DESIGN: WWW.HAUSER-SCHWARZ.CH

THU – SUN 6TH – 9TH MARCH 2014 / 82MERCER, / NY 10 012 RYAN BROWNING ADA GALLERY, RICHMOND

VOLTA NY 2014 | BOOTH NUMBER 2.32

ADA GALLERY: RYAN BROWNING

WEBSITE Ryan Browning is a painter and interdisciplinary artist whose art practice revolves www.adagallery.com around traditional concepts of space, new perceptual experiences such as video E-MAIL games and simulated virtual worlds, and the role images play in the construction [email protected] of memory.

PHONE Magical, mysterious landscapes with elaborate cities carved into mountainsides, +1 804 644 0100 dark caves, and floating worlds are the locations and the characters in Brownings CELL work. Miró-esque sculptures, rainbow colored ladders, oriental rugs, and bonfires +1 804 301 1550 speckle the shadowy creases and plateaus that inhabit these fantastical worlds in- CONTACT NAME viting the viewer to explore. John Pollard Regarding the ideas employed within his works, Browning states: “I like games- playing them and designing scenarios and settings in which games of fantasy can REPRESENTED ARTISTS take place. I’ve been playing role-playing games like Dungeons and Dragons since Jared Clark I was a kid, and since I started , I began to realize that painting and role Michelle Forsyth playing in such games are similar. In a game you imagine layers of surface and sub- Shannon Wright Jakob Boeskov stance on a framework of governing rules. You give names to things that are oth- Daniel Davidson erwise represented by abstract data or systems, and you carve your way into that Kirsten Kindler world by exploring and making changes to it. The rules allow the changes, but you Derek Larson imagine how those changes effect the unfolding of the game’s narrative, like the Brian Novatny Jimmy Trotter grave finality of the ‘death’ of the King in a game of chess. Painting is kind of the Bruce Wilhelm same. You get to know the territory. Once it becomes familiar, you begin to inhabit it, tell yourself stories about it.”

Browning earned a BA from Brigham Young University, Provo, UT, and an MFA from COVER Ryan Browning the Mount Royal School of Art at MICA in Baltimore, MD. His work has been exhib- Stuff Heaven ited throughout the , most recently a solo exhibit at Mulherin + Pollard 2014 in (2014), and at UNTITLED Miami with ADA Gallery (2013); and solo Gouache and watercolor on paper and group shows at the Creative Alliance (2012) and School 33 Art Center (2011) 49.5 × 36 in in Baltimore, MD. His work has been featured in print in New American INSIDE (2011, 2013), and he has participated in residencies at St. Mary’s College of Mary- Ryan Browning land (2011) and Harold Arts, OH (2010). He currently teaches at Virginia Common- Time Passes On The Minor Planes 2012 wealth University Qatar, in Doha, Qatar. Gouache, watercolor, and tea on paper in frames 27.5 × 132 in

BACK (LEFT) Ryan Browning Secret Habitat 2013 Gouache, watercolor on paper 16 × 12.5 in

BACK (RIGHT) Ryan Browning Character Death 2 2013 Gouache and ink on paper 12 × 10 in KIM DORLAND ANGELL GALLERY,

VOLTA NY 2014 | BOOTH NUMBER 2.45

ANGELL GALLERY: KIM DORLAND

WEBSITE Working against the notion that painting is (once again) ‘dead,’ or that representa- www.angellgallery.com tional painting is ‘over,’ Toronto-based painter, Kim Dorland, is among those who E-MAIL remains devoted to the painted surface. A self-proclaimed painting ‘addict,’ Dor- [email protected] land’s practice is rooted in a desire to create a dialogue with his viewers and within

PHONE the broader discourse of painting itself — its possibilities, its subtleties, its overt +1 416 530 0444 material beauty, its problematic history. Dorland’s paintings are at once referential,

CELL material, psychological, beautiful and uncomfortable, resulting in a body of work that +1 647 221 5697 is seemingly disparate but undeniably connected through his idiosyncratic — and

CONTACT NAMES maximal — use of paint in all its forms (oil, acrylic, spray, airbrush…). Jamie Angell Dorland’s preferred subjects are a moving target. The image of the primal forest Joey Chiu Emma Clough remains consistent in Dorland’s work, as does portraiture of his wife, but a daring color scheme and a magnetic visual language render these ‘conservative’ genres at once contemporary and relevant.

REPRESENTED ARTISTS As a fan of painting, Dorland regularly — and deliberately — acknowledges his in- Thrush Holmes Steve Driscoll fluences — whether historic or current, serious or camp. “I think a connection to Daniel Hutchinson history and influences makes painting interesting,” he says. “I would be bored — Jakub Dolejs and I think the viewer would be too — if I followed and adhered just to what paint- Bradley Harms ing ‘is’ right now.” Rafael Ochoa Vessna Perunovich Dorland currently lives and works in Toronto. He attended Emily Carr University of Tim Roda Art + Design in Vancouver and received his Masters from York University in Toronto. Jason Gringler Derek Mainella He has headlined exhibitions in New York, Milan, Chicago, and Toron- to, among other cities. His work has been featured and reviewed in The New York Times, The Los Angeles Times, Modern Painters, Canadian Art Magazine and, most COVER recently, The Globe and Mail, Toronto Star and Maclean’s magazine. Kim Dorland Bay Blanket (detail) Dorland’s work is featured in prominent public and private collections including the 2014 Museum of Contemporary Art , the Musée d’art Contemporain de Mon- Oil and Acrylic on linen over wood tréal, the Blanton Museum of Art at The University of , the Glenbow Museum panel in , the Montreal Museum of Fine Arts, The Oppenheimer Collection at the 20 × 16 in Nerman Museum of Contemporary Art, the Beth Rudin DeWoody Collection, the INSIDE Neumann Family Collection, the Richard Massey Foundation, the Royal Bank of Kim Dorland Sleepwalker #4 Canada and the Sander Collection in . 2014 Oil and acrylic on jute over wood panel 72 × 96 in

BACK Kim Dorland Bedroom #3 2014 Oil and acrylic on jute 72 × 96 in IRIT BATSRY AUT AUT ARTE CONTEMPORANEA,

VOLTA NY 2014 | BOOTH NUMBER 2.43

AUT AUT ARTE CONTEMPORANEA: IRIT BATSRY

WEBSITE Irit Batsry’s work in installations, video and photography has been exhibited in 35 http://autaut.com.br/ different countries and is part of the collections of MoMA in New York, the Israel E-MAIL Museum, and the Whitney Museum of American Art. [email protected] She was awarded the Whitney Biennial Bucksbaum Award in 2002, the Guggenheim PHONE Foundation Fellowship in 1992, the Grand Prix Video de Création of the Société +55 21 982677069 Civile des Auteurs Multimedia in 1996 and in 2001, and the New York Foundation CONTACT NAME for the Arts fellowship in 2002, as well as many International festivals prizes. Her Marcos Dana work was shown at the National Gallery in Washington, the National Film Theater in London, the Reina Sofia Museum in , and the Museu d’Arte Moderna in Rio among others. In 2006 the Jeu de Paume in organized a retrospective of her REPRESENTED ARTISTS Roger Ballen video work. Irit Batsry was born In Israel in 1957, since 1983 she lives and works Alessandra Bergamaschi in New York and elsewhere. Charif BenHelima Mauro Espíndola Images in this brochure are from Of Sets, an ongoing series created from material Pablo Ferretti shot by the artist on the film sets of director Karim Ainouz in . Initiated with Zé Carlos Garcia Set, a video installation shown at the Whitney Museum of American Art in 2003, the Anna Bella Geiger series includes The Yellow Line, 2006 and 2012, Through the Looking, 2007 and Armando Queiroz Screen, shown at aut aut arte contemporanea in 2013.

aut aut arte contemporanea presents innovative contemporary art produced both COVER in and outside of Brazil. Inaugurated in 2009, our gallery focuses on emerging and Irit Batsry mid-career artists working in different media: photography, painting, installation, From the series Phantom Set 2011 and video. Artists represented by aut aut arte contemporanea have been showing Photographs of ephemeral video nationally and internationally. To view some works by our artists please don’t hesi- installations tate to contact us. Dimensions variable In order to reach a wider group of collectors, we are interested in collaborating with INSIDE Irit Batsry art fairs both in Brazil and abroad, offering our expertise and, possibly, space for Irit Batsry: Set, Whitney Museum of future joint exhibitions. Our gallery is located in a charming neighborhood near the American Art, instlalation view Botanical Garden in Rio de Janeiro. 2003 Digital video projection on existing architecture, color, silent: 2:13 min., looped Dimensions variable

BACK Irit Batsry Care (from Set) 2001 (year photographed) 2007 (year printed) Digital lambda print on Fujiflex face mounted to Plexiglas 100 × 100 cm SYLVIA MARSTERS BCA GALLERY, RAROTONGA

VOLTA NY 2014 | BOOTH NUMBER 2.26

BCA GALLERY: SYLVIA MARSTERS

WEBSITE NEW YORKERS DON’T SEE FLOWERS www.gallerybca.com ORIGINAL PAINTINGS + VOLTA ED. SILKSCREEN PRINT

E-MAIL “When you take a flower in your hand and really look at it, it’s your world for the [email protected] moment. I want to give that world to someone else. Most people in the city rush PHONE around so, they have no time to look at a flower. I want them to see it whether they +682 21939 want to or not.” — Georgia O’Keefe / New York Post Interview, 1946 CELL +682 55012 BCA Gallery proudly presents a Sylvia Marsters project for VOLTA NY 2014, New Yorkers Don’t See Flowers. Influenced by a 1946 New York Post interview with art- CONTACT NAMES Ben Bergman ist Georgia O’Keefe, Marsters’ nine-panel installation of original flower paintings will Luke Brown deliver an eruption of colour, form and dimension within the VOLTA milieu.

Marsters’ statement is delivered via her compelling composition of absorbing co- lour contrasts and detailed structure; the flowers themselves seem to leap directly REPRESENTED ARTISTS Andy Leleisi‘uao out at the viewer. Joan Rolls-Gragg Recollecting photographer Alexander Liberman’s impressions of a ‘serene’ vase Loretta Reynolds Mahiriki Tangaroa of flowers amongst the chaos within Augusto Giacometti’s Paris studio in 1950, it Mark Cross is Marsters’ intent to convey that sense of psychic relief. This notion is reinforced Michel Tuffery when considering Marsters’ up-bringing in working class suburbs of Auckland, New Reuben Paterson Zealand where she bore witness to the harsh economic realities of the 1980’s and Sam Thomas Tungane Broadbent suffered the loss of a parent. Undertaking formal studies with art tutor Lois McIvor (McIvor herself was a student of artist Colin McCahon), Marsters’ passion for flowers intensified, her canvases COVER taking on increasing detail and aspect. Sylvia Marsters New Yorker Don’t See Flowers It is no surprise that the sublime beauty of Marsters’ flowers so easily engage your (Series – Panel 1, detail) attention, to offer (if ever so briefly) a chance to re-focus and re-frame our daily 2013 Acrylic / Oil on Canvas outlook and perhaps question what is significant and not so significant in our mul- 41 × 41 in tifarious reality.

INSIDE Sylvia Marsters New Yorker Don’t See Flowers (Series – Panel 2) 2013 Acrylic / Oil on Canvas 41 × 51 in

BACK Sylvia Marsters New Yorker Don’t See Flowers (Series – Panel 3) 2013 Acrylic / Oil on Canvas 41 × 41 in PAWEŁ ŚLIWIŃSKI BEERS CONTEMPORARY, LONDON

VOLTA NY 2014 | BOOTH NUMBER 1.41

BEERS CONTEMPORARY: PAWEŁ ŚLIWIŃSKI

WEBSITE ABOUT www.beerscontemporary.com Beers Contemporary is an art gallery based in London at the core of the vibrant E-MAIL East-Central art scene, with an exhibition program dedicated to the exploration of [email protected] relevant issues through progressive, contemporary art.

PHONE Since its inception in 2008 in Canada, and relocation to London in 2010, Beers +44 207 502 9078 Contemporary has worked with emerging and established artists internationally to CONTACT NAMES explore exciting paths and trends in contemporary art. Today, our exhibitions offer Kurt Beers a diverse array of thematic, aesthetic, and political concepts, highlighting an excit- Beca Laliberte ing approach to contemporary art that is both progressive and thought-provoking.

In the fall of 2014, Director Kurt Beers will author a book, entitled, 100 Painters of REPRESENTED ARTISTS Tomorrow with the publishers Thames & Hudson, the UK’s leading fine-art publisher: Andrew Salgado in search of the most exciting emerging painters at work today internationally. Other Anthony Goicolea Blake Daniels collaborative ventures include a documentary with Channel4 and a multidisciplinary Lello//Arnell programme including art-fairs, book-launches, and special events. Through contin- Leonardo Ulian ued collaboration with artists, organizations, and figures in the arts, our goal is to Lucia Pizzani continue to celebrate, share, and exhibit contemporary art in London and worldwide. Neil Harrison Robert Fry Scott Carter PAWEŁ ŚLIWIŃSKI Tom Lovelace Paweł Śliwiński believes that painting should transcend the need for a utilitarian pur- pose. Disregarding function in favor of concepts and aesthetics, Śliwiński draws on the precedents set by the German New Objectivity movement of the 20th century. COVER In an effort to uphold what he calls “the tradition of painting,” he references artists Paweł Śliwiński Family with Dog such as Otto Dix and George Grosz, and continually embraces a raw and satirical 2012 view of the human condition. Śliwiński’s work is notable for its allusions to deep- Oil on canvas seated psychological concerns and their impact upon society. At once tangible and × 192 144 in readable, his paintings allow the viewer to engage without necessitating intricate INSIDE commentary or explication. Paweł Śliwiński Bums Śliwiński has devised a cast of characters who represent the proverbial outsider: 2013 each isolated as a result of their own foolishness, made tragic through the posses- Oil on canvas sion of some elusive knowledge, or abandoned through some grotesque realization. 190 × 170 in Bizarre figures drift through a backdrop of emotive colours and vaguely disconcert- BACK ing abstracted landscapes, occupying a space outside of certainty. Despite their Paweł Śliwiński colourful, often grotesque appearance, they embody a psychological immediacy that How I Feel When I Box Against You 2013 cannot be understated; they are perhaps Śliwiński’s critical perspective of society: a Oil on canvas mirror into revealing truth of the human condition. The paintings transcend metaphor, 160 × 130 in providing us with a subversively realized document of that which remains unseen, yet lurks ever present beneath the surface of reality, maintaining both symbolic and psychological significance within their selected media of oil paint. CULLEN WASHINGTON JR. JACK BELL GALLERY, LONDON

VOLTA NY 2014 | BOOTH NUMBER 1.30

JACK BELL GALLERY: CULLEN WASHINGTON JR.

WEBSITE Cullen Washington’s work is about abstraction, not about abstracting objects, but www.jackbellgallery.com rather about how he experiences the world and about his dialogue with the work E-MAIL in progress. Thinking of abstraction as the taking away of material things or the [email protected] theft of reality, the artist works towards the extraction of representation or ‘things’.

PHONE Titled ‘No-things’ or ‘nothing’, the new series functions as a place of unlimited in- +44 207 930 8999 terpretation.

CELL In both the Untitled series and the No-things series, he tries to capture a snapshot +44 777 3918 779 of things before they are formed, still in an embryonic state of meaning. Forming CONTACT NAMES multiple fluid relationships, Washington is interested by the possibilities in this place Oliver Durey of ‘in-between’ness. The works take on new directions, meanings and interpreta- Jack Bell tions, and allow for a more open conversation to take place between the work and the viewer.

REPRESENTED ARTISTS Aboudia Leonce Raphael Agbodjelou Washington was born in 1972 in Alexandria, Louisiana, USA. He currently lives and Karo Akpokiere works in New York. Recent exhibitions include ‘Things in Themselves’, curated by Bandoma Lauren Haynes, at the Studio Museum in Harlem, New York. Upcoming exhibitions Armand Boua Almighty God include ‘Black in the Abstract’, curated by Valerie Cassel Oliver, at the Contempo- Goncalo Mabunda rary Arts Museum , Jan 25 – March 23 2014, and ‘The Land Before Words’, Hamidou Maiga curated by Lynne Cooney, at the Boston University Museum, Jan 24 – March 2014. Boris Nzebo Recent acquisitions have been made by the Studio Museum in Harlem and the Saa- Cameron Platter tchi Gallery, London.

COVER Cullen Washington Jr. No-thing #1 (detail) 2013 Unique intaglio print with collage materials and 22 × 30 in

INSIDE Cullen Washington Jr. No-thing #5 2013 Canvas, paper, tape, found materials 7 × 12 ft

BACK Cullen Washington Jr. Infinity 2013 Tape, acrylic, paper, canvas 7 × 10 ft WILLIE COLE BETA PICTORIS GALLERY, BIRMINGHAM

VOLTA NY 2014 | BOOTH NUMBER 2.28

BETA PICTORIS GALLERY: WILLIE COLE

WEBSITE Willie Cole (American, born 1955) is best known for assembling and transforming or- www.betapictorisgallery.com dinary domestic and used objects such as irons, ironing boards, high-heeled shoes, E-MAIL hair dryers, bicycle parts, and recycled plastic water bottles into imaginative and [email protected] powerful works of art and installations.

PHONE Cole’s widely recurring symbolic and artistic object that was initially brought to the +1 205 413 2999 attention of the art world in the 1980s has been the steam iron. His unique approach CONTACT NAME of imprinting the steam iron’s marks on a variety of media result in a wide-ranging Guido H Maus decorative potential of his scorchings, to be viewed as a reference to his African American heritage. Through the repetitive use of single objects in multiples, Cole’s assembled sculptures acquire a transcending and renewed metaphorical meaning, REPRESENTED ARTISTS John Bankston or become a critique of our consumer culture. Cole’s work combines references Steve Bindernagel and appropriation ranging from African and African American imagery, to Dada’s Clayton Colvin readymades and ’s transformed objects. Charles Lutz Eugene James Martin Willie Cole grew up in Newark, New Jersey. He attended the Boston University Odili Donald Odita School of Fine Arts, received his Bachelor of Fine Arts degree from the School of Vi- Bayeté Ross Smith sual Arts in New York in 1976, and continued his studies at the Art Students League Leslie Smith III Travis Somerville of New York from 1976-79. Melissa Vandenberg He’s the recipient of many awards, including the 2006 Winner of the David C. Driskell Prize, the first national award to honor and celebrate contributions to the field of African American art and art history, established by the High Museum of Art in At- COVER Willie Cole lanta, Georgia. Downtown Goddess Willie Cole’s work is found in numerous private and public collections and museums, 2013 bronze, edition of seven including the , the Whitney Museum of American Art, The unique bronzes, each Guggenheim Museum, and the Metropolitan Museum of Art in New York City, NY; in a different color/patina/finish the High Museum in Atlanta, GA; the Albright-Knox Art Gallery in Buffalo, NY; the 9 × 9 × 36 in Museum of Contemporary Art in Chicago, IL; the Walker Art Center in Minneapolis, INSIDE MN; the National Gallery of Art in Washington, D.C.; the Baltimore Museum of Art in Willie Cole Baltimore, MD; the Museum of Art in Dallas, TX; the Yale University Art Gallery Five Stances For Domestic Defense 2013 in New Haven, CT; the Philadelphia Museum of Art in Philadelphia, PA; the Cleveland iron scorches on paper Museum of Art, and the Columbus Museum in Ohio; the Virginia Museum of Fine set of five, each 24 × 18 in Arts in Richmond, VA; the Columbia Museum of Art in Columbia, SC; the Detroit BACK (LEFT) Institute of Arts in Detroit, MI; the Montclair Art Museum, the Newark Museum of Willie Cole Art, and the New Jersey State Museum in Trenton, NJ; the Orlando Museum of Art Ironmaster/GE Male Figure in Orlando, and the Norton Museum of Art in West Palm Beach, FL; and the Saint 1998 metal iron parts, cord, wood, and Louis Art Museum in Saint Louis, MO among others. wool 14 × 15 × 36 in

BACK (RIGHT) Willie Cole Ironmaster/GE Male Figure (detail) 1998 metal iron parts, cord, wood, and wool 14 × 15 × 36 in ANNA NAVASARDIAN GALLERY ANDREAS BINDER, MUNICH

VOLTA NY 2014 | BOOTH NUMBER 1.43

GALLERY ANDREAS BINDER: ANNA NAVASARDIAN

WEBSITE Anna Navasardian’s work utilizes the language of portraiture and the tradition of www.andreasbinder.de figure painting to obscure the bounds that separate personal and constructed iden- E-MAIL tity. Dynamic subjects are drafted from sources that include Soviet era family pho- [email protected] tographs, vintage periodicals, and live models. The resulting characters expose

PHONE hidden truths and buried layers narrated through vigorous brush strokes and an +49 89 21939250 animated palette.

CELL Navasardian develops themes of identity, adolescence, growth, and memory in +49 171 4231684 creating compositions that explore the multilayered nature of reality. In her recent CONTACT NAMES series, vibrant palette marks function as fleeting thoughts surrounding a family. The Andreas Binder thoughts dissolve in and out of the physical environment, blending into the shrub- Veronika Jeric-Binder bery at one point and melting into a womanʼs dress pattern at another. In this way, Navasardian employs the visceral quality of paint to illuminate the invisible elements

REPRESENTED ARTISTS that surround us. Jan Davidoff There is always strife — a dramatic inner state — in the faces of her characters. Hadrien Dussoix Izima Kaoru She likes her subjects to sit for lengthy sessions in order to create a neutral zone Philipp Lachenmann in which their personas dissolve. The resulting figures offer a sense of permanency, Matthias Meyer and a simplification of detail seems to reveal the subject’s purest form. Her life- Yigal Ozeri size paintings feature intimate portrayals of adult and school-aged subjects whose Dieter Rehm Julio Rondo individual personas are sublimated by their universality. Her paintings investigate Thomas Stimm the many layers of reality and deal with themes such as identity, puberty, growing Rolf Walz up and memory.

Navasardian acknowledges German Expressionists, and Armenian artists like Ar-

COVER shile Gorky and Minas Avestisyan as influences — evident in the choice of her color Anna Navasardian palette and expressive brushwork. Black Sea 2013 Navasardian (b. 1988 in ) is a graduate of Carnegie Mellon. Selected solo Acrylic on canvas exhibitions: “Gathering Layers”, Galerie Andreas Binder, Munich; “Kids”, Michael 152 × 121 cm / 60 × 48 in Janssen Singapore, Singapore; “Open” Gasser Grunert, New York; “Child”, Artspace (detail) 105, Pittsburgh; etc. INSIDE Anna Navasardian Rope I & Rope II 2013 Acrylic on canvas 152 × 112 cm / 60 × 44 in

BACK Anna Navasardian Boys 2010 Oil and acrylic on canvas 122 × 152 cm / 48 × 60 in JENNIFER WYNNE REEVES BRAVINLEE PROGRAMS, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 1.09

BRAVINLEE PROGRAMS: JENNIFER WYNNE REEVES

WEBSITE I think I might not be alive to go to my opening next September. I think I should rush www.bravinlee.com to finish things. I wonder why my body is doing this or that. I think Christmas will be E-MAIL long. I think I won’t be able to save enough money for old age with all these bills, [email protected] and that an imminent death would be preferable. I wouldn’t have to look for even

PHONE more powerful galleries. I think it’s too cold to go out and shovel the walk or clear +1 212-462-4404 the snow from my car. Oh, that’s right. The car is in the shop. I think the car won’t be

CELL fixed in time for me to pick up my friend at the bus station. I think I won’t get enough +1 646-522-3665 exercise if I can’t clear the snow from my car. I think no to every opportunity and

CONTACT NAMES yes to every condemnation. Today is a drip-dry depression. Slow. I think who is this Karin Bravin “I”? I toss a rebellious “Fuck!” into the air. My Super-Soulista comes to the rescue. John Post Lee She says, don’t listen to that “I”. It’s not you! Today, tonight and tomorrow, I guard my gates against the “I” that’s not I. Up, up and away, Soul Sister! My bona fide I.

REPRESENTED ARTISTS Philip Akkerman — Jennifer Wynne Reeves 2013, Callicoon NY Katie Armstrong Elektra KB Douglas Florian Laura Krifka Rebecca Morales Erik Olson Reeves has enjoyed numerous exhibitions internationally including one person Charles Ritchie shows at Gian Enzo Sperone in Rome, Max Protetch in New York, Ramis Barquet Boo Ritson in New York and Monterrey, Art & Public in Geneva, The Wooster Art Museum in Amy Wilson Massachusetts, Joan Prats in Barcelona, and Gorney Bravin + Lee in New York. The many reviews of her exhibitions include The New York Times by Holland Cotter, The New Yorker by Alexi Worth, New York Magazine by Jerry Saltz, Art in America COVER Jennifer Wynne Reeves by David Ebony, Artforum by Donald Kustpit, The New York Times by Ken Johnson, Super Soulista The Village Voice by Kim Levin, and in Art in America by Sarah Valdez. She was a 2013 2012 Guggenheim Fellow. Archival Inkjet Print 24.5 × 42 in

INSIDE Jennifer Wynne Reeves Holy Creative Cocks 2011 Archival Inkjet Print 24.5 × 42 in MOHAU MODISAKENG BRUNDYN+, CAPE TOWN

VOLTA NY 2014 | BOOTH NUMBER 1.14

BRUNDYN+: MOHAU MODISAKENG

WEBSITE Considered as one of South Africa’s most promising young artists, Mohau Modisak- www.brundyn.com eng’s powerful work focuses on the question of violence as a mediator of history, E-MAIL particularly within the complex framework of post-apartheid South African identity. [email protected] Although the artist’s visuals are often realized in black and white, his subject matter

PHONE is anything but. Modisakeng’s multifaceted work is concerned with power structures +27 21 424 5150 that are in some way historically connected with notions of conflict, aggression and

CELL disorder within the South African context. Bearing a direct causal relationship to the +27 21 83 277 2062 present, these structures therefore cannot be ignored nor forgotten. They require

CONTACT NAMES confrontation in order to be revealed as politically engineered constructions. It is an Elana Brundyn investigation into the subtle nuances of specific traditions and customs informed Igsaan Martin by the artist’s background.

Modisakeng was born in Soweto in 1986 and lives and works in Cape Town. He

REPRESENTED ARTISTS completed his undergraduate degree at the Michaelis School of Fine Art, Cape Town Sanell Aggenbach in 2009 and is currently pursuing his Masters degree in Fine Art. He was awarded Kevin Brand the SASOL New Signatures Award for 2011 and has exhibited at the inaugural Bien- Tom Cullberg nale International d’Art Contemporain (BIAC) in Fort-de-France, Martinique (2013), Paul Emsley Liza Grobler VOLTA NY, New York (2013), James Harris Gallery, Seattle (2013), Saatchi Gallery, Matthew Hindley London (2012); Dak’Art Biennale, Dakar (2012); Focus 11, Basel (2011) and Ste- Carla Liesching venson, Cape Town (2010). Modisakeng was also an invited artist at the San Fran- Khanyisile Mbongwa cisco Art Institute in November 2013 where he conducted a presentation about his Zwelethu Mthethwa Chad Rossouw practice. He recently completed a public sculpture commission for Zeitz that was unveiled at the pavilion of the newly established Zeitz Museum of Contemporary Art Africa (MOCAA) in the V&A Waterfront in Cape Town.

COVER Mohau Modisakeng Inzilo [Film still] 2013 Single channel video installation 4 min 57 sec

INSIDE Mohau Modisakeng Lolweme (Work in progress) 2013 Mild steel 288 × 475 × 180 cm

BACK Mohau Modisakeng Inzilo [Film still] 2013 Single channel video installation 200 × 200 in 4 min 57 sec ELISABETH SONNECK BRUNNHOFER GALLERY, LINZ

VOLTA NY 2014 | BOOTH NUMBER 2.11

BRUNNHOFER GALLERY: ELISABETH SONNECK

WEBSITE PAINTINGS AND INSTALLATIONS www.brunnhofer.at “For now each colour is able to evoke a specific sound field, also emotional field. E-MAIL But instantly this gets modified, disbanded and reconnected by the surrounding [email protected] colours. Hence one can find an eclectic interdependency, which is my concern in

PHONE painting to explore and orchestrate.” — Elisabeth Sonneck +43 732 77 83 21 At first, Elisabeth Sonneck‘s paintings seem to be conceived as simply and as CELL conceptually easily as possible. The surface of the painting is always covered with +43 664 3818104 vertical stripes of the same width. But what in this description sounds almost mo- CONTACT NAMES notonous develops into a surprising diversity in the finished painting results in an Stefan Brunnhofer astonishing number of varied shades. Although this already ensures great variation Elisabeth Brunnhofer in the strict concept, the possibilities of expression are extended even further by other parameters. The formats of the paintings are rigorously related to the artist’s

REPRESENTED ARTISTS own body: The stripes are only as long as an arm can reach, resulting in three square Lucia Dellefant formats. The stripes are drawn freehand without any aids, which naturally leads to Lorenz Estermann irregularities. Sonneck combines the immediacy of gestural abstraction with the ra- Aurelia Gratzer tional calculation of the concrete — that is, things that are actually irreconcilable. INDRA. Ronald Kodritsch The contrast of deep, light and dark, seemingly transparent colors results in strong Paul Kranzler luminance in the brighter colors. The resulting impression is of a receding in space Thomas Kühnapfel Jennifer Nehrbass and a radiation into the real space of the viewer. The courses of color breaking Andrew Phelps off and overlapping within the format produce an overall effect in the painting that Bernd Zimmer does not emphasize any one section over another in the composition. At the same time, this weightless spread of the composition points beyond the mere format of the painting. This reveals something that has been integral to Sonneck’s work COVER for roughly half a decade: the designing of the wall or the room on or in which the Elisabeth Sonneck ANTIPHONE BLACK LIGHT 5 / 2 painting is presented. (detail) With now more than 40 site-specific murals, some of which are temporary and some 2013 oil on canvas permanent, Sonneck has repeatedly created “vessels” that have been subtly adapted 145 × 145 cm both to her paintings and to the givens of the space in question.

