Chip Hughes & Anna Rosen: Gounki Loom March 8 - April 20, 2019,Kerry Schuss Gallery presents "Gounki Loom", an exhibition of recent paintings by Chip Hughes and Anna Rosen. Both artists employ gridded structures as foundations for inventive play with organic imagery and personal poetics. The exhibitionÕs title is telling. Gounki is a complicated version of checkers played on an eight by eight checkerboard. "Loom" refers to the machine for weaving as well as the idea of looming as a state of impending presence.
ROBERT BARBER, "The Monsoon Series, 1961-63", February 2 - March 2, 2019. Kerry Schuss presents a series of small richly painterly abstractions by Robert Barber. Dating from the early 1960's and made of tempera on roughly square sheets of paper, laid on board, the works in the exhibition were Inspired by the monsoon rains that visit Barber's home in Tucson, AZ, every summer. Applied with wide, generously loaded brushes in staccato, loosely gridded rhythms, the paintings evoke atmospheric landscapes drenched by watery elements. In tension with the feeling of worldly space, Barber's vigorous, blocky gestures merge into dry yet sensuous surfaces. Cezanne's landscapes come to mind as do paintings of the 1960s by Philip Guston, who was one of Barber's teachers at the University of Minnesota, where he was a graduate student in the early 1950's.
Alice Mackler & Derek Weisberg, November 17, 2018 - January 12, 2019, Alice Mackler and Derek Weisberg both produce human figurative sculptures in clay, but with a difference. Mackler's female figures look as if they'd emerged naturally from primordial mud before assuming coats of vibrant, colorful glazes. Weisberg's unglazed male figures appear as if they were assembled from diverse fragments of ancient sculptures. Funny, sad and enigmatic and with running mascara and smeared lipstick, Mackler's lively heroines pose singly and in familial groups rooted to rough islands of clay. Mackler glazes them with painterly elan, leaving some areas unglazed to produce contrasts of glossy color and matte white. Lately she has intrepidly explored more complex sculptural forms to mythic and sometimes surrealistic effect. In a recent series, her figures stand within partial enclosures of curved walls like matriarchal totems in sanctified spaces. Though humbly scaled, Mackler's works assert terrific sculptural vigor and raw beauty.
Strange Attractors The Anthology of Interplanetary Folk Art Vol. 2: The Rings of Saturn, October 4 - November 10, 2018, Kerry Schuss celebrates the 20th anniversary of the gallery, re-opening his gallery at its original Tribeca location, on Oct. 4th, with an exhibition organized by Bob Nickas. This is the second edition of a project that began a year ago in Los Angeles, with Vol. 1: Life On Earth. That exhibition marked 40 years since NASA's launch of the twin Voyager space probes. Having traveled beyond the rings and moon of Saturn, the probes are expected to continue their mission in interstellar space for another seven years, until about 2025, at which time nearly a half century will have passed. The Voyager probes are the oldest man-made objects sent furthest from the Earth. Voyager has entered into the realm of mythology, not only for its mission, which continues, but with its ultimate "message in a bottle," a record of life on our planet.
Aaron Birnbaum Paintings 1970 -1995, June 7 - July 20, 2018, Kerry Schuss will present fourteen paintings dating from 1970 to 1995 by Aaron Birnbaum (1895-1998). Painted from memory with a loose, sensuous touch, Mr. Birnbaum's landscapes recall scenes from his childhood in Skole, a summer resort in what was then the Austro-Hungarian Empire and is now in Ukraine. This exhibition follows the galleryÕs recent presentation of Birnbaum's landscapes curated by the painter Matt Conners at Independent 2018.
Robert Mallary & Ryan Foerster, March 25 - May 13, 2018, in collaboration with Mitchell Algus Gallery
Pearl Blauvelt, February - March 11, 2018. Born in 1893, Pearl Blauvelt lived reclusively in a small house in Northeastern Pennsylvania, where she produced an abundance of small pencil drawings on lined notebook pages. Around 1950, Blauvelt left her home and the house remained empty until 2000, when two artists purchased it and discovered a box filled with more than 400 of her drawings. The thirty pieces in this exhibition reveal a personal world indoors and out, including pastoral landscapes, Biblical scenes, well-furnished interiors and consumer products found in country general stores or in mail order catalogues.
Robert Moskowitz, Paintings 2016-2017, October 13 - December 22, 2017. Robert Moskowitz, a New York born artist, has turned to his home city for inspiration. Two works from 2016 represent the Empire State Building and the Flatiron Building in reverse silhouette, with the buildings in white against black skies. The paintings reflect two different attitudes about knowledge and representation: one inclined toward abstraction and the other towards realism.
Birdie Lusch, "Collages & Assemblages", September 10 - October 10, 2017. Birdie Lusch (1903 - 1988) was a self-taught artist from Columbus, Ohio. A factory worker for most of her adult life, she began making art as a teenager, producing books and albums filled with drawings, collages, poetry and writing. This exhibition of two bodies of work 10 collages and 12 assemblages - reveals Birdie as a home-spun surrealist incorporating all sorts of materials, from rocks and sea shells to magazine clippings and art historical reproductions, into works of disarming poetry. Her art was wildly diverse in its forms and materials yet infused throughout by a singular spirit of creative generosity.
