Greenpoint Gallery Night - Friday, March 20, 7-10pm

Is there a better way to celebrate the snowy happy first day of spring in NYC than planning a route through a lovely neighborhood during Greenpoint Gallery Night tonight from 7-10pm?

GGN is an ongoing effort to shed light on Greenpoint’s exceptional galleries, art organizations, and businesses that feature artwork. Participating locations have scheduled opening receptions and extended hours to coincide with the event.

GGN official afterparty 10pm - onward at Broken Land, 105 Franklin St.

The Spring '15 edition includes:
106 Green - 104 Green St

Booklyn Artist Alliance - 37 Greenpoint Ave

Calico - 67 West St

Dusk Editions - 61 Greenpoint Ave

Greenpoint Terminal Gallery - 67 West St

G-Spot - 66 Greenpoint Ave (CoCo66)

The Java Project - 252 Java St

Owen James Gallery - 61 Greenpoint Ave

The Yard - 33 Nassau Ave
work by: Miryam Prodanovic

Brouwerij Lane - 78 Greenpoint Ave

Dandelion Wine - 153 Franklin St
work by: Paul Richard

Greenpoint Gallery Night, March 20, 2015

Mapping Brooklyn at BRIC House and Brooklyn Historical Society


If you haven't visited Downtown Brooklyn Cultural District recently, things are bustling in the area. Elizabeth Ferrer, Director of Contemporary Art at BRIC and Deborah Schwartz, President of the Brooklyn Historical Society have teamed up to co-present "Mapping Brooklyn." This exhibition leads viewers on a tour through Brooklyn's history and offers chance for re-orientation of personal perspectives on the borough.

Patricia Smith Historic maps are juxtaposed with contemporary artists' works, which incorporate cartography, exploration and maps in their art-making processes. One standout in this exhibition is Jennifer Maravillas' "71 Square Miles" a massive collage of paper litter collected from her extensive walks throughout Brooklyn. Going beyond geographical mapping, Patricia Smith's "Upper Brooklyn Recovered Memory Tureen" presents a map of the mind, with designations of thoughts meticulously drawn and detailed.

Katarina Jerinic We have all seen them: free standing boulders in the oddest of places, Katerina Jerinic informs us that they are left behind by glaciers and invites visitors on a tour of these “Erratic Monuments”. And be sure not to miss BRIC’s Project Room with data transformed into colorful and impactful maps. A vintage road map from the World’s Fair adds a nice counterpoint to Justin Blinder's interactive digital installation, "Vacated," which processes public data to present a stunning view of the changes from the ground up in Brooklyn neighborhoods.

Some of the other impressive map based works in the show include projects by: Aaron Beebe, Daniel Bejar, Francisca Benitez, Gail Biederman, Justin Blinder, Christine Gedeon, Katarina Jerinic, Joyce Kozloff, Laura Kurgan, Peter Lapsley, Jennifer Maravillas, Simonetta Moro, Bundith Phunsombatlert, Jan Rothuizen, Patricia Smith, Nick Vaughan & Jake Margolin, and Sarah Williams. On view through May 3rd at BRIC House (647 Fulton) and Brooklyn Historical Society (128 Pierrepont Street).

—K. Vance

Brooklyn Exhibitors at Upcoming Art Fairs

Brooklyn galleries will be well represented next week during Amory Arts Week!

Here is a list of who will be where:

The Armory Show

PIERS 92 & 94
12th Avenue at 55th Street
Private Opening: Wednesday, March 4th for invited guests.
Public Hours:
Thursday, March 5th - Sunday, March 8th, 12 pm to 7 pm.