INSIDE The tendency of the painting to become wall, and hence part of the real space of Elisabeth Sonneck the viewer, can be observed in all of Sonneck’s space-related works. Although the ... EACH OTHER (BEIGE) 2012 work is always also an autonomous easel painting, it participates in the sound of acrylic and wax-resin-glazes the space as a whole through relationships of color and form. For example, the mu- on wall and oil on canvas ral alternates between, on the one hand, a color scheme for the room that is de- 2.65 × 36.50 m and termined by existing features such as doors, windows, and niches and consciously 4x each 145 × 145 cm uses them as points of reference, and on the other hand a free, pictorial composi- tion that brings the room, the mural, and the painting into a triad. VYACHESLAV AKHUNOV LAURA BULIAN GALLERY, MILAN

VOLTA NY 2014 | BOOTH NUMBER 2.06

LAURA BULIAN GALLERY: VYACHESLAV AKHUNOV

WEBSITE Laura Bulian Gallery is focused on a constant research of new aesthetic languages www.laurabuliangallery.com from cultural fields only recently included in the contemporary art scene, introducing E-MAIL for example artists from Central Asia (Kazakhstan, Daghestan, Kirghizistan, Uzbeki- [email protected] stan) to the international audience. This feature, together with a particular focus on

PHONE artists with social, anthropological and political significance has progressively given +39 02 48 00 89 83 to the gallery a strong identifiable position.

CONTACT NAME Laura Bulian Gallery is happy to present at VOLTA NY 2014, the first show in an art Laura Bulian fair of the Uzbek artist Vyacheslav Akhunov (b. 1948, Och, Kyrgyzstan) with original works from the 70’s, mostly never shown before.

REPRESENTED ARTISTS Vyacheslav Akhunov is an artist, writer and philosopher, whose work comprises Said Atabekov , collages, paintings, installations, performances and videos, as well as Elisabetta Di Maggio numerous essays. From a peripheral position in Tashkent, his artistic production is G.Kasmalieva & M. Djumaliev Alimjan Jorobaev connected to the experience of 1970s Moscow Conceptualism. Anastasia Khoroshilova Akhunov uses the typical iconography of the Socialist propaganda of the Soviet pe- Taus Makhacheva Marat Raiymkulov riod subverting the dominant ideology through the manipulation of propagandistic Andrei Roiter images. His so-called art-chive establishes a social critique peculiar to the Soviet Eve Sussman reality. In the 70’s the artist wrote several essays on his art, defined by himself as Yelena & Viktor Vorobyev ‘social-modernism’.

From 1974 to 1987 Akhunov realized a series of projects dedicated to the famous COVER revolutionary leader Lenin, including the wide serie of drawings and collage Red Vyacheslav Akhunov Line, in which the Lenin’s representations are inserted into minimal drawings, cre- Two Lenin. Communism there! ating an imaginary ‘political’ landscape. (detail) 1976 Akhunov criticised the system, for example, digging out skeletons from public insti- Tempera, watercolour on Gosnak tutions as in Art-Cheology, 1975-86, or placing monumental sculptures of letters in 33 × 32 cm a restricted exhibiting space creating an effect of suffocation, as in Breathe Quietly, INSIDE 1976-2013, the monumental installation already exhibited last year in Italy at 55th Vyacheslav Akhunov Abandoned pedestals (The Empty Venice Biennale and at Laura Bulian Gallery. Pedestals intended for Monuments Vyacheslav Akhunov has exhibited in important museums and institutions in the for Leaders) 1978 world, such as: MuHKA Museum, Antwerp (2010, 2013), Documenta (13), Kassel Pencil on paper (2012), , New York (2011), Centre Pompidou – Musée National d´Art 41.5 × 30 cm each Moderne, Paris (2008), Philadelphia Museum of Art and Kiasma, Helsinki (2007). In BACK (LEFT) 2013 his works have been on show at 55th Venice Biennale, 5th Moscow Biennale Vyacheslav Akhunov and Singapore Biennale. ABC. Alphabet. Cultural revolution. #1. Lenin’s actions live and win. 1975 – 76 Tempera, watercolour on Gosnak paper 33 × 32 cm

BACK (RIGHT) Vyacheslav Akhunov Two Lenin. Towards Communism! 1976 Tempera, watercolour on Gosnak 33 × 32 cm KATJA LOHER C24 GALLERY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 1.20

C24 GALLERY: KATJA LOHER

WEBSITE Katja Loher is the leading protagonist of the next generation of video artists. She www.c24gallery.com operates like a theatrical producer, working to create idealized artificial worlds that E-MAIL exist in harmony with our own, often unpleasant, reality. Her work takes video out of [email protected] conventional modern contexts, and often features beautiful kaleidoscopic patterns

PHONE constructed from choreographed dance formations, filmed from above to recall the +1 646 416 6300 harmony and elegance of synchronized swimmers.

CONTACT NAMES Loher’s visual statements engage the viewer in a private experience, achieved by Lisa De Simone, Gallery Director encasing her videos in carefully crafted structures. These structures, such as a deli- Amelia Critzer, Gallery Manager Lily Fierman, Sales Associate cate hand blown glass bubble, serve as a gateway and an invitation to her artificial worlds. Despite the intimacy in the experience of viewing Loher’s video-sculptures, her works resonate globally by addressing ecological urgencies that affect all hu- REPRESENTED ARTISTS man beings, like the disappearance of the bee population. Skylar Fein Ali Kazma Loher weaves language together through dance, the written word, and the enigmatic Katja Loher dialects of the animal kingdom. Loher’s performers mimic the somatic, sonar-type Robert Montgomery communications found in ant colonies, beehives or schools of fish. Her work chal- Irfan Onurmen lenges mankind’s hubristic nature over animals by inspiring us to look from another Regina Scully Grazia Toderi viewpoint. Katja Loher (b. 1979 Zurich, Switzerland) has been shown in solo and group exhibi- tions worldwide, including: Figge Art Museum, Iowa, USA; MuBE, Museu Brasileiro COVER da Escultura, São Paulo, Brazil; MAXXI Museum, Rome, Italy; United Nations Pa- Katja Loher Video-Solarsystem vilion, Shanghai Expo, China; SIGGRAPH Asia, Yokohama, Japan and Art Digital, 2013 Moscow, Russia. Her work is featured in many private and public collections in- Video-sculpture cluding Perez Art Museum, Miami, Florida, USA; Credit Suisse Collection, Geneva, Mechanical clockwork, rotating Switzerland; eN Arts Collection, Tokyo, Japan and Horsecross Collection, Perth, UK. Videoplanets and Satellites with video projectors embedded 6 × 6 × 30 m / 2 × 20 × 8 ft

INSIDE Katja Loher Videoportals and Supper for Four 2013 Video-sculptures 5 × 5 × 46 m / 1 × 16 × 13 ft Videoportals: Hemisphere, video screen embedded. Video: 9 min, looped. 90 cm/ 35 inch diameter. Video: 8:30 min, looped. Supper for Four: Acrylic table, video screen embedded, 100: 100: 76 cm / 39 × 39 × 30 inches. Nine-channel video-composition: 6:30 min, looped. Photo: Andrea Liberni

BACK Katja Loher Timebubble 2011 Video-sculpture Two-channel video-composition, 3:10 min, looped Hand-blown glass bubbles, video screen embedded in an acrylic pedestal 14 × 14 × 10 in Photo: F.X. Brun. ROBERT LARSON CES CONTEMPORARY, LOS ANGELES

VOLTA NY 2014 | BOOTH NUMBER 2.25

CES CONTEMPORARY: ROBERT LARSON

WEBSITE Walking, gathering and gleaning are at the core of Robert Larson’s peripatetic explo- www.cescontemporary.com rations in the urban landscape. For more than 20 years the artist has used the most E-MAIL mundane, discarded and forgotten materials to create two- and three-dimensional [email protected] statements about the world in which we live.

PHONE Larson’s works on canvas and on paper are collaged from post-consumer pack- +1 949 547 1716 aging in various states of weathered decay from their exposure to the natural ele- CELL ments. He acquires his material via time-intensive scavenging in urban neighbor- +1 949 370 0554 hoods heavy with commercial detritus. It is after these items have been discarded CONTACT NAME that an exciting transformation begins: they transmute from universally recognizable Carl E. Smith product packaging into non-objective abstractions with infinite variety. At their most weathered, the discarded items are decomposing, literally returning to earth and becoming more of nature than of man. REPRESENTED ARTISTS Jordan Clark The relative chaos of chance that informs the objects’ physical transformation is Lola Dupré countered by Larson’s systematic order of processing in the studio. He sorts, grades Ashkan Honarvar Steven Vasquez Lopez and dissects his finds into tiles of graphic and tonal visual information. He then or- Mike Parillo ganizes these collections of highly processed “dry pigments” into gridded composi- Stepanka Peterka tions that share a kinship with the aesthetic of patterned abstraction, while retaining Jeff Peters inherent associative meaning of the materials origins. Jenny Sharaf Ira Svobodová Zin Helena Song ABOUT CES CONTEMPORARY CES Contemporary specializes in local and international emerging contemporary art. The gallery pursues and supports the development of young artists. Our mission is COVER to encourage and display works that are progressive, challenging and cutting edge. Robert Larson Red Tessellation A multitude of traditional and new media is exhibited at CES Contemporary. Director 2013 Carl E. Smith’s particular passion is for multi-layered works with integrity in design Discarded cigarette packaging and attention to detail. Painting, collage, photography, sculpture and installation on linen 91 × 100 cm / 36 × 39.5 in work are emphasized within the gallery’s regular programming schedule.

INSIDE Robert Larson Bloom 2012 – 2013 Discarded cigarette packaging on canvas 191 × 107 cm / 75 × 42 in

BACK Robert Larson Tread 2013 Discarded Marlboro cigarette packaging on linen 119 × 777 cm / 4 × 30.5 in ALA EBTEKAR CHARLIE JAMES GALLERY, LOS ANGELES

VOLTA NY 2014 | BOOTH NUMBER 2.09

CHARLIE JAMES GALLERY: ALA EBTEKAR

WEBSITE Ala Ebtekar describes his work as “a visual glimpse of a crossroad where present www.cjamesgallery.com day events meet history and mythology”. As a young teenager he joined the seminal E-MAIL group K.O.S. (Kids of Survival), working with artist Tim Rollins on collaborative art- [email protected] works involving groups of urban youth. He received his BA from the San Francisco

PHONE Art Institute in 2002 and his MFA degree from Stanford University in 2006. His work +1 213 687 0844 has been exhibited internationally and throughout the United States in such shows

CONTACT NAME as Frieze NY (2012/3); “cylindr.us” at the Asian Art Museum; “Migrating Identities Charlie James at the Yerba Bueno Center for the Arts; “The Generational: Younger than Jesus” at the New Museum in New York City; “One Way or Another: Asian American Art Now”, a touring exhibition originating at the Asia Society, NYC; “2006 Biennial” REPRESENTED ARTISTS at the Orange County Museum of Art; “The Global Contemporary: Art Worlds After Michelle Andrade 1989” at the ZKM – Museum for Contemporary Art in ; as well as in “The Daniela Comani Ramiro Gomez Beginning of Thinking is Geometric” at the Maraya Art Centre in Sharjah, UAE. He Eske Kath is currently a visiting lecturer at Stanford University, and lives and works in the San Richard Kraft Francisco Bay Area. Steve Lambert Nery Gabriel Lemus Andrew Lewicki William Powhida

COVER Ala Ebtekar MegaForce 2013 Ink and digital pigment on found poster in lightbox 41 × 27 in

INSIDE Ala Ebtekar Ascension 2007 Acrylic and ink on book pages mounted on canvas 51.5 × 81 in

BACK Ala Ebtekar Rapture 2012 Archival pigment print 40 × 60 in SAM JACKSON CHARLIE SMITH LONDON

VOLTA NY 2014 | BOOTH NUMBER 1.34

CHARLIE SMITH LONDON: SAM JACKSON

WEBSITE In my view, one of the likely agents of change is an artist called Sam Jackson. What www.charliesmithlondon.com does he do? He paints. Worse still, he often paints very small. I can’t think of a more E-MAIL revolutionary combination in London right now. — Edward Lucie-Smith [email protected] Jackson’s predominantly small to miniature paintings operate between several axes PHONE of investigation. Whilst recalling Old Master works in tone and atmosphere, they em- +44 20 7739 4055 body the contemporary by way of transgressive subject matter and stark, psycho- CELL logical intensity. Form and line vie and give way to disrupt and obfuscate the image +44 7958 931 521 as we are led beyond surface to a place of instinctive violence, impulsive sexuality CONTACT NAME and unsteady psychological bearing. Zavier Ellis By continuing to make paintings that can still violate our sensibilities even in a time of unrepentant exposure to violent and sexual imagery, Jackson embraces tension REPRESENTED ARTISTS and taboo, and simultaneously forces and seduces his audience to assimilate the Emma Bennett erotic, pornographic and at times abject. These visceral, excessive works are, how- Tom Butler ever, offset by moments of quietude defined by contemplative portraits that oscillate Kiera Bennett Eric Manigaud between the reverential and the neurotic. Wendy Mayer Jackson’s studio practice is unrelenting, analogous to a form of free association Alex Gene Morrison Gavin Nolan where found images, mental images and memories combine to create manifest and Dominic Shepherd latent content in the works themselves. At once obsessive, fetishist and beautiful, John Stark the paintings reveal both destructive and life affirming drives whilst becoming sub- Gavin Tremlett limating mechanisms for both artist and audience.

COVER Sam Jackson graduated in 2007 from the Royal Academy Schools in London and Sam Jackson achieved instant recognition by going into the collections of Sir Norman Rosen- A Memory of You thal, Kay Saatchi and David Roberts. Since then he has gone on to exhibit in An- 2013 Oil on board twerp, Berlin, Bern, Frankfurt, Helsinki, Klaipeda, Krakow, Los Angeles, Napoli, 29 × 20 cm New York and Rome. Jackson is also featured in private collections in Belgium, France, Germany, Netherlands, Switzerland, United Kingdom & United States. In INSIDE (LEFT) Sam Jackson 2014 CHARLIE ­ SMITH LONDON will host Jackson’s third one person exhibition at The Sit-Up the gallery and he will feature in The Harsh Reality: Modern & Contemporary British 2013 Painting at Sainsbury Centre for Visual Arts alongside Francis Bacon, Lucian Freud, Oil on board 17.5 × 15 cm David Hockney, Jenny Saville, George Shaw & others.

INSIDE (RIGHT) Sam Jackson Listening to the Wind 2013 Oil on board 35 × 30 cm

BACK Sam Jackson Walking in the Shade 2013 Oil on board 35 × 30 cm BERNARD WILLIAMS MICHAEL ZELEHOSKI ETHAN COHEN NEW YORK, NEW YORK VOLTA NY 2014 | BOOTH NUMBER 2.38

BERNARD WILLIAMS / MICHAEL ZELEHOSKI

WEBSITE My work involves the literal collapse of three-dimensional objects and structures www.something.com into the picture plane. These found, utilitarian objects are deconstructed and cut E-MAIL into sometimes hundreds of abstract fragments before being reassembled two-di- [email protected] mensionally. The negative space is filled with carefully fitted pieces of painted wood,

PHONE creating a solid plane in which the object is trapped in a parody of its former perspec- +1 212 625 1250 tive. Through this dialogue between the deconstruction of the object and the con-

CELL struction of form, I am able to create works that are picture, relief and object in one. +1 917 854 1308 The humble, quotidian objects are easy to miss in spatial continuity with the sur- CONTACT NAME rounding world. This is particularly true of objects like crates and pallets, which are Ethan Cohen ubiquitous to the point of invisibility and often seen as possessing little or no intrin- Zhu Ceng Jessica Wong sic value. There are many reasons why art objects are perceived differently, not the least of which is that we are able to observe them in the vacuum of the museum or gallery. I have found that the picture plane, acting as an autonomous coordinate, REPRESENTED ARTISTS is capable of performing a similar function by incorporating actual objects. When Andrew Rogers a pallet, for example, is incorporated into the picture, we come to see it, not as an Jin Cai eyesore or an obstacle that has to be navigated around, but as an actual object of Yan Huang John Aslanidis aesthetic interest. Daiyun Li The immediacy of these works owes much to the fact that they literally embody the Xiaohui Liu Cheon Mina (aka Kim Il Soon) objects they depict. Real interaction with an object demands a physical proximity Zhilong Qi that even the most effective representation cannot capture. For this reason, viewing Feng Qin these works in photographic images is problematic. Beyond the visual and phenom- Chong Shi enological issues, there is the simple matter of how these pieces are constructed, which can be elusive even in person. I hope that the viewer will look closely at these images and remember that whereas the whole point of Magritte’s pipe was that it COVER Michael Zelehoski was not, an integral aspect of these objects is that they are what they are. Support System (detail) My work deals with the relationship between mind and reality in a different way 2014 Assemblage with found materials/ than a lot of two-dimensional art. The pallet, which was once part of the physical, stretched canvas/boards and three-dimensional world, suddenly becomes autonomous from the rest of space. painted plywood The planar, concrete object is somehow more remote and closer at the same time. approximately 100 × 50 in By unifying the picture plane and the spatial environment, I am trying to reconcile INSIDE the dichotomy between pictorial and physical space, art and object, sculpture and Bernard Williams painting. Driver 2014 — Michael Zelehoski car parts and various objects 7 × 6 × 3 ft American history and urban culture continue to be a defining space for the subject of my work. Broad interests in construction, technology, art history, and the sciences are included within this subjective mix. The automobile, with it’s powerful suggestive properties in the areas of identity, status, and social mobility, has recently occupied a dynamic place within my sculpture and painting practice. My recent projects have involved the construction of life sized sculptural cars, large painting, object instal- lations, explorations with car bumpers, public outdoor sculptures.

For Ethan Cohen Gallery’s presentation at VOLTA NY 2014, new paintings, an instal- lation, and bumper sculptures which reference the history of painting, sculpture, and junkyard display, while holding surprising commentary on societal structures. The yellow cab material carries ideas related to diversity, immigration, and cultural dif- ference. Cab drivers, and the automobile occupy a most provocative space within our culture. They are literally a driving force in most any American city. I seek to open a window onto this American experience.

— Bernard Williams ZOË CHARLTON CONNERSMITH., WASHINGTON, DC

VOLTA NY 2014 | BOOTH NUMBER 1.17

CONNERSMITH.: ZOË CHARLTON

WEBSITE Zoë Charlton playfully represents social dilemmas produced by domestication and www.connersmith.us.com desire in two series of new works. Using collage and gouache drawing techniques, E-MAIL Charlton fuses racially diverse nude males with ideal landscape elements. The artist [email protected] punctuates vistas of country dream homes and fantasy vacation spots with com-

PHONE modities evocative of non-western cultures to emphasize burdens inherent in the +1 202 588 8750 pursuit of social status by minorities.

CONTACT NAMES Whereas the pictorial style of her masculine subjects recalls American landscape Leigh Conner and still life painting, Charlton employs spatiality and hybridity inspired by cubism Jamie Smith and surrealism in a separate series of collages of female subjects. The artist aug- ments stereotypical figures of young white girls with suburban architecture, African

REPRESENTED ARTISTS tribal signifiers, and black maternal imagery to construct sexualized human/object Janet Biggs hybrids that give expression to fantasies of southern belles and black domesticity. Mia Feuer Maria Friberg Zoë Charlton’s works have been exhibited at The Studio Museum in Harlem, the Ali Miller Indianapolis Museum of Art, the Baltimore Museum of Art, and the Contemporary Katie Miller Art Museum in Houston. Julie Roberts Erik Thor Sandberg Koen Vanmechelen Leo Villareal Wilmer Wilson IV

COVER Zoë Charlton Dreamers and Builders (detail) 2012 Collage and gouache on paper 30 × 22 in

INSIDE Zoë Charlton Hide 2007 Graphite and gouache on paper 50 × 50 in

BACK Zoë Charlton Those Girls #2 2013 Collage on paper 11 × 20 in WILMER WILSON IV CONNERSMITH., WASHINGTON, DC

VOLTA NY 2014 | BOOTH NUMBER 1.17

CONNERSMITH.: WILMER WILSON IV

WEBSITE Wilmer Wilson IV engages issues of identity and race in a body of new works in www.connersmith.us.com photography, sculpture, and performance, by appropriating a simple material from E-MAIL everyday experience: the brown paper bag. Wilson explores socio-economic catego- [email protected] ries and color bias with this common object, which is culturally identified with bag

PHONE lunches, public alcohol consumption, and the “brown paper bag test” of skin color. +1 202 588 8750 Wilson will confront the racial history of the brown paper bag in “From My Paper Bag CONTACT NAMES Colored Heart,” two durational performances in which he enacts a liminal struggle Leigh Conner between freedom and self-destruction. Tying inflated bags to his body, he will con- Jamie Smith struct over himself a paper bag epidermis. To liberate himself he must destroy the bags with blows from his own fists.

REPRESENTED ARTISTS Wilmer Wilson IV’s works have been exhibited in the Birmingham Museum of Art in Janet Biggs Birmingham, and The Corcoran Gallery of Art in Washington, D.C. Zoë Charlton Mia Feuer Maria Friberg Ali Miller Katie Miller Julie Roberts Erik Thor Sandberg Koen Vanmechelen Leo Villareal

COVER Wilmer Wilson IV From My Paper Bag Colored Heart 2012 Performance Dimensions variable

INSIDE Wilmer Wilson IV From My Paper Bag Colored Heart 2012 Performance Dimensions variable

BACK Wilmer Wilson IV From My Paper Bag Colored Heart 2012 Performance Dimensions variable DAWN BLACK CYNTHIA-REEVES, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.30

CYNTHIA-REEVES: DAWN BLACK

WEBSITE I am particularly interested in the various permutations of societal practices that www.cynthia-reeves.com engender power hierarchies. The religious and ethnic nuances of power — who are E-MAIL the meek, who are the shameless, and when do the roles interchange? Societal [email protected] practices and masquerade, uniforms, religious dress, etcetera muddle conceptions

PHONE of power and identity. It is provoking how a disguise (even a uniform) engenders the +1 212 714 0044 wearer powerful through his or her clandestine anonymity. — Dawn Black

CONTACT NAMES The practice of masquerade, especially its role in relation to identity fascinates Loui- Cynthia Reeves siana based artist, Dawn Black. Her gouache, watercolor and ink paintings examine Sara P Mintz masquerade’s role in relation to conceptions of power through clandestine anonymity and, paradoxically, its ability to allow the concealed to be his or her authentic self.

REPRESENTED ARTISTS Oscar Wilde observed, “Man is least himself when he talks in his own person. Give Sarah Amos him a mask, and he will tell you the truth.” Shen Chen Janet Echelman The figures in Black’s work are selected from various sources, societies and time Lianghong Feng periods and are composed to create a tabelaux influenced by the ideas of James John Grade Hillman, Joseph Campbell, and mythmaking in general. Her work does not illustrate Jaehyo Lee any specific myth but seeks to provoke critical thought regarding current attitudes Soo Sunny Park Jonathan Prince and conflicts within the terms of universal stories. Sibylle Pasche Black’s drawings explore what she calls, “my own mania regarding disguise and Lionel Smit surrogate identities, [and] the societal trend toward ritualized dress of all manner. By depicting scenes of carefully selected concealed figures drawn in gouache and

COVER ink on paper, I can explore the attitudes and morays of real people culled from the Dawn Black Internet and from current periodicals.” The Conceal Project Ongoing The Conceal Project is a collection of these disguised persons, each drawn on a Watercolor on paper piece of 7” x 5” paper and then arranged in a grid. Currently the project comprises 7 × 5 in per panel, site-specific of hundreds of figures, to which Black is constantly adding. She often uses the installation Conceal Project as a character bank to find subjects for her larger implied narra- INSIDE tive drawings. Each of these larger drawings tell a story by depicting numerous dis- Dawn Black guised figures whose mysterious and ambiguous relationships become intertwined Victory Apostolic Scarecrows 2012 with the viewer’s beliefs regarding the authentic and the covert, the formidable and Gouache, ink, and watercolor the meek, the false witness and the sincere. All are intended to invoke the aura of on paper a forgotten myth or a foreboding parable. 30 × 40 in Black received a BFA from Louisiana State University and earned both MA and MFA, specializing in Painting and Sculpture, from the University of Iowa School of Art and Art History. A grand prize-winner in this year’s Louisiana Contemporary exhibition at the Ogden Museum of Southern Art, Black’s work is found in several prestigious pub- lic and private collections, notably the Paper and Watermark Museum of Fabriano, Italy, the Columbus Art Museum in Georgia and the Zacharius collection in Charles- ton, South Carolina. The Washington Post, Art Papers Magazine, and Art in America have recently reviewed her work. The artist lives and works in Baton Rouge, LA. MATTHEW CRAVEN DCKT CONTEMPORARY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 1.04

DCKT CONTEMPORARY: MATTHEW CRAVEN

WEBSITE Matthew Craven often thinks that he is waking up in the middle of history. “How did www.dcktcontemporary.com we get here, and what comes next?” is the question underlying his artistic pursuits. E-MAIL To truly understand our place in this world we must understand where we came [email protected] from. But how do we do that? Can we trust the Eurocentric understanding of history

PHONE taught in academia and transcribed in textbooks? Even our most recent history is +1 212 741 9955 marred by our manifest destiny way of appropriating history. So how are we to truly

CONTACT NAMES understand the civilizations that came thousands of years before us? Dennis Christie Most scholars pursuing human history will agree that the current Eurocentric model Ken Tyburski does not successfully represent an unbiased understanding of the past. Subse- quently world history textbooks still tend to fall short in regards to a more historically

REPRESENTED ARTISTS equitable perspective. Alternative historians are subjected to ridicule for perusing Helen Altman any theories that don’t match the current model of what’s being taught. castaneda/reiman Sophie Crumb Understanding that our view of history is deeply flawed and inherently biased, we Lia Halloran are left with a puzzle of strange pieces. Some of these pieces appear to fit together Ryan Humphrey despite thousands of years and tens of thousands miles separating these ancient Maria E. Piñeres civilizations. Using source material from historical text, Craven’s drawings and col- Brion Nuda Rosch Timothy Tompkins lages scramble our current notions of space and time. The powerful images we are Russell Tyler left with cannot be reinterpreted, translated or disregarded. What is left was carved Michael Velliquette in stone. It is permanent. They are our sacred truths.

Craven combines these puzzle pieces into a new framework. Archaeological remains

COVER and ruins act as a backdrop to form new crypto-historical arrangements. Images Matthew Craven from lost cultures, relics and landscapes, both well-known and extremely ambigu- Crackle (detail) ous create the patterns within the work. The result is a composition that highlights 2013 a new connection to our past, in an aesthetic that is intended to be both cinematic Mixed media 40 × 50 in in scope and visionary in their perspective.

INSIDE By re-appropriating the images from the past, Craven hopes to provoke a certain Matthew Craven curiosity about the truths within the standard historical conventions and open the Bodywork doors for a more inquisitive examination of the past. Craven’s work envisions a 2013 Mixed media historical methodology which embraces connections in humanity and searches for 12.5 × 9.5 in patterns that transcend our previous understanding of the world in which we live. HEDWIG BROUCKAERT GALERIE JAN DHAESE, GHENT

VOLTA NY 2014 | BOOTH NUMBER 1.12

GALERIE JAN DHAESE: HEDWIG BROUCKAERT

WEBSITE Geared towards the ultimate creation of complex, multi-layered and abstract images, www.jandhaese.be Hedwig Brouckaert’s artworks are based on mass-produced and mass-distributed E-MAIL mail-order catalogs and other forms of advertisement. She deconstructs their im- [email protected] age, message, context and goal. Her drawings exit the figurative and enter a whole

PHONE new time-space dimension that is alien to its original context of and com- +32 477 43 77 94 merce. Brouckaert’s drawings are uncompromising processes of time, slow time

CONTACT NAME and gradual darkness. This process literally draws a stark contrast between the Jan Dhaese fast-paced world of advertisement, where everything has to be surprisingly new, bright and inventive and where thirty seconds of commercial airtime cost three mil- lion dollars, and the artist’s undecipherable line drawings that sometimes require a REPRESENTED ARTISTS period of twelve months for completion and have low production costs. Dolores Bouckaert Pavel Braila Hedwig Brouckaert finds comfort in how a complex image is created out of trivial Annelies de Mey elements that she borrows from daily life. Her work transforms something known Jennifer De Plu into something unknown, something that’s familiar into something alien. It shows the Marthe Ramm Fortun Christophe Malfliet urge to deform information into something un-informing, unexplainable and infinite. Lee Ranaldo — Jan Van Woensel (extract from ‘Something about Black Holes’) Max Razdow Emerald Rose Whipple LG White Hedwig Brouckaert is a Belgian artist living and working in NYC and Ghent, Bel- gium. She obtained an MFA from the University of California, Davis after complet- COVER ing a Masters at the Sint-Lukas Hogeschool in Brussels and a Postgraduate at Hedwig Brouckaert the Higher Institute for Fine Arts (HISK) in Belgium. Brouckaert received numerous Untitled (V.S., s.a.c.s. 2011) (detail) artist grants from the Flemish Government in Belgium, and fellowships and resi- 2012 Carbon paper on paper dencies of the Rockefeller Foundation – Bellagio, Liguria Study Center for the Arts 19 × 12 in and Humanities, Cité Internationale des Arts Paris, Hafnarborg Museum of Iceland,

INSIDE Yaddo, Anderson Ranch Arts Center, Virginia Center for the Creative Arts, Rag- Hedwig Brouckaert dale Foundation, and Vermont Studio Center in the U.S.A. Brouckaert’s work has Bilateria – G, YD been widely exhibited, including in 2011 with Jorinde Voigt and Nelleke Beltjens in 2011 ­Re/pro/ducing Complexity, an exhibition about drawing curated by Peter Lodermeyer­ Drawing and archival inkjet print on paper in the Museum Dhondt-Dhaenens in Belgium, and in 2012 in the Städtische Galerie 44 × 63 in Villa Zanders near in Germany.