Jocko Weyland, Vagabond, "Vagabond"
July 13 - August 18, 2017. Chronologically and geographically "Vagabond" covers eight years of rambling, exploring, and wandering in the service of seeing what's out there. Taking notice of the unnoticed, the abandoned, the ignored, common places imbued with an indefinable allure and certain strands of loveliness. From the East Coast to western deserts what's depicted are the surroundings that define us, the world we have made. The built and semi-natural environment of contemporary rural, urban, and exurban landscapes populated by edifices and structures in use or neglected to the point of ruin. Empty pools, a Blinky Palermoesque orange, black, blue, and grey semi trailer parked on Warsoff Place in Brooklyn, the Suncor oil refinery near the Denver airport, quite a few Gowanus Canal vistas, the High Line back when it was the West Side Line, and decrepit boats in Southport, North Carolina. A culvert hard by the 10 freeway in Tucson at the golden hour, patio furniture encountered during an afternoon break on the northern shores of Lake Erie, and a 1960s International Style office building in Great Bend, Pennsylvania, along with other quiet moments of poetic, serene vacancy.
Alice Mackler, May 7 - June 30, 2016. Kerry Schuss presents the third solo exhibition by New York artist Alice Mackler. At 85-years of age, Mackler continues to develop her art at full force, making innovative strides with new works in three mediums; sculpture, painting and drawing. The theme uniting these otherwise disparate bodies of work is the female figure and personae. On an aesthetic level they all share the similarities of lively applications of exuberant color. The ceramic sculptures are notable for a vibrancy that comes from Mackler's adoption of pure white clay, which highlights her new glazing technique of painterly strokes of bold color.
Chip Hughes, A Place, A Space, A Scene I've Seen, But Maybe Dreamed?, March 19 - April 30, 2017. An exhibition of 11 new paintings by Chip Hughes. Deftly co-mingling abstraction with representation, the artist presents vibrant, colorful, dynamic paintings with powerful retinal after images. All works are rendered in richly colored jewel tones layered in translucent, overlapping swatches painted on top of stretched gingham. These meticulously rendered paintings are mysteries, surprising the viewer in countless ways and manners, confounding us, like daydreams unfolding and transmogrifying languidly over time.
Ray Hamilton, "Drawings", January 28 - March 12, 2017. During the last ten years of his life, self-taught artist Ray Hamilton (born 1919, Columbia, SC, died 1996, Brooklyn, NY) created drawings of everyday objects marked by a distinctive blend of poetry and pragmatism. Using ballpoint pens, as well as graphite and colored pencils, Hamilton traced pieces of fruit, cereal boxes, pens, keys, his cane and other items that came readily to hand. From memory he drew horses, cows, chickens and other animals that populated the rural Southern landscape in which he grew up. The imagery and forms may be delicately outlined or built up in dense layers of cross-hatching.
Anna Rosen "The Sun Spoke", November 12, 2016 - January 15, 2017. Kerry Schuss Gallery is pleased to present "The Sun Spoke," Anna Rosen's first solo exhibition in New York. Rosen creates vigorously physical paintings consisting of found fabrics, clay, rope, vinyl, bicycle tubes as well as paint. This material dimension intersects with an imaginary plane of archetypal symbols: narratives of passage, the cycles of heavenly bodies and encounters with erotic personae. A ship sails toward a dark tunnel in "N'E'W'S"; a sword-wielding, Medieval man on horseback pulls a wheeled cart with a mysterious cargo in "Easy Breezy Death Wagon."
Robert Barber - "1964", September 10 - October 30, 2016 Kerry Schuss presents Robert Barber's dynamic, large-scale, colorful abstract paintings from 1964. Measuring up to six feet square these works focus on color and the materiality of the medium and its application. Barber's quick emphatic gestures, blocks of strokes in sharply contrasting hues form into loose, optically percussive grids. He rendered them in thick layers and swathes of oil paint using wide brushes to form impastoed surfaces that include drips, drops, and splatters complimenting the overall composition. The legacy of Abstract Expressionism is evident in their gestural immediacy. The paintings have strong formal affinities to those of Hans Hoffmann, Willem De Kooning, Philip Guston, and Joan Mitchell. Although produced over half century ago, this work strongly reverberates with the today's abstract painting by artists like Gunther Forg, Mary Heilmann, and Stanley Whitney.
Lady Shalimar - "3 World Tours", June 25 - July 29, 2016 The first solo exhibition of the work of Lady Shalimar, (Frances Montague 1905-1996). Made between 1984-88, the 22 drawings on display represent Montague, then an octogenarian, at full command of the mediums of ballpoint pen, watercolor and glitter showing off her calligraphic line and distinctive penmanship. In the flamboyant aesthetics of an earlier time and with the look of theatrical posters by Toulouse Lautrec and also Leon Bakst for Ballets Russes, these drawings take the form of autobiography but with obvious embellishments. We see the character Lady Shalimar in all the drawings in an improbable number of roles including actress, ballet dancer, burlesque dancer, opera star, belly dancer and lion tamer in the circus.
