I had a productive and beautiful time at the Freight and Volume DNA Artist Residency. Here are a few shots of the glorious studio space I had to work in and works in progress.
Art Off Screen with Neumeraki
Art Off-Screen is an international exhibition, organized by Eileen Jeng Lynch, of artwork and performances in outward-facing locations, so the work can be viewed from outside by the community. With pause orders during the pandemic, art has moved online and much of it is still behind closed doors. Art Off-Screen provides access to art beyond a screen, inspiring creativity, amplifying voices, encouraging change, and sending messages of hope and healing.
Entire Exhibition Period: July 18 - September 20, 2020 (extended through September 26).
Within this timeline, there is a roll out in phases (every two weeks) of more artists, so opening dates include: July 18, August 1, August 15, August 29, September 12
Meet the Artists
A Zoom call will be set up for each group of artists a few days before the next opening. Stay tuned for dates and times or email [email protected].
Thursday, July 30: Zoom Conversation with Artists from July 18 Opening:
Cecile Chong, Sara Jimenez & Jason Schwartz, Tijay Mohammed, Natalia Nakazawa, Alex Paik, Liz Porter, Yohanna M Roa, Margaret Roleke, Carol Saft, Melissa Staiger, Christine Lee Tyler, and Virginia Inés Vergara
Now, more than ever Exhibition & Publication for Wassaic Project
Now, more than ever Exhibition - my work on 2nd floor of digital exhibition
Now, more than ever Publication
Introduction
Now, more than ever what?
Maybe just that: things feel urgent. Now, more than ever, a new world feels inevitable, and a better one feels, maybe, possible. At the particular now in which we’re writing this (10:56 PM, Sunday, June 7, 2020), it has been exactly 100 days since New York City’s first confirmed coronavirus case, 13 days since the murder of George Floyd, and 5 hours since the Minneapolis City Council announced a veto-proof majority vote to begin defunding their city’s police department.
Three things there.
The first: an experience simultaneously collective and so very, very not collective — novel, yes, but revealing nothing new. What was for some reason seen as a great equalizer has mostly highlighted — and entrenched — preexisting social and economic inequities. That a grossly disproportionate number of the more than 100,000 Americans who have died of COVID-19 come from economically disadvantaged communities is no coincidence. That, in some cities, Black residents died from the virus at twice the rate of white residents is no coincidence, either.
The second: an event neither novel nor revealing of anything new. The murder of George Floyd — along with the murders of Ahmaud Arbery, Breonna Taylor, Tony McDade, and hundreds more Black men and women across the country — is only the latest consequence of the 400 years of cruel, casual disregard for Black life upon which this country is built. That the protests sparked by these murders have been met with concentrated acts of violence on the part of the police is, likewise, distressingly predictable.
But the third! The third signals the coming of something, maybe, new under the sun. That those protests have placed serious attention on efforts to defund the police and introduce new, community-based models of public safety is remarkable in and of itself. That Minneapolis is poised to do it right now makes us feel, against all odds, hopeful. Whether that hope proves warranted will depend, at root, on the degree to which we can, with care, imagine newness. Which is to say: it is possible that in the coming years we begin to build a country that values service and justice over order and control, but it is very, very possible that we do not. It will take real people — you, reading, included — making efforts both physical and mental, over a long period of time, to change fundamentally the ways they go about seeing and living in the world. It will take, more than anything, an unprecedented act of collective, radical imagination.
Which brings us to art (this is, yes, an art exhibition, and we are, yes, an art organization). Because if all art is political (and it is), then there is no useful distinction whatsoever between artistic imagination and political imagination. Whatever imaginative force guides the hand of a painter is exactly the same force by which activists and organizers will envision our new world. Or, at least, it can be. It’s the same problem as before, on a smaller scale: it’s possible — and, we believe, essential — that contemporary artists become integral to the collective social imagination of our country in the coming years, but it’s very, very possible that they do not. It is helpful to remember that, to you viewing this show, the importance of contemporary art is likely self-evident, but that it is by no means self-evident to Americans at large — nor should it be. We are convinced that contemporary art can foster positive social change, but we are also clear-eyed about the fact that — given a commodity-driven art world that disproportionately elevates the work of cis white men — it very often doesn’t. This, too, will require an act of sustained imagination to remedy. For us at the Wassaic Project, we will, as just a start, be increasing the number of no-fee residencies we offer each year to artists of color from eight to ten, making a curatorial commitment to show the work of more artists of color, allocating more of our commissioning funds towards supporting that work, and working to make our board and staff more representative of the artists we show and support. But for those commitments (and the commitments to come) to mean anything will require your imagination, too — a willingness to let in, be affected, and be changed by the work you encounter.
