M M

Pablo Picasso Femme aux mains jointes, January 8, 1938. Oiland wax crayon on canvas, 32 x 24 inches (81 x 60 cm). Collection of Mr. and Mrs. J. Tomilson Hill. © 2011 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. Photo by Béatrice Hatala. Courtesy Gagosian Gallery.

in the art world intheArtworld.com May 2011

GEPPY PISANELLI

“SUSPENDED LANDSCAPES” BILL HODGES GALLERY

MAY 26 - JUNE 15, 2011

Glenn Ligon, Stranger Drawing #7, 2004 Norman Lewis, American Totem, 1960 Coal Dust, Oil and Pencil on Paper Mounted on Aluminum, 60 x 40 in. Oil on Canvas, 74 x 45 in.

THIS and THAT April 28, 2011 - May 28, 2011 Glenn Ligon Norman Lewis Julie Mehretu Lyle Ashton Harris Lorna Simpson and others

24 West 57th Street, #607 New York, NY 10019 Tel: 212-333-2640 Fax: 212-333-2644 [email protected] billhodgesgallery.com 511 West 25th Street New York, NY 10001 Phone 212 242 4215 www.kipsgallery.com Suite 206 Gallery Hours: Tuesday to Friday, 10am-6pm Saturday, 12:30pm-5:30pm EUN KYUNG BAE 1$66(5 &R

MAY 12 - 26, 2011

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$2$1<ZHHN0D\WKWRWK 1DVVHU &RZLOOKRVWWKH6FKRIIHO9DOOXHWJDOOHU\ 3DULV  9LVLWZZZDRDQ\FRPIRUGHWDLOV

2SHQLQJUHFHSWLRQRQ0D\WK IURPDPWRSP 511 West 25th Street New York, NY 10001 Phone 212 242 4215 www.kipsgallery.com Suite 206 1DVVHU &R3ULPLWLYH$UW (DVWWK6WUHHW  LQIR#QDVVHUWULEDODUWFRP tarting this season, you have probably noticed the Subiquious art maps appearing everywhere in New York —MDowntown, Uptown, Chelsea . Totalling 45,000 bi-monthly copies and distributed to the city’s M major art districts and top hotels, they’re hard to miss. EDITORIAL As the original magazine has evolved over the years, from a locMal art guide into a highly regarded art journal with increasing international content, 12 Picasso and Marite Therese gallery owners and art patrons have expressed the at Gagosian Gallery need for a simple guide that visitors can pick up in By Lee Klein galleries and hotels and walk around with, take notes 18 Jordan Eagles on, stick in their pocket. at Krause Gallery By Terry Ward Indeed, this was the premise of from its inception in 1998, when we were the firMst art publication to 20 Deborah Brown herald the importance of what was then an emerging at PooL Art Fair art district called Chelsea. By Jennie E. Park Our listings policy is simple: We print the name (not 32 Robert Kunec just the reference number) of important galleries and at 532 Gallery / Thomas Jaekel art institutions directly on our easy-to-use neighborhood By Francis Timothy Walsh art map for free. For our member galleries, in addition to the map placement, we provide complete listings in print and on our easy to remember website: intheA rtworld.com There is no charge to list your gallery online with M, but to maintain quality listings, membership is by in - vitation only. You can request an invitation, however. Just go to the M website: intheArtworld.com and click on “welcome” to request an invite. If accepted, you will be sent an invitation with your username and password. It’s that easy. LISTINGS But of course you don’t have to be a gallery owner 36 New York City to access of the most up-to-date gallery listings ever. 47 Shanghai Have a great spring season. 47 Beijing

iMntheA rtworld.com BASICS Vol. 14, No. 9, May, 2011 10 News ISSN 1534-5394 47 Auctions Publisher / M. Brendon MacInnis • Director/ Mi Jeong Kim 48 Index • Marketing / Vivian Yuanjiang • Contributing Writers / Mary Hrbacek / Francis Timothy Walsh / Nicolette Ramirez / Andy St. Louis / Jennie Park / Lee Klein / Terry Ward / • MAPS Graphic Design Asia Edition / Shelly Wang • Web Master / Jason Goodrow • Copy editor Intern /Claudia Eve Beauchesne 34 Village • LES •Soho • Tribeca 38 Chelsea • MPD Asia Bureau • Editor / Vivi Ying He 42 Uptown • Midtown • 57th Street MBM Publications, Room 104, building 2, 91 Tai An Rd Shanghai 44 Brooklyn • Williamsburg 200052 China. Tel /CH 86.13761300987 /HK 852.95357978 45 Queens • LIC email/ vivi @intheArtworld .c om 46 Shanghai intheArtworld .c om

M is published monthl y by MBM Publications . All requests for permission and reprints must be made in writing to: MBM Publications 303 West 42nd Street, Suite 511 New York, NY 10036. Tel 212 956 0614 A Stylish Gateway to the Lower East Side editor @intheArtworld .c om

151 East Houston Street, Lower East Side, NY tel 212-777-0012 www.hoteleasthouston.com inthe Artworld.com 9 News

New Local Art Maps from M M / in the Art world also called the M magazine has launched a series of bi-monthly art maps covering the important art districts of New York. The first map “M Lower East Side” was introduced last summer—now called simply“M Downtown” — a nd it is already the largest and most widely distributed art map for this rapidly growing art community that includes the Lower East Side, the East Village, Soho and Tribeca. This map was followed by a second, “M Chelsea”, which includes the Design District and the West Village. The third map, “M Uptown”, includes the Upper East Side , the Upper West Side, Midtown and 57th Street.

On the Move The Pace Wildenstein has moved to 534 W 25th St in Chelsea (the former location of Bortolami Gallery ).

The Bortolami Gallery has moved from 534 W 25th St to 520 W 20th St in Chelsea.

The Forum Gallery has moved from 745 Fifth Avenue to the Crown Building at 730 Fifth Avenue (see Midtown listings). A charming European style The Nohra Haime has moved from the Fuller Building boutique hotel. on 57th St to the Crown Building at 730 Fifth Avenue (see Midtown listings).

Ethan Cohen Fine Art, one of New York’s oldest galleries Just off specializing in Asian art, has moved from 18 Jay St the Magnificent Mile to 14 Jay St (see Soho listings). & minutes from Navy Pier. New Director ShContemporary, the Asia Pacific Contemporary Art Fair that takes place in Shanghai, announced a new director for its 2011 edition. Milan native Massimo Torrigianiinfo replaces Colin Chinnery, as the fair’s third director since its launch in 2007.