BACK (LEFT) Hedwig Brouckaert Tableau – Victoria’s Ascension 2013 Magazine clippings, human hair, pins and wire 10 × 16.5 × 3.2 ft

BACK (RIGHT) Hedwig Brouckaert Tableau – Victoria’s Ascension (detail) 2013 Magazine clippings, human hair, pins and wire 20 × 13 × 13 in MASATAKE KOUZAKI DILLON GALLERY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.41

DILLON GALLERY: MASATAKE KOUZAKI

WEBSITE Since winning the UBS Art Award from London’s White Chapel Gallery in 2000, Ma- www.dillongallery.com satake Kouzaki’s work has been widely exhibited internationally. In the last decade, E-MAIL he has shown at the Sato, Fukushima, Koriyama, and the Futyu museums in his [email protected] native Japan. Intensively trained in the traditional Nihonga technique of Japanese

PHONE painting at Tokyo National University, where he gained his doctorate in 2005, Kou- +1 212 727 8585 zaki uses a unique combination of traditional materials (ground mineral pigments,

CONTACT NAMES gold and silver leaf on rice paper) with modern oil and acrylic paints. The artist has Valerie Dillon also worked extensively with relief application in the form of foil molds, innovating Alvaro Perez Miranda this centuries old technique. Kouzaki has received numerous awards and critical Diana Lee recognition for his creative approach to Nihonga. Alexander Brown Kouzaki’s paintings explore a unique vision of diverse characters, by combining animals, plants, and real and mythical creatures into new creations. Kouzaki sees REPRESENTED ARTISTS his imaginative conceptions as intimately tied to advances in science and industry. Chiho Akama By depicting humans as transformed, hybrid characters, he makes us reflect on Cristina De Middel Per Fronth humanities self-identification. Makoto Fujimura Devoted to the representation of international contemporary artists in a variety of Steven MacIver Keizaburo Okamura mediums, Dillon Gallery exhibits established, mid career, and emerging artists whose Brian Rose works convey our approach to visual content. Formalism and structure carries Oswaldo Vigas through the various styles and mediums we present with an overall interest in the Ultra Violet personal content behind the artists’ aesthetics. The gallery has published substantial Leah Yerpe monographs on artists we represent in our dedication to expose a new wave of global talent to the Chelsea audience. Our Asian Nihonga program is one approach by the

COVER gallery to highlight artists working within their cultural environments. Be it a young Masatake Kouzaki Norwegian artist, an African American photographer, or Nihonga painters, Dillon Tougen No. 75 Gallery continues to act as a forum for regional voices across the artistic landscape. 2013 Mineral pigments, acrylic and gold leaf on paper 64 × 28 in

INSIDE Masatake Kouzaki Tougen No. 65 2013 Mineral pigments, acrylic and gold leaf on paper 128 × 64 in

BACK Masatake Kouzaki Tougen No. 19 2013 Mineral pigments, acrylic and gold leaf on paper 64 × 64 in MAKI NA KAMURA DITTRICH & SCHLECHTRIEM, BERLIN

VOLTA NY 2014 | BOOTH NUMBER 2.37

DITTRICH & SCHLECHTRIEM: MAKI NA KAMURA

WEBSITE Maki Na Kamura is a painter who was born in Japan and lives and works in Berlin, www.dittrich-schlechtriem.com Germany. The artist was honored with the Prix Marcel Broodthaers “en paintre” in E-MAIL 2012 and was awarded the internationally acclaimed Falkenrot Prize in 2013. [email protected] A painter remains always a storyteller, depicting a representation and aligning the PHONE artist between reality and fiction, even if a concrete storyline is missing. While the +49 30 24 34 24 62 contemporary world seems to be increasingly unpredictable and new digital spaces CELL embody vague unfamiliar environments, Na Kamura’s art establishes its own stabi- +1 914 623 2097 lizing horizon within long standing traditions in the history of Art, and, more promi- CONTACT NAMES nently, in the history of Culture and Painting. André Schlechtriem Owen Reynolds Clements In a discussion of Maki Na Kamura’s practice in his recent essay Painting as Reso- nance Chamber, Christoph Tannert writes, “color spreads itself intoxicatingly in her work. Color creates space, creates landscape, and yet displays itself in a process. REPRESENTED ARTISTS The painting doesn’t hinge on the distinction between the abstract and the con- Nicky Broekhuysen crete. A signature mark and a romantically expressive brushstroke generate ani- Bernhard Brungs Asger Carlsen mated surfaces. [...] The artist has a feeling for the present — the presence of the Julian Charrière materiality of paint and the discursive changes in the field of painting. She proves Klaus Jörres that one can still love painting. In any case, there are secrets in the details that Robert Lazzarini charge these paintings.” Dennis Loesch Hugo Markl Maki Na Kamura clarifies her painterly practice with the following words: “I don’t Maki Na Kamura offer any narratives […] I just supply the source material.” Jonathan Schipper Tom Of Finland Julian Charrière and Julius von Bismarck

COVER Maki Na Kamura F-S PAGODAS VI 2013 Oil and water on canvas 120 × 85 cm

INSIDE Maki Na Kamura F-S PAGODAS X 2013 Oil and water on canvas 180 × 250 cm

BACK Maki Na Kamura F-S PAGODAS XIV 2013 Oil and water on canvas 105 × 180 cm LOUISE HINDSGAVL THIERRY FEUZ CHRISTOFFER EGELUND, COPENHAGEN VOLTA NY 2014 | BOOTH NUMBER 1.46

LOUISE HINDSGAVL / THIERRY FEUZ

WEBSITE Louise Hindsgavl (b. 1973) is fascination with mutants that are part human, part www.christofferegelund.dk animal does not spring from a love of science fiction or interest in new experimenta- E-MAIL tion in inter-special transplantation. She is bringing to the forefront people’s second [email protected] nature — the side of human nature governed by pure instinct that lurks behind a

PHONE polished surface unchecked by the conscious self. +45 33939200 The artist mainly works in porcelain and her works have a distinctly narrative ex- CELL pression, both in one-off pieces and with more utilitarian items. She feels that we +45 26272871 often let pre-determined images of others dictate our taste. She wants to change CONTACT NAME that tradition and to this end her works often have surrealist undertones, where she Christoffer M. Egelund produces a form of alternative reality for the viewer to enter.

Louise Hindsgavl graduated from Designskolen, Kolding, DK, in 1999 and has ex- REPRESENTED ARTISTS hibited widely in Denmark, Europe, the US and Asia and her works has recently Mikkel S. Andersen been on display at MAD New York for the curated show Body & Soul. Her works is Crystel Ceresa represented in major collections worldwide including: National Museum Stockholm, Ghost of a Dream Morten Steen Hebsgaard Sweden; Victoria and Albert Museum London, UK; Minneapolis Institute of Arts, MIA, Yuichi Hirako USA; Carlsberg Art Fondation, DK; The The Röhsska Museum, Gothenburg, SE; Jason Jägel Designmuseum, Copenhagen, DK; MAD NY, USA; Trapholt, Kolding, DK; ASU Art Christoffer Joergensen Museum, Arizona, USA etc. Furthermore she has received The Danish Art Founda- Michael Johansson Ida Kvetny tion work grant of 3 years. Maria Torp Over the last decade, Thierry Feuz (b. 1968) had his international breakthrough with four interplaying artistic styles: Psychotropical; Technicolor; Gulf stream; and Super- natural. Typical of his unorthodox style he executes all his paintings in glossy auto COVER Louise Hindsgavl paint and uses strong colours as an aesthetically form shaping, space creating and Entertainment evocative technique. He invites us into his enchanting world of images, which ex- 2014 plores the imperceptible stages of change and decay that endow nature’s processes Porcelain, Stuffed bird of creation and decomposition with a fascinating life and presence of their own. 19 × 14 × 13 in His works opens up to a world of biomorfe flowers, floating weightlessly in indefin- INSIDE Thierry Feuz able monochrome space into striped multicolored image surfaces where everything Silent Wind recognizable dissolved. 2013 Lacquer, spray, collage on canvas Thierry Feuz (b. 1968) lives and works in Geneva and Vienna. He graduated from 79 × 63 in Ecole Supérieure des Beaux-Arts in Geneva and Universität der Künste in Berlin

BACK (LEFT) in 1998. He has had numerous international solo and group shows in the last year Louise Hindsgavl alone, with four solo exhibitions in – Korea, Belgium, France and Germany. In ad- Human Desires VI dition he is represented in several major private and public collections such as; Art 2013 Singapore Foundation (SG); Credit Suisse (CH); Musée d’Art et d’Histoire (CH); Piz- Porcelain, metal, wire 33 × 36 × 18 in zuti Collection (US); Saks Fifth Avenue Collection, NY (US); Sal. Oppenheim Col- lection (CH); Fonds Municipal d’Art Contemporain (CH). Furthermore Feuz received BACK (RIGHT) Thierry Feuz the prestigious award The Atelier Visarte Switzerland, Cité des Arts, Paris, France. Perfect Night Sazar 2013 Lacquer, Spray on canvas 43 × 36 in ALICIA DEBRINCAT KIANGA ELLIS PROJECTS, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.03

KIANGA ELLIS PROJECTS: ALICIA DEBRINCAT

WEBSITE Alicia DeBrincat’s paintings combine original and archival photography, silkscreen, www.kiangaellisprojects.com and oil paint to explore both playful and sinister aspects of the human experience. E-MAIL A regular cast of characters makes appearances in multiple paintings, hinting that [email protected] each painting could be a moment in a larger narrative that remains tantalizingly just

PHONE out of reach. +1 646 312 9350 The Durrantman paintings feature the historical figure Theodore Durrant, a late 19th CONTACT NAME century medical student living in San Francisco who suffered an “attack of brain Kianga Ellis fever” and killed two young women who went to his church. In an internationally- publicized trial, he was convicted of first degree murder and executed at San Quen- tin Prison in California in 1898. DeBrincat explores the distance between the inci- REPRESENTED ARTISTS Alex McKenzie dent and the archive, and the way that historical fact slides into fictional narrative, Angela Washko especially in a widely publicized media spectacle such as Durrant’s trial became. Elisa Kreisinger General Howe This history foreshadows our present age where the media promote and the pub- Hunter Jonakin lic variably endures, enjoys and celebrates the image, specifically the face, of the Jeannette Ehlers perpetrators of horrendous crimes. The Durrantman paintings conjure a sense of Nikita Gale past and present colliding. They further evoke the psychological space of mental Pamela Council Peter Daverington illness and persistent perpetuation of violence in society against women’s bodies. Sebastian Masuda Kianga Ellis Projects represents emerging artists and mid-career international artists at the vanguard of contemporary art practice.

COVER Alicia DeBrincat Durrantquad (detail) 2013 Silkscreen ink and oil paint on canvas 36 × 36 in

INSIDE Alicia DeBrincat Durrantquad 2013 Silkscreen ink and oil paint on canvas 36 × 36 in

BACK Alicia DeBrincat Durrant Spider 2013 Silkscreen ink and oil paint on canvas 36 × 36 in AMEL BENNYS SELMA FERIANI GALLERY, LONDON

VOLTA NY 2014 | BOOTH NUMBER 1.08

SELMA FERIANI GALLERY: AMEL BENNYS

WEBSITE SELMA FERIANI GALLERY is delighted to introduce Amel Bennys new project www.selmaferiani.com Underground, developed during her current stay in New York city throughout this E-MAIL year. For VOLTA NY, Bennys presents an array of her most recent paintings and [email protected] silkscreens on canvas, which offer a visual trajectory of her expansive process and

PHONE metier at large. +44 20 74936090 Upon viewing the various works on show, the layered textures and pigments are CELL noteworthy of the artist’s signature process. For Bennys, colour is equally a struc- +44 77 86114477 ture as a three-dimensional object in space. Her exploration of texture and mate- CONTACT NAME rial gives way to the visual knowledge of form through coloration. For the artist, the Selma Feriani colour becomes a point of departure in exploring the depths of architectural form. In her paintings one can note the manner in which colour acts as a constructive tool: the purity of the pigment stands flat on the canvas and thus become a struc- REPRESENTED ARTISTS Armen Agop ture in and on itself. Mustapha Akrim During her residence in New York, Bennys has been exploring the subway system Ziad Antar Elena Damiani and spending a vast amount of time capturing it by means of photography, whilst Pascal Hachem contemplating its functionality and complex structure. ‘The New York subway looks Rula Halawani to me like Roman remains, a hidden underground ancestral lost city’ says Bennys. Nicene Kossentini Ali Kazim Maha Malluh Ariel Orozco

COVER Amel Bennys Subway I (detail) 2013 – 2014 Photo print, pigment, oil and drawing on canvas 81 × 71 cm

INSIDE Amel Bennys Subway II 2013 – 2014 Photo print, pigment, oil and drawing on canvas 81 × 71 cm

BACK Amel Bennys Again 2013 Pigment, oil stick and aluminum on canvas 200 × 160 cm CASEY RUBLE FOLEY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.13

FOLEY: CASEY RUBLE

WEBSITE Casey Ruble’s work investigates the psychology of connection, detachment, and www.foleygallery.com transience. Influenced by postwar literature, true-crime television, and documentary E-MAIL photography of the 1970s, these intimately scaled paper collages depict scenes that [email protected] appear ordinary but have a charged history. Vivid palettes that combine dissonance

PHONE and harmony lend an underlying tone of anxiety, and the process of meticulously cut- +1 212 244 9081 ting out each component, no matter how small, gives seemingly irrelevant minutiae

CONTACT NAME — an electrical wall socket, a crack in the sidewalk — a strange significance. The Michael Foley rootless feeling of the images is tethered by concrete detail, and the main clause of the narrative is always left blank.

REPRESENTED ARTISTS THE OFFING Thomas Allen The Offing series, based in New Orleans, depicts former orphanages, disinterred Alice Attie Richard Barnes cemeteries, and locations where the bodies of murder victims have been hidden. Val Britton In New Orleans the dead can’t be buried because the city sits below sea level and Amy Casey the corpses pop back up out of the ground whenever there’s a hard rain. Early set- Ina Jang tlers learned this the hard way, and they began housing the dead in aboveground Martin Klimas Henry Leutwyler tombs. This gives New Orleans a curious relationship to the deceased — residents Andrea Mastrovito live among them rather than on top of them. The past keeps reasserting itself, yet Ilona Szwarc present-day narratives continue to unfold, often mundanely — the city’s first Jewish cemetery is now an abandoned playground; a Catholic orphanage is now a quaint bed and breakfast. Ruble’s collages reflect this tension, speaking to the Crescent COVER City’s displacement of bodies at the beginning of life, the end of life, and after life. Casey Ruble North Rampart Street 2012 Paper collage Ruble lived in New Orleans in the mid-1990s and is now based outside New York 8 × 6 in City. The Offing series grew out of a contribution she made to the 2013 book Un- INSIDE fathomable City: A New Orleans Atlas, by Rebecca Solnit and Rebecca Snedeker. Casey Ruble Charters Street 2012 Paper collage 6½ × 8 in

BACK Casey Ruble 8th Street 2012 Paper collage 8 × 6½ in CLARE GRILL FRED.GIAMPIETRO GALLERY, NEW HAVEN

VOLTA NY 2014 | BOOTH NUMBER 2.50

FRED.GIAMPIETRO GALLERY: CLARE GRILL

WEBSITE Clare Grill makes paintings about things fading away. Drawing imagery and inspira- www.giampietrogallery.com tion from family photographs and embroidery samplers produced by young women E-MAIL in the eighteenth and nineteenth centuries, her recent work engages the complex- [email protected] ity of women’s history and traditions. Grill’s paintings have an available yet rarely

PHONE obvious logic. Although a source image may dictate something about her mark, her +1 203 777 7760 mark is not at the total will of the image.

CELL Originally from Chicago, Grill lives and works in Queens, New York. Solo exhibitions +1 203 415 8713 include Soloway (, NY) Reserve Ames, (Los Angeles, CA), Fred Giampietro CONTACT NAMES Gallery (New Haven, CT), Edward Thorp Gallery (New York, NY), and Real Art Ways Fred Giampietro (Hartford, CT). Her work has been featured in group exhibitions throughout the Katharine Sofrin United States at spaces such as Nudashank Gallery (Baltimore, MD), Marc Jancou Contemporary (New York, NY), Roots and Culture (Chicago, IL), and (forthcoming)

REPRESENTED ARTISTS Pennsylvania College of Art and Design (Lancaster, PA) and the New Britain Museum Karen Dow of American Art. Since receiving her MFA from Pratt Institute in 2005, Grill has par- Kevin Finklea ticipated in the Aljira Emerge Program (2007), the AIM Program at the Bronx Mu- Joseph Fucigna seum (2008), and received the 2011 Pratt Alumni Award to attend the Skowhegan Danny Huff Blinn Jacobs School of Painting and Sculpture. Clint Jukkala Becca Lowry Will Lustenader Richard Lytle Peter Ramon

COVER Clare Grill Glove 2013 Oil on linen 30 × 33 in

INSIDE Clare Grill Carve 2012 Oil on linen 36 × 44 in

BACK Clare Grill Game 2013 Oil on linen 15 × 16 in ANAHITA VOSSOUGHI FRED.GIAMPIETRO GALLERY, NEW HAVEN

VOLTA NY 2014 | BOOTH NUMBER 2.50

FRED.GIAMPIETRO GALLERY: ANAHITA VOSSOUGHI

WEBSITE From aliens to runway models, a pop-culture spectacle of the body mutating, adapt- www.giampietrogallery.com ing and transforming presents complex issues of familiarity and distance with the E-MAIL somatic. My recent work pivots around intimations of the body in states of transfor- [email protected] mation, as a platform to destabilize our mediated perceptions of bodily norms and

PHONE examine their complex cultural and social associations. +1 203 777 7760 I transfigure raw materials and found objects to suggest the human figure in its most CELL abstract to its most recognizable states of existence. The carving, cutting, mold- +1 203 415 8713 ing, painting and juxtaposing of both traditional art materials in conjunction with CONTACT NAMES the assemblage of found objects give me a broad range of methods and histories Fred Giampietro to contend with one another. The issue of bodily management, from the addition of Katharine Sofrin jewelry, to surgical modification or prosthetic attachments is mimicked in the pro- cess of making my work.

REPRESENTED ARTISTS By drawing from multiple histories in sculpture, painting and pop culture, accepted Karen Dow canonical truths are called into question, as are the authoritative use-value and social Kevin Finklea Joseph Fucigna connotations of the objects and that are appropriated and transformed. My aim is Danny Huff to redirect and confound these associations, thereby positioning them into a space Blinn Jacobs where they can be reevaluated. I want to leave myself, and the viewer without a Clint Jukkala comfortable place to land in terms of association or orientation, creating a tangled Becca Lowry Will Lustenader web of meaning, challenging cultural and artistic expectations. Richard Lytle Peter Ramon

COVER Anahita Vossoughi The Cup that Holds My heart 2010 Polymer Clay and Bikini 5 × 8 × 10 in

INSIDE Anahita Vossoughi A Step Forward 2013 Self Dry Clay, Found Objects and Paint 7 × 14 × 9 in

BACK Anahita Vossoughi His Time Comes in Capsules 2010 Self Dry Clay, Decorative Ceramic Ball, Acrylic Paint, and Resin 10 × 12 × 11 in SETH MICHAEL FORMAN FROSCH&PORTMANN, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.20

FROSCH&PORTMANN: SETH MICHAEL FORMAN

WEBSITE Seth Michael Forman’s recent paintings — imagined tableaux informed by New www.froschportmann.com England landscapes and dreams — are reveries that evoke a sense of remoteness, E-MAIL time past, isolation, and mystery. The result is a combination that both grounds the [email protected] paintings and raises intriguing questions for the viewer.

PHONE Inspired by a wide variety of historical influences, ranging form primitive Flemish and +1 646 820 9068 Dutch paintings to American Folk Art, the paintings’ formal elements are traceable CELL to American modernists like Arthur Dove. Forman constructs abstract theatrical pre- +1 646 266 5994 sentations in his paintings: trees frame the works like living curtains opening to reveal CONTACT NAMES a stage set. The scene unfolding behind them seems to have no beginning, nor end. Eva Frosch hp Portmann Animals, human figures old and young, rocks and boulders all share importance as characters within remote landscapes. The scenes unfurl with playful and sly contra- dictions. While at first glance all may seem idyllic, off-kilter details jar the viewer’s REPRESENTED ARTISTS sense of normalcy. For example, in Falls Village Bear Scare, a black bear approaches Raffaella Chiara a seemingly defenseless man clad only in a bathrobe and underwear. The painting Steve Greene Julia Kuhl evokes a sense of mystery of the unknown, and the viewer is left wondering: Who Eva Lake is scaring who? Vicki Sher Hooper Turner Forman revels in these insular moments of solitude and mystery. Even when fig- Robert Yoder ures appear together in a painting, they make no contact with each other and are psychologically isolated within a group. By exploring these private moments, For- man creates and intimate and unsettling communion between viewer and narrative. COVER Seth Michael Forman Seth Michael Forman lives and works in Brooklyn and Kent, Connecticut. He is cur- Sigmund’s Journey rently teaching at the and the Westchester Center for the Arts. 2011-13 His paintings were exhibited in “Picturing the Modern Amazon” at the New Museum Oil on linen of Contemporary Art and were featured on “State of the Arts”, a PBS broadcast. His 40 × 30 in work has been included in over 50 exhibitions, and the New York Foundation for the INSIDE Arts has twice awarded him Painting Fellowships, in 2004 and in 2008. Seth Michael Forman Falls Village Bear Scare 2009-13 Oil on panel 20 × 24 in

BACK Seth Michael Forman Mountain Man 2013 Oil on panel 11 × 14 in TODD KELLY ASYA GEISBERG GALLERY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.29

ASYA GEISBERG GALLERY: TODD KELLY

WEBSITE Often starting his series with one unifying concept, such as a still-life or old-master www.asyageisberggallery.com painting, Todd Kelly extrapolates successive degrees of abstraction from an initial E-MAIL figurative approach. Kelly fragments, magnifies, and layers, resulting in a whole [email protected] gamut of geometric, painterly and textured visions. In some works, spray-painted

PHONE cut-outs echo the shapes of the original reference, while in others only the colors +1 212 675 7525 of the original remain in a grid of obsessively painted dotted lines. His series of 24

CONTACT NAME x 18 paintings represents both an aesthetic and conceptual peregrination, incor- Asya Geisberg porating a wide variety of styles, materials, and marks. The canvases are worked on spontaneously and simultaneously in his studio, so that his works are meant to hang together in triptychs and diptychs or even grids or groupings of 9, 12, or REPRESENTED ARTISTS more, which can be endlessly rearranged. The works play off each other in unex- Annie Attridge pected ways, creating a sort of puzzle imagined and given life by the viewer. The Carolyn Case Jasper De Beijer tension of creation, of meaning delivered by its maker versus meaning conjured and Melanie Daniel rearranged by its viewer, is the crux of Kelly’s concerns. The result is an essentially Allison Gildersleeve post-structuralist approach to constructing meaning, wherein the viewer’s journey Angelina Gualdoni has power over the creator’s intent. Rebecca Morgan Julie Schenkelberg Kelly’s influences range from Dutch 17th-century painting, old wallpapers, patterns Guðmundur Thoroddsen in illuminated manuscripts, and quilts to graphic design and digital forms of play and experimentation. Varieties of abstraction found in cubism, post-impressionism, Pat- tern and Decoration, and textile patterns are recombined, embodying the tendency COVER Todd Kelly to mash up which is so pronounced in our contemporary culture. Kelly’s restless Lemon Peel 2 (detail) eye and hand promotes a nuanced understanding of current abstraction, while still 2012 connecting to art-historical precedents. Oil on canvas 24 × 18 in Originally from Michigan, Todd Kelly lives and works in Brooklyn, NY. Kelly studied

INSIDE architecture before taking up painting. He earned an MFA at the School of Visual Todd Kelly Arts and a B.A. at Anderson University, IN. Kelly lived in London from 2003 to 2006, Grid of 8 paintings where he worked at the National Portrait Gallery. He has since been included in 2011 – 2013 exhibitions in Ireland, London, New York, Washington, and New Mexico. His work Mixed media on canvas 24 × 18 in each has been featured in Artforum, the New Criterion, the London Times, the London Paper, and Glasstire, among others. BACK (LEFT) Todd Kelly Untitled Abstract Painting 6 (detail) 2012 Oil on canvas 24 × 18 in

BACK (RIGHT) Todd Kelly Abstract Still Life 2 (detail) 2013 Oil on canvas 24 × 18 in JOSEPH HART HALSEY MCKAY, EAST HAMPTON

VOLTA NY 2014 | BOOTH NUMBER 1.32

HALSEY MCKAY: JOSEPH HART

WEBSITE Joseph Hart’s work is an amalgamation of premeditated and spontaneous mark mak- www.halseymckay.com ing, instinct and restraint, effort and error. Utilizing drawing, painting and cut-paper E-MAIL collage, his work is structured around cursory gestures: errant dashes, quick lines, [email protected] scrawls, swoops and zigzags. This set of preliminary and exploratory maneuvers are

PHONE then built upon, reconfigured or impulsively edited out until a composition begins +1 631 604 5770 to emerge. In his paper pieces, smaller scale drawings are often grafted directly

CELL into larger works, interrupting the initial picture plane while also reactivating it. The +1 646 431 7467 results are abrupt but retain a compelling and provocative elegance.

CONTACT NAMES Adaptation and balance play critical roles in Hart’s practice. Direction and orienta- Hilary Schaffner tion (vertical, horizontal, or other) typically remain in flux throughout his process, Ryan Wallace facilitating discovery through attempt. Moments of aesthetic beauty are evened by calculated blemish and visual apathy. Areas of careful consideration and casual

REPRESENTED ARTISTS awkwardness are forced to coexist. Through this democratization of components Timothy Bergstrom and ideas, Hart emphasizes the relationships between turmoil, tension and harmony. Colby Bird Patrick Brennan Originally from New Hampshire, Joseph Hart is a Brooklyn, New York-based art- Chris Duncan ist. His work has been exhibited at Galerie Vidal Saint Phalle in Paris, Galleri Tom Arielle Falk Christofferson in Copenhagen, Cooper Cole in Toronto, Alexander & Bonin, CRG Elise Ferguson Gallery, Klaus Von Nichtssangend Gallery, and Halsey McKay Gallery in New York, Rachel Foullon Denise Kupferschmidt among others. Hart’s work has also been included in notable shows at the Bronx Lauren Luloff Museum of the Arts, Santa Monica Museum of Art and The Elizabeth Foundation for Matt Rich The Arts. He has been featured in periodicals such as FlashArt, Modern Painters, and The New York Times. Hart holds a BFA from the Rhode Island School of Design.

COVER Joseph Hart Untitled (detail) 2014 Oil on linen 72 × 52 in

INSIDE (LEFT) Joseph Hart Untitled 2013 Acrylic, collaged paper, oil crayon and graphite on paper 50 × 38 in

INSIDE (RIGHT) Joseph Hart Untitled 2013 Acrylic, collaged paper, oil crayon and graphite on paper 50 × 38 in WILL SCHNEIDER-WHITE HAMILTONIAN GALLERY, WASHINGTON, DC

VOLTA NY 2014 | BOOTH NUMBER 2.51

HAMILTONIAN GALLERY: WILL SCHNEIDER-WHITE

WEBSITE Will Schneider-White aims to seduce and confuse. Using recurring visual motifs ren- www.hamiltoniangallery.com dered with a lightness of touch, his books, bathers, faces and readers hover in an E-MAIL imprecise space where meanings shift and contradictions abound. Casting himself [email protected] as the author and us as his trusting readers, he points out the window only to re-

PHONE veal it as a wall. We second-guess our initial readings, doubling back to revisit pas- +1 202 332 1116 sages in a process that mimics the painter’s own. At once familiar and mysterious,

CELL humorous and unsettling, Schneider-White’s paintings captivate our imaginations +1 571 236 4608 and hold us in their thrall like a book too engrossing to put down.