So: this show. It features 161 works by 67 artists, laid out in a way that mimics the physical spaces in and around Maxon Mills — the historic, seven-floor grain mill out of which we host all our exhibitions. Almost all of the work in the show was selected well before the onset of COVID-19 prevented us from hosting a physical show, but, rather than push that work into next year’s show, we’ve taken the opportunity to explore a new medium for exhibition. What we lose by not being able to physically install the work, we hope to gain back in challenging you, the viewer, to engage in the same acts of seeing as the artists did and, in so doing, push yourself out of the frameworks through which you may usually see the world.
To take a few examples: on the first floor (so to speak) Shiva Aliabadi asks you to step right into one such way of seeing, onto the copper foils of her Yield II installation. Invoking her own experiences stepping into Iranian mosques, it’s engulfing to the point of mirage — there, but visibly fraying; the awe, yes, but the agitation, too, over moments that are always already fading. Conversely, on the third floor, Sholeh Asgary’s In Blue Time is more an exercise in witnessing than seeing. The overlapping drips of her water clocks are deliberately impenetrable — they’re “about” Asgary’s memories growing up as a refugee only insofar as they generate, in us, the same quiet wonder of not knowing that those experiences did in her. And on the fifth floor, Aisha Tandiwe Bell’s traps and trapped figures explore the delicate balance between protecting what you have and cooperating in power structures that keep you where you are — and the possibility, too, of evolving beyond those structures entirely.
There are, of course, any number of paths through, and into, the work in this show. But however you arrive there, on the seventh floor, take some time to pause and reflect. Because this show is, yes, about now, in the broadest sense, but it’s also, at root, about what might be, and a testament to the Wassaic community that’s so generously helped make our own what-might-bes happen for the past 12 years. That we’re still around — that we were ever around at all — is thanks to the community members highlighted here, to their willingness to commit to our initial dream for this project. In any and every way possible, we encourage you to seek those people in your own community, and to entwine your life with theirs. Start now, and start where you are.
Trust us: it’s worth doing. Now, more than ever.
Stoop Studio Visit with Renee Riccardo & Melissa Staiger
Flip Through of American Abstract Artists 2019 Monoprints Catalogue
Purple Group Show at Underdonk, Opens Feb. 14 from 6-9PM
I invited Ben Pritchard to show a purple painting with me at Underdonk. Above is Melissa Staiger, Rooted no.9, 2020, acrylic on panel, 24 x 18 inches. Ben’s painting below is Image, 2004-2019, oil on linen, 16 x 16 inches.
American Abstract Artists: Digital Prints, 2012 - 2019
American Abstract Artists: Digital Prints, 2012 - 2019
75th Anniversary Print Portfolio & 2019 Monoprint Portfolio
JANUARY 3 - FEBRUARY 9, 2020
OPENING RECEPTION FRIDAY, JANUARY 3, 6–9 PM
“The AAA created an open and generally egalitarian forum for the exhibition of abstract and non-objective art stressing the common bond between artists who understood form as a vital physical and visual vehicle for content. The AAA has been for most of its history, a remarkably democratic organization tolerant of many points of view…” —Susan C. Larsen, from her introduction to the AAA 50th Anniversary Portfolio
“What binds past and present members of AAA together is a deep respect for the value of visual experience unencumbered by programs and pretensions...their real concern is with the absolute immediacy of visual experience for which abstraction has been the vessel…” —Robert Storr, from his introduction to the 75th Anniversary Print Portfolio
Transmitter is pleased to inaugurate the New Year with an exhibition devoted to two print portfolios published by American Abstract Artists—75th Anniversary Print Portfolio and 2019 Monoprint Portfolio.