Art Fair Art Taipei takes place August 26 - 29 at the Taipei World Trade Center, Area A & D. For more infor - Kitchen & Bath Design mation please visit: www.art-taipei.com. Along with Shanghai Art Fair and KIAF , which take place later, Flagship Showroom : 200 East Chestnut ‡ Chicago continues the program “ ART PREMIUM” 511 West 25th St Suite 809 Art Taipei T. 212 352 3582 which encourages a cultural exchange and support 1.800.800.6261 F. 212 253 4154 senecahotel.com for Asian Arts by providing exclusive service and inviting VIPs from abroad, among the three art fairs. www.minimalusa.com [email protected]

10 inthe Artworld.com Review

L’Amour Fou Picasso and Marite Therese Gagosian Gallery, New York “This show leaves no doubt that Marie-Thérèse By Lee Klein was one of the great muses in the annals of art, as rotean is the word often chosen to state what is Pconsidered obvious about Pablo Picasso, and seemingly a platitude thrown at a dartboard put be - she, for Picasso, could be seen embodying fore us to enhance or maintain the market value for countless counting powers that be; however, here it anything and everything as he, his love and his is proved with every curatorial move . Centered around the artist’s mistress Marie-Thérèse work morphed together” Walter the curators, Picasso biographer John Richardson and Dianne Widimaier Picasso (the artist and Marie-Thérèse’s grandaughter), have to - Therese (1935). Therein the first of the two com - gether chosen eighty plus works from the years mences a melody with an arc in the subject’s 1927-1940 that best represent this mysterious béret, which then goes on to become the unstated muse. For this unprecedented show, the chambers undulating motif of the next two rooms and is even - of Gagosian’s west 21st street gallery in Chelsea tually broken up throughout, while the second, a have been redone to spectacular effect by the side profile posed in the obverse of the usual odal - architect Annabelle Selldorf. Here again in con - isque, carries the visual cadence forth as well. tinuance, Larry Gagosian is blazing new turf for a commercial gallery to tread where museums once Exiting the first room and passing the very strange staked dominion. While Larry Salander, the phi - Marie-Thérèse accoudée (1939) things take a landerer, languishes in jail and the memory of dramatic turn in the next room; whereas unlike rustled Rembrandts and hustled Courbets (whereas double decker tourist buses which only go around he took the money and DeNiro took the stand) in a circle, Picasso’s faces tend to go in different Gagosian leaps from Anselm Kiefer’s triumph of directions. Le visage de Marie-Thérèse de profil last year’s Next Year in Jerusalem to this tour de (1931) is a most elegant delineation in shades of force by any measure, a Picasso exhibit on a single tan, grey and black. In this canvas, the separated theme —which would have given any William and abstracted face descends into a line, and an - Rubin curated exhibit at the MOMA more than a other swoops down not into an oval and a half, run for its millions. but, into an into oval and half an oval which then form an elongated ellipse. Further below, the pro - Part of an ongoing series of exhibitions at the file is a form, buxom yet slim, sublime masculine Gagosian galleries worldwide, this show leaves and feminine, and reminiscent of the silhouette of no doubt that Marie-Thérèse was one of the great a very fit Ricky Martin in a boater shirt. muses in the annals of art as she for Picasso could be seen embodying anything and everything as Now in the grand room under skylights, undula - he, his love and his work morphed together. tions, arcs and arabesques flow in a continuous line, from canvas to canvas. This is the largest The show opens with its two most heart stopping room in the new layout of the gallery space, and works, realistic portraits from a time when most of where on the northern wall the sharp angles of the the artists opus was abstract, Marie Therese coif - paintings —most notably Fille dessinant a l’interieu r fée d’un béret (1927) and Portrait de Marie (1935) and Femme lisant a la table (1934) offset Pablo Picasso Portrait de Marie-Thérèse, 1935. Pencil on paper. 10 7/8 x 13 1/2 inches, (27.5 x 34.3 cm).Private Collection Courtesy: Gagosian Gallery, New York. © 2011 Estate of Pablo Picasso/ Artists Rights Society (ARS), New York

12 inthe Artworld.com inthe Artworld.com 13 Pablo Picasso Nu couché, 1932. Charcoal on canvas. 38 3/8 x 51 3/8 inches, (97.3 x 130.3 cm). Private Collection Courtesy: Gagosian Gallery, New York. © 2011 Estate of Pablo Picasso/ Artists Rights Society (ARS), New York

14 inthe Artworld.com inthe Artworld.com 15 “Here, the interface with Henri Matisse is evinced in the liberated poetic colors as the gigantforms whirl. Meanwhile, there are moments where divine hedonism gives way to images conjured as if from the Spanish Civil War”

Pablo Picasso Fille dessinant à l'intérieur 1935. Oil on canvas. 351 1/4 x 76 5/8 inches, (130 x 195 cm) The Museum of Modern Art, New York. Nelson A. Rockefeller Bequest, 1979. Courtesy: Gagosian Gallery, New York. © 2011 Estate of Pablo Picasso/ Artists Rights Society (ARS), New York

by soft elements and texture —begin the counter - This is the crescendo as the wide and voluminous point to the curve. forms sail forth perfectly placed together. Here, the interface with Henri Matisse is evinced In the remaining two rooms the curve, though still in the liberated poetic colors as the gigantforms present, begins to give way to sharper edges and whirl. Meanwhile there are moments where divine borders wherein Picasso widely separates Marie hedonism gives way to images conjured as if from Therese’s eyes and nose in works such as Femme the Spanish Civil War, though they are few. A har - aux mains jointes (1938). Still-lifes are also in - monious volley inhabits the southern wall with cluded here, along with several sculptures. This is works like Femme assise pres de la fenetre (1932) a symphonic exhibit, where one is moved to stand and Femmes nue dans un fauteuil rouge (1932). back and sigh; so this is what they were saying Finally, there is the diaganol across to the best about Picasso —quite a feat whereas with the artist tailored trio in the whole production Femmes aux gone it is entirely the curators’ task to present him arabesques (1931), Femme nue couchee (1932) once and again to us. M and Femme aux cheveux jaunes (1931). Pablo Picasso Figure au bord de la mer, 1929. Oil on canvas. 51 1/8 x 38 1/8 inches (129.9 x 96.8 cm). The Metropolitan Museum of Art, New York. Bequest of Florence M. Shoenborn, 1995 Courtesy: Gagosian Gallery, New York. © 2011 Estate of Pablo Picasso/ Artists Rights Society (ARS), New York