CONTACT NAME Will Schneider-White (b. 1988 Ojai, CA) is a recent MFA graduate of the Slade School Amanda Jirón-Murphy of Art in London, England where he was awarded the Steer Prize in Painting. He is currently a Fellow at Hamiltonian Artists in Washington, DC and a Fountainhead Arts Fellow at Virginia Commonwealth University in Richmond, VA where he lives and REPRESENTED ARTISTS Amy Boone-McCreesh works. His paintings are in various national and international collections. Milana Braslavsky Larry Cook WILL SCHNEIDER-WHITE: ARTIST STATEMENT Lisa Dillin Painting spirals out of itself loopingly like an extruded dessert. It piles in roundabout, Billy Friebele Joshua Haycraft tilting ways, imagery arriving through misdirection, impulse, visual rhyme, and vague- Annette Isham ly allusive motifs. Source materials are jumbled together, stripped of content, and Timothy Thompson refinished with a new narrative. I am interested in the slippage between new and Jerry Truong old narratives, when the re-purposed pieces of the world start to show their original use. Just as one allows the process of a painting to show through in the finished piece, I am pursuing a sort of pentimento of content, like when you recognize the COVER eyes behind a mask or the body within a costume. Will Schneider-White Reading Js (detail) My work plays with ideas of variation and the inevitably cyclical nature of painting. 2013 Acrylic on hemp Concepts and compositions are reworked with focuses shifted: characters slip into 28 × 22 in the actors playing them; flavors melt into each other.

INSIDE Will Schneider-White Modest Pink 2013 Acrylic on canvas 20 × 26 in

BACK Will Schneider-White Book Head 2012 Acrylic on flax 11.5 × 16 in ALEXANDER KROLL JAMES HARRIS GALLERY, SEATTLE

VOLTA NY 2014 | BOOTH NUMBER 1.11

JAMES HARRIS GALLERY: ALEXANDER KROLL

WEBSITE Alexander Kroll’s works utilize tactility and pictorial space to assert the painted ob- jamesharrisgallery.com ject as a vehicle of presence. Kroll conceives of the pictorial surface as a space to E-MAIL consolidate a diverse set of relationships between body, mind, support, and surface [email protected] whose specific interplay activates the work as its own context and closed system

PHONE of signification. +1 206 903 6220 Kroll’s assertion of painting as intellectual construction forms the basis for encoun- CELL ters of unmediated relational intensity between artist and object as well as object +1 206 290 4360 and viewer. Individually, Kroll’s compositions represent a collision of ideas that often CONTACT NAME culminate into the illusionistic space of ethereal landscapes, particularly in his large- James Harris scale pieces. These paintings are softer and flatter than his previous works, with a liquidity emerging in the form of emotionally-activated drips, splatters, and sheer veils of light and color blending like glass. Rather than pushing outwardly from the REPRESENTED ARTISTS Squeak Carnwath canvas with the thick materiality of the paint, Kroll’s new works lure the viewer into Karin Davie their veiled lacuna in an exploration of what lies beneath each layer. Roy Dowell Sol Hashemi But more often, these works concern themselves with their capacity to assert an Gary HIll identity as a whole, with each subtle articulation adding to the narrative in much the Richard Rezac same way that a sitter in a portrait is recognized by their expressive idiosyncrasies. Adam Sorensen The layering of information within Kroll’s paintings extends beyond the physical pres- Akio Takamori Bing Wright ence of the work of art, however. With his captivating pictorial fields, Kroll presents Amir Zaki us with intriguing new realms that are both enterable and static, an anomaly of spa- tial navigation in painting that is as innovative as it is assured.

COVER Alexander Kroll Frank O’Hara (detail) 2013 Flashe, Acrylic, and urethane on canvas 72 × 48 in

INSIDE Alexander Kroll The December Ocean 2013 Flashe, Acrylic, and urethane on canvas 70 × 63 in

BACK Alexander Kroll Small Poem 2013 Flashe, Acrylic, and urethane on canvas 20 × 16 in PIUS FOX PATRICK HEIDE CONTEMPORARY ART, LONDON

VOLTA NY 2014 | BOOTH NUMBER 1.25

PATRICK HEIDE CONTEMPORARY ART: PIUS FOX

WEBSITE At VOLTA NY Patrick Heide Contemporary Art is showing a solo presentation of www.patrickheide.com works by the Berlin based German artist Pius Fox (b.1983).

E-MAIL Pius Fox’s works move between painting and drawing, between figurative and ab- [email protected] stract, between form and context. Deep spatial expressions created by the super- PHONE imposition of many layers of paint, Fox’s depicts the interior of his studio, windows, +44 207 724 5548 doors, curtains, facades, introspective in atmosphere, yet formally looking outwards. CONTACT NAMES Patrick Heide Firmly rooted in modernism departing from constructivism and cubism, Fox branches Clara Andrade Pereira out into more painterly styles reminiscent of Diebenkorn and Hockney while evolv- ing his very personal language. His newer works move between “framed” structures and subdued tonalities, between opacity and transparency and between imagination REPRESENTED ARTISTS and figuration. Fox developed a complex painting style that make his compositions Alex Hamilton vivid, yet grounded and full of tension. Károly Keserü Thomas Müller Pius Fox graduated in 2010 from UdK (University of the Arts) in Berlin with a master Susan Stockwell class under professor Pia Fries. David Connearn Minjung Kim Patrick Heide Contemporary Art fosters an international range of emerging (Breeder Sharon Louden section of the website) and mid-career artists. The program ranges from the politi- Hans Kotter Varavara Shavrova cally motivated projects of Thomas Kilpper and the anthropological sculptures of Sarah Bridgland Francesco Pessina to the playfully yet obsessively executed abstract canvases of Karoly Keserü.

The core program of the gallery dedicates much of his attention to drawings and COVER Pius Fox works on paper and recent developments in that medium, often informed by mod- Untitled (detail) ernist or post-war abstract and minimal movements. Patrick Heide Contemporary 2012 Art aims to provide a rather timeless alternative to an art world that is often aimlessly Oil on canvas theoretical and introspective yet addicted to marketing and fashion. In an attempt to 80 × 60 cm reveal the underlying patterns of human society, its artists hope to create art that is ( ) INSIDE LEFT intellectually challenging and socially relevant yet sensually and spiritually charged Pius Fox Untitled and technically accomplished. 2012 Oil on paper 40 × 30 cm

INSIDE (RIGHT) Pius Fox Untitled 2012 Oil on canvas 80 × 60 cm

BACK Pius Fox Untitled 2011 Oil on paper 32 × 28 cm DANIELE BUETTI HILGERBROTKUNSTHALLE, VIENNA

VOLTA NY 2014 | BOOTH NUMBER 1.21

HILGERBROTKUNSTHALLE: DANIELE BUETTI

WEBSITE Daniele Buetti (b. 1955) lives and work in Zürich, CH www.hilger.at The work of the Swiss artist captures the zeitgeist of today’s society. His light boxes, E-MAIL videos, sculptures and drawings focus on the theme of consumerism and concepts [email protected] of pretence and constructed reality. Daniele Buetti began by marking the names of PHONE multinational groups such as Nike, Coca-Cola, Sony or Ralph Lauren as “ballpoint +43 1 512 53 15 pen tattoos” directly onto the flesh of passers-by in New York, who were very inter- CELL ested in his “tattoos for a dollar” Shortly afterwars, he turned his attention to adding +43 650 27 39 650 “false scars” to the skin of models, by editing photos taken from the newspapers +1 305 302 2027 and adding hand-drawn logos. By so brutally combining and contrasting the beauty CONTACT NAMES of the models with the horror of the scarring and skin afflictions he focuses our full Ernst Hilger Michael Kaufmann attention on their exposure and their vulnerability. Katrin-Sophie Dworczak After this the artist uses the models as a projection surface for the private desires of the viewer. A role, which is already given to them by the fashion and beauty in- dustry. Buetti pierces the image and mounts it on a light box, thus illuminating the REPRESENTED ARTISTS Asgar/Gabriel punctured slogans and outlines. The images promising happiness and success Clifton Childree stand in stark contrast to the scars of company logos that the models bare on their Oliver Dorfer skin. The slogans also counteract the superficial nature of the images’ original con- Faile text, by posing existential questions that call into remembrance real human desires. Shepard Fairey Anastasia Khoroshilova Photographs are also the starting point of his series “Oh boy, oh boy”, which he Ángel Marcos has been working on since 2008. Here the artist works with shocking documen- Cameron Platter Michael Scoggins tary photographs that went around the world, enlarging them almost to the point of Simón Vega complete abstraction. Another set of his work consists of installations, which not only encompass but also alter the entire exhibition space.

COVER SOLO EXHIBITIONS (SELECTION): Daniele Buetti Schirn Kunsthalle (Frankfurt/2014) Nike – Looking for Love (detail) 1996/2001 Swiss Institute for Contemporary Art (New York/2008) C-print FRAC (Marseille/2004) 55 x75 cm Museo Nacional Centro de Arte Reina Sofia (Madrid/1999)

INSIDE Maison Européenne de la Photographie (Paris/1998) Daniele Buetti I love you COLLECTIONS (SELECTION): 2011 Museo Nacional Centro de Arte Reina Sofia Lightbox Thyssen-Bornemisza Contemporary Art Foundation 160 × 250 cm Maison Européenne de la Photographie (Paris) BACK (LEFT) MUSAC, Fundación Siglo para las Artes de Castilla y León Daniele Buetti DaimlerChrysler Collection oh boy oh boy XII_C 2010 Songeun Art & Cultural Foundation Pigment print behind laser Kunstmuseum Bern contour-cut acrylic glass mosaic 180 × 140 cm

BACK (RIGHT) Daniele Buetti oh boy oh boy XXVII_B 2011 Pigment print behind laser contour-cut acrylic glass mosaic 120 × 100 cm STEPHEN TOMPKINS HILGERBROTKUNSTHALLE, VIENNA

VOLTA NY 2014 | BOOTH NUMBER 1.21

HILGERBROTKUNSTHALLE: STEPHEN TOMPKINS

WEBSITE Stephen Tompkins (b. 1971) lives and works in Cleveland, Ohio. www.hilger.at Stephen Tompkins is an American artist and experimental animator currently based in E-MAIL Ohio after living for many years on the US West Coast. His idiosyncratic style recalls [email protected] the sensibilities of outsider/visionary art, urban/street art, comic art forms, vintage PHONE animated cartoons form and color. He oftentimes deconstructs these vocabularies +43 1 512 53 15 to their atomic elements and resurrects them as organic associative assemblages CELL sometimes superimposing these metastatic formations on photographic imagery. +43 650 27 39 650 Robin Clark of MCASD remarked “Tompkins’ associative process playfully sutures +1 305 302 2027 the sublime and the ridiculous.” Additionally, his work has been associated with the CONTACT NAMES ‘Hardcore’ Pop Surrealism movement. Ernst Hilger Michael Kaufmann His work is uniquely alluring and it crosses the various boundaries of Urban/Street/ Katrin-Sophie Dworczak Outsider & Contemporary Art. It fits among urban contemporaries – from a curator standpoint, such as the New York artist duo Faile, the L.A. artist Shepard Fairey or even the Parisian artist Erró who also uses comic imagery. REPRESENTED ARTISTS Asgar/Gabriel The evolution of his work is outstanding and went from figurative, seemingly cha- Clifton Childree otic, comic-inspired paintings to abstraction — but nevertheless retained figurative Oliver Dorfer Faile aspects in fragments. The certain movement, or rhythm, if you will, led by his ex- Shepard Fairey pressive brushwork has a lively and playful but also a dark feel to it. It is very acces- Anastasia Khoroshilova sible — anyone, regardless of their cultural or ethnical background can relate to his Ángel Marcos work — above all by his use of popular culture imagery. His work is so refined on Cameron Platter Michael Scoggins so many different levels. Now he has gone back to a more figurative painting. More Simón Vega intimate works such as his drawings (ink on paper) and the use of various media such as painting, drawing, animations, paintings on top of prints or photographs and his murals (Cleveland on Waterloo Street as well as his mural in Vienna at the COVER Urbanauts architect’s office are references to Street Art), just to name of few of his Stephen Tompkins artistic means of expression, show the artistic depth of this versatile artist. Townhall (detail) 2009 “What would happen if you took classic 1920’s cartoons and Ren and Stimpy epi- Acrylic on Canvas sodes, chewed them up with shades of primary colors, and then horcked the whole 81 × 65 in thing onto a canvas? Nothing as good as Stephen Tompkins’ work, for sure, though INSIDE that’s exactly what his pieces remind me of. It’s like an abstract celebration of car- Stephen Tompkins toon body parts in a roiling pop orgy.” — Brad Martin Juxtapoz Minuet (Dyptic) 2013 Acrylic on Canvas EXHIBITIONS (SELECTION): 96 × 48 in “Cash Cans and Candy”, Hilger BrotKunsthalle, Vienna, Austria (2013) BMW Museum in Munich, Germany (2013) Museum of Contemporary Art in San Diego (2010) Kunst- und Kulturverein, Hamburg, Germany (2007) Award nomination (selection):

SAN DIEGO ART PRIZE (2010), NOMINATED BY ROBIN CLARK PhD Museum of Contemporary Art San Diego Lürzer’s Archive “200 Best Illustrators” (2010) Maverick Movie Awards “Best Original Score” for animated short film “Rubbuds” (2009) New American Paintings Issue #60 Curated by Fereshteh Daftari (Curator of Paint- ing & Sculpture, Museum of Modern Art New York)(2004) the San Francisco Museum of Modern Art A + D Experimental Design (2000) Award. SIRI BERG HIONAS GALLERY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.08

HIONAS GALLERY: SIRI BERG

WEBSITE Siri Berg has been an established and oft-revered abstract artist for over 30 years. www.hionasgallery.com And yet, her impeccable body of work has only recently begun to garner the at- E-MAIL tention it deserves. The great female abstractionists who came of age during the [email protected] New York School era and afterward are well represented in prominent private and

PHONE museum collections worldwide, relatively speaking. But for a brief period Berg was +1 646 559 5906 a true pioneer that time forgot, until now. In the last two years Hionas Gallery has

CELL exhibited two mini-retrospectives of Berg’s paintings and assemblage from the +1 917 974 1703 1970s and early 80s. Here at VOLTA, the gallery is pleased to bring her body of

CONTACT NAME work, comprised of both new and vintage, to a growing public of contemporary art Peter Hionas lovers and collectors.

Hionas Gallery was founded in the spring of 2011, opening its initial exhibition space at 89 Franklin Street in TriBeCa, NYC. In January 2013 the gallery moved REPRESENTED ARTISTS Marina Adams to 124 Forsyth Street in the Lower East Side. Hionas Gallery’s mission is to invite Karlos Cárcamo contemporary and emerging artists, working in all variety of media, to participate Jason Covert in monthly solo exhibitions to showcase their latest work and artistic vision. Past David Rhodes invited solo exhibitors have included Marina Adams, Siri Berg, Karlos Cárcamo, Ja- son Covert, Kaves, Kiseok Kim, Ariane Lopez-Huici, Charles Lutz, David Rhodes, Rebecca Smith, Jessica Stoller and Warwick Saint, among others. COVER Siri Berg Phase 1 (Shadow) 1974 Acrylic on canvas 30 × 22 in

INSIDE Siri Berg Siri Berg in her studio, Riverdale, NY, at work on Black Series (1977) 1977 Acrylic on canvas 54 × 54 in

BACK Siri Berg White Series 1977 Acrylic on canvas with sunken relief 54 × 54 in NAO MATSUMOTO HPGRP GALLERY NEW YORK, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.39

HPGRP GALLERY NEW YORK: NAO MATSUMOTO

WEBSITE hpgrp GALLERY NEW YORK is pleased to announce the presentation of works by http://hpgrpgalleryny.com artist Nao Matsumoto at VOLTA NY from March 6 through Sunday, March 9, 2014.

E-MAIL Consisting of three mixed media sculptures by Matsumoto made in 2012, the show is [email protected] a continuation of themes that Matsumoto has been working on for most of his career. PHONE +1 212 727 2491 In You/Me, Matsumoto attaches approximately 40,000 screws on wood panels to spell out the words “You” and “Me,” a pun on the phrase “Screw you, Screw me.” CONTACT NAMES Shuhei Yamatani Requiring what Matsumoto describes as “intensely mundane labor,” the piece is a Takayuki Fujii psychograph of the artist dealing with his art, symbolically resembling “life.”

In 100, one-hundred individually cast resin ant heads are mounted on the wall in a precise square grid. The installation compares the systematic nature of the decimal REPRESENTED ARTISTS Adam Bateman system with the efficiency of the social structure of ants. Adela Leibowitz SAMF-V, is a vehicle with vicious wooden spikes pointing horizontally in both direc- Donald Lokuta Jorge Julian Aristizabal tions, mounted on a steel chassis. SAMF-V is a hybrid of primitive savagery and I-Hsuen Chen industrial strength both a source of fascination and attraction for Matsumoto. The Kate Peters vehicle is at once intimidating and enticing, as is any other kind of lethal weaponry. Kenzo Minami

ABOUT THE ARTIST Nao Matsumoto is a sculptor and custom woodworker, born and raised in Yokohama, COVER Nao Matsumoto Japan, who moved to NYC in 1997. In 2013, Matsumoto established Lorimoto, a 100 in Ridgewood, NY. 2012 Plastics, MDF ABOUT HPGRP GALLERY NEW YORK 70 × 70 × 6 in Founded in 2005, hpgrp GALLERY NEW YORK presents a wide range of contempo- INSIDE rary artists with a focus on those merging Western ideas and Japanese culture. The Nao Matsumoto SAMF-V brainchild of H.P. France (HPF), an international fashion company, hpgrp­ ­GALLERY 2012 has locations in both New York and Tokyo. Wood, steel, mud tires, plastics 78 × 50 × 26 in

BACK Nao Matsumoto You / Me 2012 OSB, screws 120 × 20 × 10 in ATSUSHI TAWA IDENTITY ART GALLERY, HONG KONG

VOLTA NY 2014 | BOOTH NUMBER 2.05

IDENTITY ART GALLERY: ATSUSHI TAWA

WEBSITE Enter the manifest universe of Japanese artist Atsushi Tawa where allusively func- www.identityartgallery.com tional objects are bejeweled, bedazzled and bewitched by matter that is as natural E-MAIL as it is manmade, as alive as it is dead, and as beautiful as it is ugly. [email protected] Concerned with the emptiness of both form and content, and presented as an iso- PHONE lation of the Romantic ideal, Tawa’s stunning sculptures, shown in New York for the +852 2540 5353 first time, are an oddly poetic response to our imperfect world. The identity of every CELL object or symbol is dependent on the view of its creator, mediator and its audience +852 9304 4338 or consumer, and as a consequence inherits his aspirations, values and intentions. CONTACT NAME Carol Sun Tawa’s fascination about the concept of individuality as a notion of established so- cietal norm has led him to experiment with a wide variety of mediums and methods, covering drawing, mixed media sculpture, installations, video and painting.

REPRESENTED ARTISTS Allusive yet never symbolic, yearning yet never utopian, Tawa’s works draw forth Abigail Box Atsushi Tawa an ever-evolving dialog between the functional and the functionless, art and au- Ting Ting Cheng tonomy, and design and utility. Tawa juxtaposes a collection of found mannequins Him Lo with quartz — itself a dead object with a seeming ability to morph and grow — and Jonathan Trayte address from a neutral standpoint the dissonance of ephemeral and perpetual ex- Kentaro Kobute Kounosuke Kawakami istence. Once the form of an object is altered, by changing its proportions, display Kurt Tong or materials, or by juxtaposing it with other objects or materials, a new identity, Tim Ellis perception and experience is formed, drawing the viewer to reconsider its original Timonthy Betjeman meaning and purpose.

Born in 1978, lives and works in Kyoto, Atsushi Tawa graduated from Tokyo Zokei COVER University before earning his masters at Glasgow School of Art in the UK. His recent Atsushi Tawa exhibitions include “Bejeweled”, Identity Art Gallery, “Power of A Painting 2012”, Ramigold NADiff Gallery, Tokyo; “Hidden World – Hidden Answers”, Kunstlerhaus, Hamberg, 2011 Quartz, mannequin, polyurethane Germany and the EWAA Award Exhibition, Le Galerie, London UK; “Illusion / Real- 75 × 32 × 25 cm ity”, Emerson Gallery Berlin.

INSIDE Atsushi Tawa Big Card 2012 Oil and acrylic on panel, Plexiglas 160 × 120 cm

BACK Atsushi Tawa Terayama 2012 Giclee print, quartz, epoxy, artist’s frame 94.5 × 70 × 13 cm RÓZA EL-HASSAN INDA GALLERY, HUNGARY

VOLTA NY 2014 | BOOTH NUMBER 2.10

INDA GALLERY: RÓZA EL-HASSAN

WEBSITE BEYOND THE STATEMENT www.indagaleria.hu “The sense of responsibility and the survivor’s guilt and anxiety stays, but we need E-MAIL a space where we can open up, where we are free, where we can search for deeper [email protected] connections.” — R. E-H.

PHONE Róza El-Hassan’s characteristic social role and political sensitivity have defined +36 70 316 44 72 and continue to define her career, the fact that she is among the most well-known CONTACT NAMES Hungarian artists in the international scene. This exhibition is centered around her Ágnes Tallér works that present the artist’s personal freedom: her wooden sculptures and free Brigitta Muladi association drawings. Perhaps the meaning of this choice is that the international events (for example, the Syrian events that affect El-Hassan through her family)

REPRESENTED ARTISTS have a significance beyond the individual’s responsibility, cognizance, and what is Marianne Csáky rationally comprehensible and understandable. Márta Czene Lajos Csontó Zsófia Fáskerti R. E-H.: The sculptures and the drawings aren’t connected to the daily political Judit Fischer Kamen Stoyanov events, but they began with an earlier political work: R. is thinking/dreaming about Balász Kicsiny overpopulation, 2000, that was inspired by an exchange of e-mails (Milica Tomic, Pista Horror Branimir Stoyanovic, Róza El-Hassan) Ádám Szabó Zsófia Szemző B. M.: Your piece about the crouched female figure covered by a black sheet has become emblematic, the Vienna EVN collection purchased it, and as far as I know, you were asked to re-create it again. As for the archaism, one of your earlier works COVER is here, built into one of the sculptures. It’s the chopping tool. What does it mean Róza El-Hassan and why did you apply it on this piece? Enigma, Portrait with handstone 2013 R. E-H.: The chopping tool gave it the intellectual start. There was a big conference Wood about archaic art for the birthday of Gottfried Böhm, and Horst Bredekamp was 112 × 60 × 30 cm there, and they had a theoretical argument about the origins of visual arts. They said INSIDE that the picture existed before the language. It was proven that the homo sapiens BEYOND THE STATEMENT exhibition of Róza El-Hassan scratched patterns into the chopping tool a 100,000 years before the Neanderthal, INDA Gallery 2013 it was the first tool, and they thought it wasn’t conscious. But according to Bre- works shown: dekamp, if there was a fossil in the chopping tool, the prehistoric man was aware of Wallobject, 1994, carved wood, it, didn’t damage it, and made it symmetrical. He simply dated our evolution back 180 × 100 × 60 cm Enigma, Portrait with handstone, 250,000 years before homo sapiens. × × 2013, wood, 112 60 30 cm The flint was shaped for the palm, slightly asymmetrical, so as to be held in a hand. This was the first aesthetic object of humankind. I made the chopping tool of wood, and for a long time, I didn’t know how to exhibit it. In museums, it was fixed on two small metal poles, earlier I put it in bowl, which was a feminist, matriarchal cliché, I also drew a picture of it. Then I started working on the sculpture, and I realized that if I place it on the figure, the method of installation is solved. Basically this sculp- ture is also a supporter.

B. M.: In conclusion, I think these graphic and three-dimensional pieces were created in a continuous arch, out of permanent, often re-appearing elements, as opposed to the projects, that are changing reactions to the actual socio-political environment, but these two topics are always in an interrelationship.

R. E-H.: The sculptures, reliefs and drawings that create a unity here, are connected to my private, mental sphere, they express an experience that is not directly politi- cal, and they are made without trying to explain what is going on in the world, but in this case I handle these concepts more freely, than in a statement regarding human rights or an experiment in political mediation that I consider a failure. JÜRGEN WOLF JARMUSCHEK+PARTNER, BERLIN

VOLTA NY 2014 | BOOTH NUMBER 2.48

JARMUSCHEK+PARTNER: JÜRGEN WOLF

WEBSITE JARMUSCHEK+PARTNER presents recent paintings of Jürgen Wolf. www.jarmuschek.de Like a kaleidoscope, Jürgen Wolf’s works reflect different facets of life’s adventures. E-MAIL He looks ironically at icons, taboos and the menaces of the civilized world, moments [email protected] of luck, of sadness, impressions of historical and political reality, sporting events PHONE and fragments of mental abyss. His picture stories are compiled from all walks of +49 30 285 99 070 human experience. They are assembled without hierarchy and thus grant a special CELL importance to each singular moment. Clichés from past decades are standing be- +49 179 512 9068 side still lives, sweet, idyllic moments mix with absurd and elegant interiors. The CONTACT NAMES works continuously cast doubt on the absolute terms of an idealistic philosophy — Kristian Jarmuschek the good, true and beautiful. Stefan Trinks In his paintings, Wolf refers again and again to idealism, German and the essence of beauty itself. His relation to the painters of the romantic period grows REPRESENTED ARTISTS out of an intensive development of subjectivity, which then leads to a critical and Sabine Banovic emotional experience with his environment. This relationship expresses itself in the Patrick Cierpka Marc Fromm ambivalence between the need for opposition and the love of tradition. His pictures Oliver Gröne are thus reflections of a painter’s spirit close to romanticism but within current sur- Carina Linge roundings. This creates the opportunity to display lascivious as well as surrealistic Petra Lottje experiences, all still depicted naturally and still opening the box for further liberation. Dieter Lutsch Harding Meyer Jürgen Wolf lives and works in Cologne. After studying theology in Wuerzburg and Nika Neelova Vienna, he decided to change to art history and fine arts during the middle of the Carsten Weitzmann 1980s. Today, his works are represented in numerous renowned collections. Shows in New York, Osaka, Istanbul, Sidney, Reno, Paris and many other cities gave him

COVER widespread international reputation. Jürgen Wolf Untitled (detail) 2013 Mixed media on canvas 93 × 63 cm

INSIDE (LEFT) Jürgen Wolf Untitled (#1253) 2011 Acrylic on wood 15.5 × 23.5 cm

INSIDE (RIGHT) Jürgen Wolf Untitled (#1324) 2012 Acrylic on wood 15.5 × 23.5 cm

BACK Jürgen Wolf The Last Summer (detail) 2010 Mixed media on canvas 90 × 70 cm ADAM MYSOCK JONATHAN FERRARA GALLERY, NEW ORLEANS

VOLTA NY 2014 | BOOTH NUMBER 1.06

JONATHAN FERRARA GALLERY: ADAM MYSOCK

WEBSITE Adam Mysock was born in Cincinnati, Ohio in 1983. Mysock earned a Bachelor of www.jonathanferraragallery.com Fine Arts degree in Painting and Art History by 2004 from Tulane University. He then E-MAIL received an MFA from Southern Illinois University at Carbondale. Mysock’s work has [email protected] been exhibited nationwide as well internationally and is in private collections across

PHONE the US and Europe, including those of Thomas Coleman, Michael Wilkinson and +1 504 522 5471 the SØR Rusche Collection. He was the 2009 jury winner in the annual No Dead

CONTACT NAMES Artists juried exhibition. In August 2012, he was awarded first prize “Best in Show” Matthew Weldon Showman in the Ogden Museum’s Louisiana Contemporary Annual Juried Exhibition. Mysock Jonathan Ferrara exhibited at Pulse Miami Art Fair in December 2012 with Jonathan Ferrara Gallery Cyntelle Renteria and was selected for the 2013 Southern Edition of New American Paintings. Mysock was exhibited in a solo project booth at the VOLTA9 Art Fair in Basel, Switzerland.

REPRESENTED ARTISTS “I’m a revisionist history painter. Rather than rewrite the narrative of the past to David Buckingham justify an ideology, I repaint yesterday’s imagery in order to rationalize our present Hannah Chalew circumstances,” Mysock says of his work. “Telling stories is a part of human nature; Skylar Fein Generic Art Solutions (G.A.S) it’s how we relate to one another. The stories we have in common help us create Michael Pajon sincere connections to our neighbors and our surroundings. What’s more, storytell- Gina Phillips ing — for better or worse — typically involves hyperbole. Nikki Rosato Dan Tague As a painter, I’m preoccupied by the undeniable role that the image plays in creat- Paul Villinski ing this acceptance of the fictional. A painting has the authority to make the intan- Monica Zeringue gible concrete, and a series of them has the ability to authenticate a fabrication in our collective memory.