West 50th Street at 12th Avenue
Preview: Thursday, March 5th
Public Hours:
Friday, March 6th – Saturday March 7th, 12pm to 8 pm
Sunday, March 8th, 12 pm to 7 pm

Art on Paper
Pier 36, Downtown Manhattan
Preview: Thursday, March 5th, 5:30pm to 8:00pm
Public Hours:
Friday, March 6th, 11 am to 7 pm
Saturday, March
7th, 11 am to 7 pm
Sunday, March 8th, 11 am to 6 pm

PULSE Contemporary Art Fair

The Metropolitan Pavilion
125 West 18th Street

Private Preview Brunch: Thursday, March 5th, 10 am to 1 pm
Public Hours:
Thursday, March 5th, 1 pm to 6 pm
Friday, March 6th, 11 am to 8 pm
Saturday, March 7th, 11 am to 8 pm
Sunday, March 8th, 11 am to 5 pm

Black & White Gallery /Project Space
Swoon Studio/Braddock Tiles

Independent Fair

548 West 22nd Street
Vernissage: Thursday, March 5th, 6 pm to 8 pm
Public Hours:
Friday, March 6th, 12 pm to 7 pm
Saturday, March 7th, 12 pm to 7 pm
Sunday, March 8th, 12 pm to 6 pm

Real Fine Arts

Moving image art fair
Waterfront New York Tunnel
269 11th Avenue
Open reception: Thursday, March 5th, 6 pm to 8 pm
Open Hours:
Thursday March 5th – Saturday March 7th, 11am – 8pm
Sunday, March 8th, 2015: 11am – 4pm


SCOPE New York

639 W 46th St
Public Hours:
Friday, March 6th, 6 pm to 10 pm
Saturday, March 7th, 11 am to 8 pm
Sunday, March 8th, 11 am to 8 pm

Masters Gallery

Salon Zürcher

33 Bleecker St.
Public Hours:
Tuesday, March 3rd - Saturday, March 7th, 12 pm to 8 pm
Sunday, March 8th, 12 pm to 5 pm

Theodore Art

Art Openings and Events this Weekend in Brooklyn

This weekend offers a break from the winter blues, there are many opening receptions and events this weekend in Brooklyn to ease your cabin fever.  Tomorrow evening DUMBO hosts their First Thursday event, with galleries being open late into the evening.  Friday evening Bushwick hosts an array of new exhibitions and Saturday Park Slope/Gowanus galleries present some great new shows.

See below for a full listing of events:

Masters Projects, Inc, 6-9
Smack Mellon, 7:30-9
--DUMBO First Thursday--, 1-6
Sculptors Guild Gallery, 6-9
AIR Gallery, 6-9
Gallery Gaia, 6-8
Art Helix, 6-9

Fresh Window, 7-9pm
Studio 10, 6pm
Signal, 7-10
Friday Studio Gallery, 6 - 8 PM
99¢ Plus, 7-10
Amos Eno Gallery, 6-8pm
Wayfarers, 7-10
Smack Mellon, 6pm
The Royal @ RSOAA, 7-9

Knockdown Center, 2-7
17 frost, 7-9
Park Slope/Gowanus
Open Source, 7-9
Proteus Gowanus, 6-9
Fivemyles, 7pm
Fort Greene/Clinton Hill
UrbanGlass, 1-6
Boerum Hill
490 Atlantic Gallery, 6-9