16 inthe Artworld.com inthe Artworld.com 17 Review

Jordan Eagles Krause Gallery, New York

By Terry Ward ordan Eagles could save a lot of time dealing with “Much of Eagles’ work is multilayered, as if five Jrepeat questions from gallery visitors if he were to get a t-shirt printed with two statements: “yes, it is or six paintings on clear plexiglass were stacked real blood” and “no, it isn’t human.” The title of show sums up his process: “BARC” stands for “Blood, Acrylic, Resin, Copper.” Those are the materials, the up and bonded together” art supplies. The possible viewer-impact takes more are here, ghostlike, and so soon we fade from words. Maybe . view. Indeed, some of us in the room will be gone The fridge-door-sized rectangles seem to hover next year or in a decade. The old phrase ars longa along the walls paradoxically with luminous light - VITA BREVIS might come to mind. Art is long and ness. Despite the artwork’s scale and thickness – oh life is short. often fist-deep – there is a delicacy that comes from The art photographer Robert Chapman who was a reflected light and a sort of inner glow. Each post- hospital corpsman during the Vietnam war suddenly painterly color-field artwork is on a clear-box “canvas” . recalled the “strangely beautiful” sheen of hours-old From a distance, there are swirly starbursts of Lava sticky blood gunk he’d seen so often on the floors Lamp supernova shapes in red, black, burgundy, of combat zone operating rooms. and powdery bronze. The art fad of making weighty statements with body Unlike so much large scale art, Eagles’ creations fluids had its place, but was so overdone and run- are still rewarding close-up. One sees pea-sized into-the-ground by the mid-90’s that almost all sub - drips, tiny pigment sunspots, and miniature spatter- sequent art looks derivative and lame. Andres galaxies. Black curdled or scorched blood (at times Serrano’s various Piss creations were both a climax the artist uses a blowtorch) leaves craquelure and a killing-off of such art – at least, until now. It mazes. Here and there, metallic pigment blends could be that Jordan Eagles has single-handedly with colors in almost the wrong way and comes reawakened the genre of body-fluid art. dangerously close to looking “too pretty”, like the gold foil marbleized patterns of an “upscale” Eagles associates his art with birth, with life. In this Kleenex package – but it doesn’t quite go there. regard, one might ponder the humble origin of Such areas risk looking artistically “slick” – but, one’s own life – and of everyone’s – in the chance again, not quite. mingling of zygotes. Two half-cells meet in a bar, and millions of cell-divisions later here you are as Meanwhile, rose-toned washes which dried translu - a person and a thinking Self. What a profound cently allow peeks through the surface to underly - concept – and also how unlikely one is to remem - ing layers. Much of Eagles’ work is multilayered, ber such a thing until nudged out of daily routine by as if five or six paintings on clear plexiglass were confronting work as challenging as this. There is stacked up and bonded together. It is cliché to re - also something intriguing in the union of elemental, mark that art coated with resin "has such depth to primal material with the modern-day chemical tech - it" (of course, when one views paint through a quar - nology of resin and acrylic. ter-inch of clear topcoat!), but truly: the actual depth of this art’s color-layering is impressive. There . is also psychological “depth”. The shapes and the color-effects are downright If one knows that most of the red colors are from beautiful – or sometimes ugly-beautiful (beau - resin-sealed blood, one might be struck with me - tifugly?) in the way that sooty peeling paint or mento mori thoughts. From an arm’s-length away, grotty dumpster-lip scumsicles can be “pretty”. you can sees visitors’ as well as your own reflec - Eagles already gets an A. The blood-born (sic) tions flicker and fade in the glassy surfaces. We deep thoughts are just “bonus points”. M Jordan Eagles TSBC5, 2010. Blood, copper, preserved on plexiglass, UV resin. 36 x 36 x 3 inches. Courtesy: Krause Gallery, New York.

18 inthe Artworld.com inthe Artworld.com 19 Review

Deborah Brown “There’s an underlying sexual energy, and I find that PooL Art Fair New York when you put certain materials together, it just kind of By Jennie E. Park ubbed “a meeting ground for outstanding unrepresented creates [that] energy ” Dartists,” PooL Art Fair New York, one of the better satel - lite fairs which took place during The Armory Show last month, manages to stay true to its credo. In this interview with featured artist, Deborah Brown, we have an unvar - nished look at one such unrepresented artist.

At the fair you mentioned that you have a fascina - tion with science and juxtaposing naturally incom - patible objects or substances, like human hair and a beetle. Do you choose what to mesh together based on similarities in their chemical compositions ? I am interested in the similarities in the composition, but that doesn’t actually inform where the work comes from originally—it usually derives from a place of wanting to connect or show the several layers. On one level there’s the sheer vanity of it—a beetle can’t just go out looking like a beetle, it has to decorate it - self, it has to become beautiful, in terms of what we deem as beautiful, and so there’s a kind of exploration of vanity. And then there’s another layer, a spiritual side, the oneness of all things. There really isn’t a dif - ference between the shell of a beetle and human hair; they’re very similar genetically—I mock the idea of [human’s] superiority over nature in a kind of heavy- handed way. There’s sexuality to it as well, which I can’t seem to get away from. There’s an underlying sexual energy, and I find that when you put certain materials together, it just kind of creates [that] energy .

To flesh out the vanity layer of your work, did you choose insects because we as humans tend to con - sider them repulsive, or was there something else about insects? I think insects represent a natural order that is not controlled by thought or ego—they have a duty, they have a job, they’re part of a group, the in - dividual is not as important as the whole. And I found I’m drawn to that idea, a disappearance of the indi - vidual. So I’m sort of mocking our ego-based culture and individuality because there’s such an absence of that within the insect world. Deborah Brownr Beetle, 2009. Fiberglass, human hair. 18 H x 26 W x 72 L inches. Courtesy: The artist and PooL Art Fair, New York.

20 inthe Artworld.com inthe Artworld.com 21 Now that you describe it that way, I see it as an ex - pression of desire —the person desired to be in that mushroom or tower so much that she’s become that thing, and it has ironically trapped her . Desiring and wanting and clinging and grasping—that’s very much about not being present and not being with what is, and so that whole idea of our culture grasping and wanting is kind of where I think we lose our way . If you left the hybrids [the art pieces] intact in a land - Are your hybrids actually moving around in their fill, or if they inhabited some other environment that environments, with their wings and their legs, or are you imagined them in, what would be their lifes - They look trapped in what I make sure that they’re as long-lived as possi - they trapped there ? pan ? they’ve become, but there’s something about them that ble. I’m very conscious of lifespan; they’re made of isn’t—it’s that dichotomy that I think infuses a certain toxic materials, so I don’t see them decomposing. It’s energy in the work . sort of like, after the nuclear bomb, the cock roach shall be the only creature left [laughs]. Are they evolving into something else? It’s interest - ing you should ask that. I don’t know if you know Ron I don’t know if Why do you insist that they persist ? Mueck's work —it’s very life-like; you can’t tell in a it’s just art world commodity-driven, or something else. gallery whether it’s real or not. The piece I’m working Right now, I’m actually working on extremely life-like on next, which is one of my most ambitious , is this human forms, being done by special effects firms, woman lying on a glass slide, as though she’s going made out of silicone—silicone only has a shelf life of under a microscope. Her arms and legs are pinned about twenty-five years before it starts crumbling a bit. down, and one of her legs is a frog leg—you can’t I’m like, “No, we can’t do that—it has to be 100 quite tell who’s morphing into whom and yet, in that years!” So yes, I’m confronting exactly that right now . sort of pinned-down, transformative moment, the look It’s another kind of mocking or juxtaposition, where and expression on her face will be that she’s com - you’re saying: this vain thing is utterly discardable, pletely detached from what’s happening—she’s just but refuses to be. Precisely . beyond it all. So yeah, I think the earlier pieces were more alike forms, intermingling, whereas this, because The tower with legs, and the mushrooms with legs it’s more life-like, is merging [of distinct forms], but [pieces in the show]—is the human brain being re - they’re very much what they were before they placed by something, or is it just trapped there ? It is merged, as opposed to two similar things coming to - trapped there but it’s also—I guess when you feel gether—I guess it feels more unreal, and yet more real something, you feel you’re it. So for example, with at the same tim e. the [Rapunzel's] tower, she’s trapped in her tower— it’s a golden tower, about materialism and being sort If there were something exasperating or ridiculous of contained in this ivory tower. If I put arms or a about the world, I’d expect the hybrids to sympa - head on it, it wouldn’t feel as contained. The phal - thize with or reflect that somehow, because they lic nature of it really was not my intention, but it themselves seem so ludicrous—I was wondering if turned out that way, which is actually kind of rele - you had any of that level of even a political com - vant, so that’s okay . mentary… Deborah Brown Tower with Legs, 2010. Resin. 19.5 x 16 inches. Courtesy: The artist and PooL Art Fair, New York.