American Abstract Artists (AAA) was founded in 1936 as a vehicle to promote greater awareness of US based artists working to advance the language of abstraction. Printmaking was a focus of the group from its inception. The group’s first exhibition in 1937 was accompanied by a portfolio of original lithographs by 30 founding members. From then onward, print portfolios became a platform both to document the work of its members and to serve as milestones for the group (portfolios were created to mark AAA’s 50th, 60th, and 75th anniversaries).
In 2012, in a meaningful shift, AAA chose to embrace digital printing for the 75th Anniversary Print Portfolio. All prior print portfolios had been produced using various forms of lithography. This shift in printing technology represented a conscious decision to situate the portfolio, and the group, squarely within the 21st century. The 2019 Monoprint Portfoliowas created to complement the 75th Anniversary Print Portfolio and allows for a print exhibition that surveys the work of the group’s current members.
Following the exhibition at Transmitter, American Abstract Artists: Digital Prints, 2012 - 2019 will travel to the Gallery at the Visual and Performing Arts Center at Western Connecticut State University in Danbury, CT in October, 2020, and Herron School of Art + Architecture in Indianapolis, IN in January, 2021.
Participating Artists:
2012 Portfolio:
Alice Adams, Siri Berg, Emily Berger, Susan Bonfils, Power Boothe, Henry Brown, Kenneth Bushnell, James O. Clark, Gabriele Evertz, John Goodyear, Gail Gregg, James Gross, Lynne Harlow, Mara Held, Daniel G. Hill, Gilbert Hsiao, Phillis Ideal, Julian Jackson, James Juszczyk, Cecily Kahn, Steve Karlik, Marthe Keller, Irene Lawrence, Jane Logemann, Vincent Longo, David Mackenzie, Stephen Maine, Katinka Mann, Nancy Manter, Creighton Michael, Manfred Mohr, Hiroshi Murata, John Phillips, Lucio Pozzi, Leo Rabkin, Ce Roser, David Row, Edward Shalala, Robert Storr, Robert Swain, Clover Vail, Vera Vasek, Don Voisine, Stephen Westfall, Jeanne Wilkinson, Mark Williams, Thornton Willis, Nola Zirin
2019 Portfolio:
Liz Ainslie, Steven Alexander, Jeffrey Bishop, Jacob Cartwright, Rob de Oude, Laurie Fendrich, Joanne Freeman, Gary Golkin, Pinkney Herbert, Rhia Hurt, Joanne Mattera, Judith Murray, Lisa E. Nanni, Jim Osman, Don Porcaro, Corey Postiglione, Raquel Rabinovich, Irene Rousseau, Anne Russinof, Lorenza Sannai, Karen Schifano, Mary Schiliro, Claire Seidl, Melissa Staiger, Kim Uchiyama
TRANSMITTER
Location: 1329 Willoughby Avenue, 2A, Brooklyn, NY 11237
Hours: Saturday and Sunday 1pm-6pm or by appointment
Save the Date! Curatorial Project with Beatrice Wolert at Underdonk
Bea Wolert: Memories Are Starting Points
Curated by Melissa Staiger
Underdonk
1329 Willoughby Ave #211
Brooklyn, NY 11237
Hours: Saturday - Sunday 1-6pm,
and by appointment
Opening, Friday, Nov. 22, 2019, 6-9pm
On view, Nov. 22 - Dec. 15, 2019
*image Study for The Crown of the Tatry Mountains, 2019
Found rocks, ceramic underglazed pierog and ethylene-vinyl acetate, 10 x 12 x 6 ½ inches
"In the Fountain" Solo Art Exhibition at Pratt Manhattan SCPS Gallery
You are invited to my solo exhibition at Pratt Manhattan's School of Continuing and Professional Studies Gallery, "In the Fountain", Opening reception on Tuesday, May 28, 6-8PM and it is on view until June 30th. The address is 144 W 14th St, NY.
