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  previous exhibitions

Tomorrow~Phosphor Stars in White Nights
(16 December, 2009 - 6 February, 2010)

Lydia Venieri

Tomorrow is a video featuring deers staring at an exploding sky while singing an altruistic and nostalgic song of friendship called Tomorrow. The deers are chosen for their symbolic representation of suburban innocence and sacredness like the soul of a burnt forest. In the background, the night sky is lit up not by fire works, but by a deadly rain of phosphor bombs illegally dropped...
(continued)


hallway

Capacity
(28 October - 12 December, 2009)

Lynn Koble

Capacity features a large-scale sculpture that fills the gallery space, as well as a series of small-scale sculptures. The works in the exhibition draw connections between the elements of nature and the elements of science and mathematics, which have a long-standing attachment to formulas, systems, and solutions. Together they point to the complex, interconnected relationship between people and nature...
(continued)

hallway

The Rotten Riotous West
2006, 16mm Film, 6 minutes 45 seconds

(22 July - 12 September, 2009)

a film by Margo Victor
starring Jenny Shimizu

The Rotten Riotous West is an experimental film, which celebrates the alternative, with regard to the position of power that women must create within our society, via the lexicon of the Western film genre... (continued)

hallway

Suddenly ... Summer
(17 June - 17 July, 2009)
A project by Kathryn Garcia
curated by Sarvia Jasso

Suddenly...Summer, an exhibition by New York-based artist Kathryn Garcia. Curated by Sarvia Jasso, this is the first installment of a series of exhibitions in which artists are invited to consider the aesthetics and fabrication of madness in art. ... (continued)

rosario moore arteaga

Love Will Tear Us Apart
(30 April - 30 May, 2009)
curated by Queen & Shaw

For this project, the participating artists were asked to donate their interpretation of a love letter from their private collection to be reproduced as a limited edition print. Whether it was a photograph, a personal correspondence, or a found text, each work gives us a small glimpse of intimate moments traditionally reserved for private communication. ... (continued)

rosario moore arteaga

Photographs
(26 February - 4 April, 2009)
Robert McCurdy

The show introduces seven photographs as superficial studies of the Sixteenth and Seventeenth Century genre of Dutch flower painting. The original Dutch paintings are in-and-of-themselves impossible pictures; the temporal lifespan of plucked flowers far exceeds the time required to paint them. Thus the scenes depict a moment that never really existed – they create a false reality. ... (continued)

rosario moore arteaga

Recent Works
(9 January - 21 February, 2009)
Beth Brideau

In the tradition of American Landscape painting, Brideau documents the beauty and deterioration of the American terrain. Brideau’s abstraction of trees, viewed from an aerial perspective, form alternative landscapes that both celebrate the awe-inspiring, inchoate nature of elemental progress and the fear of its current decline. ... (continued)

rosario moore arteaga

Play Date
(6 November - 18 December, 2008)
Rosario Moore Arteaga

Play Date is Rosario Moore Arteaga’s first solo exhibition in New York. The works in this exhibition share a thematic and formal correlation in the perceptible perversity of play. The exhibition features a sampling of recent prints and sculptures that make use of appropriated architectural figures engaging in... (continued)

rey akdogan

Light Flat
(12 September – 18 October, 2008)
Rey Akdogan

Light Flat is a single thought explored in various formats. A series of abstract monochromatic drawings in different media arranged in several constellations; in each case they result from processes of silent manipulation. Black and white pencil drawings and lighting gels are precisely layered and revealed on the walls and floor. Color information is discarded and sometimes compressed to the extent that the image becomes... (continued)


Dwellings of Immortals on a Cloudy River
(24 June – 8 August, 2008)
Amy Kao


Four drawings will be hung vertically on one wall of the gallery and a single drawing will hang on an adjacent wall. While some of the detail of the grouped drawings, placed highly on the wall, will be lost to the viewer, the isolated drawing will be entirely legible, making note of what Kao sees as “the shifting relationship between the visible and imagined”... (continued)


Seven Line Drawings
(9 May - 13 June, 2008)

Pablo Picasso


Olivier Berggruen selected the drawings for the exhibition and contributed the essay introducing these rarely shown drawings in a limited-edition catalogue published by the gallery. Berggruen’s unexpected selection of seven line drawings, created over 66 years of Picasso’s life, reflects his sophisticated understanding of the artist’s relationship to his environment and the variety of mediums with which he worked... (continued)


A Portrait of the Dalai Lama
(16 April - 3 May, 2008)

Robert McCurdy

McCurdy's skillfully executed paintings, belonging to his series of portraits begun in 1997, distill the viewer’s traditional response before a portrait. The subject of his paintings is the gaze, not the portrait’s sitters, who in recent years have included internationally recognized figures such as Gabriel Garcia Marquez, Toni Morrison, Neil Armstrong, and Nelson Mandela... (continued)


wir
(7 March - 12 April, 2008)