COVER I typically start with preexisting images, artifacts from this collective remembrance. Adam Mysock I look for images that shape my pictorial consciousness, that are hard to ques- Powerless Without tion because when I first saw them they were presented as the truth. They have to (After: Andrew Wyeth’s Christina Olson, 1947 and an illustration by Ed Valigursky) capture my imagination and they have to feel largely descriptive of a greater story. 2014 From them, I’m given my task — I have to ‘disrepair’ them. I have to consolidate an Acrylic on panel earlier world of historical and cultural visual-fact with an evolving understanding of 6 × 8 in subtlety and gradation. I find that the discrepancies I discover between the absolute INSIDE and the nuanced inspire me most. Adam Mysock Having Found the Lowest The resultant work is largely about storytelling, the ownership and authorship of Threshold our culture’s visual narratives, and the parallels between those tales. It’s meant to (After: Nicolas Poussain’s St. George Slaying the Dragon, 1629) challenge the truth of ‘source’ and the source of truth.” 2013 Acrylic on panel 7.0 8 × 6 in

BACK (LEFT) Adam Mysock Ponce de Leon Discovering the Fountain of Youth (After: Frederic Edwin Church’s Niagra Falls, 1857 and Francisco Zurbaran’s The Defense of Cadiz Against the English, 1634) 2012 Acrylic on panel 10.5 × 23.5 in

BACK (RIGHT) Adam Mysock Put It to Bed/Let It Rest (After: Norman Rockwell’s Freedom from Fear, 1943 and an illustration by Ed Valigursky) 2013 Acrylic on panel 6 × 7.83 in SONIA SHIEL KEVIN KAVANAGH, DUBLIN

VOLTA NY 2014 | BOOTH NUMBER 1.22

KEVIN KAVANAGH: SONIA SHIEL

WEBSITE Sonia Shiel was born in Dublin, she is currently participating on the 2014 Art & Law www.kevinkavanagh.ie Program at Fordham Law School and the International Studio & Curatorial Program E-MAIL (ISCP), in New York. Her far-fetched works are vested in make-believe, special ef- [email protected] fect and indiscretion. They are composed of individual paintings and sculptures,

PHONE including videos and animated sculptures that share overarching narratives and the +35 3 14759514 central materiality of paint. Idyllic scenes of industry, nature, democracy and society

CELL are underscored with preposterous violence, obtuse props and inflated caricature, +35 3 863932248 provocative of cartoons as much as horror. Much of her work pitches base, human

CONTACT NAMES aspirations to survive against their odds. Within that, it explores its own artifice and Kevin Kavanagh the propensity of ‘art’ to be effective in the real world. Set in ungoverned, lawless Aoife Tunney environments; the wild west; the high seas; the animal kingdom; the ‘art world’ and so on — her protagonists in their various pursuits, are confronted by nature, mortal- ity, the mockery of chance, rules and other systemic obstacles of their own creation. REPRESENTED ARTISTS Elaine Byrne Forthcoming Solo Shows include the International Studio and Curatorial Program, Oliver Comerford New York; FLOOD, Dublin; Irish Museum of Modern Art, Dublin; The Art & Law Vanessa Donoso Lopez Program, New York; VOLTA NY; the Kevin Kavanagh Gallery, Dublin, and Rua Red, Nevan Lahart Sean Lynch Dublin. Upcoming residencies include the Irish Museum of Modern Art, Dublin. Up- Sinéad Ní Mhaonaigh coming Artists talks include ISCP, New York and Lismore Castle, Ireland. Mick O’Dea Geraldine O’Neill She has had solo exhibitions at The Oonagh Young Gallery, Dublin; The Model, Dermot Seymour Sligo; Temple Bar Gallery and Studios; Kulturbunker, Frankfurt; The Galway Arts Ulrich Vogl Centre; Centre Culturel Irlandais, Paris and The RHA Gallery I and II, Dublin, aswell as various group shows that include ‘Phoenix Park’ at the Kerlin Gallery and ‘Last’ at the Douglas Hyde Gallery. She is kindly supported by the Arts Council, Visual COVER Artists Bursary Award, 2013 and the Arts Council’s Project Award, 2014. Born in Sonia Shiel Dear Heart (detail) 1975, she has been the recipient of many other awards including The Arts Coun- 2013 cil Travel and Training Award; other Arts Council bursaries, the Firestation Studio Oil on canvas Residency; The City of Frankfurt Artist in Residence Award; HIAP/TBG+S Residency 30 × 24 cm Award; Culture Ireland Award; The Tony O’ Malley Award; The Arts Council Project INSIDE Award; Banff Leighton Studio Residency and the Hennessy Craig Award. Her work Sonia Shiel is in many private and public collections including The Arts Council and The Office Partly Alone of Public Works. 2013 Oil on board 2421 × 373 cm

BACK Sonia Shiel Bound to a Mouthful 2013 Oil on canvas 40 × 50 cm ROSA LOY GALERIE KLEINDIENST, LEIPZIG

VOLTA NY 2014 | BOOTH NUMBER 1.44

GALERIE KLEINDIENST: ROSA LOY

WEBSITE Rosa Loy has devoted herself to the theme of the feminine in all of its many facets www.galeriekleindienst.de since the start of her career as a painter, producing many fascinating figures. Her E-MAIL pictures are populated by women of all kinds: explorers, girlfriends, guards, dream- [email protected] ers, energetic workers and mysterious sphinxes, each of whom experiences very

PHONE different kinds of encounters. She is particularly interested in traditional knowledge +49 341 4774553 of women, femininity, and the associated new school of mysteries. She works in

CONTACT NAMES casein on canvas, paper and various techniques in different graphic techniques. Matthias Kleindienst Her work also reflects a living partner relationship with her husband, Neo Rauch, with Christian Seyde whom she has been married since 1985. As a successful artist-couple, they both act on the international stage. They each provide an independent oeuvre, which is

REPRESENTED ARTISTS on the one hand fed by the variety and on the other hand from the similarities of the Tilo Baumgärtel two artists. As a working couple, they document how the forces of the masculine Henriette Grahnert and the feminine can be intertwined successfully with each other. They form a suc- Julius Hofmann cessful painter-cooperating pair, each with its own sovereign character. Axel Krause Christoph Ruckhäberle Sebastian Stumpf Steve Viezens Corinne von Lebusa

COVER Rosa Loy Zwei Wege 2013 Casein on canvas 280 × 275 cm

INSIDE Rosa Loy Aus tiefen Schichten 2013 Casein on canvas 150 × 120 cm

BACK Rosa Loy Spätsommer im Garten 2013 Casein on canvas 130 × 110 cm TAKAHIRO YAMAMOTO GALLERY KOGURE, TOKYO

VOLTA NY 2014 | BOOTH NUMBER 2.02

GALLERY KOGURE: TAKAHIRO YAMAMOTO

WEBSITE In March 2006, GALLERY KOGURE opened in Tokyo with director Hiroshi Kogure, www.gallerykogure.com who had been trained in an art gallery in Tokyo for 18 years prior. In January 2009, E-MAIL he opened his second gallery LOWER AKIHABRA. Participating art fairs is extended [email protected] to 10 countries.

PHONE One close look at a work by Takahiro Yamamoto reveals his godly strokes of preci- +81 3 5215 2877 sion. Every observer, regardless of their nationality or ethnicity, sighs in awe of his CONTACT NAME portrayals, as they represent the very “truth of existence” transcending any con- Hiroshi Kogure cepts or reasoning.

After graduating high school, Yamamoto moved to Madrid in 2006 and acquired REPRESENTED ARTISTS realism techniques. Upon returning Japan in 2009, he started his professional ca- Atsuko Goto reer as a painter. His uncalculated and naïve commitment to each work absorbs im- Atsushi Suwa mense amount of his time. Without relying on magnifier or other devices, he closely Fuco Ueda Hidenori Yamaguchi observes every physical detail, including particles, fibers, and even small dusts with Keita Tatsuguchi his naked eyes and depicts them with extremely meticulous strokes. Yamamoto’s Kenichiro Ishiguro works, which are the ultimate fruits of his effort to push the limits of senses and Ryo Shiotani nerves, exude the beauty and dignity attributable to the substantial existence of Takahiro Hirabayashi Takahiro Sanda motifs beyond their superficial accuracy. Takato Yamamoto Originally, realism as in fine art refers to the style in which the reality is copied on the screen. However, in today’s Internet society, the “reality” we see everyday are often filtered through various “information”. In such age, an expression only capable of COVER Takahiro Yamamoto copying the visual information may be insufficient to be called as “realism”. Based Reproduction (detail) on this notion, Yamamoto embraces “all aspects of reality in today’s world” as his 2011 – 12 definition of realism at working on his creations. Pencil and watercolor on board 30 × 30 cm So far, the entire works he has exhibited barely amount to twenty-some. In addition

INSIDE (LEFT) to 2011’s “Re:view” series featuring portraitures of old photographs in an attempt to Takahiro Yamamoto grasp today’s realism, he published in 2012 a new, ongoing series titled as “Where Recapitulation the artificial stops and the real starts” at a large scale, in which he displays many 2013 old postcards in orderly manner and hides only one real (original) painting among Pencil and watercolor on board 25 × 25 cm other pictures. Through the series, he tries to highlight the question of “what is re- ality” in a clearer manner and receives critical acclaim. INSIDE (RIGHT) Takahiro Yamamoto At VOLTA NY in 2014, his “Re:view” series will be highlighted. Thanks to the devel- Gemination opment of Internet, stupendous amounts of past information is available with one 2013 Pencil and watercolor on board click. While we benefit from the information society, personal information splattered 25 × 25 cm across the world keeps on accumulating in the public domain. Once information is published, no one can control it, and they are often saved in unexpected places and remain there even after the actual publisher dies. Furthermore, even if informa- tion is something the owner prefers to be forgotten, they are easily taken out from obscurity and, at times, modified.

This “Re-view” series is a metaphor for the recycling of information, such as ac- cumulated, referred, cited or tagged information, all kinds of personal information utilized by people sometimes as victims but in other times as perpetrators, and the use of such information relentlessly recycled even after the person’s death for eternity. In the series, we may get a glimpse of reality in terms of the information society we live now. LEONARDO SILAGHI GALERIE KORNFELD, BERLIN

VOLTA NY 2014 | BOOTH NUMBER 2.47

GALERIE KORNFELD: LEONARDO SILAGHI

WEBSITE Leonardo Silaghi’s practice is characterised by large, complex canvases, usually www.galeriekornfeld.com/en/ depicting industrial and viscerally atmospheric backgrounds in which his charac- E-MAIL ters innocently exist. Silaghi’s works are inspired by a strongly narrative element [email protected] grounded in the context of his own personal experience and history. By the vigor-

PHONE ous sweeps of brushwork he uses, the works readily evoke the violent struggles of +49 30 889 225 890 Romania’s chequered past. His works are its specific post-communist aesthetics

CELL of natural realism, while the grey tones symbolize the essence of quotidian life and +44 178 5160819 struggles to overcome the post-communist morass.

CONTACT NAMES The aim of Silaghi’s art is not the perfect image, but the prolific use of the error. Alfred Kornfeld The artist connects the idea of the distortion of tones, sounds and images with the Giovanni De Sanctis painterly examination of terms such as image noise and light diffraction, both phe- nomena of (digital) photography. However, by using them as an essential, enriching

REPRESENTED ARTISTS element of his works, Silaghi transforms these interferences into something positive. Jose’ M. Ciria Leonardo Silaghi (b. 1987, Satu Mare, Romania) graduated from the University of Stephane Couturier Robert Fry Art and Design in Cluj (Romania). Since 2009 he has been featured with solo exhibi- Natela Iankoshvili tions at the Hudson Valley Center for Contemporary Art in Peekskill (USA), at Marc Franziska Klotz Straus Gallery in New York and Galerie Kornfeld in Berlin (2012). Recently his works Tamara Kvesitadze have been shown at the exhibition ’After the Fall’ at the Knoxville Museum of Art in Ralf Peters Alexander Polzin Tennessee (USA). The artist lives and works in New York and Cluj. Susanne Roewer Sonny Sanjay Vadgama Hubert Scheibl

COVER Leonardo Silaghi Untitled #129807 (detail) 2012 Acrylic on jute 130 × 110 cm

INSIDE Leonardo Silaghi Untitled #117211 2013 Oil on Canvas 200 × 300 cm

BACK Leonardo Silaghi Untitled #1212011 2012 Oil on Jute 165 × 200 cm BOTOND RÉSZEGH LÉNA & ROSELLI GALLERY, BUDAPEST

VOLTA NY 2014 | BOOTH NUMBER 1.42

LÉNA & ROSELLI GALLERY: BOTOND RÉSZEGH

WEBSITE Léna & Roselli Gallery was founded in 2008 as an international contemporary art www.lenaroselligallery.com gallery.

E-MAIL In 2009, the gallery started a project called BudArtPest. The aim of this project is [email protected] to create cultural bridges and connections between Hungarian and International PHONE contemporary art galleries and artists. +36 30 435 7443 About the artist CONTACT NAME Léna Ilona Orosz The exhibited paintings of Botond Részegh have a rare and appalling feature. They appeal (and this is achieved by a magician, or else I have no idea) to make the eyes listen and not only see. The more attentive one looks at these contours outside time REPRESENTED ARTISTS and world, and the more one submerges in the steam surrounding these lines, the Csaba Fürjesi Ferenc Veszely more one can hear some sort of whisper, talk and finally, a scream. This scream István Nádler goes to the people, all of them and — in my approximate interpretation — says: end Ivan Lardschneider the junkyard! Peel things! Search for the lost souls! Judit Rita Rabóczky Julia Winter — Filip Florian (writer) Krisztián Sándor László Lakner Oleg Kulik

COVER Botond Részegh Nightfall (detail) 2013 Acrylic on canvas 200 × 150 cm

INSIDE Botond Részegh Play with the staying – Rilke 2011 Acrylic on paper 70 × 100 cm

BACK (LEFT) Botond Részegh Head (Nightfall) 2013 Acrylic on canvas 100 × 80 cm

BACK (RIGHT) Botond Részegh Nightfall 2013 Acrylic on canvas 100 × 80 cm POSE JONATHAN LEVINE GALLERY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 1.05

JONATHAN LEVINE GALLERY: POSE

WEBSITE Jonathan LeVine Gallery is pleased to announce its program for VOLTA NY, a solo www.jonathanlevinegallery.com presentation of new works by Chicago-based artist Pose from March 6 – 9, 2014. E-MAIL The booth will include a new series of paintings on panel and works on paper. In [email protected] conjunction with the fair, Pose will release his first print edition and create a large-

PHONE scale public mural in lower Manhattan. +1 212 243 3822 Pose’s new body of work for VOLTA will include a large portrait of a woman accom- CONTACT NAMES panied by still life paintings of her possessions. Exploring the relationship between Alix Frey these objects and their owner, the artist has developed a new form of fragmented Maléna Seldin Diana De Sousa portraiture, representing a subject’s identity through studies of their belongings. Anna Ortt Pose’s work is comprised of layers of hand painted collage. His process involves dissecting various visual elements and reassembling the slices to form a synthesis of shapes, forms and textures. Pose re-appropriates the visual language of the street REPRESENTED ARTISTS AJ Fosik and consumer culture to explore a broad spectrum of themes. He draws inspiration Alex Gross directly from his environment and the work references disparate sources — pop and DALeast comic art, sign painting and graffiti, skateboard and advertising graphics. Doze Green Haroshi Jeremy Geddes ABOUT THE ARTIST Josh Agle (Shag) Pose (Jordan Nickel) was born in 1980 in Evanston, Illinois, and is currently based Kevin Cyr in Chicago. He began practicing graffiti in 1992 and received a painting degree from Olek Kansas City Art Institute in 2004. His studio work is strongly informed by his graffiti Parra experience and his immersion in traditional sign painting. Pose is a member of The Seventh Letter, an acclaimed West Coast artist collective and Mad Society Kings

COVER (MSK), a world-renowned graffiti crew. Pose has painted murals all over the world. Pose In 2013, he and fellow MSK artist REVOK were invited to collaborate on a mural for Rinse Repeat the illustrious Houston/Bowery wall in conjunction with their first two-person exhi- 2014 bition at Jonathan LeVine Gallery. Acrylic and spray paint on clayboard panel 48 × 36 in

INSIDE Pose Shipwreck 2013 Acrylic and spray paint on clayboard panel 75 × 100 in

BACK Painting a mural in Richmond, VA Photo by Nick Mastro CHRIS BARNARD LUIS DE JESUS LOS ANGELES

VOLTA NY 2014 | BOOTH NUMBER 2.23

LUIS DE JESUS LOS ANGELES: CHRIS BARNARD

WEBSITE In his work, Chris Barnard wrestles with the politics of contemporary landscape www.luisdejesus.com painting, which, for him, is focused on the relationship between romantic represen- E-MAIL tations of the “American” landscape and the ideologies that have long fueled U.S. [email protected] aggression and violence.

PHONE Often characterized by wide vistas, dramatic light, and stunning terrain, the works +1 310 838 6000 of 19th Century landscape painters like Albert Bierstadt or Frederic Edwin Church CELL depict the landscape of the continental United States as grand, transcendent, and +1 858 205 3739 even sublime. Painted from and for a European-American point of view these works, CONTACT NAME however, reflect and project a colonial gaze — one that promotes the abundance Luis De Jesus and promise of the American West and celebrates the ideology of ‘Manifest Des- tiny’. Conversely, these paintings can also be considered within the larger scheme of exploitation that has long characterized the history of this land, obscuring the REPRESENTED ARTISTS Miyoshi Barosh deception, displacement and acts of crimes against its indigenous inhabitants and Kate Bonner others deeply connected to it. Even as he is drawn to these iconic paintings, he Mara De Luca is also troubled by them — the darkness in their light, the horror in their splendor. Zackary Drucker Chris Engman Barnard’s current body of work explores these contradictions. In these paintings, Ken Gonzales-Day he engages questions of light and dark, truth and fiction, substance and surface, Michael Kindred Knight reality and mythology. To address these concerns, he evokes the expansive and Margie Livingston Heather Gwen Martin reverential atmosphere of romantic landscape painting, which he in turn undermines Federico Solmi by layering images and materials (for example, re-framing ‘heavenly’ light and the color white as forces of darkness and portents of sorrow).These works also incor- porate various levels of representation; some are tightly rendered and others are COVER painted more loosely with abstract mark-making, saturated colors, and thick, dried Chris Barnard paint scrapings. Through this manipulation of formal and conceptual tropes, viewers Legacy 2013 – 2014 are left wondering what it is they are looking at and why. All of them are created to Oil on canvas suggest struggle — among and between imagery, materials, intents, and processes 40 × 54 in — and to provoke critical thought.

INSIDE Chris Barnard Unveiled 2013 Oil on canvas 40 × 54 in

BACK Chris Barnard The Revenge 2013 Oil on canvas 42 × 60 in MARGIE LIVINGSTON LUIS DE JESUS LOS ANGELES

VOLTA NY 2014 | BOOTH NUMBER 2.23

LUIS DE JESUS LOS ANGELES: MARGIE LIVINGSTON

WEBSITE After making paintings on canvas for many years, Margie Livingston began pouring www.luisdejesus.com paint, layering it, cutting it, and breaking it apart in order to construct objects that E-MAIL are images of their own making — hybrid works that shift back and forth between [email protected] sculpture and painting as well as abstraction and representation. Livingston’s prac-

PHONE tice is grounded in ’s Modernist narrative about an increasingly +1 310 838 6000 self-reflexive approach to the materiality of painting, modified through the inventions

CELL of Lynda Benglis and Linda Besemer. Her works reference and build on that story, +1 858 205 3739 just as they reference and build on the tactile and visual qualities in which she is

CONTACT NAME deeply invested. And yet, while these works are abstract, rooted both in process Luis De Jesus and in conceptual reference, they also resemble objects in the world. In this sense, Livingston breaks two cardinal rules of modernist painting: she makes objects that are images of other objects, and in the process of doing so she tells a story. REPRESENTED ARTISTS Chris Barnard Livingston’s early paintings (late 1990s – 2000s) showed her fascination with Ger- Miyoshi Barosh man Romanticism and used a complex system of three-dimensional grids to con- Kate Bonner struct evocative, luminous spaces in which fragments of tree branches dissolved Mara De Luca into abstraction. It poised the metaphysics of nature against the artifice of culture Zackary Drucker Martin Durazo and industry, and in some ways this sense of ruin was echoed by the state of flux in Chris Engman the paintings’ formal structure. The work, with its grid-making, reflected the practice Ken Gonzales-Day of the archaeologist who marks out a site on the ground (not unlike the ground of a Michael Kindred Knight painting) and grids it out before digging down through strata of earth and time. Liv- Heather Gwen Martin ingston’s current work continues to exhibit the tension between nature and culture that artists have been grappling with since the Industrial Revolution. Nevertheless, Livingston hasn’t eliminated the ground completely. The white that in her earlier COVER Margie Livingston paintings would have served as a background, is folded into the new works in such Pull # 2 (detail) a way that their layers of vivid chromatic hues vibrate against one another, creating 2013 a lively optical resonance. Thus Livingston participates in a “contemporary sublime” Acrylic paint pour on paper 20 × 30 in of plastic beauty that is androgynous and transitive, leaving behind the Romantic attachment to nature’s mythic truths. INSIDE Margie Livingston The above text is excerpted from an essay written by Noah Simblist, titled “Margie Study for Falling Grid Livingston: Paint Objects / An Archaeology of Practice: The Object of Paint(ing) in 2013 the Contemporary Sublime.” Noah Simblist is Associate Professor of Art at South- Acrylic paint and string 8.5 × 12 × 16 in ern Methodist University, Dallas, Texas. Photo: Richard Nicol

BACK (LEFT) Margie Livingston Waferboard with White Pour and Yellow Spray (detail) 2013 Acrylic paint mounted on alupanel, with acrylic poured and sprayed 74 × 33 in

BACK (RIGHT) Margie Livingston Study for Draped Painting 2014 Acrylic paint 21 × 7 × 6 in CAROLINA RAQUEL ANTICH LYNCH THAM, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.22

LYNCH THAM: CAROLINA RAQUEL ANTICH

WEBSITE THE MOON IS ABOUT TO FALL www.lynchtham.com AN INSTALLATION BY CAROLINA RAQUEL ANTICH

E-MAIL Through pictorial research, Carolina Raquel Antich recently embraced a sculptural [email protected] extension of her paintings. The result emerges from a study derived from preparatory PHONE drawings, readings, scattered words, and small prototypes in clay. Nature, figures +1 212 387 8190 and elements contained in the paintings gain texture and three-dimensionality as CELL they translate into porcelain sculptures. +1 917 327 3580 As Antich casts her subject matter into sculptural form, it might seem that some CONTACT NAMES Florence Lynch aspects of her paintings — such as color and complexity of the scene — are lost in Bee Tham the process. Yet, other aspects gain and acquire intensity. Through the sculptures, the delicateness and fragility of subjects and situations in which they are involved are poignantly magnified. The sculptural work brings to the fore spaces of protec- REPRESENTED ARTISTS tion and refuge, while underscoring the artistic condition of the subjects in their Tiong Ang extreme mode of concentration. Carolina Raquel Antich Leonard Bullock Childhood, a recurring theme in Antich’s work, is a territory where there is no fear; Pedro Calapez a free zone full of nuances and beauty, fleeting yet passive. Through the narrative Guglielmo Achille Cavellini Quisqueya Henriquez of childhood, the artist presents a compromise between the child and adult space, Greg Kwiatek the constant comparison between the inside and outside, vulnerability and endur- Walter Robinson ance that allows us to transform from childhood to adulthood.

This multi-disciplinary installation by Antich brings together a selection of sculptures,

COVER canvases of different sizes, and a sequence of drawings. Antich utilizes natural size, Carolina Raquel Antich prevalent and animated in the paintings, as the key element that wraps objects, fig- Saved ures, and stories. The porcelain sculptures, perched lightly on three natural wood 2012 bases, reference forest trees in different elevations. Though separate, these sculp- Handmade porcelain sculpture 18½ × 6 × 5½ in tures are part of a uniform narrative. The surrounding booth space is installed in forest green to simulate the natural settings wherein the entire plot evolves. INSIDE (LEFT) Carolina Raquel Antich The Moon is about to Fall is a project in which the different media used by Antich Portrait of Sisters live in harmony, revealing convergences and affinity. 2013 Acrylic on linen 25 × 18 in Carolina Raquel Antich (b. 1970, Rosario, Argentina; lives and works in Venice) has INSIDE (RIGHT) Carolina Raquel Antich exhibited extensively in Europe and South America. Awards include: Cisneros Foun- drowsiness dation Shortlist 2007/8; illy prize Finalist, Rotterdam 2006, Prize for Young Italian 2013 Art Finalist (Premio per la giovane arte italiana) 51st Edition Venice Biennale, 2005; Acrylic on linen Premio Bevilacqua La Masa 87 mostra collettiva, 2003. 11 × 12 in

BACK Carolina Raquel Antich Tent 2013 Handmade porcelain sculpture 15 × 6 × 10½ in BOBBY MATHIESON LYONS WIER GALLERY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 1.36

LYONS WIER GALLERY: BOBBY MATHIESON

WEBSITE Positioning historically and culturally significant subjects within a strongly visceral www.lyonswiergallery.com and highly textured figurative expressionism, Bobby Mathieson’s paintings reflect the E-MAIL emotional complexity shaping his relationship to these figures through a portraiture [email protected] that is at once provocative, grotesque and deeply reverent.

PHONE Over the last four years, Mathieson’s work has evolved from painting scenes in +1 212 242 6220 which haunting and ominous landscapes expressively inform their subjects, to- CONTACT NAMES wards a form of portraiture that is increasingly locating these signifiers within the Michael Lyons Wier subjects themselves. Deanne Shashoua The intuitive use of brushstroke and palette knife creates a sense of controlled chaos, marking the works with the rhythm and immediacy of their production. This REPRESENTED ARTISTS alla prima or wet-on-wet technique bears an element of the violence and gestural Aaron Nagel abstraction associated with action painting while retaining key facial cues to allow a Cayce Zavaglia Chris Cosnowski certain level of recognition and iconic legibility in the obscured faces. Confounding Cobi Moules the elegance of posture and pose with monstrous and absurd qualities like vampire Fahamu Pecou teeth and pointed ears, Mathieson introduces motifs that form characters that ap- Greg Haberny pear simultaneously playful and terrifying. James Gortner James Rieck Bobby Mathieson is a graduate of the Vancouver Film School (degree in Classic Mary Henderson Animation) and Emily Carr Institute of Art and Design in British Columbia (BFA). Melodie Provenzano Tim Okamura Lyons Wier Gallery is the premier Representational gallery in New York City. We champion contemporary representational artists who bring an independent spirit to their genre creating a dialogue steeped in Conceptualism but communicated via COVER Realism. Defined by the gallery as “Conceptual Realism,” this movement far exceeds Bobby Mathieson Jacob the traditional pictorial aspects of representational painting. Our artists’ deftness of 2013 hand is buttressed by their integral use of color, content and iconography bringing Oil on canvas about a broader conceptual aspect to their naturalistic compositions. 12 × 12 in

INSIDE Bobby Mathieson The Internet (Slick) 2013 Oil on canvas 16 × 20 in

BACK Bobby Mathieson Bad Vibrations 2013 Oil on canvas 12 × 12 in AKIHIRO HIGUCHI MA2 GALLERY, TOKYO

VOLTA NY 2014 | BOOTH NUMBER 2.18

MA2 GALLERY: AKIHIRO HIGUCHI

WEBSITE Akihiro Higuchi graduated from sculpture at Tokyo Zoukei University and completed www.ma2gallery.com a master’s degree at the Tokyo University of the Arts. Then he moved to Germany to E-MAIL study in the Stuttgart State Academy of Art. He is based in Tokyo now. [email protected] Antiquated statues of religious figures with historical significance, acquainted insects PHONE from familiar surroundings, animals genetically altered by the hands of people, etc.. +81 3 34441133 Meticulous analysis and choice of materials act as the basis for Akihiro Higuchi’s CELL +81 90 42202985 works. They are moth specimens, taxidermy animal forms and damaged statues etc. as important components. CONTACT NAME Masami Matsubara The selected objects are simple yet heavily embedded with preconceived values. Higuchi then modifies the materials by applying diverse techniques along with Jap- anese unique sensibilities, while recognizing the undermining qualities within the REPRESENTED ARTISTS objects itself. The resulting outcome of the transformation stimulates the viewers’ Tamotsu Fujii Mats Gustafson response by dissipating their preconditioned assumptions toward the objects. Fur- Kyotaro Hakamata thermore, by betraying such expectations in a humorous manner, the viewers are Yasuko Iba presented with an altered perspective in meaning, value, and narratives in Higu- Keisuke Kondo chi’s works. Ken Matsubara Nobuaki Onishi Naoko Sekine Mikiya Takimoto Tomotaka Yasui

COVER Akihiro Higuchi Restore – syncretistic fusion of Shintoism and Buddhism 2011 Antique statue, wood, mixed media 34.5 × 18 × 50.5 cm

INSIDE (LEFT) Akihiro Higuchi Mitate – urushi (Metaphor – lacquer) 2014 Stag beetle specimen, lacquer, gold dust, silver dust, mixed media Variable

INSIDE (RIGHT) Akihiro Higuchi Collection 2013 Moth specimen, mixed media Variable

BACK Akihiro Higuchi Restore – relation 2014 Antique statue, wood, mixed media 38.5 × 14.5 × 40 cm GEOFF HIPPENSTIEL MAKEBISH, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.04

MAKEBISH: GEOFF HIPPENSTIEL

WEBSITE Makebish is pleased to present an installation of new paintings by Geoff Hippenstiel. www.petermakebish.com The presentation at VOLTA will focus on large-scale and mid-scale works.