Sharmista Ray "Reviving a Forgotton Artist of the Occult" for Hyperallergic
NYT Review: Pamela Colman Smith Life & Work reviewed by Eve M. Kahn
New York Galleries: What to See Right Now
Georg Baselitz takes on other artists’ self-portraits; Vivian Browne’s “Little Men” is a blast from the past; Enrico Riley’s ‘New World’ paintings; and Pamela Colman Smith, beyond the tarot cards.
Pamela Colman Smith
Through April 11. Pratt Institute Libraries — Brooklyn Campus, 200 Willoughby Avenue; 718-636-3420, https://www.pratt.edu/events/
Pamela Colman Smith’s “Sea Creatures,” undated, watercolor on paper. Credit Beinecke Rare Book and Manuscript Library; Yale University
The artist and publisher Pamela Colman Smith died in obscurity in 1951, at 73, and is mostly remembered for illustrating the widely used Rider-Waite-Smith tarot card deck. An overdue retrospective, “Life and Work,” which lines three levels of a Victorian stairwell at Pratt Institute Libraries, shows how much more Ms. Smith accomplished. The curators Melissa Staiger and Colleen Lynch have gathered examples of her book and magazine illustrations, paintings and theater set and costume designs, all flavored with Art Nouveau and the stirrings of surrealism.
Ms. Smith was born in London to American parents and spent her childhood shuttling between England, the Caribbean and Brooklyn. She studied art at Pratt, and by her mid-20s had won acclaim for illustrating books of Jamaican and Irish folk tales and issuing her own magazine of ballads and legends, “The Green Sheaf.” She traveled in literary and artistic circles, painting portraits of the British actress Ellen Terry and illustrating horror stories for the novelist Bram Stoker. Alfred Stieglitz’s Manhattan gallery showed Ms. Smith’s eerie watercolors of mermaids and waterfront cliffs concealing gargantuan deities. (His leftover inventory is now at Yale).
Ms. Smith (who is the subject of a new monograph from the publishing company U.S. Games Systems) pursued studies in the occult, too, joining a group called the Isis-Urania Temple of the Hermetic Order of the Golden Dawn. In recent decades, tarot devotees, intrigued by the initials “PCS” on each card, have spearheaded the rediscovery of her work.
The mazelike display at the Pratt show suits Ms. Smith’s enigmatic art, but it feels cramped. This tribute to a prolific experimenter deserves to be expanded and brought out of the stairwell. EVE M. KAHN
"Pamela Colman Smith: Life + Art at the Pratt Institute Libraries, Brooklyn Campus", Opens on Jan. 31
Pamela Colman Smith, renowned for illustrating the Rider-Waite-Smith tarot deck, began her artistic career in 1893 as a student at the newly founded Pratt Institute. Her artistic output in her brief but successful career included paintings, illustrations, set and costume design for theater, a literary magazine, and books of folklore. Smith moved in bohemian circles both in New York and London, exhibiting at Alfred Stieglitz’s Gallery 291, the first non-photographer to do so, and collaborating with W.B. Yeats, Bram Stoker, and the celebrated actress Ellen Terry.
This exhibition presents an overview of Smith’s life and multi-faceted career, showing books, prints, reproductions of illustrations and paintings, and tarot decks, along with photographs of her illustrious family and friends. Telling her story and providing a context for her work, this exhibit shows how her style, archetypal subject matter, and interest in ancient spiritual traditions profoundly influenced her drawings for one of the most popular tarot decks in use, the Rider-Waite-Smith tarot. Linking Smith’s time to now, Pratt alumi Emi Brady, David Palladini, Jen May and Phil Williamston, will have tarot decks on display to showcase contemporary variations on the traditional deck.
This exhibition is co-curated by Pratt alumni Colleen Lynch and Melissa Staiger.
On View: January 31, 2019 – April 4, 2019, open during Library hours
Opening reception and tarot reading on January 31st, 5:00 – 8:00 pm
Pratt Institute Libraries – Brooklyn Campus, 200 Willoughby Avenue, enter at the corner
of DeKalb Avenue and Hall Street/St. James Place.