David Deutsch - "Transfer Paintings", April 30 - June 12, 2016 David Deutsch's first solo exhibition at Kerry Schuss consists of a suite of ten paintings that the artist made specifically for this space. The human-scaled 68 x 70 inch canvases fill the small gallery space, creating a mural-like experience where the viewer is surrounded by Deutsch's expressionist webs of freewheeling, bold brushwork. Each picture depicts a turbulent urban landscape with buildings and cars inhabited by one or two relatively small human figures going about the business of life.
Robert Barber - Freeway Paintings 1970-74, March 20 - April 24, 2016. Kerry Schuss introduced the work of Robert Barber at Independent New York 2016. This expanded gallery presentation will be his first New York solo exhibition. Inspired by highway underpasses and overpasses observed during a family trip to San Francisco, Barber began his series of "Freeway Paintings" in 1970. He used these banal, yet monumental constructions, as the basis for small-scaled geometric abstractions, incorporating bold colors in elemental, constructivist verticals, horizontals and diagonals. There are traces of realistic depiction from close observation and drawing of the then under-construction University of Arizona stadium. He further abstracted the subject matter into larger scale multi-panel canvases from 1973-74.
Drawing, February 5 - March 13, 2016. This exhibition presents two works on paper by each of 40 artists arranged in a half-drop pattern. Besides giving each piece ample room to be seen, this configuration sets up formal relationships and conversations with adjacent works. Having two works by each artist reveals a consistency of sensibility, an individual identity as it participates with its neighbors. Framed and unframed and created by a wide variety of artists, living and dead in many different styles, the works included come together in a dynamic whole.
Watches and Clocks, November 4 - December 20, 2015. An exhibition of drawings and paintings by Freddie Brice (1920-1998). This is the third solo exhibition at the gallery of this recognized outsider artist who lived and worked in New York City. Brice's works here made in the early 1990's are drawn and painted in mainly black and white with an urban minimalism and immediacy. They reduce complex forms and groupings to their graphic essence, interchanging black and white and positive and negative. This show focuses on paintings and drawings of clocks and watches. They tell of Brice's preoccupations with the material qualities of timepieces. Watches and clocks were a kind of bling for Brice, as well as with representations of formal, abstract and spiritual notions about time.
Lovers Among Lilacs, September 10 - October 25, 2015. Group show featuring work by:the title of Chip Hughes' second one-person show at Kerry Schuss conjures up the eponymous title of a 1930 painting by Marc Chagall depicting aa couple, collectively embracing a bouquet of purple flowers. The Russian-French artist's work is a pictorial correlative of lovers in the halcyon days of summer, replete with undiminished, sensorial plentitude. Hughes' new series here consists of finely painted textures also depicting a flowering riot of various purple hues.
The Good Earth, July 9 - July 31, 2015. Group show featuring work by: Bill Adams, Robert Barber, Aaron Birnbaum, Pearl Blauvelt, Ele D'Artagnan, Jeff Davis, David Deustch, Tom Forrestall, Judith Linhares, Alix Pearlstein, Robert Moskowitz, David Schoerner, Kate Shepherd, Mamie Tinkler, Jocko Weyland.
Alice Mackler May 3 - June 21, 2015 Alice Mackler's second solo exhibition presents two new bodies of work produced since her first solo show at Kerry Schuss two years ago. Displayed on pedestals of varying heights down the center of the gallery, Ms. Mackler's twelve colorful ceramic figures call to mind ancient fertility sculptures like the Venus of Willendorf as well as modern versions of the female form by Rodin, Jean Dubuffet, Willem DeKooning and Niki de St. Phalle. Each piece represents a female figure with a distinct form and personality. Together as a whole they create a feeling of community or a parade because of their shared colors and features.
Tony Feher - Tom Fairs March 1 - April 26, 2015 Tony Feher and Tom Fair appear to be two distinctly different sorts of artists - so different that the only outward thing connecting them seems to be the rhyming of their names - but there are surprising and profound connections. For both artists, light has been a continuing preoccupation. They differ in how they involve light in their works. Whereas Fairs represents light in his small, graphite drawings of trees, bushes and meadows of Hampstead Heath and manipulates the reflective white of the page to that end, Feher makes light itself a primary element in his works. Feher's installation here consists of countless overlapping pieces of blue painter's tape applied in varying patterns to Plexiglas panels, which cover the gallery's front door and windows. Light passes through the taped transparent panels creating an effect like that of stained glass and filling the entire gallery with a blue glow.
Bill Adams January 18 - February 22, 2015. This exhibition of paintings and works on paper by Bill Adams reveals his continuing investigation of the relationship between paint and image. His paintings which are made on coarse linen and range up to eight feet high, represent the heads of men and women in economical lines rendered, seemingly, with swift gestures, and greatly enlarged to colossal effect.