E-MAIL “Although brushwork is evident on close inspection-something these paintings bra- [email protected] zenly solicit—Hippenstiel’s tool of choice is the palette knife, supplemented to great PHONE effect with the unlikely method of spray gun. I say “unlikely” because spray paint +1 917 741 0077 isn’t often favored by artists who revel in the materiality of oil paint the way Hippen- CONTACT NAME stiel does when he lays on heavy impasto, scrapes through to rich underpainting, Peter Makebish or generously distributes dollops of brightly colored pigment as if the canvas were a palette. Generally, painters who work like this eschew spray paint, with its disem- bodied presence and industrial association.. Although I suspect that Hippenstiel COVER Geoff Hippenstiel is attracted to spray paint largely for pictorial reasons (because it delivers shapes, Untitled (detail) colors and surfaces he can’t achieve any other way), the frequent appearance of 2014 sprayed areas in his paintings effectively inoculates them from the self-indulgent, Oil and Wax on Canvas romantic and often reactionary attitudes that can plague painterly painting. There’s 96 × 72 in something almost perverse about spraying paint atop passages of artful scumbling INSIDE and impasto, as if one were trying to cover up rusted areas of a car body. It isn’t all Geoff Hippenstiel Untitled that different from David Hammons’s practice of draping plastic sheeting over his 2013 paintings.” — Raphael Rubinstein, Art in America, May, 2012. Oil and Wax on Canvas 96 × 72 in Geoff Hippenstiel is currently included in the exhibition: Outside the Lines, Con- temporary Arts Museum Houston, curated by Bill Arning. Recent solo exhibitions BACK Geoff Hippenstiel include Territorial Pissings, Devin Borden Gallery, Houston, Texas 2013; Murder Untitled Ballad, Holly Johnson Gallery, Dallas, Texas 2014. Recent group exhibitions in- 2013 clude GRADE(climbing) and Ace: Michael Bevilaqua and Geoff Hippenstiel both at Oil and Wax on Canvas Makebish Gallery. He lives and works in Houston, Texas. 20 × 16 in SHU IKEDA MAKI FINE ARTS, TOKYO

VOLTA NY 2014 | BOOTH NUMBER 2.12

MAKI FINE ARTS: SHU IKEDA

WEBSITE Shu Ikeda was born in Hiroshima, Japan in 1979 and currently produces his work www.makifinearts.com in Tokyo.

E-MAIL His artworks resemble the feeling of painting on photographs. By cutting out photos [email protected] to produce alternative shapes, voids, and shadows, Ikeda presents two-dimensional PHONE works that traverse between painting and photography. The difference between +81 3 6806 0615 photography and painting is that photography possesses high degree of reappear- CONTACT NAME ance. To cut out and reconstructed the photos enables creation of new space and Takahiro Maki new light of the existing image, and allows the image to reappear in a new shape. At first glance, a common scenery seems unusual as it doesn’t exist anywhere in the real world. This “new” scenery introduces a new world that is not found just in REPRESENTED ARTISTS Kuo I-Chen photography or painting. Shu Ikeda Shunsuke Kano Taiyo Kimura “My work is created by cutting out photographs that I have taken myself. The sub- Michiko Nakatani jects I work with are mostly nature — sceneries that capture light and transform Sayaka Suzuki Yuken Teruya easily. I opt for these subjects because I see beauty in delicate things that change Kazuhito Tanaka over time and eventually break down. Wataru Yamakami When I cut shapes out of the photographs, I sometimes cut directly along the lines of the subjects in the photo, but there are also times when I’m inspired to cut out

COVER an original shape, light, or space as if I’m drawing. I also feel that the act of slowly Shu Ikeda and carefully cutting out the scenery, a scenery captured by camera and instantly Reminiscence is a Sunny Place turned into ‘the past,’ may be similar to the feel of pursuing a separate time and 2011 image and then stacking it layer by layer.” — Shu Ikeda Photographic collage, mounted on paper 74 × 104 cm

INSIDE Shu Ikeda Fragile Relationship 2010 Cut-out photograph, mounted on acrylic 78 × 98 cm

BACK Shu Ikeda Season Chatter 2010 Photographic collage, mounted on paper 74 × 104 cm SOLY CISSÉ M.I.A GALLERY, SEATTLE

VOLTA NY 2014 | BOOTH NUMBER 1.45

M.I.A GALLERY: SOLY CISSÉ

WEBSITE Soly Cissé is a painter, draughtsman and sculptor distinguished by his tenacious and www.m-i-a-gallery.com inflexible determination; he is already an established member of the contemporary E-MAIL art world. After graduating from the Fine Arts Academy of Dakar in 1996, his rapid [email protected] progress has enabled him to travel across international borders, making his work

PHONE — poetic yet wild, in search of freedom — known and appreciated. By combining +1 206 467 4927 our modern world and the memory of immemorial times on the canvas in stark con-

CELL trast, Cissé goes well beyond any facile denunciation of the loss of values, lack of +1-206 734 6440 solidarity, dehumanization of interpersonal relations, or other vindications that we

CONTACT NAME are already accustomed to. Mariane Ibrahim-Lenhardt The painter held numerous exhibitions (in France, Italy, Germany, Switzerland, Spain, Great Britain, Brazil, U.A.E), he has also made his presence felt on an international level, participating in highly prestigious exhibitions, in particular “Africa Remix” at REPRESENTED ARTISTS Aboudia the Center Pompidou, Paris, dedicated to the practice of a new generation of Afri- Bruce Clarke can artists in its most contemporary way. Negar Farajiani Maimouna Guerresi Cissé’s paintings are dreams that reveal a tragic beauty. He calls on spirits, genies, Sofie Knijff animals and other mythological creatures to heal the world we are living in and find Wayne Levin salvation. Cissé is also the messenger who travels between these worlds; it is no Fabrice Monteiro coincidence he portrays himself in his own paintings. While Cissé clearly represents JC Moschetti Malick Sidibé the new wave of contemporary African artists tending towards modernity and uni- versality, he is never too remote from nature and ancient customs.

COVER Soly Cissé Untitled (detail) 2013 Acrylic on Canvas 59 × 39 in

INSIDE Soly Cissé Untitled 2013 Acrylic on Canvas 88.5 × 197 in

BACK (LEFT) Soly Cissé Untitled 2013 Acrylic on Canvas 59 × 59 in

BACK (RIGHT) Soly Cissé Untitled 2013 Acrylic on Canvas 59 × 59 in JENNIFER LEFORT PATRICK MIKHAIL GALLERY, OTTAWA | MONTREAL

VOLTA NY 2014 | BOOTH NUMBER 2.46

PATRICK MIKHAIL GALLERY: JENNIFER LEFORT

WEBSITE For VOLTA NY 2014, Canadian artist Jennifer Lefort investigates the nature, lan- www.patrickmikhailgallery.com guage, and history of abstract painting. Lefort updates and re-edits the existing E-MAIL language of abstraction by adding to it, and placing it within a contemporary con- [email protected] text. The result is a project entitled “transitory*space*systems,” which explores ab-

PHONE straction while consolidating the emotive quality of color and gesture, along with +1 613 746 0690 formal and material concerns. An undercurrent prevalent in the work reflects a sort

CELL of duality or “in-betweeness” of the painted space. The lines become blurred be- +1 613 276 3243 tween formal and emotive concerns, painting and drawing, structure and disorder,

CONTACT NAME organic and inorganic, fiction and reality. Patrick Mikhail Lefort is intrigued with how an imaginary space can manifest from nothing tangible, and how the abstract painted gesture has the transformative ability to become “something.” This transformative act becomes, in her view, a form of communica- REPRESENTED ARTISTS Colin Muir Dorward tion, comprehension, or language. Conceptually, the gestures, shapes, and colors Josée Dubeau in her works function as visual language and exist in an imaginary context, while Scott Everingham reoccurring motifs and logos behave as language and communicator and take on Kristopher Karklin new roles and relationships each time they appear. Lefort likens the process of con- Thomas Kneubühler Erik Nieminen structing the works — building as she goes, sampling shapes from urban culture, Cheryl Pagurek and tracing out networks within which things communicate — to that of building a Amy Schissel space where experiences can occur in a virtual, real, or fictional space. Cindy Stelmackowich Andrew Wright Jennifer Lefort completed an Honours BFA at Montreal’s Concordia University in 2002 and received her MFA from Toronto’s York University in 2006. She is the recipi- ent of the prestigious Joseph Plaskett Foundation Award, and was a finalist in the COVER 2007 RBC Canadian Painting Competition. Her paintings are in numerous collec- Jennifer Lefort tions including the City of Ottawa Art Collection, Musée national des beaux-arts du Untitled (Neon) 2013 Québec, the Canadian Ministry of Foreign Affairs, The Aldo Group, Giverny Capital, Acrylic, Oil on Canvas Hydro-Québec, and Abbott Laboratories. 24 × 36 in Since 2006, PATRICK MIKHAIL GALLERY has emphasized a complete engage- INSIDE ment in its artists’ professional practices, and a commitment to launching new and Jennifer Lefort significant bodies of work. The gallery has placed works in institutional collections Presumed Calculated Colour 2013 including those of the National Gallery of Canada, Canadian Museum of Contem- Acrylic, Oil on Canvas porary Photography, the Musée national des beaux-arts du Québec, Foreign Affairs 78 × 90 in Canada, Art Bank, City of Ottawa Collection, Ottawa Art Gallery, Nova Scotia Art Bank, and National Portrait Gallery. The gallery’s artists have been the recipients of a wide range of prestigious awards, grants, scholarships, residen- cies, and public art commissions, and have included numerous winners and nomi- nees for awards such as the Swiss Arts Awards 2012, Sobey Art Award, the BMW Contact Photo Prize, the RBC Canadian Painting Competition, RBC Emerging Artist Award, the Karsh Award, Canadian Centre for Architecture Prize, Mois de la Photo a Montreal Prize, Ontario Association of Art Galleries Award, Magenta Foundation Flash Forward Awards, and Santa Fe Prize for Photography. Essays, reviews, and critical discourses have appeared in ARTFORUM, Canadian Art, Border Crossings, CV Photo, ESSE, BlackFlash, Vie des Arts, Prefix Photo, Camera Austria, C Maga- zine, Afterimage, Next Level (UK), and EYEMAZING magazine.

PATRICK MIKHAIL GALLERY is a member of the Art Dealers Association Of Canada (ADAC) and the Association des galeries d’art contemporain (AGAC). JIN JOO CHAE JULIE MENERET CONTEMPORARY ART, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.14

JULIE MENERET CONTEMPORARY ART: JIN JOO CHAE

WEBSITE Jin Joo Chae draws inspiration from her experience as a Korean living abroad. She www.juliemeneret.com is concerned with the way that American news represents international events, E-MAIL especially the tense dynamics between North and South Korea. Using fragile and [email protected] fragrant media such as newspaper and screen-printed chocolate, she manipulates

PHONE dominant political narratives to suggest more complex and physically embodied +1 212 477 5269 realities. Playful modes and materials are subverted to suggest a certain despair

CELL and helplessness, a desire for transformation. Chae wants her audience to learn +1 917 940 7306 something from her work, and in fact the urge to tell stories unknown outside Korea

CONTACT NAME has become her necessity and responsibility, driving her art practice as a whole. Julie Meneret The pieces on view at VOLTA are a continuation of Chae’s project with the conse- quential Choco Pie, a popular South Korean dessert. Choco Pies are given out in lieu of forbidden cash bonuses to North Korean workers in the demilitarized Kae- REPRESENTED ARTISTS Jonny Briggs song Industrial Complex, the only place where the two countries have any contact. Frederic Nauczyciel The workers don’t eat the treats; they sell them on the black market for prices that Zakaria Ramhani can exceed $10 each, despite an average monthly income of $150. Although exact data is hard to come by, South Korean newspaper Chosun Ilbo reported that 2.5 million Choco Pies were traded in the North monthly. Because of dire economic COVER circumstances, almost half of North Korean families earn their entire income from Jin Joo Chae The Sweet Taste of Capitalism private trading, according to research done by the Peterson Institute. Women play with Marshmallow Cream (Dark a major role in this market, which constitutes civil disobedience in a country where Chocolate) resistance is rarely possible. Marshmallow cakes gained popularity via American 2013 soldiers in East Asia during World War II and the Korean War. Orion, a South Korean Dark chocolate and chocolate syrup on North Korean newspaper confectionary company began producing Choco Pies in 1974, and the word is now 21.5 × 16 in accepted as a common noun in Korean due to its extreme popularity.

INSIDE (LEFT) For The Choco Pie-ization of North Korea series, Chae adapts the Choco Pie logo in Jin Joo Chae the style of the Coca-Cola brand, symbolic of not just of U.S. economic dominance Choco Pie with Capitalist Cream in developing countries around the world but also of the ideology of neoliberalism. 2013 Bittersweet chocolate and She screen prints chocolate on newspapers such as the New York Times and Rodong chocolate syrup on North Korean Sinmun, the official newspaper of the ruling Workers’ Party. This newspaper is ex- newspaper tremely hard to come by outside North Korean borders, becoming a commodity in 60 × 48 in its own right. Choco Pies have served to introduce capitalism to a society closed

INSIDE (RIGHT) off from the world. Chae cleverly uses this humble and absurd example as an entry Jin Joo Chae point into a seemingly impenetrable global system. Her formal interventions reveal Choco Pie with Communist Cream personal truths—hopes, desires, frustrations—and point to a fundamental malle- 2013 ability of meaning in a world ruled by capital. Milk chocolate and chocolate syrup on North Korean newspaper A graduate of Columbia School of the Arts and Hongik University in Seoul, Chae 60 × 48 in has exhibited in the United States, Europe, and throughout Asia. She is an accom- plished printmaker and has participated in international exhibitions and biennials, including at the International Print Center New York in Fall 2013. Her works are in collections such as the Tokyo Metropolitan Art Museum, the Seoul Museum of Art, and the Sakima Art Museum in Okinawa. MARK MULRONEY MIXED GREENS, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 1.03

MIXED GREENS: MARK MULRONEY

WEBSITE While many people spent time in late 2012 contemplating the Mayan calendar and www.mixedgreens.com mankind’s demise, Mark Mulroney focused on paradise. Ageless one-liner jokes in- E-MAIL volving a man stranded on an island reminded him of his own situation in the studio. [email protected] The simple idea of the studio-as-island quickly gave way to a more complicated vi-

PHONE sion where the island is both an escape and a prison. +1 212 331 8888 In addition to reading Gauguin’s letters from Tahiti, studying Tarzan imagery, and in- CONTACT NAMES ternalizing clichéd tropical sunsets, Mulroney investigated 30-years-worth of Playboy Steven Sergiovanni and Penthouse magazines in preparation for this new work. These vintage maga- Heather Bhandari zines have significant influence beyond the obvious role nudity plays in Mulroney’s lexicon. The Playboy gag cartoons are especially inspiring (many include a desert

REPRESENTED ARTISTS island), and the paper of vintage porn is as fetishized by Mulroney as the images Kim Beck printed on it. A hedonistic appreciation of material is obvious when referring to both Sonya Blesofsky form and content. Howard Fonda Kimberley Hart In addition to painting and drawing, Mulroney has made a daily practice of working Joan Linder in several sketchbooks simultaneously—recording images, ideas, and perplexing Adia Millett haikus. Each sketchbook is a collection of characters, source material, inspiration, Stas Orlovski Rudy Shepherd sexual depravity, and off-color humor. The viewer is now privy to multiple versions Julianne Swartz of an image and a stream-of-consciousness that was previously concealed. Mary Temple Mark Mulroney received his MFA from The University of California at Santa ­Barbara. His first solo show in New York was with Mixed Greens in September of 2004.

COVER Other solo show venues include Ever Gold Gallery, San Francisco, CA; Galleries Mark Mulroney ­Goldstein, London, England; Guerrero Gallery, San Francisco, CA; ebersmoore gal- Everything You Do Is Wonderful lery, Chicago, IL; ArtSpace, New Haven, CT; Gregory Lind Gallery, San Francisco, (detail) CA; Richard Heller, Los Angeles, CA; and The San Diego Museum of Contemporary 2013 Acrylic on canvas over panel Art. Group exhibition venues include Park Gallery, San Francisco, CA; OKOK Gal- 45 × 48 in lery, Seattle, WA; Evergreen Gallery, Geneva, Switzerland; The National Gallery of

INSIDE Art, Warsaw, Poland; RAID Projects, Los Angeles, CA; Finesilver Gallery, Houston, Mark Mulroney TX; Cassius King Gallery, San Diego, CA; The University of Nevada, Las Vegas, NV; I Should Have Seen This Coming the San Francisco Art Institute, CA; the Santa Barbara Contemporary Arts Forum, (detail) CA; and the Laguna Beach Art Museum, CA. He has been written about in numer- 2013 Acrylic on canvas over panel ous publications including artforum.com, the Los Angeles Times, Flash Art, and 48 × 54 in Esquire. Mulroney lives in Syracuse, NY.

BACK (LEFT) Mark Mulroney Everything You Do Is Wonderful (detail) 2013 Acrylic on canvas over panel 45 × 48 in

BACK (RIGHT) Mark Mulroney Everything You Do Is Wonderful (detail) 2013 Acrylic on canvas over panel 45 × 48 in SHINNOSUKE YOSHIDA GALLERY MOMO, TOKYO

VOLTA NY 2014 | BOOTH NUMBER 2.15

GALLERY MOMO: SHINNOSUKE YOSHIDA

WEBSITE Shinnosuke Yoshida (b. 1983, Japan) represents both nature and the artificial, com- www.gallery-momo.com bining nature with manmade structures such as dams, revetments, and buildings. E-MAIL In his early works, Yoshida depicted peaceful nature against white walls. On the [email protected] surface, the combination of nature and the artificial objects, conjured an image of

PHONE coexistence. Yet, Yoshida remained constantly aware of the fact that environmental +81 3 3621 6813 destruction is a negative aspect of humanity. Thus, encountering the consequences

CELL of human’s self-centered tendencies in nature induced a deep, candid response +81 80 4937 0131 from the artist.

CONTACT NAMES The works of Yoshida changed after the devastating earthquake that hit Japan on Ryuhei Sugita March 11, 2011. According to the artist, the event made him realize that the world Momo Sugita does not consist of a linear timeline and there are huge differences between real experience and just seeing events; rather, it moves in complicated and violent ways,

REPRESENTED ARTISTS with each “now” tied to causes and effects that happen all over the world. After Yo- Yoshiko Fukushima shida had this realization, his attention shifted to how express it. Katsumi Hayakawa Yosuke Kobashi In the painting titled Rain, Yoshida clearly depicts the image of a crisis that reminds Tomoyasu Murata many of the Japanese Tsunami because of what was experienced on the day of Naomi Okubo the earthquake. Even though the work highlights the violence of nature, due to the Chika Osaka abstract expression, there is no emotion; there are just layers, brush strokes, and Tokuro Sakamoto Eisuke Sato nothing meant to be emotionally evocative. By illustrating various simultaneous pos- Ai Shinohara sibilities that are not limited to one perspective, Yoshida explores the new view of Ryoko Takahashi the world he obtained after the earthquake of March 11.

COVER ( TOP) Shinnosuke Yoshida GALLERY MoMo The Bottom of 3:03AM GALLERY MoMo was established in 2003 at Roppongi, Tokyo and opened a new, 2013 larger, space in 2008 at Ryogoku, Tokyo. In 2013, GALLERY MoMo at Roppongi Oil on canvas 157.4 × 157.4 in reopened GALLERY MoMo Projects with the idea of finding new young Japanese and international artists and curators. COVER (BOTTOM) Shinnosuke Yoshida GALLERY MoMo mainly represents Japanese artists who were born in 1970’s and Unknown Future and Forgettable 1980’s, who capture their own mental and emotional situations, as well as express Past 2012 the present day through their own unique style. The gallery believes the worlds the Oil on canvas artists depicted have global connections. The mission of the gallery is to introduce 63.8 × 63.8 in international artists who have unique concepts and original styles to Japan, and

INSIDE Japanese artists to other countries. Shinnosuke Yoshida Rain 2012 Oil on canvas 95.5 × 157.5 in

BACK (LEFT) Shinnosuke Yoshida In a Sea of Trees II 2010 Oil on canvas 71.6 × 89.5 in

BACK (RIGHT) Shinnosuke Yoshida Mirage 2013 Oil on canvas 63.8 × 63.8 in PAUL WACKERS MORGAN LEHMAN GALLERY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 1.13

MORGAN LEHMAN GALLERY: PAUL WACKERS

WEBSITE The work I make is based on things and places I see, feel and keep close to www.morganlehmangallery.com me. I make them to try to understand what they are, what they mean, and how I E-MAIL should understand them. Many of the subjects are things that seem very familiar [email protected] but through the process become confused or unreal because of the associations

PHONE created within the picture. I try to remain open to whatever path they take me down. +1 212 268 6699 — Paul Wackers, 2014

CELL +1 860 593 9749 GALLERY STATEMENT

CONTACT NAMES Morgan Lehman Gallery was founded in 2002, when Sally Morgan and Jay Lehman Jay Lehman converted an 18th century farmhouse in Litchfield County, Connecticut into an ex- Sally Morgan Lehman hibition space. In 2005, the gallery opened a second space on 10th Avenue in New Samantha Choppa York City. By 2010, the gallery’s increasingly ambitious program expanded again to a 2000 sq. ft. space in the heart of Chelsea’s gallery district on West 22nd Street, where the gallery resides today. This expanded space allows the gallery to mount REPRESENTED ARTISTS David S. Allee eight major exhibitions a year to great critical acclaim. Nicole Cohen The gallery represents a select group of emerging and mid-career artists working in Emilie Clark Kysa Johnson a broad range of media and stylistic modes. These artists are recognized by their Nancy Lorenz peers, critics and collectors as masters of their craft and have exhibited internation- Sharon Louden ally in museums and biennials. In 2010, the gallery inaugurated a project space to Amy Park serve as a platform for introducing emerging artists and for collaborations with guest Katia Santibañez Paul Villinski curators. Morgan Lehman Gallery is committed to providing beginning and estab- Aaron Wexler lished collectors, curators and critics with an inviting platform to discover new art.

COVER Paul Wackers Boarders Touch (detail) 2014 Acrylic, spray paint on panel 48 × 60 in

INSIDE Paul Wackers I Know What I Know 2013 Acrylic, spray paint on panel 58 × 48 in

BACK Paul Wackers Heartbeat 2013 Acrylic, spray paint on panel 36 × 48 in MICHAEL CAINES MULHERIN, TORONTO | NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.34

MULHERIN: MICHAEL CAINES

WEBSITE In his art production, Michael Caines negotiates images gathered from politics, pop www.katharinemulherin.com songs, painting history, post colonialism, and other ideas that begin with the letter E-MAIL P, like Public Sphere theorist Michael Warner’s writing, an author Caines intends [email protected] to someday read. Also influenced by Jürgen Habermas’s Wiki entry, Caines reacts

PHONE to his own passive over-consumption of media images, and his depressing inabil- +1 347 406 3690 ity to affect change in either the world or himself…mashing together ideas that are

CONTACT NAME probably better left un-mashed. An example: an unsubtle reference to nonobjective Katharine Mulherin painting combined with a sappy McCartney/Stevie Wonder song from the 1980s, resulting in the paired paintings, “Ebony and Ivory: Black on Black, White on White”. Is this piece a critique of the ubiquity and banality of contemporary abstraction? Is REPRESENTED ARTISTS it a reference to identity politics as a careerist strategy in current art? Or is he up to Mike Bayne something else entirely? Who knows? Dean Baldwin Oscar De Las Flores Caines’s futile attempt to have agency over the images he internalizes continues as Winnie Truong he tattoos a man’s chest with a slightly pissed off deer, who in turn stares out of a Kris Knight Carl D’Alvia Fragonard landscape in “Bad Manners”, and puts a dog in Native American head- Annie Macdonell dress on the lawn of the White House, “Miss (4) Direction (s)”. Very rude indeed. Jonathan Scott His work as a whole betrays a disturbing intimacy with animals, combined with a Krisjanis Kaktins-Gorsline penchant for mild grotesquery, that may leave the viewer wondering if a man like Heather Goodchild this should be allowed to make paintings depicting justices of the US Supreme Court, all the while mocking mimicry of the esteemed Gerhard Richter. He does

COVER that too: “Excellent Contemporary Art (painted in the manner of Gerhard Richter Michael Caines circa the 1960s)”. Black # 1 2014 In these new black dog paintings, wallpaper and drawings, Caines opts for some- Oil on canvas thing approximating subtly and simplicity, hinting at modernist black-on-black non- 36 × 24 in objective painting and seventeenth century Dutch portraiture, while celebrating his INSIDE favored canines. When asked to explain his preoccupation with dogs, he smugly Michael Caines quotes Nietzsche’s famous words, “And if you gaze long enough into the puppy, the Bad Manners (diptych) puppy will gaze back into you”, as usual leaning on the work and ideas of greater 2012 Oil on canvas thinkers and artists to prop-up his shallow, glib and, frankly, desperate attempts at 36 × 24 in simulating depth and substance. In all likelihood, Caines will continue this distasteful and intellectually obscene rub- bing together of species, politics, satire, history, art history, appropriation, and ap- propriation of appropriation, in the hope that the resulting friction will be generative (“of what?”, you might legitimately ask). Perhaps his conflicting urges — to mock and be sincere — are simply expressions of longing and despair in a troubled mind pointlessly pursuing meaningfulness in life and art.

New York based artist Michael Caines holds a MFA from Parsons the New School of Design in New York. He has been selected for a number of artist residencies, in- cluding: the Santa Fe Art Institute, the Millay Colony in New York State, the Jentel Art Foundation in Wyoming and The Bemis Center in Omaha. He has received Av- ery and Chalmers Fellowships. Caines’s exhibition history includes shows in pub- lic, artist run and commercial galleries in Canada and the US, and international art fairs with MULHERIN. His book, Revelations & Dog, a graphic version of the Book of Revelation, was released in 2011. A 10 year survey of his animal/human themed work, Wild/Tame, was exhibited at the Art Gallery of Peterborough in 2012. MATTHEW CONRADT MURIEL GUÉPIN GALLERY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 1.28

MURIEL GUÉPIN GALLERY: MATTHEW CONRADT

WEBSITE Matthew Conradt begins his work by appropriating found images signifying aspects www.murielguepingallery.com of American life. Growing up in the Midwestern rust belt, Matthew fits together im- E-MAIL ages from its decline. Wood paneling from trailer homes, giant parking lots and old [email protected] elaborate interiors all become portents. He collages these images together into

PHONE idiosyncratic scenes of an unwinding America. He strives to expose the tenuous +1 347 244 1052 construction of narrative meaning and space within images. What emerges is an

CELL American counter-narrative, without solid structures and searching for meaning. +1 347 244 1052

CONTACT NAME Muriel Guépin Matthew Conradt received his Masters in Fine Art from Pratt Institute in 2008. Mat- thew was an Artist-In-Residence at the Cooper Union School of Art in 2008, and he was a participant in the Bronx Museum’s Artist-in-the-Marketplace program in REPRESENTED ARTISTS 2010. Matthew’s work has been widely exhibited in the US and abroad and has Gabriel Barcia-Colombo been placed in major collections. Matthew currently lives and works in Brooklyn. Laurent Chéhère Kate Clark Beth Dary Treasure Frey Michiyo Ihara Joanie Lemercier Joan Lurie Davy & Kristin McGuire Robert Szot

COVER Matthew Conradt Occupancy 2012 Mixed media on mylar 45 × 45 in

INSIDE Matthew Conradt Inertia 2013 Mixed media on mylar 54 × 72 in

BACK Matthew Conradt Nothing more than meat 2012 Mixed media on mylar 32 × 32 in DAN COOMBS NEW ART PROJECTS, LONDON

VOLTA NY 2014 | BOOTH NUMBER 1.40

NEW ART PROJECTS: DAN COOMBS

WEBSITE In this recent body of work entitled “Woman” Dan Coombs has chosen to reinvent the www.newartprojects.com subject of the female nude, reinterpreting the human body through a metamorphosis- E-MAIL ing lens. Based on photographs of anonymous female nudes, Coombs distorts these [email protected] images of women by randomly waving and shaking the image as it passes through a

PHONE photocopier. He collects hundreds of these doctored images, sometimes combining +44 20 7323 0344 them but often just choosing ones that have a particular resonance. The movement

CONTACT NAME of the hand that pushes and pulls the image on the photocopier finds an analogy Fred Mann with the eventual movement of the hand that holds the brush in the act of painting.