"SEEKER", Jamie Powell & Melissa Staiger at the Yard opens Tuesday, Jan. 29th, 2019
Jamie Powell and Melissa Staiger: Seeker
Curated by Eileen Jeng Lynch
The Yard: City Hall Park
116 Nassau Street, Floors 5 & 6
New York, NY 10038
January 29 – May 1, 2019
Opening reception: Tuesday, January 29, 6:00 – 8:30 pm
RSVP here
Viewing hours: Monday – Friday, 9:30 am – 5 pm (check in with community manager on floor 5) and by appointment (contact [email protected])
Left: Jamie Powell, Stand Up Straight Girl, 2015, acrylic and spray paint on dyed cut canvas, 46 x 34 inches, courtesy of the artist. Right: Melissa Staiger, Brain Power II, 2017, assemblage made of acrylic paint, paper and plastic, 16 x 12 x 3 inches, courtesy of the artist.
Neumeraki is pleased to present Seeker, an exhibition featuring the works of Jamie Powell and Melissa Staiger, curated by Eileen Jeng Lynch. Powell and Staiger explore colors, forms, patterns, and textures in their vibrant, abstract works—as a means of navigating their lived experiences and pushing the boundaries of painting and sculpture. The artists’ unique assemblages cultivate a sense of play—suggesting movement and energy.
Powell’s modest upbringing in a family of farmers and factory workers in West Virginia has influenced the artist’s use and re-purposing of textile-related materials. Focusing on a soft edge in her work, Powell tears, cuts, braids, and dyes canvases to create brightly colored, sculptural paintings through an intuitive process. Acrylic and spray paint act as dyes for the canvas. With references culled from popular culture, Powell’s pieces explore domesticity and femininity while subverting conventional notions of display. By revealing the underlying support, her work suggests many dichotomies, including absence and presence. Employing humor, Powell formulates titles and compositions that imply a human presence or personality.
For Staiger, paint—along with other materials, including paper, marble, wood, and rigid plastic—become sculptural elements. Embracing the hard edge, the artist methodically assembles and arranges gestures, shapes, and lines—layering textures and structures—to create collages and sculptural paintings. Staiger explains, “When working with materials, I listen to their demands.” Seeking stasis, the artist makes connections between the body, mind, and soul.
Powell and Staiger investigate the use and re-use of materials as well as their personal histories. Chance, spontaneity, and discovery are part of the artists’ practices—capturing dynamic and animated sensibilities in their works.
About the Artists
Jamie Powell was born and raised in West Virginia. For the last decade, New York City has been her home. She has exhibited her paintings extensively over the last twelve years including: FLUXspace in Philadelphia, Soil Gallery in Seattle, David & Schweitzer in Brooklyn as well as Garis & Hahn, Freight + Volume and Morgan Lehman in New York. Jamie received grants from the Geraldine R. Dodge Foundation, Vermont Studio Center, and Pratt Institute. Powell has worked extensively in arts education as a faculty member at Pratt Institute and as a Teaching Artist for the Studio in a School Foundation and Lincoln Center Boot Camp. She received her MFA and the Paul Robeson Emerging Artist Award from Mason Gross School of the Arts at Rutgers University in 2006. Currently, she lives and works in Queens, New York where in 2014 she Co-founded an artist-run-studio and project space called Reservoir Art Space. jamielpowell.com/
Melissa Staiger was born in Louisville, Kentucky and grew up in Upper Marlboro, Maryland, a suburb outside of Washington, D.C. Staiger is an NYC-based artist and independent curator. Staiger’s solo shows include Open the Door at Kent Place Gallery, Summit, NJ (2018); Push with the Tide at Trestle Projects, Brooklyn (2015), and Triangle Works at Janet Kurnatowski Gallery, Brooklyn (2012). Recent group shows have been at ABC No Rio, New York; Benaco Arte, Sirimone, Italy; Cementa Festival in Kandos, Australia, and the Wassaic Project Festival, Wassaic, New York. She has participated in the Robert Rauschenberg Artist Residency in Captiva, FL and was the 2016 Curator-in-Residence for Trestle Projects. Staiger is a board member of ABC No Rio and a member of the American Abstract Artists. She has a BFA from the Maryland Institute College of Art (MICA), Baltimore, MD and an MFA from Pratt Institute in Brooklyn, NY. Staiger lives and works in Brooklyn, NY. melissastaiger.com/
