akhunov, Rahraw Omarzad, Almagul Menlibayeva, Jamshed Khalilov, Gulnara Kasmalieva & Muratbek Djumaliev, Said Atabekov, and Julia Tikhonova and Rustam Khalfin</p> <p>March 20 - April 26, 2008<br /> Opening: Thurs, March 20, 6-8 pm<br /> Gallery Hours: Tues - Sat, 11 6 pm</p> <p><a href="http://www.acaw.net" target="new"><img src="http://artcat.com/static/dyn-images/14/14130.thumb.jpeg" /></a></p> <p>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.</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>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."</p> <p>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 <span class="caps">CCAA.</span> Through <span class="caps">CCAA,</span> 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.</p> <p>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.</p> <p>For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</p> <p>Winkleman Gallery<br /> 637 West 27th Street<br /> New York, NY 10001<br /> t: 212.643.3152<br /> f: 212.643.2040<br /> www.winkleman.com</p> <p>Asian Contemporary Art Week<br /> Asian Contemporary Art Week<br /> March 15 - 24, 2008<br /> http://www.acaw.net</p></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> <br/> <a href="/exhibition/view/1009"><img border="0" src="http://winkleman.com/static/dyn-images/13/13285.jpeg" alt="Morning in China" height="428" width="500" /></a> <p>Joy Garnett, <em>Morning in China</em>, 2007</p> <p> Oil on canvas, 60" x 70" </p> <br /> <div class="exhibition-description"><p><span class="caps">FOR IMMEDIATE RELEASE</span><br /> January 25, 2008</p> <p><b>Joy Garnett</b><br /> New Paintings</p> <p>February 15 - March 15, 2008<br /> Opening: Thursday, February 21, 6-8 pm<br /> Gallery Hours: Tues - Sat, 11 6 pm</p> <p>Winkleman Gallery is very pleased to present a solo exhibition of new paintings by New York artist <b>Joy Garnett.</b> 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.</p> <p>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."</p> <p>The optimistic rising sun in <i>Morning in China</i> 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 <i>Noon</i> 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 <i>Harbor (2)</i> 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 <i>Night</i> 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), <i>Night</i> 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.</p> <p><i>Joy Garnett received her <span class="caps">MFA </span>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).</i></p> <p>For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</p></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> <br/> <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> <p><p>Christopher K. Ho, "Happy Birthday <img src="http://winkleman.com/static/dyn-images/12/12523.gif" width="12" />," Installation view.</p></p> <br /> <div class="exhibition-description"><p><b>Christopher K. Ho</b><br /> <i>Happy Birthday</i><img src="http://winkleman.com/static/dyn-images/12/12523.gif" width="12" /></p> <p>January 10 - February 9, 2008 <br /> Opening: Thursday, January 10, 6 - 8 pm <br /> Hours: Tuesday - Saturday, 11 am - 6 pm </p> <p>Winkleman Gallery is very pleased to present Happy Birthday, our first solo exhibition by New York artist <b>Christopher K. Ho.</b> 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. </p> <p>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. </p> <p>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." </p> <p>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." </p> <p><i>Christopher K. Ho has exhibited at the Queens Museum of Art; the Jamaica Center for the Arts; the <span class="caps">H.F.</span> 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 <span class="caps">B.F.A. </span>and <span class="caps">B.S. </span>from Cornell University and his <span class="caps">M.P</span>hil from Columbia University. </i></p> <p>For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</p></div> http://winkleman.com/exhibition/view/1008 Exhibition: Ivin Ballen <div class="exhibition-subtitle"><i>50/50</i></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> <br/> <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> <p><p>Ivin Ballen, 50/50, installation view, featuring (l. to r.) "Warren," "Poodle," and "Grapemine."</p></p> <br /> <div class="exhibition-description"><p>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.