Coombs favours the haptic physical qualities of this analogue process, rather than the more controllable and detached digital distortions. The process allows Coombs REPRESENTED ARTISTS Ricardo Alcaide to combine photographic realism with a painterly gesturalism. The process trans- Greg Rook forms the identities of the women depicted, and confuses the distinction between Matthew McCaslin beauty and ugliness. The resulting unique paintings that stem from this process are Nayland Blake both arresting and extraordinary. Gerladine Swayne Kadie Salmon The sometimes alarming metamorphoses, into monsters or angels, tender abject Jakob Roepke creatures, alien presences, sculptural forms or intensified personages with an un- canny familiarity, resonate with depictions of the female nude throughout modernism and art history. The figures come to embody transformations that seem to emanate COVER Dan Coombs from within them, reflecting different emotional states. Untitled Nude (detail) These deliberately heightened and provocative paintings attempt to reinvent the 2013 Oil on canvas relationship of the artist to an imaginary muse, the muse who inspires, taunts, and 60 × 45 cm ultimately remains elusive to any objectifying gaze. Through aesthetic transforma-

INSIDE (RIGHT) tion, Coombs demonstrates that the reality of the figure is ungraspable to repre- Dan Coombs sentation, and gives the figures in these small format paintings a presence that is Untitled Nude intensified by their own unknown ability, mystery, and strangeness. 2013 Oil on canvas 60 × 45 cm

INSIDE (LEFT) Dan Coombs Untitled Nude 2013 Oil on canvas 60 × 45 cm

BACK Dan Coombs Untitled Nude 2013 Oil on canvas 60 × 45 cm ROSS WATTS SARA NIGHTINGALE GALLERY, WATER MILL, NY

VOLTA NY 2014 | BOOTH NUMBER 1.10

SARA NIGHTINGALE GALLERY: ROSS WATTS

WEBSITE FOUNTAIN STAIRS www.saranightingale.com The installation Fountain Stairs presents the artist as archivist, librarian, and Arche- E-MAIL ologist in addition to his other roles. Derived from literary works in which the pro- [email protected] tagonist’s character shifts in some critical way, the objects here pay tribute to books

PHONE in their traditional, non-digitized form. The work spans a diverse range of media: +1 631 793 2256 variations in process, surface and scale abound. What unifies them is their allusion

CONTACT NAME to texts, the layering of pages and the impending obsolescence of printed matter. Sara Nightingale Books as fossils manifest as “stones”. Layers of strips of paper are compressed by steel “bookends” binding them to the wall. Sculptures made from layers of tarpa- per are deconstructed and presented as paintings. Books are enshrined in plaster REPRESENTED ARTISTS “tombs”, whose striated layers suggest accumulations of sediment. Bill Armstrong Perry Burns The works in Fountain Stairs (the title refers to a Deerhunter song, the first line of Eric Dever which is, “I forgot my book”) obscure the identities of the books themselves. Titles Cara Enteles are wholly or partially concealed. Associations, references and meaning are left to Yuliya Lanina Sue McNally the viewer. Mike Solomon The installation also nods to natural powers that affect identity, or character, such Barry Underwood Gus Yero as shifting phases of the moon, which can alter human behavior. In contrast to fab- ricated online profiles and enhanced selfies, in which the POV is controlled by the poster, Fountain Stairs offers a series of blurred portraits that intentionally leave in- COVER terpretation open-ended. Their content, inevitably ambiguous, is born from a literary Ross Watts heritage that embraces the tension between fiction and non-fiction. Notis 2013 Ross Watts received a BFA from The University of North Carolina and an MFA from Paper, wire, steel rods Virginia Commonwealth University. He has exhibited nationally, including a recent × 30 22 in exhibition at the Parrish Art Museum in Water Mill, NY and is represented in numer- INSIDE ous private collections. Ross lives in Sag Harbor with his family. Ross Watts Untitled Tar #6 2013 Tarpaper, plaster, burlap 36 × 48 in DUHIRWE RUSHEMEZA NOMAD GALLERY, BRUSSELS

VOLTA NY 2014 | BOOTH NUMBER 1.07

NOMAD GALLERY: DUHIRWE RUSHEMEZA

WEBSITE Duhirwe Rushemeza’s artwork engages complex narratives to discuss issues of dis- www.nomadgallery.be placement, personal and material memory, cultural adaptation, and what it means E-MAIL to be an immigrant today. Her work calls into question assumptions around hybrid [email protected] identity in this increasingly globalized world. In exploring these issues, Rushem-

PHONE eza focuses on the transitional material of iron oxide as well as industrial thin-set +32 475 219 250 mortar/concrete to create her paintings and installations. She coalesces disparate

CONTACT NAME components to suggest geographical collision. The assemblage process that hold Walter De Weerdt the objects together is directly visible, and at times impermanently constructed, re- flecting the ephemerality that is inherent in a nomadic existence.

Rushemeza’s work brings to mind the deteriorating colonial buildings she witnessed REPRESENTED ARTISTS Hector Acebes on the coasts of Côte d’Ivoire and Ghana in her youth and suggests polarizing his- Jean-François Boclé tories imprinted in the different layers of her “sculptural paintings.” The metal de- Jeanine Cohen tritus along with the loose handling of the many layers of paint, revealed through a Dilomprizulike process of sanding and carving, contrast greatly with the rigid patterns inspired by Javier Fernandez Satch Hoyt imigongo paintings — an art form that emerged at end of the 18th century in the Marc Lambrechts Kibungo province (South-East Rwanda) and consist of traditional geometric designs Aimé Mpane created using calf dung. All of the components in the resulting terrain of Rushem- Guy Woueté eza’s work create objects that suggest the works have been excavated from an old colonial structure and represent a small part or puzzle piece of a larger mass.

COVER Duhirwe Rushemeza Imigongo #1 (Blue, White, Taupe, Duhirwe Rushemeza was born in Kigali, Rwanda and now lives and works in New Ochre, and Brown) York City. Rushemeza recently completed a Masters of Fine Arts from Rhode Island 2013 School of Design. She also holds a Masters degree from the School of the Art Insti- Thin-set mortar, concrete, acrylic tute of Chicago and a B.A. degree from Spelman College. Rushemeza has exhibited house paint, wood and embedded metal detritus her work and is in public and private collections in Africa, Europe, and North America. 4 × 4 ft, 5 in deep

INSIDE Duhirwe Rushemeza NOMAD is a contemporary art gallery from Brussels that focuses mainly on artists Installation shot from Africa and its Diaspora. The gallery has hosted a series of critically acclaimed 2013 solo and group exhibitions with artists Kay Hassan, Vitshois Bondo, Aimé Mpane, BACK (LEFT) Jean François Boclé, Satch Hoyt, Guy Woueté, and others. Duhirwe Rushemeza Untitled (Brown and White, NOMAD has been firmly behind the careers of those rising stars from the African Oxidized Handle) contemporary art scene. NOMAD participates in ArtBrussels, Scope, (e)merge and 2012 2014 marks its second year at VOLTA NY. Thin-set mortar, concrete, acrylic house paint, wood and embedded metal detritus 21 × 21 in, 5 in deep

BACK (RIGHT) Duhirwe Rushemeza Wind-Up Bird (Yellow and White, Shovel Detritus) 2013 Thin-set mortar, concrete, acrylic house paint, wood and embedded metal detritus 21 × 21 in, 7 in deep YOOAH PARK OPSIS ART, SEOUL

VOLTA NY 2014 | BOOTH NUMBER 1.37

OPSIS ART: YOOAH PARK

WEBSITE Born in Seoul in 1961, Yooah Park received her B.A. and M.A. for traditional painting www.opsisart.co.kr at Ewha’s Women’s University and pursued further studies at Harvard and Colum- E-MAIL bia Universities. She has continued to work with a variety of materials and media [email protected] throughout her career, including ink painting, ceramic, metal, sculpture, as well as

PHONE multimedia installations and performance. Since her first solo exhibition in New York +82 2 735 1139 City in 1990, her critically acclaimed work has been shown at various international

CELL venues such as Seoul, Tokyo, Chicago, Moscow, Mexico City, and Venice. Park +82 10 3329 1139 has taught drawing at Harvard University and has recently led a drawing workshop

CONTACT NAME at Brookhaven College in Dallas, Texas. Her drawings have also appeared in Draw- Woong-Kie Kim ing: A Contemporary Approach by Teel Sale and Claudia Betti, a text widely used in American art curriculi. She presented a series of performances as part of her first solo exhibition at Opsis Art, Ressentiment-Hyo, in 2012. Music Box is Park’s second REPRESENTED ARTISTS solo exhibition at the gallery and her 21st solo exhibition since beginning her career. Jeongsu Han Kyungsim Jeong Opsis Art is a new and energetic gallery that opened in 2012. Representing both Osman Kahn young and experienced artists, the gallery specializes in conceptual art practice in Bonjeong Koo domestic and international spheres. The gallery embraces challenging art works Stone Kim Daewoong Nam across media and interdisciplinary practice. The gallery is located in the center of Kelvin Kyungkun Park the cultural district, with a number of art galleries, museums including the Museum Youngdae Park of Modern and Contemporary Art, and the historic Kyungbok Palace in close prox- Punssombatert Bundith imity. In its short history, Opsis Art has developed a strong and consistent reputa- Robert Rhee tion for its high-quality exhibitions, and is now seen amongst the most influential art spaces in Korea.

COVER Yooah Park Ressentiment-Hyo 2012 Video still Variable size

INSIDE Yooah Park Mr. & Mrs. Koh 1 2013 Color pigment on paper 100 × 72 cm

BACK (LEFT) Yooah Park Ressentiment-Hyo 2012 Performance still Variable size

BACK (RIGHT) Yooah Park Mr. & Mrs Koh 2 2013 Color Pigment on Paper 46 × 62 cm JOHN PLAYER PIERRE-FRANÇOIS OUELLETTE ART CONTEMPORAIN MONTREAL

VOLTA NY 2014 | BOOTH NUMBER 1.23

PIERRE-FRANÇOIS OUELLETTE: JOHN PLAYER

WEBSITE There is a spare, minimal quality to John Player’s work — a limited palette and of- www.pfoac.com ten banal or uneventful subject matter. Distance appears on multiple levels. There E-MAIL is visual distance in his images, giving the viewer a sense of magnitude, and at the [email protected] same time neutralizing them, making them into maquettes, objects of dispassion-

PHONE ate contemplation as we view them from some safe vantage point. They illustrate +1 514 395 6032 a contradiction of our media-saturated world: the twenty-four hour news cycle in-

CELL stantaneously brings us closer to events, conflicts and tragedies happening around +1 514 885 4956 the world — brings them into our homes, but sanitizes them through the screen or

CONTACT NAMES the page — makes them seem contained and distant. This is conceptually impor- Pierre-François Ouellette tant, as we are constantly alerted to looming crises that will affect our lives directly, Edward Maloney yet simultaneously they become distant, commonplace, even unreal as they pass through multiple channels of mediation.

REPRESENTED ARTISTS While undeniably influenced by contemporary painters like Peter Doig, Luc Tuymans Kent Monkman and Gerhard Richter, his major inspiration is the internet itself. The internet, which Ed Pien allows for unprecedented levels of intercommunication, and yet is simultaneously Adad Hannah alienating and almost authorless in its massive scope and information overload. Dil Hildebrand Luc Courchesne Player’s technique is inspired by the non-technique of the internet — amateur photos Roberto Pellegrinuzzi and videos, short news clips and the attendant digital artifacting that results from Maskull Lasserre the downsampling and compression necessary to make photos and videos easily Chih-Chien Wang available online. The works invite a critical reflection on ethics and societal decision Karilee Fuglem John Latour making, but they also offer a more open-ended meditation on our desires and their relationship to the media that make us who we are. — from a text by Neal Rockwell

John Player was born in Victoria, Canada in 1983. He holds a BFA in Studio Arts COVER from Concordia University and is currently completing his MFA in Painting and Draw- John Player Drone ing at the same institution. He lives and works in Montreal. 2011 Oil on canvas 25 × 35 in

INSIDE John Player Predator View 2012 Oil on canvas 48 × 60 in

BACK John Player Monitors 2013 Watercolour on paper 7 × 9 in HENRIK EIBEN PABLO’S BIRTHDAY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 1.25

PABLO’S BIRTHDAY: HENRIK EIBEN

WEBSITE Following the February debut of his second solo exhibition at Pablo’s Birthday, www.pablosbirthday.com “Night Shift”, Pablo’s Birthday presents new works of Henrik Eiben at VOLTA NY.

E-MAIL When asked about his art, Henrik Eiben responds, “What makes a painting a paint- [email protected] ing?”. He is not asking a question, rather he is describing a stance implicit in his PHONE work. A sculpture may have qualities of a drawing, and a painting may have quali- +1 212 462 2411 ties of a sculpture, In Eiben’s view, these distinct terms make us unnecessarily rigid CELL and narrow minded, thus he seeks to break them open in pursuit of something new. +1 917 450 5354 Taking inspiration from the spirit of many modern masters, Eiben is an original that CONTACT NAMES moves the minimalist/abstractionist idea forward with innovative ideas. By way of Jimi Billingsley his inclusion of an unconstrained array of materials, and his active disregard of cat- Arne Zimmermann egorization, Eiben embraces uncertainty to arrive at surprising new places. While his sensibility conveys a certain freedom, and even eccentricity, evident in the liber-

REPRESENTED ARTISTS ated lines, color, and structure of the pieces, never does one feel they are anything Thorsten Brinkmann but deliberate, or that the artist is anything but completely invested in the process. Christian Eisenberger Frank Gerritz Eckart Hahn Karsten Konrad Kristian Kozul Marc Lueders

COVER Henrik Eiben gregory 2013 Mahogany, laquer, fabric, watercolor, leather 320 × 60 × 8 cm

INSIDE Henrik Eiben Ell 2013 Acrylic glass, lacquer, whitewood 75 × 130 × 17 cm

BACK Henrik Eiben keep your eyes peeled 2013 Popsicle, paper, watercolor, wood 53 × 42 cm SIMEEN FARHAT PENTIMENTI GALLERY, PHILADELPHIA

VOLTA NY 2014 | BOOTH NUMBER 2.36

PENTIMENTI GALLERY: SIMEEN FARHAT

WEBSITE Words — written or spoken, understood or misunderstood, poetic or prosaic, cur- www.pentimenti.com vilinear or rectilinear, are what motivate me to create my visual narrative. I am fasci- E-MAIL nated by how, through language, we understand a great deal about ourselves and [email protected] surroundings, and how ideas: simple, complex and abstract, are conveyed and

PHONE understood using symbols. Another aspect that intrigues and inspires me to use +1 215 625 9990 language as a vehicle for my art is the endless possibilities through interchanging

CONTACT NAMES letters, words and phrases; to express thoughts, ideas and concepts. Lastly, it is Christine Pfister also very important for me to express these ideas from my perspective as a woman. Raul Romero Just as a literary piece is convincing when there is congruity and flow in the writing — along with interesting ideas — visual works of art, for me, become more engaging

REPRESENTED ARTISTS when they have a balance, rhythm and direction, along with a sincere thought Steven Baris process. This is how I relate my formal compositions with that of the literal and lyri- Cecilia Biagini cal writings — rearranged and restructured symbols, as purely lines and shapes. Matthew Cox As a visual artist, I do not follow the rules of any language; my intention is to re- Kevin Finklea Kiki Gaffney construct the thought process. Therefore, the text — whether they are borrowed Judy Gelles from works of great poets and philosophers, or from the novel Alice’s Adventures Mark Khaisman in Wonderland, or from a common phrase — become self-contained and dynamic Hadieh Shafie visual objects. Although viewers may recognize familiar letters, words, or symbols Jackie Tileston Derrick Velasquez from a particular language, however, the words in those artworks become inde- cipherable. My objective in choosing those words is to show the essence of their message through abstraction; by using overlapping shapes and lines which create COVER tension and movement and stir up emotions. Simeen Farhat Zero to a Hundred (detail) 2013 Pakistani-born Simeen Farhat has exhibited in the United States and frequently over- Cast and pigmented urethane resin 22 × 17 × 5.5 in seas including in Pakistan, London, the UAE, India, Finland and Germany. Farhat is represented by Pentimenti Gallery. INSIDE Simeen Farhat Artist Statement 2013 Cast and pigmented urethane resin 120 × 80 × 18 in

BACK Simeen Farhat Hope We Can Talk 2013 Cast and pigmented urethane resin 16 × 19 × 4 in ZHIVAGO DUNCAN POGGIALI E FORCONI, FLORENCE

VOLTA NY 2014 | BOOTH NUMBER 2.44

POGGIALI E FORCONI: ZHIVAGO DUNCAN

WEBSITE Zhivago Duncan was born in 1980 in Terre Haute, Indiana. Of Syrian and Danish de- www.poggialieforconi.it scent, Duncan lived between Saudi Arabia, Malta, Bulgaria, the United States (five E-MAIL states), France and has been living in Berlin for seven years. [email protected] The cultural miscellany that Duncan has accumulated, through both his origins PHONE and living in various other nations, has given him the ability to adapt both cultur- +39 055287748 ally and linguistically wherever he lands. Within Duncan’s studio practice are many CONTACT NAMES languages, perhaps mimicking his ability to speak a few of them. Duncan works Marco Poggiali with ceramics, models, oil paint, silk screen, cars, mechanics and kinetics, toys, Lorenzo Poggiali electronics, film and photography. Using as many methods as possible, in order to experiment and push the borders of control and chaos within his art. He works with

REPRESENTED ARTISTS each material for period of time defined by his interest in it, this resulting in a cer- Davide Bramante tain ignorance and amateur approach to the work resulting in error and singularity. Enzo Cucchi Zhivago Duncan Duncan’s work reflects the tenets accumulated over the years, simultaneously syn- Thomas Gillespie thesizing wherever he goes yet quite belonging. Shifting methods, mediums and J&Peg styles mirror and emphasize that state of mind and matter. Through pulling away Youssef Nabil from set methods and techniques within the classic language of art, Duncan inves- Luca Pignatelli Mithu Sen tigates notions of lost identity and forgotten culture. Idea Duncan believes to be Pete Wheeler free and inevitable. Gilberto Zorio Duncan received his BFA from Chelsea college of Art and Design London in 2007 and has exhibited with CFA in Berlin, the Saatchi Gallery London, Von der Heydt-

COVER Museum Germany, Sammlung PHILARA Dusseldorf, among others Zhivago Duncan He is currently in the deserts of Jordan producing a new body of work. First sentence of Un-written Novel (detail) 2013 Silkscreen, rabbit skin, and ink on linen 63 × 47.2 in

INSIDE Zhivago Duncan Jungle Love Deep 2013 Silkscreen, rabbit skin, and ink on linen 67 × 47.2 in

BACK Zhivago Duncan Les trois Imbeciles 2014 Medium: Wood, glazed ceramics, and steel 18.5 × 42 × 63 in JOHN COX POPOPSTUDIOS ICVA, NASSAU

VOLTA NY 2014 | BOOTH NUMBER 2.27

POPOPSTUDIOS ICVA: JOHN COX

WEBSITE POPOPSTUDIOS is an independent art studio and gallery dedicated to the pres- www.popopstudios.com ervation and advancement of alternative Bahamian visual culture. The goal is to E-MAIL educate, promote, expose, and defend new and challenging developments in con- [email protected] temporary art. Popopstudios exists to harbor both seasoned and developing artists

PHONE interested in new media and mixed media processes, while projecting these efforts +1 242 322 7834 to a national and international audience.

CELL POPOPSTUDIOS provides a platform that gives creative ideas and projects vis- +1 242 424 2561 ibility. Resident artists from a supportive community that plans projects and acts CONTACT NAME as a hub for contemporary art creation and discussion. The gallery is open to art- Hillary Booker ists from within the community, resident artists and international artists to exhibit; and artist-in-residence studio is available for visit international artists. The curatorial philosophy is focused on designing invitational shows that provoke and challenge REPRESENTED ARTISTS Jason Bennett artists to address visual, cultural, and conceptual strategies. The gallery also hosts Dede Brown solo exhibitions, seeking individual artists working on existing bodies of work or on Charles Campbell projects designed to be site specific. Blue Curry Michael Edwards Marlon Griffith JOHN COX Kendal Hanna John Cox was born in Nassau, Bahamas in 1973. He attended the Rhode Island Toby Lunn School of Design in Providence where he received a BFA in Illustration (’95) and an Dylan Rapillard MAT in Art Education (’96). Cox is a mixed-media artist whose works focuses on the “everyday”; he is known for large format paintings, found object assemblages, collage and non-traditional printmaking. During his time at RISD, Cox was described COVER by a Harvard University critic/poet as “an unsophisticated artist that produced so- John Cox High Chair phisticated art.” His work often references distant places and ideas but is executed 2013 with familiar and ordinary materials. Cox has exhibited and participated in exchanges Mixed media in France, Italy, Germany, Hong Kong, the United States and the Caribbean. Variable dimensions

INSIDE John Cox Filler 2013 Bicycle inner tubes, string Variable dimensions

BACK (LEFT) John Cox Filler 2013 Bicycle inner tubes, string Variable dimensions

BACK (RIGHT) John Cox Hero 2005 Acrylic on canvas with objects 4.5 × 5.5 ft ALFRED STEINER GALLERY POULSEN, COPENHAGEN

VOLTA NY 2014 | BOOTH NUMBER 1.27

GALLERY POULSEN: ALFRED STEINER

WEBSITE Many viewers may conclude, understandably, that I had in mind Arcimboldo’s six- www.gallerypoulsen.com teenth-century portraits made of fruit or flowers when I made the work shown here. E-MAIL But like much of my work, the resemblance flows less from history than from my info@ gallerypoulsen.com solution to a particular problem. Here, the problem was compositional.

PHONE When I was a student, I drew incessantly, with a few class notes squeezed in among +45 33 33 93 96 jumbles of eyes, noses, lips and other anatomy. As I extended these doodles into CELL more ambitious drawings, I wondered how they would change if I introduced an +45 40 15 55 88 internal compositional logic. At first, I tried geometric forms, but soon I was experi- CONTACT NAME menting with images culled from art history, like Laocoön and His Sons or Dürer’s Morten Poulsen Knight, Death and the Devil, as well as pop icons, like Bart Simpson or Scooby Doo. Through trial and error, it became clear to me that the stylized forms of car- toon characters were ideally suited for this work. Certain axioms emerged that I REPRESENTED ARTISTS Isaac Arvold seemed to be discovering rather than inventing. For example: Use as few objects Debra Hampton as possible to recall the underlying form and Do not use the same object to replace Aaron Johnson a form, e.g., do not replace a eye with a eye. Viewers can discover other axioms by Mi Ju looking closely at the works. Christian Rex van Minnen Jean-Pierre Roy To make one of these works, I begin by choosing a character. Then I free-associate Tom Sanford while looking at the forms that make up the character, just as one might look at Jade Townsend Eric White a cloud or Rorschach blot. Take Spongebob’s neighbor, Squidward, for instance. Barnaby Whitfield His feet quickly suggested a treble hook, his right hand a ladle. Other forms were more difficult — his torso, for example (for which I have used a mola mola or ocean sunfish). Some forms, like the ellipses of his eyes, are sufficiently simple to suggest COVER several alternatives, which allows for some conscious decision-making. Sometimes Alfred Steiner this openness leads me to make a connection between the character and the object, Plankton (detail) 2013 like using a puffin egg for Squidward’s nose because puffins are marine birds known Watercolor on Arches 300 lb. hot to eat squid. Other times, I find that my freely-associated object bears a relation- press paper ship to the underlying character, whether by coincidence, unconscious influence or 30 × 22 in otherwise. These two processes often become so intertwined that I cannot disen- INSIDE tangle them with respect to a particular character/object relationship. After I settle Alfred Steiner on an object, I scour Google Images for a suitable photographic model. If I cannot Snail find one, I free-associate another object. Then I render the full image using these 2013 Watercolor on Arches 140 lb. hot sources, which typically differ radically in terms of their clarity, resolution, contrast, press paper saturation, etc. I use watercolor both to unite the disparate elements and to engage 42 × 68 in the tradition of naturalist illustration, keeping in mind that the underlying subjects are often wildlife (e.g., squid, snail, squirrel, plankton, starfish, crab).

These works are hybrids of the stylized and the naturalistic. They are one answer to the question How can one reconcile the stylized and the naturalistic? Despite their traditional medium (watercolor, with one exception) and their relationship to naturalist illustration, they are works that could not have been readily produced, if at all, until recently. This is not only because they are based on fictional characters that did not exist until 1999, but also because it would be far more difficult, if not impossible, to make them without Google Images, which was introduced in 2001. In these works, Audubon and Nickelodeon collide on the Infobahn. GERARD ELLIS LYLE O. REITZEL GALLERY, SANTO DOMINGO

VOLTA NY 2014 | BOOTH NUMBER 1.16

LYLE O. REITZEL GALLERY: GERARD ELLIS

WEBSITE A painter and draftsman by calling and choice, Gerard Ellis establishes an interesting www.lyleoreitzel.com dichotomy between the practice of painting and social critique. His pictorial work is E-MAIL highly expressive and vigorous for those who directly or indirectly participate in the [email protected] multiple strata of the contexts of which this artist speaks. The violence, corruption

PHONE and lack of willpower characteristic of our times are central topics of his meticulous +809 227 8361 work. There is a studied connection and interdependence between his work and

CELL what constitutes his life experiences, which translates into a certain underlying po- +809 519 9214 liticization of life’s experience. Self-referential and sometimes autobiographical, his

CONTACT NAMES dynamic yet intensely personal and authentic compositions serve on dual levels: not Lyle O. Reitzel only are they effective in presenting the viewer with truncated iconoclastic narratives, Catalina Hooper but they also possess a strong visual vocabulary of technical styles.

Ellis competes in a direct relation to the animal, (this time, no longer domestic) with

REPRESENTED ARTISTS the man and are constant companions to the figures in the paintings. Equipped Edouard Duval Carrié with a dramatic quality, the plastic movement of each one of the works speaks of Hulda Guzmán speed and stillness, paralysis and aggression, being the diachronic dichotomy of José Bedia Valdés the mental movement of the spectator. José García Cordero Luis Cruz Azaceta Born in Santo Domingo, Dominican Republic in 1976, he graduated from the Na- Melissa Mejía tional School of Fine Arts and the Universidad Autónoma de Santo Domingo. Se- Milton Becerra Raúl Recio lected to be part of the “S-Files”, the 6th edition of the El Museo del Barrio Biennial Tania Marmolejo in NY, 2011. Has been recognized with three awards of Excellence by The Society Victor Payares of News Design, 2007-2008. In 2007 was invited to be part of the IX edition of the Cuenca International Biennial, Ecuador. His work has been exhibited in group shows in the Nassau County Museum of Art, NY, The IDB Cultural Center and The Mexi- COVER can Cultural Institute in Washington, D.C. Selected to be part of the National Bien- Gerard Ellis Sacred nial of Visual Arts and the XX edition of the E. León Jimenes Art Contest (Biennial), 2013 where he received the Prize for painting, both in the D.R.. He participated in the Acrylic on canvas “Sarmiento Public Art Project, 2007” in public areas of the city of Santo Domingo. 44 × 70 in Also, has had solo shows in New York City, Miami, Bogotá, Panamá and Santo Do- INSIDE (LEFT) mingo and has participated in numerous international contemporary art fairs such Gerard Ellis as VOLTA NY, In Context Art Miami, Scope, Pinta and Arte BA. He’s included in Paseo por el jardín the permanent collection of the Museum of Latin American Art in Long Beach, CA, 2009 Mixed media on canvas Fundación para la Pintura, Canaria, Spain, the Museum of Contemporary Drawing 92 × 70 in and the Museum of Modern Art in Santo Domingo, The Dominican Congress and

INSIDE (RIGHT) also in private collections in New York, London, Miami, Spain, Panamá, , Gerard Ellis Puerto Rico and Santo Domingo. Hulk 2010 Mixed media on wood 12 × 12 in

BACK Gerard Ellis Getting Even 2007 Mixed media on canvas 50 × 75 in ROBERT LANSDEN ROBERT HENRY CONTEMPORARY, BROOKLYN

VOLTA NY 2014 | BOOTH NUMBER 2.21

ROBERT HENRY CONTEMPORARY: ROBERT LANSDEN

WEBSITE Robert Lansden’s drawings are created using a set of rules that govern how he will www.roberthenrycontemporary.com make each mark. Each series of works begins in a small four-inch sketchbook and E-MAIL by repeating the marks over and over in subsequent sketches, a natural rhythm info@roberthenrycontemporary. and efficiency slowly refines the algorithm. Once the pattern is developed and me- com dium chosen (ink, watercolor or gouache) Robert begins larger drawings on paper. PHONE +1 718 473 0819 The repetition of mark making is meditative and the challenge to adhere to the algo- rithm keeps him aware of making each mark. Every line is intended to be an exact CONTACT NAMES replica of those that precede it. However, the human hand is perhaps not quite as Robert Walden Henry Chung precise a tool as the brain. Not unlike the mutations between generations of plants and animals seen in nature, the slight variations between each mark grow to be- come obvious distortions as he marks his way across the paper. Change in Lans- REPRESENTED ARTISTS den’s compositions is the result of chance brought about by his necessity to make Mike Childs marks. Because he is focused on experiencing how it feels to make each piece and James Cullinane not on how the drawing will look when finished, the act of drawing is more exciting Richard Garrison Liz Jaff and spontaneous. Sharon Lawless His artistic process is like a yoga practice or a martial art and each drawing is an- Deanna Lee Derek Lerner other opportunity to go deeper and see what can be experienced and expressed Noah Loesberg as he surrenders to both the medium and the process. “Drawing is a way for me to Jerry Walden find out what will happen, and more importantly how it will feel, if I repeat a specific Pancho Westendarp mark, line or pattern.”

Robert Lansden, a native of Kentucky, received his BFA from the Atlanta College COVER of Art in 1989, a MLS from Palmer School of Library & Information Science in New Robert Lansden York, NY in 1999 and an MFA from Tulane University, New Orleans in 2005. His work Nothing to See, Nothing to Hide has been shown nationally and he lives and maintains his studio in New Orleans. #12 (Indigo) (detail) 2013 Watercolor on paper 30 × 22 in

INSIDE Robert Lansden The Origin of Love (detail) 2013 Gouache on paper 30 × 30 in

BACK Robert Lansden Untitled (4 Circles) (detail) 2012 Ballpoint pen on paper 21 × 21 in HANS WITSCHI GALERIE RÖMERAPOTHEKE, ZURICH

VOLTA NY 2014 | BOOTH NUMBER 1.01

GALERIE RÖMERAPOTHEKE: HANS WITSCHI

WEBSITE Hans Witschi, Swiss born 1954, lives in New York. Haunted by the question of Be- www.roemerapotheke.ch ing, Witschi’s compelling paintings range from funny and humorous to the abysmally E-MAIL painful. Strong in psychological impact and stylistically heterogeneous, the work [email protected] conveys a message from a world of collapsed time.