The Yard
Founded in 2011 by Morris Levy and Richard Beyda, The Yard is a revolutionary, shared office space that allows driven professionals to work together in an innovative community. The Yard provides month-to-month memberships for private offices, private desks, and co-working spaces in 14 designed locations in New York, Boston, Philadelphia, and Washington, D.C. The community comprises more than 2,000 companies and thousands of members across all locations. Members have access to state-of-the-art conference rooms, beautiful breakout lounges, monthly networking events, rotating art gallery installations, and hundreds of business amenities. theyard.com/
FAAG x POAM Collaboration with Melissa Staiger "Expressions Active Wear"
Trestle Art Benefit, November 8, 2018
"In the Bardo" closing at ABC No Rio
"Surface 7" opens at ARENA at Brooklyn Dermatology
Surface 7 opens at ARENA at Brooklyn Dermatology – 440 Atlantic Ave., Brooklyn
Surface 7: Jennifer Deppe Parker, Mayuko Fujino, Katherine Mojzsis, Marcy Sperry and Melissa Staiger is the seventh in a series of exhibitions curated by Renée Riccardo at a contemporary art gallery that she has developed within a dermatology space called ARENA at Brooklyn Dermatology. There will be a reception for the public Friday, September 28th from 6 – 8 p.m. and the exhibition will be on view to the public for the next four months and a half months. Riccardo is continuing the mission of presenting new work by emerging artists that she had developed in her previous gallery, ARENA. This is one of the many unique venues that Riccardo has presented contemporary art exhibitions in over the years.
Melissa Staiger will present a large group of paintings in Surface 7. She states, “In 2013, I was nominated to attend the Robert Rauschenberg Artist Residency. The staff graciously took us to the massive metal scrap yard where Rauschenberg would find materials for his works. I started playing with scraps that I hadn’t thought of using before. A green metal piece became a major key player in my understanding on how found objects can give the surface of a painting so much 3D texture. This put me on a path of creating many assemblages with various materials.
All of these experiences I took back to the studio and my work. Combining physical objects with paint adds another dimension to my art. From the most expensive tubes of paint to a broken tile found on the floor, both hold an energy and vibration of color. I carefully arrange objects, shapes, lines, and colors. I pay attention to the relationships, patterns, and shifts of movement. I arrange them in my works and play around with it. I need time to immerse, experiment, listen, and draw in my sketchbook to push my work further. In this creative process, I control what I produce and can deem myself authentic as the creator. In my creative process, circles, mark making, collage, painting, assemblage, and texturizing are taking me to a path of color, structure, and layering. I love the hard edge, and making marks and using color as the structure in my work opens up a glimpse of understanding that I crave within my inner self. When I am able to use my entire body and make sweeping marks on the floor, I am reaching for a composition to form. Then suddenly, the work feels right and then I have a moment of accomplishment right before I release it into the world.”
Staiger has exhibited internationally with several solo exhibitions including Kent Place Gallery, Summit, NJ (currently on view), Trestle Projects, Brooklyn, NY and Janet Kurnatowski, Brooklyn, NY. Her work has also been featured in group exhibitions including Wassaic Project, Wassaic, NY, Articulate Gallery, Australia, Cuchifritos Gallery, NYC, Schema Projects, Brooklyn, 500X Gallery, Dallas, TX, Momenta Art, Brooklyn, NY and The Bruce High Quality Foundation, NYC. She has been awarded several residencies including The Robert Rauschenberg Artist Residency, Captiva, FL, The Puffin Foundation Artist Grant, Teaneck, NJ and The Wassaic Project, Wassaic, NY. She lives and works in Brooklyn.