</p> <p>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.</p> <p>Corresponding with his first New York solo exhibition is Ballen's first solo exhibition at Hilberry Gallery in Detroit, <span class="caps">MI,</span> November 9 -January 5, 2008.</p> <p>For more information, please contact Edward Winkleman at info@winkleman.com or 212.642.3152.</p> <p>Ivin Ballen<br /> 50/50<br /> November 29 - January 5, 2008<br /> Opening reception: Thursday, November 29, 2007, 6-8 pm</p> <p>Winkleman Gallery<br /> 637 West 27th Street<br /> New York, NY 10001<br /> t: 212.643.3152<br /> f: 212.643.2040</p> <p>info@winkleman.com<br /> www.winkleman.com</p></div> http://winkleman.com/exhibition/view/1007 Exhibition: Carlos Motta <div class="exhibition-subtitle"><i>The Leningrad Trilogy</i></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> <br/> <a href="/exhibition/view/1003"><img border="0" src="http://winkleman.com/static/dyn-images/10/10614.jpeg" alt="" height="255" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Winkleman Gallery is very pleased to present <br /> "The Leningrad Trilogy," the first New York solo exhibition by <b>Carlos Motta.</b> 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.<br /> <br /> "Leningrad," (8 min., <span class="caps">B&W, </span>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. </p> <p>"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. </p> <p>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 <span class="caps">V.I</span> 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. <br /> <br /> 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. <br /> <br /> <i>Carlos Motta is a graduate of the Whitney Museum Independent Study Program (2006), received an <span class="caps">MFA </span>from the Milton Avery Graduate School of the Arts at Bard College, in 2003, and a <span class="caps">BFA </span>in photography from The School of Visual Arts in 2001. His work has been widely exhibited, including in the <span class="caps">CCS</span> 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 <span class="caps">HOMEWORK</span>), Danish Arts Council, 2007, and the Subvention Grant, Cisneros Fontanals Foundation (CIFO), 2006.</i><br /> <br /> ----<br /> Produced with the generous support of The Cisneros Fontanals Art Foundation (CIFO) 2006 Grants Program <br /> ----<br /> For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com.</p></div> http://winkleman.com/exhibition/view/1003 Exhibition: Thomas Lendvai <div class="exhibition-subtitle"><i>Between Pain and Boredom</i></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> <br/> <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> <p><p>Between Pain and Boredom (Installation view)</p></p> <br /> <div class="exhibition-description"><p>Winkleman Gallery is pleased to present "Between Pain and Boredom," a new site-specific sculpture and our second solo exhibition by New York artist <b>Thomas Lendvai.</b> 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'."</p> <p>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.</p> <p>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. </p> <p><i>Thomas Lendvai received his BF from <span class="caps">SUNY</span> Stony Brook, <span class="caps">NY, </span>in 1998 and his <span class="caps">MFA </span>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.</i><br /> _____________<br /> <sup>1</sup><i>The New Yorker,</i> February 7, 2005.</p> <p><b>Thomas Lendvai</b><br /> <i>Between Pain and Boredom</i></p> <p>September 6 to October 6, 2007<br /> Opening Reception: Thursday, September 6, 6-8 PM <br /> Hours: Tuesday - Saturday, 11 am to 6 pm</p> <p>Winkleman Gallery <br /> 637 West 27th Street <br /> New York, NY 10001 <br /> T: 212.643.3152 <br /> F: 212.643.2040 <br /> info@winkleman.com <br /> www.winkleman.com</p></div> http://winkleman.com/exhibition/view/994 Exhibition: Sarah Peters <div class="exhibition-subtitle"><i>Being American</i></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> <br/> <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> <p><p>Sarah Peters: "Being American"</p></p> <br /> <div class="exhibition-description"><p>June 15 to July 21, 2007<br /> Opening Reception: Friday, June 15, 6-8 pm</p> <p>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.