Transmitter, 4pm
Front Room Gallery, 4-6

January/February Art in Brooklyn by Enrico Gomez

January/February Art in Brooklyn


January is a month of cold nights and warm openings, with large group shows being offered throughout the borough. Coming on the heels of "Crossing Brooklyn: Art from Bushwick, Bed-Stuy, and Beyond" at Brooklyn Museum (200 Eastern Parkway) (a fine exhibition that many felt did not go far enough toward exploring the variety of art produced here), many of these large salon affairs seem like proud rebuttals of a sort. At Centotto (250 Moore St. #108) artist/critic/curatorPaul D'Agostino assembles a 35+ artist survey from his home-based gallery's prior programming; including paintings, sculptural objects, photographs and more. During Momenta Art's (56 Bogart St.) winter break, January 5th-11th, you can catch a lively 80+ artist group show curated by the indomitable artist Julie Torres. Later in the month, catch the salon-show institution, "Side Show Nation III: Circle the Wagons," an annual party/labor of love put on by artist/gallerist Richard Timperio atSideshow Gallery (319 Bedford Ave). This year's show boasts over 600 artists in a mind-bending display of every type of work imaginable. See also "Paperazzi IV" at Janet Kurnatowski Gallery (205 Norman Ave.), opening on January 16th, for a dizzying survey of 130+ artists in a wide range of medium on paper. Two nights earlier on January 14th, attend "Open [C]all: The Artist's Studio," at BRIC Gallery (647 Fulton St.), a 150+ artist exhibition originating from an open call and sourced from BRIC'S online Contemporary Artist Registry. Another important event at BRIC this month is "Pioneers! O' Pioneers! A History of NY Artist Neighborhoods" on January 21st from 7-9 PM, wherein a panel discussion on the changing political, economic, and geographic landscapes of artist neighborhoods will include seminal NYC art figures Irving SandlerJoyce and Maz KozloffWalter Robinson and Pierogi's own Joe Amrhein. (Joe Amrhein's works can be seen alongside artists Rita Valley, Rico Gatson, and William Powhida at Odetta Gallery (229 Cook St.) in "Pay to Play" opening January 16th, 6-8 PM). Other shows that need mentioning all fall along brilliantly hued lines (a chromatic burst of color is magic for the temperament these dark days of winter). Firstly, Gary Petersen'sexhilarating solo "Not now, but maybe later" at THEODORE:Art (56 Bogart St.) offers vibrant paintings that mix geometric, angled components with a 60's space age pop color sensibility. Several lush works are paired with two stunning mural installations on a carnation pink ground. Ignore the suggestion of the title; see it now! Also not to be missed is "Consumed": Kim Holleman and Joanne Ungar, two solo exhibitions atFront Room Gallery (147 Roebling St.) wherein each artist focuses on and repurposes the detritus and refuse of our disposable, consumer culture. Holleman's installation makes smart use of the glass-like qualities of resin and Ungar's new works suspend flattened packaging in layers of jewel-toned wax; revealing a clever interplay between compromised volume and translucent depth. The Parlor Bushwick (791 Bushwick Ave.) offers a three person show opening January 17th that will include the chromatic and fantastical figurations of talented painter Ryan Michael Ford. And Michael David's Life on Mars Gallery (56 Bogart St.) offers new and brilliantly hued abstractions from painter Fran O'Neill with pithy, textural treasures from painter Benjamin Pritchard in the project space (opens January 16th). 

—Enrico Gomez 

Abstraction in Brooklyn in November

Abstraction in Brooklyn in November

-by Enrico Gomez

OdettaThe first of three stand-out abstraction shows in Brooklyn this month is Spatial Intelligence (through 11/9) at Odetta Gallery which brings together various works suggestive of planer space. The largest of these is also the most kinetic; swirling and cascading rectilinear shapes in colored pencil and acrylic by Jersey City based artist James Pustorino. These mosaic-like works (think exploding stained glass windows) make smart use of the translucent paper substrate, pulling the viewers eye from positive to negative shape. Nearby the works of Ryan Sarah Murphytake layered cardboard and painted foam core to a science-fictional realm, implying floating space stations and architectural constructs. The bas-relief of Murphy's work is answered in three dimensions by artist Thomas Lendvai, who shows plywood box "sketches" atop wood tables in the center gallery. Inside are colorful thread 'walls' which double as proposals for large-scale gallery installations; kinder, gentler bungee cord Serra's that cajole viewers through space. Echoing these cubes are the Drift oil on Mylar paintings of Steven Baris, in which clusters of polygonal forms float quietly on graphic, colorful fields. 

The sweep of abstract concerns in Spatial Intelligence (volume, dimension, scale) finds kindred spirit at Storefront Ten Eyck within Abstraction and It’s Discontents (through 11/23), a 20-artist survey that successfully asserts the premise that abstraction within contemporary painting takes on myriad form and temperament. Motley by necessity, the show finds two of it's most emblematic artists hanging side by side; Sara Jones and Marc Cheetham. Jones' acrylic painting of floating Persian rugs playfully alludes to pictorial representation as illusory exercise while adjacent, four small color-blocked shapes on burlap by Cheetham float, rug like, and rich in saturated color and rough-hewn texture. Paul Corio and Jeff Fichera offer two brilliant hard edge meditations on the physiological confines of seeing and the always exceptional Miriam Cabessa offers a work that glows like a Color Field Tequila Sunrise. A painting by Sharon Butler both opens and closes the show, appropriately indicating the abstract qualities of human communication, via paint, torn T-shirt message, and corporate logos. 