Robert Moskowitz November 2 - December 21, 2014. Each of the five large paintings in this show consists of the three elements: broad areas painted black, red or white; a small area of spray of the different color suggesting light, heat or fog surfaces dissolving the ground; and a single image of either the cross or the teapot. The motifs of the cross and the teapot reflect two different attitudes about knowledge: one inclined toward abstraction and the other toward realism. This is Robert Moskowitzs fourth solo exhibition with Kerry Schuss coinciding with a solo presentation of Moskowitz's window shade paintings from 1961-62 by Schuss at Independent Projects, New York, November 6-15, 2014.
Summer 2014, July 2014. Group show featuring the work of Bill Adams, Chip Hughes, Alice Mackler, Robert Moskowitz, Sadie Laska
Birdie Lusch Collages: June - July 1973, May 29 - June 30, 2014. All 22 pages of an album of collages by artist Birdie Lusch (1903 - 1988). Made in June and July of 1973, these collages, each representing a floral arrangement, were accompanied by an introductory and a closing poem. The pages will be presented in the order they originally appeared. Accompanying the exhibition will be a full size facsimile of the album published by KARMA, New York.
Half Drop, February 2 - April 13, 2014. With a dozen works on paper each by eleven artists, Bill Adams, Pearl Blauvelt, Ele D'Artagna, Jeff Davis, Ray Hamilton, Tom Fairs, Jenny Hampe, Robert Moskowitz, Alice Mackler, and Jocko Weyland, "Half Drop" offers a heterogeneous yet focused profusion of artwork. The exhibition's 130 pieces are installed approximately two feet apart from floor to ceiling using the pattern known as "half drop" in wallpaper and fabric design. This arrangement and its spacing provides enough room between works for concentration on every one singularly, while also creating a dynamic overall viewing experience of the entire assemblage.
Sadie Laska - SAROJANE, October 26 - December 1, 2013. In her first New York solo show, Laska's scuffed and mistreated paintings are evidence of a loving gratitude to Arte Povera and Art Brut; but the anarchic compositions are teeming with energy. Punkish filching, toward creations of dry brushy blocks of magenta, purple and yellow, with passages and coated colors that equal depth, space, and joy in excess. Variant in scale and shape, these intimate paintings manipulate their edges with a reckless abandon that breaks the rigid geometry of a stretched frame.
Chip Hughes, September 8 - October 20th, 2013. The imagery in these works often has its origins in a transmutation of language, specifically letters of the alphabet, along with sundry graphic sources that act as a foundation. Frequently these starting point elements are mirrored or flopped, thereby becoming under painting or structure. Non-serial, non-systematic, differing from canvas to canvas in form and color, labyrinths of contours and configurations are brought together with a restrained but flowing application of paint.
Alice Mackler - Sculpture, Paintings, Drawings June 9 - July 26, 2013. A survey of the work of New York artist Alice Mackler. This exhibition spans 45 years of artwork in several mediums including ceramic sculptures, drawings, collages, and paintings.
Joanna Greenbaum - sculpture and Steven Parrino - drawing May 3 - June 2, 2013.
Robert Moskowitz March 3 - April 21, 2013. New work by Robert Moskowitz (b.1935) black and white paintings on canvas or paper pictures the silhouette of a single object: a bottle, a bat, a hat, an anchor and compass. Including only what is necessary and nothing more, the paintings are formally austere, physically sensuous and poetically provocative.
Les LeVeque & Pearl Blauvelt January 20 - February 24, 2013. Les LeVeque's Frequency Redundancy, a 43-second, 16 mm loop, is based on an old, degraded, educational copy of The Workers Leaving The Lumiere Factory In Lyon. Copied, reconstructed, layered 100 times and reversed by LeVeque, the found footage becomes a hallucinatory dream about the modern factories of education, cinema and industry. Pearl Blauvelt lived reclusively in a small house in Northeastern Pennsylvania, where she produced an abundance of small pencil drawings of domestic objects, many of which she copied from mail order catalogues on lined notebook pages. The six drawings in this exhibition are from one series titled, Clothing Department.
Tom Fairs: Drawings June - July 2004 November 14 - December 23, 2012. During the two decades before his death in 2007, the English artist, Tom Fairs, drew from life daily in small notebooks, acutely observing and vividly rendering scenes of London's Hampstead Heath and the surrounding Georgian architecture, streets and gardens. With startling variety in the arrangement of forms, Fairs depicted places and things around him with uncommon dedication and ardor.
Beverly Semmes & Freddie Brice September 23 - November 4, 2012. This exhibition linking two artists from highly divergent backgrounds slips the paradigm between insider and outsider by blurring such distinctions. Beverly Semmes' red totemic clay sculptures inhabit an environment created by Freddie Brice's lively black and white interiors in a pairing evoking the flatness of Matisse's "Red Studio" brought into three dimensions.
Agnes Lux & Ray Hamilton July 12 - July 28, 2012 and August 28 - September 9, 2012. Despite radically different backgrounds Agnes Lux and Ray Hamilton share common ground through the act of drawing. With drawing traditional boundaries subside and the medium's simplicity and directness many times makes it difficult to ascertain when they were done, and by whom. There is a leveling of hierarchical aesthetic categories, and though these two artists couldn't be more divergent their similar systems and ways of doing give rise to surprisingly complimentary visual results.