</p> <p>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. </p> <p>Sarah Peters credits her fascination with early American art to her study at the Pennsylvania Academy of Fine Arts, in Philadelphia. She completed her <span class="caps">BFA </span>at the University of Pennsylvania, and her <span class="caps">MFA </span>in Sculpture at the Virginia Commonwealth University. This is Sarah's first solo exhibition in New York.</p></div> http://winkleman.com/exhibition/view/954 Exhibition: Andy Yoder <div class="exhibition-subtitle"><i>Donald, Martha & Sam</i></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> <br/> <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> <p><p>Andy Yoder: Donald, Martha & Sam</p></p> <br /> <div class="exhibition-description"><p>May 11 to June 9, 2007<br /> Opening Reception: Friday, May 11, 6-8 pm</p> <p>Winkleman Gallery is extremely pleased to present Donald, Martha & Sam, our second solo exhibition by sculptor Andy Yoder.</p> <p>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.</p> <p>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.</p> <p>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. </p> <p>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.</p> <p>For more information please contact the gallery at info@winkleman.com or 212.643.3152.</p> <p>Andy Yoder <br /> Donald, Martha & Sam</p> <p>May 11 to June 9, 2007<br /> Opening Reception: Friday May 11, 6-8 PM<br /> Hours: Tuesday - Saturday, 11 am to 6 pm</p> <p>Winkleman Gallery<br /> 637 West 27th Street<br /> New York, NY 10001<br /> T: 212.643.3152<br /> F: 212.643.2040<br /> info@winkleman.com<br /> www.winkleman.com</p> <p>Directions: C or E train to 23rd Street. Walk North to 27th Street. Winkleman Gallery is between 11th and 12th Avenues.</p></div> http://winkleman.com/exhibition/view/995 Exhibition: <i>Yes (to everything)</i> <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> <br/> <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> <p>RISD MFA Photography Graduates, <em>Exhibition Invitation</em>, 2007</p> <p> </p> <br /> <div class="exhibition-description"><p>Winkleman Gallery is very pleased to host Yes (to everything), a <span class="caps">RISD</span> 2007 <span class="caps">MFA</span> Photography Thesis Exhibition. Organized by <span class="caps">MFA </span>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. </p> <p>"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).</p> <p>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<br /> For more information please contact the gallery at info@winkleman.com or 212.643.3152.</p> <p>Yes (to everything) <br /> Rhode Island School of Design <span class="caps">MFA</span> Photography Thesis Exhibition</p> <p>April 25 to May 5, 2007<br /> Opening Reception: Thursday April 26, 6-8 PM<br /> Hours: Tuesday - Saturday, 11 am to 6 pm</p> <p>Winkleman Gallery<br /> 637 West 27th Street (Ground Floor)<br /> New York, NY <br /> 10001 T: 212.643.3152 F: 212.643.2040<br /> info@winkleman.com<br /> www.winkleman.com</p> <p>Directions: C or E train to 23rd Street. Walk North to 27th Street. Winkleman Gallery is between 11th and 12th Avenues.</p></div> http://winkleman.com/exhibition/view/996 Exhibition: Christopher Lowry Johnson <div class="exhibition-subtitle"><i>Chorus</i></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> <br/> <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> <p>Christopher Lowry Johnson, <em>Chorus</em>, 2006</p> <p> Oil on linen, 36" x 48" </p> <br /> <div class="exhibition-description"><p>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. </p> <p>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.</p> <p>For more information please contact the gallery at info@winkleman.com or 212.643.3152.<br /> Christopher Lowry Johnson<br /> Chorus</p> <p>March 23 to April 21, 2007<br /> Opening Reception: Friday, March 23, 6-8 PM <br /> Hours: Tuesday - Saturday, 11 am to 6 pm</p> <p>Winkleman Gallery<br /> 637 West 27th Street (Ground Floor)<br /> New York, NY <br /> 10001 T: 212.643.3152 F: 212.643.2040<br /> info@winkleman.com<br /> www.winkleman.com</p> <p>Hours: Tuesday thru Saturday, 11am to 6pm or by appointment.<br /> Directions: C or E train to 23rd Street. Walk North to 27th Street. Winkleman Gallery is between 11th and 12th Avenues.</p></div> http://winkleman.com/exhibition/view/997 Exhibition: Cathy Begien <div class="exhibition-subtitle"><i>See Begien, NYC</i></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> <br/> <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> <p>Cathy Begien, <em>Black Out</em>, 2004</p> <p> Single-channel video,, 7 Minutes, Edition of 5 </p> <br /> <div class="exhibition-description"><p>Winkleman Gallery is very pleased to present "See Begien, <span class="caps">NYC,</span>" 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.