22 inthe Artworld.com inthe Artworld.com 23 Actually, through their ridiculousness they’re quite wiz - ened—there’s something almost higher-spirit about them. That’s the odd thing; they’re so ridiculous that they transcend what they are. And as far as political, I mean, I think they just look at the whole world as ridiculous—I guess I just see them as wizened spirits, energy. Through their trappings, they’ve transcended “I have to say, most of the work doesn’t come from my their trappings . dreams—it’s not like I wake up and go: Oh my God, Do you distinguish the headless things with legs from the ladybugs or butterflies with heads, in that the I just had that…. It’s completely from just processing legged things are more stuck and haven’t yet reached that transcendent state ? Yes, funny enough, I guess they each describe a particular trapping. I guess life in a very conscious way ” some pieces are more about the actual feeling of being stuck, versus the possibilities. I suppose it’s where I am at that moment when it comes out, whether I’m feeling optimistic or not. [Laughs.]

You’ve said that, for the most part, any movement is internal to the hybrids; but have you considered creating things involving moving parts? Yes. My other ambitious project which I need funding for [laughs] is a Venus fly trap-headed woman sitting at a vanity table. Her head is opening and closing, and she’s turning, and there’s the sound of buzzing in the room, a Zoop! And I think it’s going to be viewer-gen - erated, so when they step in a certain place in the room, it’ll be as though they’ve been caught [laughs]. So again, it’ll be extremely life-like, and the woman is going to be sitting at a powder pink vanity table made of very shiny fiberglass, looking at her reflection.

What element would the movement introduce that isn’t currently in the work ? I think it’s just another layer of something to get pulled into and engaged in.

As far as how you personally relate to these sculp - tures, do you consider them to be sentient or alive? Do you ever find yourself talking to them ? Yes, I do talk to them. They’re self-portraits. Each one is sort of a facet of me, captured at whatever time I was feel - ing that way. So yes, in a way I talk to them as parts of me, when I’m feeling in a certain mood, or if they’re sitting around, I just sort of connect to that part of me when I’m looking at them.

There was a reference in one of your earlier inter - views to mirroring; do your pieces mirror something either of your dreams, or very fundamental to you that you can’t articulate ? I have to say, most of the Deborah Brown Ladybug 3, 2009. Fiberglass, steel. 26 H x 36 D inches. Courtesy: The artist and PooL Art Fair, New York.

24 inthe Artworld.com inthe Artworld.com 25 they just have that smug look? [Laughs.] They’re 1940s, ’50s vintage mannequin heads, and so they all have a certain kind of, "ugh!" [i.e., haughtiness] — yes, definitely there's that expression . But, when I painted their eyes, something else came out—when you see how they were originally painted as man - nequins, [they were] not like that. I’m not a painter, and I don’t pretend to know what I’m doing, but for work doesn’t come from my dreams—it’s not like I some reason I really connected to whatever was wake up and go: Oh my God, I just had that…. It’s going on in them . completely from just processing life in a very conscious way . The expressions on the faces in Gallery 2 [online] are more expressive and garish, even suspicious— So if it is a conscious exploration, do you feel that and the Buffalo Witch is really scary ? Yes, well, I it’s almost like your iterations of random amalga - started that work when I finished grad school, so that mations are an empirical study, where you’re trying was really coming from a much more raw angst. It to prove the same hypothesis, over and over, using was an indictment, more than offering some sort of Yes, I do think that, but I think slightly different... transcendence. there’s been an evolution in the work—my initial in - vestigation was surface and veneer and vanity and Were you unsettled about something deeply per - preening oddities, and now it’s morphed into con - sonal, or was it an indictment of the way society nections to nature and, on top of that, spiritual di - was going, or… I think it was both—in my work, it’s mensions. As I evolve, [my work] comes along with very hard for me to separate the two. me. And funny enough, as I evolve, I look back at the old work and I see in it things I didn’t see before. The Gallery 2 pieces reminded me of circus crea - tures, and when I imagined walking among them I And that would also speak to the movement you felt a kind of fear. I didn’t know if it was a fear of described as being internal to them—it’s kind of re - turning into them, because they resemble me closely flecting that. Yes, exactly . enough that I could imagine one day I’d wake up and find myself like them and not know who I was. Do any of these hybrids remind you of other people, Or, possibly I’m afraid of them because there’s or are they, after you’ve created them, their own be - something broken about them, and it's like encoun - ings or identities ? They’re kind of regurgitating icono - clastic pop culture references that we all tend to have, tering severe disability where you might feel com - You’re very good, so I think they’re very identifiable in that way to many passion, but fear as well… amazing actually [laughs]—yes, that’s exactly what it people. At the same time, [they’re] no one else but me. is, it’s that space in between those two things where I mean, when I’m coming up with them, I’m not think - I like to work, where you don’t know what happened, ing about other people. Once it’s out there, I can see and it’s very unsettling, but you can’t really dismiss it many different people in it. My mother has been a part either. I mean, that’s how I feel about it—it’s kind of this of my work, directly . “uhr, uhr, uhr” internal grinding, so yes, it’s both . Are there any particular pieces you feel reflect your And the third possibility with fear could be that mother ? Probably my earlier work. My mother al - ways had to be beautiful and admired; she was the there’s the threat of simply appearing ridiculous goddess, and I grew up sort of in the shadow of that. and non-mainstream, and being ostracized and en - So I definitely think there’s some of that informing a lot cased forever in this little spotlighted space as a of the work. freak—and maybe that’s the scariest possibility. Yes, absolutely, I mean, those were self-portraits, and As far as the specific expressions on the faces of I feel like it was an important place to come from be - the ladybugs and butterflies, are they just mechan - cause I almost had to start from that very frightening ical copies of a mannequin’s stare? Maybe they’re place myself, and then work through it to shed what bored because they’ve achieved such status, so it was about it that was so scary. I still feel my work Deborah Brown Mushroom with Legs II, 2010. Resin, granite. 21 x 13 inches. Courtesy: The artist and PooL Art Fair, New York.

26 inthe Artworld.com inthe Artworld.com 27 Deborah Brown Scallops (detail), 2010. Scallop shells, human hair. Grouping of 75 scallops, 96 x 48 inches. Courtesy: The artist and PooL Art Fair, New York.