Bill Adams: - Finalist May 24 - June 30, 2012. In multiple mediums of pen, paint and etching, over time and in sequence, Bill Adams expands his ongoing cat motif into new territory. He morphs and mutates an archetypical feline into blue-infused drawn forms. Flora melds into fauna and odd structures undergo metamorphosis, with hybrid offshoots taking on strange, enthralling, and mysterious lives. This cast of characters is situated in a primeval vista extending deep into the horizon. A variety of vegetative rocky mounds, water towers, and weird ancient-future cubic formations shape cyclopean visages that stare out at the viewer with the coherence of unforgettable images.
Robert Moskowitz: Envelopes - April 14 - May 20, 2012. Exhibited here for the first time together, Robert Moskowitz's Envelopes (1962-63) consists of paintings and drawings depicting everyday envelopes suitable for sending letters: air mail, regular, and manila envelopes float mysteriously on the surfaces of intimate, small-scale works. Turning away from large-scale, collaged canvases incorporating actual window shades---works that made up his successful 1962 one-person exhibition at Leo Castelli Gallery - Moskowitz's work took an unpredictable but decisive shift towards illusionism, painterly and poetic effects in this early series.
Ele d'artagnan Cent'Anni - December 16, 2011 - January 14, 2012. This exhibition focuses on D'Artagnan's paintings of visionary domiciles and fantastic domestic architecture, recurrent themes in the artist's work particularly resonant in light of the artist's own transient lifestyle and frequent homelessness. "Here, everything's beautiful!" the artist writes in the margins of one painted and otherworldly depiction of a house. "But he - poor thing - is unhappy, very unhappy, because without a home, he finds himself (in front of) the golden gate." This exhibition celebrates D'Artagnan's art, his life, and persistently transporting visions.
Scruffy - October 5 - November 5, 2011. Paintings by Chip Hughes, Sadie Laska, and Jocko Weyland. Scruffy is an exhibition of work by artists who propagate un-manicured works and whose creative process involves the degenerative, decidedly unfinished re-processing of images. Their paintings, however considered and well crafted according to their own terms are made by artists who eschew "professional polish," preferring instead, the casual and the indeterminate.
Tom Fairs - May 12 - July 15, 2011. An exhibition of drawings by British artist Tom Fairs (1925 - 2007). It will be the first show of this underknown artist's works on paper. Fairs drew, every day, from life, the places and things around him. His most frequent subject was the topography of North London, where he lived with his wife, novelist Elisabeth Russell Taylor. The area's mix of wild parkland and Victorian architecture provided Fairs with all he needed to produce endless small pencil drawings of remarkable variety. Each vividly realized scene is a fresh proposition, with its own felicitous arrangement of forms and its own set of exuberant notational marks..
R.M. Fischer - April 2 - May 7, 2011. An installation of new sculpture by New York-based artist, R.M. Fischer. This riot of art brut-inflected work fills the gallery floors, walls, and shelves with battalions of totemic contraptions, resembling folk-art accumulations installed in the workshop of an inspired tinker. In some cases Fischer has cannibalized, recycled and re-purposed fragments of his own earlier works of art--some of which even previously functioned as working lamps--to refashion brand new sculptures. These works incorporate the everyday materials and procedures into new configurations created out of the re-assembly process and by re-combining fragments of sculptural forms with crafted elements.
POP: Eddie Arning, Freddie Brice, Ray Hamilton - January 27 - March 12, 2011. Curated by Anne Doran. This exhibition of drawings brings together three self-taught artists-Eddie Arning (1898-1993), Freddie Brice (1920-1998), and R.A. "Ray" Hamilton (1919-1996)-whose work shares clear affinities with Pop art. None were ever a part of the mainstream art world; nevertheless, their methodologies were startlingly postmodernist. Each utilized formal strategies that included the appropriation, abstraction, and juxtaposition; each took as their subject matter existing objects or images.
James Hamilton's - November 13 - December 23, 2010. First exhibition of rarely seen and previously unpublished photographs. This select group of intimate, black-and- white portraits, reveal a master photographer who captured the candid moments of many musical icons of the twentieth century. These exceptional portraits include legendaries such as: James Brown, Stevie Wonder, The Ramones, Mick Jagger, Janis Joplin, Jerry Lee Lewis, Patti Smith, Liberace, Diana Ross, Pete Townshend, Madonna and Duane Allman. Enter the world of James Hamilton to gain access to rare celebrity images, predating the internet, and existing for years only in print archives. Hamilton visually embraces his subjects, capturing them in all of their glorious humanity.