</p> <p>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.</p> <p>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.</p> <p>For more information please contact the gallery at info@winkleman.com or 212.643.3152.</p> <p>Cathy Begien<br /> See Begien, <span class="caps">NYC</span></p> <p>For more information, please call 212-643-6152 or email info@winkleman.com.</p> <p>February 16 to March 17, 2007<br /> Opening Reception: Friday, February 16, 6-8 pm</p> <p>Winkleman Gallery<br /> 637 West 27th Street (Ground Floor)<br /> New York, NY <br /> 10001 T: 212.643.3152 F: 212.643.2040<br /> info@winkleman.com<br /> www.winkleman.com</p> <p>Hours: Tuesday thru Saturday, 11am to 6pm or by appointment.<br /> Directions: C or E train to 23rd Street. Walk North to 27th Street. Winkleman Gallery is between 11th and 12th Avenues.</p></div> http://winkleman.com/exhibition/view/1002 Exhibition: Victor Skrebneski <div class="exhibition-subtitle"><i>Athletes</i></div> <div class="exhibition-dates">January 12 - February 10, 2007</div> <div class="exhibition-opening">Opens Friday, January 12, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1004"><img border="0" src="http://winkleman.com/static/dyn-images/8/8946.jpeg" alt="exhibition invitation" height="277" width="300" /></a> <p>Victor Skrebneski, <em>Victor Skrebneski</em>, 2006</p> <p> </p> <br /> <div class="exhibition-description"><p>Winkleman / Plus Ultra Gallery is delighted to present "Athletes," a series of new work by legendary photographer Victor Skrebneski. Organized by Oksana Salamatina, this exhibition presents Skrebneski's large-scale black and white portraits of athletes who competed in the 2006 Gay Games Sports and Cultural Festival in Chicago. </p> <p>Better known for his highly inventive fashion photography and strikingly reductive celebrity portraits, Skrebneski chose his subjects in this series to reflect diversity within gender, race, ethnic origin, age, sexual orientation, and gender identity. Still apparent throughout, of course, is Skrebneski's signature highlighting of the sculptural in the human form, but the frequent juxtaposition of more formal poses with action or illuminating close-ups reveals the contradictions within the personality of an athlete, at once both fiercely competitive and generously hopeful. Furthermore, in stark contrast to the often-demoralizing cultural war waging over gay rights in the <span class="caps">U.S.,</span> Skrebneski's portraits exude an unabashedly optimistic spirit of strength, beauty, resolve, pride and pure joy.</p> <p>Victor Skrebneski is considered one of the finest fashion, figural and portrait photographers of all time. His work has been exhibited at the Museum of Contemporary Art in Chicago, the Los Angeles County Museum of Art, the Museum of Contemporary Photography in Chicago, the Nassau County Museum of Art in New York, the Oragne County Museum of Art in New Port Beach, <span class="caps">CA, </span>and numerous contemporary art galleries in New York, Chicago, Los Angeles, and Paris.</p> <p>For more information, please call 212-643-6152 or email info@winkleman.com.</p> <p>Victor Skrebneski<br /> Athletes</p> <p>January 12 to February 10, 2007<br /> Opening Reception: Friday, January 12, 6-8 pm<br /> Winkleman / Plus Ultra Gallery<br /> 637 West 27th Street (Ground Floor)<br /> New York, NY <br /> 10001 T: 212.643.3152 F: 212.643.2040<br /> info@winkleman.com<br /> www.winkleman.com</p> <p>Hours: Tuesday thru Saturday, 11am to 6pm or by appointment.<br /> Directions: C or E train to 23rd Street. Walk North to 27th Street. Galelry is between 11th and 12th Avenues.</p></div> http://winkleman.com/exhibition/view/1004 Exhibition: Boyce Cummings <div class="exhibition-subtitle"><i>Versus</I></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> <br/> <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> <p>Boyce Cummings, <em>Invitation</em>, 2006</p> <p> </p> <br /> <div class="exhibition-description"><p>Winkleman / Plus Ultra Gallery is very pleased to present "Versus," the first New York solo exhibition by Boyce Cummings. </p> <p>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. </p> <p>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.