28 inthe Artworld.com inthe Artworld.com 29 now has some element of “disturbed” about it, but it’s California, is a really vacuous place, and because of dergrad—I would go to thrift stores and that would be the strange things that come in the mail for me, you on a different level, I think, than that original work. the heat you just get into this weird, numb state, and where I’d get everything, you know, gilded frames and know, strange sourcing of objects . I feel like I was in that place until I was 14—it was just strange old toys. In grad school, I didn’t really have one Do you want people to just stare at your work, or this foggy, “everything mixed together” [state of mind], mentor, because it was so feminist oriented and I was I’m really interested in how children interact with do you want people to talk to or engage the crea - and it’s almost like being on some kind of medication. interested in that, but it wasn’t my passion. Italo Scanga, these things—I don’t know if they would seem more I was watching some tures? I do want people to engage and talk to them. When I go back now because my sister is back there he was an Italian painter—he was also into found ob - or less scary to a six-year-old ? kids who came into the show and they were quite put You know, this woman came in after you left [the show I go, “Oh my god, it’s happening again!” [Laughs.] jects, so I would say those two were the most influen - at PooL Art Fair], and she was going crazy over the tial . off, but they wanted to interact with them in a physi - scallops with the hair—she had just had a dream So it’s the heat in conjunction with what, specifically, cal way, and of course I let them—they really wanted about it and was really freaked out, it was really about Florida ? You mentioned you have siblings, and that they do to sort of know [them]. I do think they connect in a great. [Laughs.] I do think they sneak up on you, you more pure way. I think [my daughter] does get it; she It’s also very flat—I mean, we lived in a beautiful place things completely different from what you’re doing do find yourself connecting and not even knowing— now ? Yes. One is a school teacher, one is a mom, a gets it subliminally without really being able to articu - I have seen that happen before . across the beach, it was lovely, but nothing happened. housewife, and my brother is a waiter and a musi - late it. There was no energy, it was kind of like a fantasy land; cian. As for the environment you ideally imagine them to there was very little intellectual, original thought that Is there anything about your work that people al - be in—whether it be a gallery setting or a fanciful happened [or] happens there. I hate to say that—it’s And how do they react to your work ? I think they ways miss? I don’t have a set idea as to exactly what universe—what would it be ? That’s a good question. generalizing of course. When I moved to California, get it and they don’t—I don’t think they fully under - I want them to walk away with. Hopefully [the work] In a way, I think juxtaposition is always a powerful everything was like, boom, boom, boom, and clicked, stand it, but that’s OK. My mother loved to come to my will resonate, and possibly suggest a new reality, or thing, so I think putting them in an environment where and I woke up. But I feel that sort of hazy quality never studio last year when she was visiting, and it was a new investigation into what they deem reality. I just they’re not supposed to be is quite powerful. If they left me, and I’ve kind of embraced [it], and I think that incredible for me because she really got it and saw want to get them to think. Or feel. I don’t even know were in an idealistic environment, like in a forest, rum - is where a lot of that sort of surreal, you-can-close-your- her connection to it. That was incredibly powerful for if it’s think—that’s when we get into trouble [laughs]. I maging on a completely organic forest floor—that eyes-and-float, place comes from . me because she’d never really seen my work before . get them to feel . M could also be quite powerful. In a sterile museum, or I do, I have a daugh - a collector’s home, again, they’re still playing on wher - So I guess it makes sense that it wasn’t a dream—it Do you have children now ? ter—she absolutely loves the work, and refuses to let ever they are, and that’s another level that completes was your actual experience. Exactly [laughs]! me sell certain pieces . the whole message or impact of the work . What part of Florida was this ? Boca Raton. It was just sort of landscapes of emptiness, nothing happening. Does she name them, and really interact with So I guess there’s some persisting integrity to the It was lovely, but not real . them ? She interacts with them, and she’s just fierce hybrids, even though they’re hollow and ridiculous, about the ones she loves, and she’s fascinated with all because wherever they are, they’re mocking or re - You couldn’t engage with it. It wasn’t real. sisting in a similar way . Yes, exactly . Your experience living in LA, with the entertainment I think we’d mentioned briefly that you could see industry and where everything is kind of a mockery these as lamps or having a utilitarian function; this of itself—at what point did this intersect with the hazi - question may or may not be insulting, but, if they ness ? It dramatically collided with it, and all the work were to become utilitarian objects, would something from when I started making the little hybrids came from be lost in that translation, or, would the meaning ac - the whole Hollywood, media-driven, advertising, “what tually be enhanced ? It’s a good question. I proba - is beauty,” “what is of value”—all of these things were bly would shy away from it at this point, but I think very much informed by Los Angeles. When I was at one day it would be great to do some work that was Otis Parsons in MacArthur Park, there was such an in - utilitarian. I actually thought the beetle with hair could credible dichotomy between the wealthy and the become a coffee table—put it in a Plexiglass box and poor—it was just an extraordinary place, very difficult have people put their drinks on it. It’s sort of a perfect imagery, seeing certain people live in certain ways. It juxtaposition again. That could work—it isn’t some - was kind of a wake-up call, a wake-up for me . thing I’d set out doing, but would be open to thinking about. The dichotomy in terms of the economic or social strata that people lived in—how would you say So you grew up in the OC [Orange County, Cali - that’s reflected in a particular piece? I do sort of fornia], is that right ? Actually no; I grew up in Florida mock materialism, so I’m critiquing the fixation on the till I was fourteen, then [my family] moved to San Diego, idea of happiness and fulfillment through that. I don’t and I lived there till I went to Otis Parsons in LA. I left directly address it, but it’s certainly implied . after a year, did some traveling, then came back and finished up at UCSD. Then I went to UC Irvine, and As far as your formal art education, was there an moved to LA after that. instructor who really clarified the direction that you would take and the questions that you would ask As a child, did you play with a lot of dolls or toys and even the materials you would use ? I think they that resemble your work ? Yeah, I think I did, I loved all did. Kim MacConnel is an artist from San Diego, toys and I loved dolls. Florida, even more so than and he was all about found objects when I was an un - Deborah Brown (left) at PooL Art Fair New York, shown with Jennie E. Park (right) and Vivi Ying He (center) of the M magazine. Photo: Macinnis, 2011