Jocelyn Hobbie's - September 23 - November 6 , 2010. New lushly patterned, meticulously detailed paintings are looking glasses into the inner lives of her exclusively female subjects, depicting psychologically and sexually charged portraits of her imaginary cast of novelistic heroines. Hobbie's jewel-toned compositions solicit the viewer to gaze upon exquisitely considered--and again exquisitely rendered--details of feminine allure: the fashion, the accessories, the make-up, the jewelry, the fabrics, the textures, the contemporary tattoos and other artificial charms. But the female gaze is always turned away, distant in its own reverie. These unreturned glances deflecting ours to uncertain places, are pregnant with ambiguous ruminations, challenging the viewer to fill in these ellipses with his or her own narrative developments or explanations that are only suggested by Hobbie's open-ended clues.
Kim Gordon - May 7 - June 23, 2010. Gordon's large-scale, black-and-white word paintings are drawn from her Noise Paintings series (begun in 2009) and consist of drippy, immediate, spontaneous gestures both writing and performing the hand-scripted names of experimental noise acts such as Pussy Galore, Secret Abuse, and Bad Adult. (Bad Adult is the name of an amplified noise collective consisting of Kim Gordon and Jutta Koether who inaugurate their own noise-making and other activities on opening night with the performance "The Promise of Originality"). A cacophony of dripping noise also permeates Gordon's watercolors on newspapers, obliterating the quotidian news with lyrical and performative stains and splashesÑpurposively ephemeral acts of erasure and celebrations of joyful nihilism. Rounding out the installation/performance are sculptural objects fashioned out of painted, glittering tree branches tangled with nylon stockings, again conjuring up a dark, sexual underbelly pulsing through the installation/performance/book
Freddie Brice - March 27 - May 1, 2010. The first solo exhibition in ten years of this recognized outsider artist who lived and worked in New York City. Freddie Brice's plywood panels are painted in mainly black and white with an urban minimalism and immediacy. Depicting animals, interiors, clocks, watches and jewelry, they reduce complex forms and groupings to their graphic essence, interchanging black and white and positive and negative. As contemporary artists continue to look at outsider art for inspiration Brice's raw painting style finds a renewed relevance in the work of painters such as Joe Bradley, Chris Martin and Donald Baechler..
R.M. Fischer - October 29 - December 30, 2009. Recent sculpture announcing a distinctive, fresh direction for the New York based artist. Breaking with the functionalism of his earlier industrial assemblages and public sculpture, Fischer's new combinations of soft and hard forms evoke softly armored figures. Organic shapes crafted out of colorful vinyl, felt, and upholstery and sewn together with thread to suggest body parts. These seemingly upbeat, cartoon-inspired figures are tattooed, pierced, and adorned with metal amulets. The large, stuffed fetish-like appendages are a new invention of Fischer's familiar, machine-like constructions crafted out of steel, aluminum and brass. Fischer's combination of the soft and the hard elements create a replicating army of fleshy machines suggestive of what William S. Burroughs called the human body: namely, "the soft machine".
a little girl dreams of a new pluralism meanwhile the old war continues - October 24, 2009. A new video by Les Leveque is a feature length hallucinatory re-edit of Wee Willie Winkie, the1937 film based on a Rudyard Kipling story directed by John Ford and staring a young Shirley Temple and Cesar Romero as Khoda Khan. Set in Northern India in 1897 during the British occupation little Shirley brings peace between the warring Nationalist Khan and the British occupiers.
I'm Back, Damnit - September 18 - October 24, 2009. A one-person exhibition of recent paintings and drawings by Bill Adams. Works in this season's inaugural exhibition include shape-shifting portraits of frequently anthropomorphic characters: one-eyed felines, duck-billed humans, and armies of unnamable, darkly furry creatures all of which dissolve the boundaries between rational man and id-like beast.
"Works on Paper" - June 12 - September 12, 2009. Presenting selected work by self-taught artist Pearl Blauvelt and the visionary drawings and watercolors of trained actor, self-taught artist, and vagabond extraodrinaire who floated in and out of the Italian Surrealist scene, Ele D'Artagnan.
"Old Dogs, New Tricks" - April 24 - May 30, 2009. Presents recent works signaling new directions by three veteran New York City-based artists, R.M. Fischer, Hermine Ford and John Newman. Deploying the art of unexpected juxtaposition in a changing line-up of materials, processes, and sources, all three artists create surprising new forms through additive construction procedures. These new works turn on its head the popular misconception that innovation and deviation from rules or forms is limited to youthful preoccupation.
"Almost News" - February 15 - April 11, 2009. Consists of hundreds of 8 x 10" black and white news photos dating from the 1930's through the 1960's. Chosen from the collection of artist and writer Jocko Weyland, the photographs in "Almost News" reflect the expression of one person's sensibility in depictions of the weird, foolhardy, visionary and quietly heroic that make up the core of this archive.
It's Easy To Be Angry - November 21, 2009 - January 17, 2009. Jeff Davis' second one-person exhibition at KS Art, repudiates the cynicism of the last eight years with perverse hopefulness. Working in a variety of media, Davis' work twists new realities out of old fictions. Paintings on metallic surfaces reflect enigmatic figure studies suggesting re-imagined pages from Old Master's sketchbooks. Multi-colored wax heads made from casting rubber Halloween masks populate installations evoking the dark beauty of B-grade horror film sets. Whether the mise-en-scene suggests civil war trophies, or new flags and banners, Davis' work is ultimately a joyful affirmation of perversity.