</p> <p>Boyce Cummings received his <span class="caps">BFA </span>and <span class="caps">MFA </span>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.</p> <p>For more information, please call 212-643-6152 or email info@winkleman.com.</p> <p>Boyce Cummings<br /> Versus</p> <p>November 30, 2006 to January 6, 2007<br /> Opening Reception: Thursday, November 30, 6-8 pm<br /> Winkleman / Plus Ultra Gallery<br /> 637 West 27th Street (Ground Floor)<br /> New York, NY 10001<br /> T: 212.643.3152 <br /> F: 212.643.2040<br /> info@winkleman.com<br /> www.winkleman.com</p> <p>Hours: Tuesday thru Saturday, 11am to 6pm or by appointment.<br /> Directions: C or E train to 23rd Street. Walk North to 27th Street. Galelry is between 11th and 12th Avenues.</p></div> http://winkleman.com/exhibition/view/1005 Exhibition: Rosemarie Fiore <div class="exhibition-subtitle"><i>House of Fiction</i></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> <br/> <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> <p>Rosemarie Fiore, <em>invitation</em>, 2006</p> <p> </p> <br /> <div class="exhibition-description"><p>Winkleman / Plus Ultra Gallery is very pleased to present House of Fiction, our second solo exhibition by New York artist Rosemarie Fiore.</p> <p>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.</p> <p>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.</p> <p>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. </p> <p>For more information, please call 212-643-6152 or email info@winkleman.com.</p> <p>Rosemarie Fiore<br /> House of Fiction</p> <p>October 20 to November 25, 2006<br /> Opening Reception: Friday, October 20, 6-8 PM<br /> Winkleman / Plus Ultra Gallery<br /> 637 West 27th Street (Ground Floor)<br /> New York, NY <br /> 10001 T: 212.643.3152 F: 212.643.2040<br /> info@winkleman.com<br /> www.winkleman.com</p> <p>Hours: Tuesday thru Saturday, 11am to 6pm or by appointment.<br /> Directions: C or E train to 23rd Street. Walk North to 27th Street. Gallery is between 11th and 12th Avenues.</p></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> <br/> <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> <p>Jennifer Dalton, <em>This Is Not News</em>, 2006</p> <p> 5 strings of 100 light bulbs, ink on colored paper, string, Dimensions variable (each string 101 feet), edition of 10 </p> <br /> <div class="exhibition-description"><p>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).</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>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. </p> <p>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, <span class="caps">NYC,</span> 2006. For more information, please call 212-643-6152 or email info@winkleman.com.</p> <p>Jennifer Dalton <br /> Would You Rather Be a Loser or a Pig? </p> <p>September 7 to October 14, 2006 <br /> Opening Reception: Thursday, September 7, 6-8 PM </p> <p>Winkleman / Plus Ultra Gallery <br /> 637 West 27th Street (Ground Floor) <br /> New York, NY 10001 <br /> T: 212.643.3152 <br /> F: 212.643.2040 </p> <p>Hours: Tuesday thru Saturday, 11am to 6pm or by appointment.<br /> Directions: C or E train to 23rd Street. Walk North to 27th Street. Galelry is between 11th and 12th Avenues.</p></div> http://winkleman.com/exhibition/view/1010 Exhibition: Gulnara Kasmalieva and Muratbek Djumaliev <div class="exhibition-subtitle"><i>Into the Future</i></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> <br/> <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> <p>Gulnara Kasmalieva and Muratbek Djumaliev, <em>Into the Future</em>, 2005</p> <p> Dual-Channel Video (one with audio), 5 minutes, 40 seconds, Edition of 6 </p> <br /> <div class="exhibition-description"><p>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.</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>For more information, contact the gallery at info@plusultragallery.com or 212-643-3152. </p> <p>This exhibition was made possible through the generous assistance of Murat Orozobekov.</p> <p>Gulnara Kasmalieva and Muratbek Djumaliev <br /> Into the Future </p> <p>June 15 to July 29, 2006 <br /> Opening reception: Thursday, June 15, 2006, 6-8 pm </p> <p>Plus Ultra Gallery<br /> 637 West 27th Street (Ground Floor)<br /> New York, NY 10001<br /> t: 212-643-3152<br /> f: 212-643-2040</p> <p>Hours: Tuesday thru Saturday, 11am to 6pm or by appointment.