30 inthe Artworld.com inthe Artworld.com 31 Review

Robert Kunec 532 Gallery / Thomas Jaekel, New York

By Francis Timothy Walsh t first glance, it’s tempting to classify this collec - Ation of images and ideas as “political art,” and move on. Pause a minute, though. There is “politi - cal art” and there is fine art that is political. The for - mer is a genre available to most anyone with an “There is ‘political art’ and there is fine art that is agenda to promulgate. In the past decade, gal - leries have been full of “political art”—one looks, one gets the point, and one leaves the ideas, gen - political. The former is a genre available to most erally, in the gallery, on the walls. Viewers avoid collateral damage to their minds; the work prompts anyone with an agenda to promulgate” little questioning of one’s moral pre-conceptions. Then there is fine art that is political. This is what viewpoint, is also a prie dieu (praying desk). Robert Kunec makes—careful, reflective work im - Since the finished piece is a product of a “WE bued with a political message. It’s art with an emo - CONFESS Do-it-yourself kit” found in another part tional punch, too—one that lingers in the mind of the gallery, we can assume that it’s also a stab afterwards. at all of us. Each piece in this show is made from materials In our modern world, whole cultures seem to have that range from bronze to plastic; some incorpo - an increasing capacity to forgive themselves for rate found objects. Surfaces are clean; color their political misdeeds. Another piece, consisting choices are subtle. For the most part, this work qui - of a loaf of bread painted gold, with a mallet and etly invites the viewer to come closer, to linger a spike on either side, bears the title Corpus Dei nearby, to look beyond the initial gestalt. Kunec is (God’s body) , a reference not only to the Eucharist careful to avoid letting materials overpower his po - but to the Crucifixion as well. litical message. But this is not a show about redemption. Kunec And what is that message? On the face of it, uses irony to remind us that the fears and uncer - Kunec’s is a message about terrorism as a univer - tainties of our post-9/11 —and now post Bin sal source of cultural angst. One piece entitled Laden —world lurk just below the surface of our IT’S NOT A BOMB! reminds us of the added collective sub-conscious. “cost” of contemporary travel. Consisting of a There’san AK-47 in bronze, with what seem to be black suitcase with leather straps, the title is thorns sticking out from it. There are photographs printed on its side, in glaring white letters. Enough of faux IEDs (improvised explosive devices) that is enough, it seems to tell us. appear strangely amusing (one is made of plastic Raised in the Catholic faith, Kunec does not con - water bottles) until we remember the Shoe Bomber. fine his ideas about fear to the obviously political. There is a beautiful tourist map of Iraq, which has The show’s title, In the Name of (lacking the ob - been mutilated. Of course, entering the political vious Father) alludes to this. There is a “Presiden - arena, we are reminded quickly that there are two tial” podium that, when viewed from the speaker’s sides, and then some, to every issue. M

Robert Kunec Flag Day, 2011. Photo series edition of 3. 16 x 24 inches. Courtesy: 532 Gallery / Thomas Jaekel, New York.

32 inthe Artworld.com inthe Artworld.com 33 t S l t t a S S g e e r e u v v

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o S l A A t c 4 The Pen ande Brush, Inc n r D

P a t s e d h h e Umbrella Arts c e v r r t y tuy E 9th St Tompkins Anastasia Photo t A The Phatory 3 G M M 5 S

i PS122 v Square s N e e r ac E 8th St Park Nick Zinner, photo May 4 thru Jun 4 e 6 Pl v R r i Cooper Union to 166 Orchard St, 10002 n s E 7th St A Michael Mut A B U 212 677 9725 [email protected] Wavery Pl E 6th St C D www.anastasia-photo.com Tue-Sat 11-7 A Washington B C

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(620 Greenwich St) D NY Studio Gallery 127 Elizabeth St, 10002, 212 2446004 t

W Houston F 66 Rooster Gallery S www.christopherhenrygallery.com Tue-Sat 10-6

DCKT t

BoxOFFICE t t

M n S i tanto (421 Hudson St) Sperone Westwater S P Lehmann Maupin

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M Yuliya Lanina "Birds and Bees", painting sculpture Apr 14 thru May 14 t

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f Stellar Rays illia 212.627.3276 [email protected] e W a

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6 r ChinaSquare C h ey St Mimi Ferzt C lanc The Pen and Brush, Inc. J De James E Storefront for 16 E. 10th St., 10003 Z LMAK Fuentes Art and Architecture are St OK Harris Kenm 212.475.3669 [email protected] www.penandbrush.org Thu-Fri 4-7; Sat & Sun 1-5 Artists NP Contemporary Woodward Space Munch e St r Broom Feature Inc e

Abrons Art Center v

i Naoto Nakagawa "Earth Wave paintings", painting Apr 13 thru Brooke Alexander Sohotel Simon Preston R Broome St White May 15; group exhibition "i am not monogamous, i heart po - t

Christopher Box s etry ", painting sculpture Jun 23 thru Aug 5; Isabella Kirkland

Spencer rand St a "Nova Paintings", painting May 18 thru Jun 18 Clic Henry k G E

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Drawing e Number 35 212.675.7772 [email protected] D v

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C r St B i Heste n www.umbrellaarts.com Thu-Sat 1-6; by appt Blackston t E C Ronald Feldman o ana n C l S Allegra La Viola t N Q S h Invisible-Exports F t White Box Bowery

S u i Canada x r R 6 J nal St 329 Broome St, 10002

c a t C h Lispenard St Forever and Today, Inc. h St A Z n 212.714.2347 [email protected]

V S o Brennan & Griffin v 3A Gallery si a i e t Walker St iv ay www.whiteboxny.org Wed-Sun 11-7 r n D w i u d R c a t e ro S u k ApexArt M B t n t a E. S so g hite St nh ry i e Woodward Gallery W a n ad rs L t e yard S tt H M S a a a t B n t Sybil Gibson "Family Collection", painting Mar 26 thru May 21; S Franklin St f B P in Soho Photo a kl ri ik

y d ran g e UR New York "Eye of the Beholder", painting Mar 27 thru Jun F e e S n St Leonard St t t riso t 30; "20 in 11", painting multimedia May 28 thru Jul 2 Har e W S 133 Eldridge Street, 10002 orth St t St 212.966.3411 [email protected] ay J www.woodwardgallery.net Tue-Sat 11-6; Sun 12-5 Ethan Cohen Thomas St

34 inthe Artworld.com inthe Artworld.com 35 Soho Chelsea Chelsea 8 Artists Space Gallery 532 Gallery / Thomas Jaeckel High Line Gallery 0

0 38 Greene, 3rd fl, 10013 Robert Kunec "In The Name Of", Apr 28 thru May 26; Marcy 511 W 20, at the High Line, 10011 & 212.226.3970 [email protected] Brafman "Pearlescent", painting May 31 thru Jun 27 212.645.2355 / 203.858.0059 Hours vary; by appt 1

5 www.artistsspace.org Tue, Thu, Fri 12-6; Wed 12-8; Sat 12-5 532 W 25, 10011 0 Kips Gallery 0 917.701.3338 [email protected]

S 511 W 25, 10001 Axelle Fine Arts www.532gallery.com Tue-Fri 11-6; Sat 1-5 F 212.242.4215 [email protected]

‹ Fabienne Delacroix , paintings. Apr 30 thru May www.kipsgallery.com Tue–Sat 11–6 G 472 West Broadway, 10012 ACA Galleries r o 212 226 2262 www.axelle.com 27529 W 20, 10011 u Kathryn Markel Fine Arts n 212.206.8080 [email protected] d 1 529 W 20, 6th fl,10011

1 Peter Blum SoHo

F www.acagalleries.com Tue-Sat 10-6; 10:30-6

0 212.366.5368 [email protected] l o 0 Richard Gardner, Bob Axel, David Monderer, R. Wayne Parsons , o 1 www.markelfinearts.com Tue-Fri 10-6; Sat 11-6

r May 3 thru Jun 4; Butch Cordora, Aviva Baharav, Peter Agron, Andrea Rosen k r John Custodio , Jun 7 thru Jul 2 525 W 24, 10011 o Lehmann Maupin Gallery Y 99 Wooster St, 10012 212.627.6000 [email protected] 540 West 26th Street, 10001

w www.andrearosengallery.com Tue–Sat 10–6

e 212 343 0441 [email protected] 212 255 2923 [email protected]