Psychotic Reaction - September 27 - October 29, 2008. His group exhibition draws its inspiration from the psychedelic/garage rock hit from 1966, Count Five's Psychotic Reaction, the often-covered song about depression and unrequited love. The song derives its disjunctive, angular, emotive power out of a hypnotic concoction of raw, but deeply felt manipulations of distortion, repetition and noise. The simple, but powerful success of this do-it-yourself musical aesthetic is an analogue to the diverse visual strategies of recent artists working in a variety of materials whose work develops its own raw power not so much out of the rational aesthetics of the beautiful, but rather out of the psychic underbelly of colorful noise, extreme disjunction, and discordant materiality. Contributing artists are Bill Adams, Ele D'Artagnan, James Hoff, Les LeVeque, Beverly Semmes, Philip Travers and Penelope Umbrico.
NO WAVE - curated by Thurston Moore and Byron Coley - June 13 - July 31, 2008
This show is organized in conjunction with the publication of NO WAVE. POST-PUNK. UNDERGROUND. NEW YORK 1976-1980. by THURSTON MOORE and BYRON COLEY for Abrams Books. Included in the exhibition are art works by James Nares, Nancy Arlen, Pat Place, Christine Hahn, Barbara Ess, Sumner Crane and photographs from the book by Julia Gorton, Robert Sietsma, Marcia Resnick, Stephanie Chernikowski, Godlis, Laura Levine, Lisa Genet, Bobby Grossman, and Hilary Jaeger.
Noise/Art - curated by Thurston Moore - May 16 - June 10, 2008
NOISE/ART is group exhibition curated by Thurston Moore of Sonic Youth. This show represents the living phenomena of underground noise musicians who work contemporaneously as visual artists and who utilize the ephemera and product of noise music, both improvised and composed, as a primary forum for their expression.
Molly Smith - between you and me - April 11 - May 13, 2008
between you and me, Molly Smith's second one-person exhibition at KS Art, consists of large-scale paintings on paper and cast plaster sculptures. Combining an ephemeral materialism with uncanny mechanics, the artist's confounding imagery can never quite be pinned down. Smith's work evokes the sleep of reason and the porous boundaries that separate the known from the unknown.
Kim Gordon - come across - March 8 - April 9, 2008
KS Art announces come across an exhibition of new abstract watercolors by Kim Gordon. Painted on translucent rice paper these ethereal images recall faces of audience members from the perspective of the performer. This exhibition also includes a sound piece that Gordon has created in collaboration with Thurston Moore.
Ashtray - Joanne Greenbaum, Ray Hamilton, Matthew Higgs and ashtrays. October 25 - December 22, 2007
Ashtray is an exhibition juxtaposing a collection of mid-century modern ashtrays with works by three seemingly unrelated artists. Joanne Greenbaum, Ray Hamilton and Matthew Higgs deploy radically different conceptual and formal approaches in their art and on the surface, their work has nothing to do with ashtrays. This show is not about ashtrays, but includes ashtrays only as a MacGuffin, a plot device that Hitchcock used to motivate the characters, but had little other relevance to the story. Here the MacGuffin is used to reveal unspoken connections, real or imagined by the curator.
Pearl Blauvelt - McDermott & McGough - Organized by Bob Nickas May 18 - July 31, 2007
A large group of drawings by the self-taught artist Pearl Blauvelt (1893-1987) will be shown alongside works on paper and paintings by the collaborative team McDermott & McGough.
Thurston Moore - Street Mouth - April 7 – May 12, 2007
New York-based artist Thurston Moore’s first one-person exhibition, Street Mouth. Although better known as the highly influential, experimental musician and co-founder of Sonic Youth, Moore has created a suite of photomontages which are razor-sharp visual equivalents of New York`s underground music and poetry scene around the late 1970s -- primarily joyful noisemakers circulating around CBGBs, Max’s Kansas City and St. Marks Church.
Les LeVeque - Repeating The End - March 4 - March 31, 2007
In Repeating The End, LeVeque re-edits the first 7.5 minutes of Francis Ford Coppola’s Apocalypse Now (1979), originally framed by the duration of the song, The End by The Doors.
Molly Smith, October 18, - December 1, 2006
One wave, one day was Molly Smith's first one-person exhibition. Deploying an economy of means, line, and gesture, Molly Smith's (b. 1976) installation of watercolors and painted plaster objects combine an ephemeral materialism with uncanny whimsicality.
Ele D'Artagnan, June 28 - July 28, 2006
Ele D’Artagnan’s second one–person show in New York, featuring his visionary drawings and watercolors from the 1970s.
Exhibition of paintings by Lucky DeBellevue, drawings by Jeff Davis and collages by Christian Holstad. June 28 - July 28, 2006
Lucky DeBellevue's new paintings wink knowingly at modernism. Jeff Davis' new series of pastel drawings look as if Tiepolo were drawing underground gay religious comics. Christian Holstad's collages from 2003 stage male couplings against a background of stylish '80s bathroom interiors.