<br /> Directions: C or E train to 23rd Street. Walk North to 27th Street. Plus Ultra is between 11th and 12th Avenues.</p></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> <br/> <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> <p>Joe Fig, <em>April and Eric</em>, 2006</p> <p> </p> <br /> <div class="exhibition-description"><p>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. </p> <p>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. </p> <p>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. </p> <p>Joe Fig has exhibited widely in the United States and in Europe. His work has been included in exhibitions at <span class="caps">PS1</span>-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. </p> <p>For more information, contact the gallery at info@plusultragallery.com or 212-643-3152. </p> <p>Joe Fig<br /> April 27 - May 27, 2006<br /> <span class="caps">EXTENDED UNTIL JUNE</span> 3RD<br /> Opening reception: Thursday, April 27, 6-8 pm</p> <p>Plus Ultra Gallery<br /> 637 West 27th Street (Ground Floor)<br /> New York, NY 10001<br /> t: 212-643-3152<br /> f: 212-643-2040</p> <p>Hours: Tuesday thru Saturday, 11am to 6pm or by appointment.<br /> Directions: C or E train to 23rd Street. Walk North to 27th Street. Plus Ultra is between 11th and 12th Avenues.</p></div> http://winkleman.com/exhibition/view/1012 Exhibition: Nancy Baker <div class="exhibition-subtitle"><i>City of God</i></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> <br/> <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> <p>Nancy Baker, <em>Pubic Wars, II</em>, 2006</p> <p> </p> <br /> <div class="exhibition-description"><p>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...." </p> <p>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 <span class="caps">AD.</span> 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.</p> <p>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 <span class="caps">US.</span></p> <p>For more information, contact the gallery at info@plusultragallery.com or 212-643-3152.</p> <p>Nancy Baker<br /> City of God<br /> March 30 - April 22, 2006<br /> Opening reception: Thursday, March 30, 6-8 pm</p> <p>Plus Ultra Gallery<br /> 637 West 27th Street (Ground Floor)<br /> New York, NY 10001<br /> t: 212-643-3153<br /> f: 121-643-2040</p> <p>Hours: Tuesday thru Saturday, 11am to 6pm or by appointment.<br /> Directions: C or E train to 23rd Street. Walk North to 27th Street. Plus Ultra is between 11th and 12th Avenues.</p></div> http://winkleman.com/exhibition/view/1013 Exhibition: Alois Kronschläger <div class="exhibition-subtitle"><i>Repercussions: A Series of Surprisingly Divisive Events </i></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> <br/> <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> <p>Alois Kronschläger, <em>Untitled (Repercussions series; gray on gray)</em>, 2005</p> <p> Paper, latex caulk, polystyrene base, 39" x 27.5" x 6" </p> <br /> <div class="exhibition-description"><p>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.</p> <p>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.</p> <p>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.</p> <p>For additional information, please contact Joshua Stern or Edward Winkleman at 212-643-3152 or info@plusultragallery.com</p> <p>Alois Kronschläger<br /> Repercussions: <br /> A Series of Surprisingly Divisive Events <br /> March 2-25, 2006<br /> Opening Reception: March 2, 6-8 pm</p></div> http://winkleman.com/exhibition/view/1014 Exhibition: <i>The Expression of Elemental Passions...</i> <div class="exhibition-subtitle"><i>(Or, Damn Everything But the Circus)</i></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> <br/> <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> <p>Winkleman Gallery, <em>Group Exhibition</em>, 2005</p> <p> </p> <br /> <div class="exhibition-description"><p>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. <br /> Lifted from a quote in which Pope Benedict <span class="caps">XVI </span>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.<br /> For more information about contact us at 718-387-3844 or info@plusultragallery.com</p> <p>The Expression 0f Elemental Passions...