Brooklyn Dermatology was started in 2005 by Dr. Sourab Choudhury. It is dedicated to world class dermatology in a modern friendly environment. The practice now consists of multiple dermatologists and physician assistants who handle all facets of dermatology including adult, pediatric and cosmetic dermatology. Brooklyn Dermatology has recently moved to a brand new facility to accommodate the growth of the practice to this location. The new office, located on the ground floor and lower level of 440 Atlantic Avenue, Brooklyn was designed by Paul Bennett Architects.
Renée Riccardo is an independent curator. She was an adjunct curator at P.S.1 Contemporary Art Center in New York from 1987 to 1988 and independently organized shows of postmodernist photography from 1985 through 1990, including the traveling exhibition Acceptable Entertainment for Independent Curators Inc. In 1991 she opened ARENA, a gallery dedicated to emerging artists working in all media, and in 1996 and 1997 she co-organized with John Good The Art Exchange Show, an New York art fair that focused on new art, music and performance that took place in two abandoned Wall Street office buildings. Riccardo continued her gallery, ARENA through 2004, having it sited in Soho, Cobble Hill, Williamsburg, and Chelsea at various times launching many artists very early in their careers such as Joanne Greenbaum, Rachel Harrison, Beom Kim, Fabian Marcaccio, Jason Middlebrook, Marilyn Minter, Vik Muniz, Wangechi Mutu, Mickalene Thomas and Kehinde Wiley among dozens of other now well known artists. In 2004 she established ARENA Projects, a roving curatorial and consulting entity. She has since curated dozens of exhibitions including a series entitled, Wrap Around at ARENA@Suite 806, a gallery within her therapist, Lee Shapiro, Psy.D.'s office at 89 Fifth Avenue, NYC. In June 2017, Riccardo and Paul Laster curated the exhibition, Maker, Maker at the CMA (Children’s Museum of the Arts), NYC.
For further information regarding Surface 7 please contact Renée Riccardo at [email protected] or call 646 734 2261. ARENA / Brooklyn Dermatology is open to the public Monday - Saturday at 440 Atlantic Ave., (between Bond and Nevins Streets in beautiful Boerum Hill, Brooklyn. Directions: Take the G, A, or C to Hoyt-Schermerhorn, the 2, 3, 4 or 5 to Nevins St., B, D, Q or R to Atlantic Ave. - Barclays Center.
Open the Door at Kent Place Gallery
Open the Door at Kent Place Gallery located on the campus of Kent Place School
42 Norwood Ave, Summit NJ 07901, take NJ Transit to Summit
On View: Sept. 7 - Oct. 1
Opening Reception: Friday, Sept. 21 from 6-8PM
Open Studio June 9 & 10 at Trestle Art Space
I See an Omen, curated by Will Hutnick
I See an Omen
mostra curata da Will Hutnick
19 Maggio 2018 – 31 Dicembre 2018
opening: 19 Maggio 2018, h 17:30 - 21:00
Beverly Acha, Kate Alboreo, Natessa Amin, Rebekah Callaghan, Charlotte Hallberg, Cheryl Hochberg, Meredith Hoffheins, Christopher Kardambikis, Simone Miani, Padma Rajendran, Scott Robinson, Melissa Staiger, Taylor Thomas, Elizabeth Tolson, Orkideh Torabi, Morganne Wakefield and Kelly Worman
IT
Benaco arte e` lieta di presentare I See an Omen (Colgo un presagio), un'esibizione di gruppo composta da dipinti, stampe, disegni, collage e video che esplora concetti come paesaggi onirici, realtà alternative e l'artista come sciamano. Nell'esibizione vi saranno opere selezionate da Will Hutnick, curatore-in-residence di Benaco Arte, raccoglie lavori creati da residenti dell'edizione passata di B.A. durante la loro permanenza a Sirmione e artisti Statunitensi selezionati dal curatore.
EN
Benaco Arte is pleased to present I See an Omen, a group exhibition composed of painting, drawing, printmaking, collage and video that explores ideas around dreamscapes, alternative realities, and the artist as shaman. The exhibition, curated by Benaco Arte alum Will Hutnick, brings together four past Benaco Arte artists-in-residence whose works were created while in residence in Sirmione, with additional artists selected by the curator.