N www.peterblumgallery.com Tue-Fri 10-6; Sat 11-6 www.lehmannmaupin.com Tue-Sat 10-6 511 W 20 St at the High Line Bertrand Delacroix Gallery Brooke Alexander Ron Agam , Apr 26 thru May 28 Matthew Marks Gallery Chelsea Wooster, 2nd fl, 10012 535 West 25th Street, 10001 522 W 22, 10011 1 212.925.4338 [email protected] 212-226-2262 [email protected] 212.243.0200 [email protected] 8

0 www.baeditions.com Tue–Sat 10–6 www.axelle.com Tue-Sat 10:30-6:30 www.matthewmarks.com Tue–Sat 11–6 0

S Betty Cuningham Gallery F Ethan Cohen Fine Arts Mike Weiss Gallery ‹ 14 Jay St, 10013 541 W 25, 10001 Yigal Ozeri: “Garden of the Gods”, Painting, May 6 thru Jun 1 G 212.242.2772 [email protected] r

o 212.625.1250 [email protected] 520 W 24, 10011

u www.bettycuninghamgallery.com Tue–Sat 10-6

n www.ecfa.com Tue-Sat 11-6 212.691.6899 [email protected]

d www.mikeweissgallery.com Tue-Sat 10-6

F Ceres

l The Drawing Center o 547 West 27th Street, Suite #201, 1000 o 35 Wooster, 10013 Messineo & Wyman r 1 212.947.6100 [email protected] 1 212.219.2166 [email protected] Robert Stivers "Craving the Seamstress" , Apr 14 thru May 21; 0 www.ceresgallery.org Tue-Sat 12-6; Thu until 8 0 www.drawingcenter.org Tue–Fri 10– 6; Sat 11–6 511 West 25th Street Suite 504, 10001 1 212-414-0827 [email protected]

k Cheim & Read r Eli Klein Fine Art www.messineowyman.com Wed-Sat 12-5; by appt o 547 W 25, 10001 Y 462 West Broadway, 10012 212.242.7727 [email protected] w Metro Pictures Gallery e 212 255 4388 www.cheimread.com Tue-Sat 10-6

N www.elikleinfineart.com 519 W 24, 10011 138 W 19 St CW Gallery 212.206.7100 [email protected] Soho OK Harris Works of Art 547 W 27, 10001 212.242.4215 www.metropicturesgallery.com Tue-Sat 10-6 4 383 West Broadway, 10012 Tue–Sat 10-6 0 Robert Miller Gallery 0 212.431.3600

& www.okharris.com Tue–Sat 10–6 DC Moore 524 W 26, 10001

8 212.366.4774 [email protected] 6 George Tooker (1920-2011) "Memorial Exhibition" , Jun 9 thru 0 Ronald Feldman Fine Arts Aug 5; Mary Frank "Transformations: Wood Sculpture, 1957- www.robertmillergallery.com Tue–Sat 10–6 S 31 Mercer Street, 10013 F 1967, and Recent Photographs", May 5 thru Jun 4; Jacob

‹ 212-226-3232 [email protected] Mixed Greens Lawrence "Builders", May 5 thru Jun 4 G www.feldmangallery.com Tue-Sat 10-6; Mon. by appt. 531 W 26, 1st fl, 10001 r o 535 W 22 St, 2nd floor, NY 10011 212 331 8888 [email protected] u 212 247 2111 [email protected] n Soho Photo Gallery www.mixedgreens.com d www.dcmooregallery.com Tue-Sat 10-6 3

F Richard Gardner, Bob Axel, David Monderer, R. Wayne Parsons , 1 l 0 o May 3 thru Jun 4; Butch Cordora, Aviva Baharav, Peter Agron, Nancy Hoffman Gallery 0 o Andrew Edlin Gallery 520 West 27th Street, 10001 1 r John Custodio , Jun 7 thru Jul 2 134 10th Ave, 10011

k 212 966 6676 info@nancyhoffmangallery r 15 White Street, 10013

o 212.206.9723 [email protected]

Y nancyhoffmangallery.com Tue-Sat 10-6 212-226-8571 [email protected] www.edlingallery.com Tue-Sat 11-6

w www.sohophoto.com Wed-Sun 1-6 e

N Gagosian Gallery Ricco / Maresca Staley-Wise Gallery 517 & 519 Broome St Pablo Picasso and Marie-Thérèse, “L’AMOUR FOU”, Apr 14 thru Please call gallery for schedule 560 Broadway, 3rd fl, 10012 Jun 25 529 W 20, 3rd fl, 10011 212.966.6223 [email protected] 522 W 21 St, 10011 212.627.4819 [email protected] Ground Floors & Upper Floors for Rent www.staleywise.com Tue–Sat 11–5 www.riccomaresca.com Tue–Sat 11–6 Commercial & Residential 212 741 1717 www.gagosian.com Ward-Nasse Gallery [email protected] Mon-Sat 10-6 Is-Ila Realty Corp. Ongoing salon exhibition with 200 works on the walls 1000 Gladstone Gallery works in the racks. The Gallery that give artists a chance and 515 W 24, / 530 W 21, 10011 [email protected]  ‹    the public a choice www.gladstonegallery.com 212.206.9300 [email protected] 178 Prince, 10012 212.925.6951 www.wardnasse.org

36 inthe Artworld.com inthe Artworld.com 37 F t t Sixth Ave t t F M L S S S S Hiltontton Gardenen Inn S M h h h h t t t Atlanticantic t Hampton Inn Gallerylery 1388 5 5 6 6 2 2 2 SragowSrragow Gallery 2 Manhattan NY Hotel Pratttt GalleryG W W W HotelH tel Indigoigog Chelseaea W 1 1 Seventh Ave 1 1 2 3 t t t MuseumM att FITT t t t t t t t t t t t t t t t t t t t t t Chelseaea t t S S S S S S S S S S S S S S S S S S S S S S S S S S t t h h d Savoy d t t h h h h h h d h h h h h d h h h h h h t t S S h t t t t t t r t t t t t r t t t t t t n s n s t 9 Lifework Studio 9 5 6 7 8 3 0 2 1 3 7 8 9 8 7 3 2 1 0 8 7 6 5 3 h h 4 1 1 t t 1 1 1 1 1 2 2 2 2 2 2 2 2 2 1 1 1 1 1 2 2 Gary Snyder 2 2 2 4 Chelseaea 4 i W W 1 1 W W W W W W W W W W W W W W 5111 WW.25th W W W W W W W W W w W Hotel n ee W W r Holidayoliday Innn Expresss 1500500 Gallery G Amsterdamms Whitney A C JeffJeeff Bailey Eighth Ave C Deboraheborah Bell E BrandBrrandnd X/Neptune &KHOVHD 3LQHV ,QQ E Wes L Whitee ColumnsCoolumnslumnsG Danielaniel Cooney a