Norbert Witzgall


Wir
, the German word for we, has been chosen by Norbert Witzgall as a title for his first solo exhibition in New York for a double reason: we, the viewers, we the paintings, face each other in the gallery space; and we instead of I accounts for the many ways his paintings go... (continued)

Silence in the Light
(10 January - 28 February, 2008)
Noritoshi Hirakawa, Hiroshi Sunairi, & Arto Lindsay


From the well-known voyeuristic photographs of Noritoshi Hirakawa and the often narcissistic and self-effacing performances of Hiroshi Sunairi, the work of these two Japanese artists may appear to be driven by sexual curiosity and deviance. In this exhibition, however, it is clear how the artmaking of Hirakawa and Sunairi is enmeshed in a discourse relating political and earthly phenomenon... (continued)

Progress
(7 November - 20 December, 2007)
Claire Corey


Claire Corey’s work consists of highly sophisticated hybrid paintings utilizing the tools of past and present to extend the dialogue of painting.  In so doing she questions our expectations of what is made using a machine and what it means to be painting with a computer today. She began with a traditional painting approach and in 1995 she produced her first computer sketches... (continued)



manquerate: act 1
(27 September - 3 November, 2007
)
Mansita Walu Diawara


For this exhibition, drawing from the French words manquer, frustrated in realizing an ambition and rater, to fail to satisfy, Diawara explores and dismantles the idea of truth that is associated with the photographic image, which in turn is informed by an assortment of auditory, visual, and literary references... (continued)



Other Men's Flowers
(19 June - 11 August, 2007)


This project was initiated by Joshua Compston/Factual Nonsense, who chose the title in memory of Viscount Wavell’s anthology of the same name, originally published as a tribute to the relationship between art and war. The exhibition includes a work by each of the following artists: Henry Bond, Stuart Brisley, Don Brown, Helen Chadwick, Mat Collishaw, Itali Doron, Tracey Emin, Angus Fairhurst, Liam Gillick, Andrew Herman, Gary Hume, Sarah Staton, Sam Taylor-Wood, Gavin Turk, and Max Wigram... (continued)




Umanaqtuaq
(3 May - 15 June, 2007)

Joanna Malinowska


In 2006, Malinowska made her journey to Baffin Island in the Canadian Arctic to follow in the footsteps of Franz Boas, arguably the father of American anthropology, who was one of the first Western scholars to study the Inuit. Traveling to the Arctic nearly 120 years after Boas, Malinowska's Umanaqtuaq presents material documenting her attempt at ethnographic research interviewing the local Inuit musician and Elvis Presley impersonator, Jimmy Ekho... (continued)

Space Oddity
(22 March - 28 April, 2007)

Margo Victor


Victor works in a wide range of media including 16 and 35 mm film as well as painting, photography and drawing. Victor’s minimal and non-conclusion oriented work in film celebrates the alternative, with regard to the positions of power that women must create within society... (continued)



Like Lovers Do...
(15 February - 17 March, 2007)
Ilias Papailiakis


The series of seven paintings makes reference to the ‘80’s pop song with the same title, and also historically ties in the religious notion of pieta. Each work is an 11 by 10 inch pencil drawing on wood; the crudeness of the medium and the artist’s use of chiaroscuro underscore the dark narratives evoked in these little panels... (continued)
Landscapes
(11 January - 10 February, 2007)

Robert McCurdy


These pictures are proto-cinematic landscapes imbedded with a temporal presentness. Small objects perform as surrogates, stand-ins for a romanticized reality that lies somewhere between Casper David Friedrich and Alfred Hitchcock. Unlike traditional photography, they do not slice time but rather suspend it... (continued)
California
(14 November - 22 December, 2006)

Meg Cranston


Included in this exhibition is a major new work titled Eyes Smell Onions, a large-scale wall collage made especially for Venetia Kapernekas Gallery. In it, the artist has created a cosmology of onions cum spotlights cum eyeballs that gyrate across a field composed of advertisements from the Los Angeles Times. The concentric circles of the onion image create a mesmerizing effect - an extreme and unstable vitality. We wonder if the center can hold. Our eyes smell onions... (continued)

Stories (Incomplete): A Project
(17 November - 23 December, 2005)
Sam Samore


This exhibition by Sam Samore featured new large-scale photographic works. With their extended horizontal formats, Samore’s imagery presents a hyper-wide-screen experience, redefining cinematic narrative in still form. Drawing from art historical and film references, Samore explores and expands notions of the allegorical and the dramatic... (continued)



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