<br /> (Or, Damn Everything But the Circus)<br /> 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<br /> June 3 To July 11, 2005<br /> Opening: Friday, June 3, 7-9 Pm</p></div> http://winkleman.com/exhibition/view/1015 Exhibition: Trevor Wentworth <div class="exhibition-subtitle"><i>Eight Guardians of the Sacred Prize </i></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> <br/> <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> <p>Trevor Wentworth, <em>Eight Guardians of the Sacred Prize</em>, 2005</p> <p> </p> <br /> <div class="exhibition-description"><p>Trevor Wentworth<br /> eight guardians of the sacred prize <br /> april 29 - may 30, 2005<br /> opening: friday, april 29, 7-9 PM</p> <p>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. </p> <p>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</p> <p>trevor wentworth<br /> eight guardians of the sacred prize <br /> april 29 - may 30, 2005<br /> opening: friday, april 29, 7-9 PM</p></div> http://winkleman.com/exhibition/view/1016 Exhibition: Jeff Hand <div class="exhibition-subtitle"><i>The Shadow of Doubt</i></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> <br/> <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> <p>Jeff Hand, <em>The Shadow of Doubt</em>, 2005</p> <p> </p> <br /> <div class="exhibition-description"><p>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. </p> <p>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</p> <p>jeff hand<br /> the shadow of doubt <br /> march 25 - april 25, 2005<br /> opening: friday, march 25, 7-9 PM</p></div> http://winkleman.com/exhibition/view/1017 Exhibition: Brian Walker <div class="exhibition-subtitle"><i>Lost in Queens: A Natural History Museum in 7 Parts</i></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> <br/> <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> <p>Brian Walker, <em>Lost In Queens</em>, 2007</p> <p> </p> <br /> <div class="exhibition-description"><p>Brian Walker<br /> Lost In Queens:<br /> A Natural History Museum In 7 Parts <br /> February 18 To March 21, 2005</p> <p>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."</p> <p>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.</p> <p>For more information about contact Joshua A. Stern or Ed Winkleman at 718-387-3844 or info@plusultragallery.com</p> <p>Brian Walker<br /> Lost In Queens: A Natural History Museum In 7 Parts <br /> February 18 To March 21, 2005</p> <p>Opening: Friday, February 18, 7-9 pm</p> <p>Plus Ultra Gallery<br /> 235 South 1st Street<br /> Brooklyn, NY 11211<br /> 718-387-3844</p> <p>Gallery Hours: Friday thru Monday, 12 to 6 or by appointment.</p></div> http://winkleman.com/exhibition/view/1018 Exhibition: Thomas Lendvai <div class="exhibition-subtitle"><i>A Series of Nows</i></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> <br/> <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> <p>Thomas Lendvai, <em>A Series of Nows</em>, 2005</p> <p> Douglas Fir, 20' x 18' x 11' </p> <br /> <div class="exhibition-description"><p>Thomas Lendvai<br /> A Series Of 'Nows' <br /> January 7 to February 7, 2005<br /> Opening: Friday, January 7, 7-9 PM</p> <p>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. </p> <p>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. </p> <p>For more information about contact Joshua A. Stern or Ed Winkleman at 718-387-3844 or info@plusultragallery.com</p> <p>Thomas Lendvai<br /> A Series Of 'Nows' <br /> January 7 to February 7, 2005<br /> Opening: Friday, January 7, 7-9 PM</p></div> http://winkleman.com/exhibition/view/1019 Exhibition: Analia Segal <div class="exhibition-subtitle"><i>Wallpaper 10.01.04 </i></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> <br/> <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> <p>Analia Segal, <em>Wallpaper 10.01.04</em>, 2004</p> <p> </p> <br /> <div class="exhibition-description"><p>Analia Segal<br /> wallpaper 10.01.04 <br /> november 19 to december 20, 2004<br /> opening: friday, november 19, 7-9 PM</p> <p>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. </p> <p>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.</p> <p>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)".</p> <p>for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com</p> <p>for more information, contact joshua stern or ed winkleman at 718-387-3844 or visit us online at www.plusultragallery.com.