Bill Adams "New Work" May 3 - June 10, 2006
An exhibition of recent paintings and drawings. Bill Adams' works are crowded with figures and creatures, dissolving boundaries between civilized man and untamed beast. These pictures evoke an embattled psychology of "life during wartime", with an immediacy of line, spontaneity of form, and an urgency of purpose.
Space Between the Spokes - March 22 - April 22, 2006
An anti-thematic show organized according to contrasts and differences between works, each of which ultimately points towards the specificity and singularity of each piece. What is emphasized is the role of the viewer in finding--or not finding--connections in works, but also in the space between.
Birdie Lusch - "Collages" - February 15 - March 18, 2006
"Collages" consists of 24 collages from the artist's ongoing series exploring the myriad forms of flowers in vases. These exquisite collages were executed from leftover oddments including recycled envelopes, postage stamps and magazine cuttings, revealing Lusch's extraordinary touch, composition and sense of color.
Today Your Love, Tomorrow the World - Thurston Moore, Jocko Weyland - September 14 - October 29, 2005
Today Your Love, Tomorrow the World introduces “the glam to hardcore diaries of Thurston Moore and Jocko Weyland.” These are not diaries in the traditional sense, but rather, visual artworks, based on the personal recollections of the alternative music scenes of each artist’s formative years. Moore and Weyland, both primarily known for work in other mediums, have created photomontages and photographs respectively, which explore the original incendiary allure of youthful rock n’ roll fandom from both the 1970s and 1980s.
Bradford Bailey, Tova Carlin, Jacob Dyrenforth, Molly Smith, and Philip Travers, June 14 - July 22, 2005
An exhibition of works on paper featuring four exhibiting artists under thirty years old (Bradford Bailey, Tova Carlin, Jacob Dyrenforth, Molly Smith) and the work by New York-based artist, Philip Travers (b. 1914), making the case that vital, visionary new art can also be made by young and old alike.
Robert Moskowitz, May 6 – June 11, 2005
Consisting of only three works, this exhibition is organized with a restrained nod towards Moskowitz’s distilled economy. Without claiming to be more “pure,” this approach to art and its reception contrasts, however, with the over-loaded experiences characteristic of art viewing today. With Jack for Jack, Moskowitz leaves an iconic American landscape emblazoned in our minds: dark, bleak, and essentially unforgettable.
Jeff Davis, "MY DEEP DARK PAIN IS LOVE" - March 2- April 30 2005
Jeff Davis’ first solo exhibition. The show was comprised of recent work in three media; colored pencil drawings, watercolors and wax sculpture. Concurrently, Davis’ work was included in “Greater New York 2005” at P.S. 1 in Queens.
Bill Adams, Wayne Gonzales, Cameron Martin - Paintings - October 27 - December 18, 2004
This exhibition will feature one large recent painting by each artist. Adams' "Contestant", Gonzales' "Pentagon", and Martins' "Avid and Unrivaled" share a certain quality of landscape, but are distinctly different pictures built on their own internal logic. It is in the differences from one to the other that things are revealed about the individual works and their makers.
Postmarked: Real Photo Postcards 1907 - 1927 -May 19 - July 2, 2004
The postcards in this exhibition, Postmarked: Photo Postcards 1907-1927 are selections from the collection of New York-based artist, Harvey Tulcensky. This presentation does not set out to tell a general history of Real Photo Postcards, but rather to speak about particularities and unique properties of particular Real Photo Postcards.
Colored Pencil - April 1 - May 8, 2004
In what amounts to a small scale survey of work featuring colored pencil as primary material, featuring the work of 69 artists.
Bill Adams - February 18 - March 27, 2004
a large group of small-scaled works on paper made primarily with ballpoint pen and a select group of oil paintings on canvas.
Suzanne McClelland - 2004
a selected survey of ten years of drawings and prints by Suzanne McClelland. Known for her gestural, language-based paintings, this was the first New York exhibition dedicated to the artist's graphic work. The works presented explored words McClelland chooses for the implications and the disparate voices they emit.
Joanne Greenbaum - 2003
Known for her innovative abstractions that demand extreme concentration and physical control, Greenbaum continues to challenge the possibilities of drawing while exploring systems of structural disjunction. An exhibition that is concurrent with a presentation of new paintings at D'Amelio Terras.
Ele D'Artagnan - 2003
Ele D'Artagnan was also a self-taught painter who floated in and out of the Italian Surrealist scene. Using found paper or board with whatever painting medium that was at hand D'Artagnan congured fantastic worlds charged with cosmic sexuality. This exhibition of work on paper made in the 1970's will be D'Artagnan's U.S. debut.
"Ballpoint Inklings" - 2003
Drawings by forty diverse artists using a ballpoint pen. Artist include: Alexander Ross, Carroll Dunham, Elizabeth Murray, Steve di Bennedetto, Russell Crotty, Joanne Greenbaum, Kate Shepard, Yuri Masnyj, Dan Fischer, Chelo Amezcua, Jonathan Lerman, and others. New York Times Arts & Leisure: "The Pen Mightier Than you Thought", Lyle Rexer April 13, 2003.