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38 inthe Artworld.com inthe Artworld.com 39 Midtown Uptown Asia Society Americas Society 725 Park Ave at 70th, 10021 680 Park Ave at 68, 10065 212.288.6400 [email protected] 212.249.8950 [email protected] www.asiasociety.org Tue-Sun 11-6; Fri 11-9 www.as.americas-society.org Wed–Sat 12–6 Forum Gallery Nathan A. Bernstein & Co., Ltd. 730 Fifth Ave, suite 201, 10019 21 East 65th Street, 2nd Floor, 10065 212.355.4545 [email protected] 212.288.8970 [email protected] www.fountaingallerynyc.com Tue-Sat 11-7; Sun 1-5 www.nathanbernsteinart.com Fountain Gallery Mon-Fri 10-6; Sat. by appt. 702 Ninth Ave, 10019 Chin a Institute 212.262.2756 125 E 65th St, 10065 www.fountaingallerynyc.com Tue-Sat 11-7; Sun 1-5 212.744.8181 [email protected] Galerie St. Etienne www.chinainstitute.org Sun-Sat 10-5; Tue & Thu 5-8 3024 W 57, 8th fl, 10019 The Frick Collection 212.245.6734 [email protected] 1 E 70, 10021 www.gseart.com Tue-Fri 11-5 212.288.0700 [email protected] www.frick.org Tue-Sat 10-6; Sun 11-5 The Gabarron Foundation, Carriage House Center for the Arts Gagosian Madison Avenue 149 E 38, 10016 980 Madison at 76, 10021 212.573.6968 x10 [email protected] 212.744.2313 [email protected] www.gabarronfoundation.org By appointment only www.gagosian.com Tue-Sat 10-6 Howard Greenberg Gallery Guggenheim Museum 41 E 57, 14th fl, 10022 1071 Fifth Ave at 89th, 10128 212.334.0010 [email protected] 212.423.3500 [email protected] www.howardgreenberg.com www.guggenheim.org Sat–Wed 10–5:45; Fri 10–8 Nohra Haime Gallery Irena Hochman Fine Art Ltd Antonio Seguí "A Retrospective Exhibition 1966-2010", paint - Emin, Grotjahn, Hirst, Judd, Katz, Maloney, Myslowski, ing Apr 27 thru Jun 10 Picasso, Ryman, Warhol 730 Fifth Avenue, 10019 1100 Madison Avenue, 10028 212.888.3550 [email protected] 212.772.2227 [email protected] www.nohrahaimegallery.com Tue-Sat 10-6 Hrs by appoinment only Bill Hodges Gallery The Jewish Museum Erica Schreiner, "Dessert & Disorders", video photo Jun 2 Cuture and Continuity: The Jewish Journey”, ongoing thru end of July 1109 Fifth Ave at 92nd, 10028 224 W 57, 10019 212.423.3200 [email protected] 212.333.2640 [email protected] www.thejewishmuseum.org www.billhodgesgallery.com Tue-Fri 10:30-6; Sat 12:30-5:30 Sun, Mon, Wed, Thu 11–5:45, Tue 11–8 Jadite Galleries Metropolitan Museum of Art Peter A. Gish: “Spiritual Places”; Julio Borges: “Cuban Paint - Fifth Ave at 82nd, 10028 ings”; Martha Zamora: “Paintings”, May 5 thru May 28 212.879.5500 www.metmuseum.org 413 W 50, 10019 212.315.2740 [email protected] Tue–Thu & Sun 9:30–5:30; Fri–Sat 9:30–9:00 [email protected] www.jadite.com Tue-Sat 12-6 Van de Weghe Fine Art 1018 Madison Avenue, 3rd fl, 10075 The Museum of Modern Art ( MoMA ) 212 744 1900 [email protected] 11 W 53, 10019 www.vdwny.com Mon–Fri 10–6 212.708.9400 [email protected] www.moma.org Sat-Mon, Wed-Thu 10:30-5:30; Fri 10:30-8 The National Academy Museum www.newartcenter.net Tue-Sat 1-6 1083 Fifth Avenue, @ 89th Street, 10128 212.369.4880 [email protected] Michael Rosenfeld Gallery www.nationalacademy.org Wed-Thu 12-5; Fri- Sun 11-6 24 W 57, 7th fl, 10019 212.247.0082 [email protected] Whitney Museum of American Art www.michaelrosenfeldart.com Tue-Sat 10-6 945 Madison Ave at 75th, 10021 212.570.3676 [email protected] Throckmorton Fine Art, Inc . www.whitney.org Wed, Thu, S at, Sun 11–6, Fri 1–9 Valdir Cruz, “RAIZES BONITAS”, Apr 21 thru Jn 4 145 E 57, 3rd, 10022 212.223.1059 [email protected] www.throckmorton-nyc.com Tue-Sat 10-6

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42 inthe Artworld.com inthe Artworld.com 43 Williamsburg / Brooklyn LIC / Queens Art 101 , Inc. The Boiler Reis Studios 101 Grand Street, 11211 191 N 14th St, 11211 Group "LaGCC Alumni at The Experimental Space", paint - 718.302.2242 [email protected] 718.599.2144 [email protected] ing sculpture multimedia installation May 14 thru May 22; www.art101brooklyn.com Fri-Sun 1-6; by appt www.pierogi2000.com Thu-Mon 12–6 Jaclyn Santos "Art Talk - Reality after Reality TV", painting Brooklyn Museum of Art Williamsburg Art & Historical Center ( WAH ) May 18 thru May 18; Group "Open Studios", painting sculp - 35 Broadway, 11211 ture multimedia installation video photo May 21 thru 200 Eastern Parkway, 11238 May 22 718638.5000 [email protected] 718.486.6012 [email protected] www.wahcenter.net Sat-Sun 12-6 43-01 22nd St., 11101 www.brooklynmuseum.org Wed-Sun 10-5; Sat-Sun 11-6 718-784-5577 [email protected] Causey Contemporary www.reisstudios.com Mon-Sun 12:30-6 92 Wythe Ave., 11211 M55 Art 718.218.8939 [email protected] 44-02 23rd Street, ground floor, 11101 www.causeycontemporary.com Wed-Sat 11-7; 12-6 pm 718.729.2988 [email protected] Sunday, 9-5 pm Monday www.m55art.org Wed-Sat 12-6; by appt Parker's Box P.S.1 Contemporary Art Center 193 Grand St, 11211 22-25 Jackson Ave, LIC 11101 718.388.2882 [email protected] 718.784.2084 [email protected] www.parkersbox.com Fri-Mon 1-7 www.ps1.org Thu-Mon 12-6 Pierogi QCC Art Gallery 177 N 9th St 222-05, 56th Ave, 11364 718.599.2144 [email protected] 718.631.6396 [email protected] www.pierogi2000.com Thu-Mon 12–6 www.qccartgallery.org Tue-Fri 10-5; Sat-Sun 12-5 Socrates Sculpture Park Broadway @ Vernon Blvd, LIC 11106 718.956.1819 [email protected] www.socratessculpturepark.org

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