</p> <p>analia segal<br /> wallpaper 10.01.04 <br /> november 19 to december 20, 2004<br /> opening: friday, november 19, 7-9 PM</p></div> http://winkleman.com/exhibition/view/1020 Exhibition: Kate Gilmore <div class="exhibition-subtitle"><i>If My Shoes Matched My Dress I Could Destroy You</i></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> <br/> <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> <p>Kate Gilmore, <em>If My Shoes Matched My Dress I Could Destroy You</em>, 2004</p> <p> </p> <br /> <div class="exhibition-description"><p>Kate Gilmore<br /> if my shoes matched my dress i could destroy you <br /> october 15 to november 15, 2004<br /> opening: friday, september 10, 7-9 PM</p> <p>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.</p> <p>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.</p> <p>for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com</p> <p>kate gilmore<br /> if my shoes matched my dress i could destroy you <br /> october 15 to november 15, 2004<br /> opening: friday, september 10, 7-9 PM</p></div> http://winkleman.com/exhibition/view/1021 Exhibition: Nicholas Gaffney <div class="exhibition-subtitle"><i>Treasure Hunt </i></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> <br/> <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> <p>Nicholas Gaffney, <em>Treasure Hunt (Sno Balls)</em>, 2004</p> <p> </p> <br /> <div class="exhibition-description"><p>Nicholas Gaffney<br /> treasure hunt<br /> september 10 to october 11, 2004<br /> opening: friday, september 10, 7-9 PM</p> <p>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.</p> <p>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.</p> <p>for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com</p> <p>nicholas gaffney<br /> treasure hunt<br /> september 10 to october 11, 2004<br /> opening: friday, september 10, 7-9 PM</p></div> http://winkleman.com/exhibition/view/1022 Exhibition: <i>A Dot That Went for a Walk</i> <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> <br/> <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> <p>Winkleman Gallery, <em>Group Exhibition</em>, 2004</p> <p> </p> <br /> <div class="exhibition-description"><p>A Dot That Went for a Walk<br /> opening: friday, june 25, 2004, 7 to 9 pm</p> <p>featuring katinka ahlbom, vanessa conte, rosemarie fiore, and medrie macphee</p> <p>for more information, contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com</p></div> http://winkleman.com/exhibition/view/1023 Exhibition: <i>The Truck Stops Here</i> <div class="exhibition-subtitle">In conjunction with <b>Project: <i>Transmotion</i></b></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> <br/> <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> <p>Winkleman Gallery, <em>Group Exhibition</em>, 2004</p> <p> </p> <br /> <div class="exhibition-description"><p>The Truck Stops Here<br /> featuring diane carr, elaine chow, boyce cummings, kate gilmore, tom lendvai, alois kronschläger, christopher reiger, anne spurgeon and robyn winston.<br /> may 28 to june 14, 2004<br /> opening: friday, may 28, 7-9 pm</p> <p>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.</p> <p>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.</p> <p>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.</p> <p>for more information about project: transmotion*, contact alois kronschlaeger at (917) 513-1170</p> <p>for more information about contact joshua a. stern or ed winkleman at 718-387-3844 or info@plusultragallery.com</p> <p>the truck stops here<br /> featuring diane carr, elaine chow, boyce cummings, kate gilmore, tom lendvai, alois kronschlaeger, christopher reiger, anne spurgeon and robyn winston.<br /> may 28 to june 14, 2004<br /> opening: friday, may 28, 7-9 pm</p></div> http://winkleman.com/exhibition/view/1024 Exhibition: Jennifer Dalton <div class="exhibition-subtitle"><i>Getting to Know the Neighbors</i></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> <br/> <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> <p>Jennifer Dalton, <em>Getting to Know the Neighbors</em>, 2004</p> <p> Handmade book (mixed media), pedestal unique, 216" x 115" x 57.5" </p> <br /> <div class="exhibition-description"><p>Jennifer Dalton<br /> Getting to Know the Neighbors<br /> April 23 to May 24, 2004<br /> Opening: Friday, April 23, 2004, 7 - 9 pm</p> <p>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. </p> <p>Having been dubbed the "superego" of the art world<sup>1</sup> and, more recently, "the art world's private cardiologist"<sup>2</sup> 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 <i>Every Building on the Sunset Strip</i>), 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 ca