MicroscopeLastly, a bold mention must be given to the solo show Enfolding by Allison Somers (through 11/17) atMicroscope Gallery, not because Ms. Somers is an abstract artist per se, but rather because she employs photo-based processes that allude, abstractly and forcefully, to light, time, and the human surround. Here large fabric panel works have been folded, dyed, and unfurled with titles ("walking in the forest," "swimming laps") that might hail from activities with durations akin to those of fabric dying or exposing a photo. The resultant works, like unbraided hair, seem to ripple and shimmer, suggesting sunlight reflecting off water (attributes made more prominent from their flag-like and swaying, ceiling installation). This Thoreau-esque tableau is complemented by two clusters of birch logs and branches, pulled from Upstate New York and treated with blue Cyanotype. Entitled "Unnatural Surroundings" the artist here exploits the tensions between photography's damaging chemicals and it's historical high-minded focus on nature (re. Ansel Adams or Imogen Cunningham). Note the clever interplay of photographic process atop wood, which is paper pre-processed. The natural element of salt figures prominently in six small photograms which, despite their scale, are as searing and brilliant as fireworks. Here abstraction yields from a complex mixture of intention and chance, process and simplicity. The prints are achingly beautiful; celestial fields of light, line, and shape. I think, on it's best days, the universe is as wonderful as these...but far away, in outer space or deep within, on a cellular level; abstractions just beyond the un-aided eyes ability to appreciate. See, we need telescopes, and microscopes, and great artists for that.

—Enrico Gomez 

Slide, Slide, Slide review by Enrico Gomez

In an age of ever-changing technologies, updating interfaces and quickly outmoded hardware, one system for recording and displaying visual information that has been in large part eradicated is the color slide. A precursor to the artist website, the color slide, until relatively recently, enjoyed a long and ubiquitous presence in the lives of artists everywhere, from being the primary mode of disseminating artist visuals to being a primary tool for teaching art history. 

If you are quick you can revisit this iconic medium, now being employed as an art material in “Slide Slide Slide”, a 10 person group show at the expansive new home of Microscope Gallery (1329 Willoughby Ave #2B) in Bushwick. The large repurposed warehouse home of Microscope proves an ideal setting for this show, which posits slide projectors at regular intervals around a darkened interior. The resultant intimate feel of the space belies the extensive scale of this attractive show. 

The artists here use the projected slide as a primary component of their work. Most notable is the video projection of Bruno Munari’s slide works which include profile images of slides with sculptural objects affixed to them; acrylic ribbons, translucent wire, mesh, etc. paired with the images of their realized projections; beautiful abstract compositions of colored light and layered media. These works date back to the early 1950’s which, considering that Munari was both the founder of the Concrete Art Movement and a member of the Italian Futurists, makes this a rare coup for art viewing in Brooklyn. (Munari’s work most recently appeared in the sweeping Guggenheim survey, “Italian Futurism 1909-1944, Reconstructing The Universe”.) 

Next to Munari and utilizing a corner of the space is a projected work by Bradley Eros wherein twin abstract images, one flush against the wall, the other projected at a sweeping angle, make for beguiling and ghostly viewing. The atmospheric light in this corner has an ethereal and transfixing quality that lingers. 

Across the room sits a light table atop which Pantone-like color slides have been arranged edge to edge. Leaking out through the corners of the slides, the light from the table creates a lattice of white-light netting that seems to hold the colored gels and their black frames it its grip. Created by the artist duo Sandra Gibson and Luis Recoder, this work most closely aligns to traditional painting with nods to Constructivist and Minimalist visual tropes. 

This impressive display of slide based artwork is also notable for the constructs and machinery of its viewing. One work for example is screened via a large antique projector with art deco lines and a shape that could double as a 30’s bronze hood ornament. The gentle whirring of these machines, the steady and repetitious click of the slide carousels, and the flickering pools of light within the space all combine to make this ambient viewing context one of the most unique and unforgettable that I have experienced in some time. Pair that experience with the artworks and this handsome show asserts Microscope’s programing prowess and portends great things to come in their immediate future. (through Oct. 6th)

—Enrico Gomez