PHONE +41 43 317 1780 A platform and institution rooted in time, contemporary art with a radical edge: such CELL +41 79 589 8270 could be the definition of Galerie Römerapotheke. The gallery celebrates the con- temporary and yet yields at and promotes lasting quality. Römerapotheke celebrates CONTACT NAME Philippe Rey the avant-garde — by not borrowing too heavily from elements of its ambient reality, which itself borrows elements from art in order to convert them into simple decora- tion, and by avoiding the risk of art to be sucked into a whirlwind race at the end of REPRESENTED ARTISTS which it would be everywhere/nowhere. Marcel Gähler Eva Grün Jana Gunstheimer Florian Heinke Alexandre Joly Patrick Lo Giudice Volker März Caro Suerkemper Vörn Vanhöfen Felice Varini

COVER Hans Witschi Untitled (Man Sleeping, Tompkins Square Park) (detail) 2013 Oil on primed cotton 40 × 30 in

INSIDE Hans Witschi Figure with a Mirror 2013 Oil on primed cotton 30 × 24 in

BACK Hans Witschi Studio with Sitting Figure 2013 Oil on primed cotton 30 × 24 in TONY ROMANO CLINT ROENISCH, TORONTO

VOLTA NY 2014 | BOOTH NUMBER 1.33

CLINT ROENISCH: TONY ROMANO

WEBSITE Recently Tony Romano (b. 1978, Toronto) has turned his interest to the traditions www.clintroenisch.com of figurative representation and Modernism within the history of art. The new works E-MAIL focus on metaphor in the representation of the figure through abstraction and the [email protected] representation of the subject through poetry and language. Working within a family

PHONE tradition of carpentry and iron-work, Romano uses these sculptures to explore the +1 416 516 8593 vernacular of his everyday materials and to examine the disparate worlds of daily

CELL working-class labour with the more rarified world of the high art object. While these +1 416 880 8593 sculptures mark a departure for Romano in terms of materials, they continue his

CONTACT NAME ongoing exploration of identity and portraiture, philosophy and language. In the past Clint Roenisch these works have been paired with a silent short film, By Any Other Name, that ex- pands upon his previous film works such as Beautiful Monster (2010), Good Night My Love (2007), and The Last Act (2006), among others. REPRESENTED ARTISTS Roger Ballen Sylvain Bouthillette Besides sculpture and film, Romano’s work also includes photography, installation, Chris Cran Marcel van Eeden music and text, in addition to his collaboration with Tyler Brett as T&T, who the gal- Dorian FitzGerald lery also represents. Romano received his BFA from the Emily Carr Institute of Art Massimo Guerrera and Design, Vancouver. He has exhibited nationally and internationally, including Aleskander Hardashnakov exhibitions in Sweden, Austria, Vancouver, Oakville, Montreal, and Toronto. Recent Jason de Haan Jimmy Limit solo shows include: The Last Act at Articule in Montreal; Onward Future at Oakville Harld Klunder Galleries and Notary Moon at the MacLaren Art Gallery in Barrie. Recent group shows include The Way I Are, Blackwood Gallery, University of Toronto; You Don’t Really Care for Music, Do You?, Red Bull Projects, Toronto; Everything will be OK, COVER No. 9 Projects, Toronto; and Air Conditioned Jungle, Diaz Contemporary, Toronto. Tony Romano Romano is also the co-editor, Claire Greenshaw, of the art magazine Millions. A Summer Bath 2013 Oil on canvas 45 × 74 in

INSIDE Tony Romano Installation view: By Any Other Name 2012 Various Various

BACK Tony Romano Nude Study 2013 Wood 24 × 6 × 12 in JOSH DORMAN RYAN LEE, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 1.29

RYAN LEE: JOSH DORMAN

WEBSITE Josh Dorman’s mythical landscapes are non-linear, multi-layered narratives that www.ryanleegallery.com jump time, space, scale, and meaning. Altering boundaries between dimensions, his E-MAIL work explores specific dualities: chaos and order, natural and manmade, fluidity and [email protected] restraint. Here time is collapsed in a universe that prompts discovery and fantasy,

PHONE relating to his notion that his influences — from artists Paul Klee and Pieter Brughel +1 212 397 0742 to Sienese art and Chinese landscapes — are eternally present.

CONTACT NAMES Dorman’s use of symbolic figures, folkloric elements, and hidden texts are in dia- Jeffrey Lee logue with his illusive imagery. He sources textbooks, manuals, and documents that Mary Ryan pre-date photography for engravings relating in form and color. These found im- ages, alongside his paintings and drawings, are combined with vintage paper and

REPRESENTED ARTISTS map fragments. His interest in unfamiliar, obsolete, and cryptic systems informs his Bradley Castellanos process. In speaking on his practice, he says, “Between apocalypse and paradise, Seong Chun I seek metaphors for human hubris. The printed text on the maps can be altered. Angiola Gatti The locations become blurred. Gravity sometimes fails.” Dorman’s work chronicles Martín Gutierrez Sangbin IM the internal logic that exists within dream states, creating a space where recurring Jiha Moon themes, such as the solar system, botany, airplane engineering, cattle disease, and May Stevens microbiology, can co-exist in a seemingly natural state. Katy Stone Donald Sultan Dorman (b. 1966, Baltimore) graduated Skidmore College in 1988, receiving his Stephanie Syjuco MFA from Queens College in 1992. He participated in the 2013 Art Omi residency and recently completed animations for Anna Clyne’s The Violin, which were on view at Federal Hall in New York during a live concert. Dorman has exhibited at CUE Art COVER Foundation, The Drawing Center, Katonah Museum, The National Academy Museum, Josh Dorman Gentle Giant (detail) Tang Museum, Trierenberg Corporate Kunsthalle, and Weatherspoon Art Museum. 2013 His work is included in permanent collections at the Butler Institute of American Acrylic, ink, collage on panel Art, OH; International Collage Center, PA; Naples Museum, FL; and Springfield Art × 16 20 in Museum, MO. INSIDE Josh Dorman The Sorrows 2014 Acrylic, ink, and collage on panel 38 × 72 in

BACK Josh Dorman Where the Skies are (Blue) 2013 Acrylic, ink, and collage on panel 18 × 18 in ENRIQUE ZABALA ROSA SANTOS, VALENCIA

VOLTA NY 2014 | BOOTH NUMBER 2.17

ROSA SANTOS: ENRIQUE ZABALA

WEBSITE Rosa Santos Gallery was inaugurated in 2003 with a site-specific installation by www.rosasantos.net Valcárcel Medina. The space of the gallery is formed by two exhibition spaces, an E-MAIL office and a storage room, all integrated in a refurbished building located in the Old [email protected] Quarter of Valencia City.

PHONE Our Exhibition Programme focuses on Contemporary Visual Art, paying special at- +34 96 392 64 17 tention to the latest tendencies in Painting, Sculpture and Drawing, as well as Pho- CELL tography, Video and Installations. The current purpose of the gallery is to expand our +34 659 06 60 54 presence in international contexts and promote within these the work of our artists. CONTACT NAME Rosa Santos ENRIQUE ZABALA (B. 1967, VALENCIA, SPAIN) Zabala’s artistic career is inextricably linked to the pictorial tradition developed since the second half of the 20th century in Europe and especially in the USA. References REPRESENTED ARTISTS Greta Alfaro combine interests from Pop Art with aesthetic concerns closer to Hyperrealism, Xavier Arenós without excluding sociological reflection from other pictorial schools. His works, Pascual Arnal generally clear and sharp in appearance, face however, thematic and conceptual Mira Bernabeu backgrounds that place the human condition in front of a mirror. The resulting re- Andrea Canepa Juanli Carrión flection is not the expected one, as the stylistic sharpness of his paintings serves Xisco Mensua to further highlight the double play of contrasts between what is shown on their Joan Sebastian surface and what lies beneath. Rafael Tormo i Cuenca Presented for the first time in the USA, the Las Vegas series offers as inseparable elements the characteristic landscape of its environment and the architectonic trans- COVER formation of this same habitat. The blinding light of the desert, so near to the city, Enrique Zabala finds its response in the artificial lights of the casinos’ interiors, the game machines Red Rock Canyon 02, Las Vegas, and their attractive signals, which emulate fantasy without schedules or possible Nevada. Diptych (detail) 2013 rest. Apparently banal scenes, with settings on occasions like those of photographic Oil on canvas snapshots, are resolved as works of great formal complexity and with refined tech- 127.6 × 31,9 in nique. These features end up being essential contributions of his artistic gaze.

INSIDE Enrique Zabala Bellagio Hotel Casino, Las Vegas, Nevada. Diptych (detail) 2013 Oil on canvas 127.6 × 31,9 in

BACK Enrique Zabala Red Rock Canyon 04, Las Vegas, Nevada. (detail) 2013 Oil on canvas 63,8 × 31,9 in MICHAEL BÜHLER-ROSE SCARAMOUCHE, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.01

SCARAMOUCHE: MICHAEL BÜHLER-ROSE

WEBSITE Michael Bühler-Rose’s solo project for VOLTA NY highlights the artist’s interest in www.scaramoucheart.com language and symbols and the ways in which they are used. In American Spirit, E-MAIL Bühler-Rose examines the use of commodification of Native American [email protected] and spirituality for the sale of tobacco by an American company. In the process of

PHONE outsourcing versions of the company’s brand identity to India, the artist employs +1 212 228 2229 Indian craftsmen who specialize in making clothes for temple rituals and spiritual

CONTACT NAMES practice. Their skills are utilized to riff on a foreign and erroneous idea of ‘Indian- Daniele Ugolini ness’ which has been commissioned by an American artist in true “American Spirit.” Lorin Prince

In What the Fuck and Other Questions, Bühler-Rose continues his investigation REPRESENTED ARTISTS into the dynamic meanings of words, in connection with his current solo show at Einat Amir ­Scaramouche. Here the artist focuses on a single word and its weight and varied Arlen Austin Kuba Bakowski meanings. Taking inspiration from a stand-up act by George Carlin, which was first Paul Branca heard by him in a lecture by Indian Guru (and possible cult leader) Rajneesh, Bühler- Alessandro Brighetti Rose uses his signature minimalist text presentation, allowing the word “Fuck” to Zoi Gaitanidou stand out in bold colors, often highlighting the particular temperament of its context. Dmitry Gutov Irina Korina The rest of the words remain in white thus allowing them to flow in and out of sight Alessandro Roma depending on the angle of vision and the temperament of the viewer. Seher Shah Jonathan VanDyke

COVER Michael Bühler-Rose Kashmiri Landscape (Allen & Canal) 2010 C-print 24 × 42 in Edition of 3 + 1 AP

INSIDE Michael Bühler-Rose Trouble 2014 Oil on panel 16 × 20 in

BACK Michael Bühler-Rose Radha-Damodaraji 2009 C-print 11 × 13 ¾ in Edition of 3 + 1 AP ELISABETH KLEY SEASON, SEATTLE

VOLTA NY 2014 | BOOTH NUMBER 1.02

SEASON: ELISABETH KLEY

WEBSITE “In this decade in which the global art market has become more a mongrel affair http://season.cz than a thoroughbred show, when nations and cultures like China, Iran, and fun- E-MAIL damentalist Islam are shaking Western sensibilities to their core, Elisabeth Kley’s [email protected] ability to revitalize ceramic art with an appearance of ancient and far cultural mo-

PHONE tifs and styles from around the globe is not only timely, it’s in tune with the reap- +1 206 679 0706 praisal of tradition that is marking much of the art being made abroad and newly

CELL introduced to the West. Kleys’s work by and large evokes the distance of time and +1 206 679 0706 geography without directly appropriating extant cultural designs. Her work is evoca-

CONTACT NAME tive of something we’ve seen somewhere in our travels or on museum visits — at Robert Yoder times recalling Persian, Venetian, Florentine, Chinese, and Moroccan design and ornament — but truly articulates no one style or artifact we can name or point to. Similarly, Kley’s glaze paintings recall arabesques, organic vignettes, manuscript il- REPRESENTED ARTISTS luminations — though her most significant accomplishment is presenting us a richly The BATHAUS variegated cross-culturalism that blurs history, lineage, global politics and identities Sharon Butler Dawn Cerny for a generation of global, aesthete-nomads in pursuit of an eclectic and mutable, Allison Manch if resurrected, beauty.” — G. Roger Denson, Huffington Post Michael Ottersen Glenn Rudolph Peter Scherrer Elisabeth Kley is a New York artist and writer whose solo exhibitions of ceram- Mike Simi Ian Toms ics, watercolors, drawings and prints have taken place in the John Tevis Gallery in Marius Wilms Paris, France (2012); Georgian National Gallery in Tbilisi (2011); Le Petit Versailles (2010) and Rose Burlingham (2009) in New York and Momenta Art (2007) in Brook- lyn. Her group exhibitions include Haunch of Venison, Francis M. Naumann Fine COVER Art, Lesley Heller Workspace, Exit Art and Rupert Goldsworthy Gallery in New York, Elisabeth Kley A. M. Richard Fine Art and Storefront in Brooklyn, Gavlak Gallery in Palm Beach Large Green and Gold Round Lotus Bottle (detail) and SEASON in Seattle. She has been nominated for several grants, including the 2012 Anonymous Was a Woman Award, the Rema Hort Mann Foundation Award, and Glazed earthenware the Joan Mitchell Foundation Fellowship, and she was awarded a Pollock-Krasner 21 in high Foundation grant in 1998. INSIDE Elisabeth Kley Installation view of CLAXONS at Haunch of Venison 2012

BACK (LEFT) Elisabeth Kley Large Flowered Peacock 2010 Water based ink on Japanese paper 18 × 26 in

BACK (RIGHT) Elisabeth Kley Large Black and White Three Part Bottle with Fans 2012 Ink and graphite on paper 46 × 35 in CHERYL DONEGAN DAVID SHELTON GALLERY, HOUSTON TX

VOLTA NY 2014 | BOOTH NUMBER 2.31

DAVID SHELTON GALLERY: CHERYL DONEGAN

WEBSITE Cheryl Donegan’s practice focuses on a visually rich and playful interface that fluidly www.davidsheltongallery.com navigates the worlds of video and painting. Rarely producing work that resembles E-MAIL painting in a conventional sense, her paintings have a material presence that allows [email protected] them to function as both images and objects and reference the physicality repre-

PHONE sented in her videos. +1 832 538 0924 Touching on popular culture, social media, high fashion and high art, Donegan’s CELL work expresses a visual tension that tugs at accepted subjects in modern painting +1 713 516 3660 such as the traditional relationship between artist and model, the purported auton- CONTACT NAME omy and nonreferentiality of abstract art and conventional themes of the gestural David Shelton painter. Donegan is well known for video works from the early ‘90s, including Kiss My Royal Irish Ass (K.M.R.I.A.) and Head (both 1993). Her most recent videos are Blood Sugar (2013) and Haul (2014). REPRESENTED ARTISTS Alejandro Diaz Donegan has participated in numerous solo and group exhibitions in the United Joey Fauerso States and Europe, including OUTSIDE THE LINES: UIA (Unlikely Iterations of the Sara Frantz Keith Mayerson Abstract), Contemporary Arts Muesum Houston; 1993: International Jet Set, Trash Margaret Meehan and No Star, New Museum, New York; Blood Sugar, Galerie VidalCuglietta, Brus- Kelly O’Connor sels; and White Flag Library, White Flag Projects, St. Louis, in 2013. She has pre- Vincent Valdez viously exhibited at MoMA, MoMA PS1, Guggenheim Museum, White Columns, Keith J. Varadi Michael Velliquette The Whitney Museum of American Art and Museum of Contemporary Art Chicago. Recent international exhibitions include Amsterdam, Berlin, Caracas, Copenhagen, London, Milan, Nice and Paris.

COVER Donegan received her BFA in Painting from the Rhode Island School of Design and Cheryl Donegan Untitled (green on yellow on red) her MFA from Hunter College. She currently lives and works in New York City. (detail) 2013 Acrylic on jute 48 × 36 in

INSIDE (LEFT) Cheryl Donegan Untitled (after imaginary landscape) 2013 Fabric on MDF board 30 × 23 in

INSIDE (RIGHT) Cheryl Donegan Untitled (peeling) 2013 House paint and spray paint on leather mounted on MDF board 26 × 20 in HYON GYON SHIN GALLERY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.40

SHIN GALLERY: HYON GYON

WEBSITE Hyon Gyon draws inspiration from the Korean shamanistic ritual of Gut (Exorcism). www.shin-gallery.com Through this ritual, Korean ancestors would often face harsh reality and pray for E-MAIL better lives. The sentiments expressed during this ritual, such as obsession over [email protected] life, fear of darkness, and the desire for something that is not in one’s possession,

PHONE are often thought of as ugly. But through the violent extraction of these emotions +1 212 375 1735 they transcend ugliness, becoming ironic and almost laughable. This explosion of

CONTACT NAMES suppressed negative energy is a pivotal aspect of Hyon Gyon’s work. Otherworldly Hong-gyu Shin figures with wild hair and sharp swords float within shadowy backgrounds. Emo- Daryl Rashaan King tions are depicted as colorful rainbows as they burst from within figures. Pictures of everyday objects pop up as they would within a memory. Happiness, ugliness and pleasure collide and harmonize within these enigmatic pieces, providing one a REPRESENTED ARTISTS place where he or she can find new possibility within the darkness. Jong-wan Choo Seung-pyo Hong Seung-hee Lee Jae-heon Lee Extraordinary acts performed with remarkable exaggeration Keunmin Lee encounter the human instinct to demolish one’s own Gunwoo Shin limitations, producing catharsis. — Hyon Gyon

COVER Hyon Gyon Two Mouths (detail) Hyon Gyon (b. 1979, Korea) is based in New York, U.S.A. She received her B.A. from 2013 Mokwon University in Korea and her M.A. and Ph.D from Kyoto City University of Satin on Canvas Arts in Japan. She had one-person and group exhibitions at the Museum of Kyoto, 56 × 81 in Kyoto, in 2006; the Museum of Contemporary Art, Tokyo, in 2007 and 2010; Kyoto INSIDE Art Center, Kyoto, in 2011; Asian Art Museum of San Francisco, San Francisco, in Hyon Gyon in her studio 2012; and Shin Gallery, New York, in 2013. Hyon Gyon’s work is in the collection 2013 of the Museum of Kyoto, Frederick R. Weisman Art Foundation, the Kyoto City Uni- BACK versity of Arts, and Takahashi Collection, among others. The artist received several Hyon Gyon Flame fellowships and awards, including the Asao Kato International Scholarship and the 2010 Tokyo Wonder Wall Competition Prize. Acrylic, Japanese Paper on Panel 88.6 × 141.7 in TIM KENT SLAG GALLERY, BROOKLYN NY

VOLTA NY 2014 | BOOTH NUMBER 1.38

SLAG GALLERY: TIM KENT

WEBSITE SLOW TIME www.slaggallery.com Shifting through spaces. Placed between portals. Gazing onto vacant landscapes. E-MAIL These are the perspectives of Tim Kent’s most recent work as he continues to paint [email protected] the transformations made possible by openings and closures in space adding di-

PHONE mensional fracturing of the time warps wrought by memory. Kent’s works continue 1 212 967 9818 to hinge on a critical dialectic, providing a slowed space for the viewer’s own reflec-

CELL tions on the uneasy balance of being present. 1 917 977 1848 The individual works reflect the endlessness of the decisive moment, while togeth- CONTACT NAME er they acknowledge the multiple perspectives inherent in the postmodern. Kent’s Irina Protopopescu paintings are inhabited by figures haunted by memories, displaced by space and time, seeking the present moment even as it slips past.

REPRESENTED ARTISTS In this series, the bright colors of Brooklyn’s street art counterbalance fears of Avital Burg the past and future to evoke a desire for life’s intricate new possibilities. Details of Hannah Cole Great Britain’s grand estates, which Kent has extensively painted, now appear as Dumitru Gorzo Ioana Joa inherited gestures rather than absolutist history. With this shift, the works articu- Hector Dio Mendoza late a recognition that experience is literally rooted in coming out of peril and risk, Serkan Ozkaya heirlooms withstand the rigors of time, that all is not lost. Pause permits space for Naomi Safran-Hon thoughtful presence. These paintings claim, pause and project the possibilities of Molly Stevens Mircea Suciu plural perspectives. Sergiu Toma

COVER Tim Kent The Lepidopterist’s Daughter (detail) 2013 Oil on linen 60 × 100 in

INSIDE Tim Kent Terminus 2014 Oil on linen 36 × 48 in

BACK Tim Kent Terminus (detail) 2014 Oil on linen 36 × 48 in DOMINIQUE LABAUVIE MINDY SOLOMON GALLERY, MIAMI

VOLTA NY 2014 | BOOTH NUMBER 1.15

MINDY SOLOMON GALLERY: DOMINIQUE LABAUVIE

WEBSITE Dominique Labauvie says of his work: www.mindysolomon.com “The first origin of my art is both classical and French and comes from the work and E-MAIL drawings of Auguste Rodin, particularly the drawings of the cathedrals of France.” [email protected]

PHONE “The second comes from the practice of steel and the forge, creating a work that +1 786 953 6917 commences with a drawing on the floor. It also comes from the history of American Minimalism experienced through European eyes and ears.” CELL +1 727 409 9113 “A line of steel is for me a line that is built in segments. The segments interpret a CONTACT NAME handwriting, the movements of the arm and the hand. It is a line that is strengthened Mindy Solomon through its interruptions, with each interruption creating intervals and moments of silence. This segmentation leads us to repetition, to rhythm, to music, to a sequence where one passes from the eye to the ear. My recent works are readings, line by REPRESENTED ARTISTS line, of the construction of a time of vision which joins that of listening.” John Byrd Jeremy Chandler Labauvie constructs with an innate feeling of scale, slowly building forms with line. Generic Art Solutions He uses chalk to mark the memory of each sculpture’s development, as he re-forges David Hicks Georgine Ingold and re-cuts pieces of steel. His process is give-and-take, continually adding and James Kennedy subtracting until image rises off the ground into space. His works are often defined Sungyee Kim by formal frontality, an aspect they share with drawing in defying the third dimension. Marc Lambrechts Kate MacDowell Born in Strasbourg, France, Labauvie lives and works in Florida. His public com- Ali Smith missions can be found in France, Austria, Spain, and Vandenberg Airport Terminal and Tampa General Hospital, Florida. His work has been honored with awards and fellowships in France, Germany, and the United States, and is part of numerous COVER public and private collections: Boca Raton Museum of Art; Tampa Museum of Art; Dominique Labauvie Drawing #2 Museum of Fine Arts, St. Petersburg (FL); Runnymede Sculpture Park (CA); the Mu- 2013 seum of Decorative Arts; National Collection of Contemporary Art; Public Collection Pastel and charcoal, revere of Contemporary Art (Paris); and Foundation Maeght, St. Paul (France). 56 × 37 in

INSIDE Dominique Labauvie Flying Buttress 2012 Forged and cut steel 8 × 10 ft × 15 in

BACK Dominique Labauvie 22 2010 Pastel on paper 22 × 30 in JULIAN LORBER MINDY SOLOMON GALLERY, MIAMI

VOLTA NY 2014 | BOOTH NUMBER 1.15

MINDY SOLOMON GALLERY: JULIAN LORBER

WEBSITE Julian Lorber lives and works in the Bushwick neighborhood of Brooklyn, New York. www.mindysolomon.com He has participated in solo exhibitions in New York and Belgium, group exhibitions E-MAIL in New York, Miami, and Boston, and been featured in publications including Studio [email protected] Visit Magazine, TimeOut, NY Arts Magazine, Frontrunner, and Whitehot. He received

PHONE his BFA from the Massachusetts College of Art. +1 786 953 6917 Lorber says of his recent body of paintings: “I am interested in the visual effects CELL and traces of street art, murals, graffiti writing, and how materials such as soot +1 727 409 9113 build up in urban centers and interior spaces. I like how these materials sit when CONTACT NAME controlled on a surface, and began creating my own surfaces, mixing media to use Mindy Solomon colors and catch light. I’ve observed the visual effects of urban soot on buildings and interiors, and the paint build-up from graffiti writing and outdoor mural paint- ing. My process of mixed media layering is what I consider to be creating my own REPRESENTED ARTISTS John Byrd architecture of pollution.” Jeremy Chandler Arte Fuse says of Lorber’s works: “On the outer surface, they play with textures Generic Art Solutions David Hicks and light, reaching a balance between emotional and cerebral effect — the subtle Georgine Ingold color shades having a strong, immediate appeal while their material (such as aerosol James Kennedy paint inspired by automotive painting and cosmetics or makeup) reminds us of the Sungyee Kim concepts the artist wants to explore: architecture, urban activity, progress, waste… Marc Lambrechts Kate MacDowell Lorber considers his work as science fiction, a process and a language. He recreates Ali Smith a form of communication–between materials, between inside and outside, but also between art forms. “These small works,” he says, “are the new step in my process of mixed media layering and my addition to the history of painting using modernis- COVER tic, industrial, and environmental concepts.” Julian Lorber Coral Brick Lorber asks questions about a system that is a disconnect between the society in 2012 which we live and the natural world that the system relies on. Media on wood 10 × 8.75 in

INSIDE Julian Lorber Butter Burnt Toast 2012 Mixed media on wood 10 × 8.75 in

BACK Julian Lorber 8 Hours of Dirt 2012 Mixed media on wood 10 × 8.75 in JEFFREY GIBSON MARC STRAUS, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.49

MARC STRAUS: JEFFREY GIBSON

WEBSITE Jeffrey Gibson is a distinctive voice in American art; he seamlessly blends his Na- www.marcstraus.com tive American heritage with the language of international modernism. A Cherokee- E-MAIL Choctaw Indian, he attended leading art academies — Art Institute of Chicago and [email protected] the Royal College of Art. In his work we see elements of powwow regalia, 19th cen-

PHONE tury parfleche containers and drums as well as references to Frank Stella, Joseph +1 212 510 7646 Albers and Lucio Fontana. His recent work stretches these boundaries with Everlast

CELL boxing bags now adorned with painted canvas patches, beads, and tin jingles; and +1 510 289 1466 domestic ironing boards covered with hand-sewn deer hide and painted in color-

CONTACT NAMES ful geometric patterns. Recycled painted US Army wool blankets are displayed on Marc Straus floors and walls or hung as flags. And in a clear homage to Dan Flavin’s seminal Tim Hawkinson “Tatlin” sculptures Gibson is covering florescent light tubes with painted rawhide.

Jeffrey Gibson makes beautiful artwork and at the same time raises urgent questions

REPRESENTED ARTISTS about the position of Native American art objects in relation to the history of mod- Thomas Bangsted ern and contemporary art. He draws from his personal history to enrich a dialogue Birgit Brenner about what abstract painting is, what it can be, and what it can say. Charles Hinman Marin Majic Gibson’s artworks are in the permanent collections of numerous major museums, Martha Mysko including the Museum of Fine Arts, Boston, The Denver Art Museum, The Nerman John Newsom Museum of Contemporary Art, Overland Park, KS, The National Gallery of Canada, Jong Oh Paul Pretzer and the Smithsonian Institution, Washington, D.C. Gibson is a faculty member in the Ulf Puder Studio Arts program at Bard College. He was a TED fellow in 2012 and received a Antonio Santin Joan Mitchell Foundation grant in 2013. Zlatan Vehabovic Entang Wiharso Gibson had multiple one person museum exhibitions on display in 2013. (Including the ICA Boston, the National Academy Museum, NYC, and Cornell Museum at Rol- lins University.) 2014 will bring major installations at the Denver Art Museum and COVER the New Orleans Museum of Art as part of Prospect New Orleans. Jeffrey Gibson I Wanna Go Bang 2013 Everlast punching bag, wool blanket, glass beads, artificial sinew, nylon fringe 61 × 16 × 16 in

INSIDE Jeffrey Gibson Deep Time 2013 Elk hide over birch panels, graphite, acrylic and oil paint 55.75 × 75 × 2.5 in

BACK Jeffrey Gibson Call and Response 2013 30 cement blocks, elk rawhide, artificial sinew, colored pencil, acrylic paint 16.5 × 84 × 293 in FLORIAN HEINKE GALERIE HEIKE STRELOW, FRANKFURT

VOLTA NY 2014 | BOOTH NUMBER 1.31

GALERIE HEIKE STRELOW: FLORIAN HEINKE

WEBSITE FLORIAN HEINKE – BLACK POP www.galerieheikestrelow.de The German artist Florian Heinke (born 1981) uses black paint exclusively as a “radi- E-MAIL cal medium” to lay the focus on emotion and the tension of everyday media and [email protected] art production. The motifs of his paintings — found in newspapers, magazines or

PHONE digital media — are of transient matter as well as defined by lasting impressions in +49 69 48 00 54 40 an affective way. In his paintings he includes spectacular, sarcastic, trivial as well

CONTACT NAME as obscene image production without any restraints to provoke a viewers reaction Heike Strelow and subsequently an attitude.

He rearranges iconographic symbols of pop culture and transforms their meanings towards apocalyptic, cynical or even morbid strength. The blank canvas in contrast REPRESENTED ARTISTS Nin Brudermann to the black paint emphasizes a kind of insistence, which captivates the viewer’s Il-Jin Choi attention according to the idea of black pop art. Jachym Fleig Wiebke Grösch & Frank Metzger Beyond that Heinke puts the spotlight on a general examination of the art market Julie Hayward and its mechanisms. With a high degree of irony he stretches his role as an art- Mathias Kessler ist. What first seems to be as a big gesture of a marketing strategy is rather to be Astrid Korntheuer read in the context of intensive artistic discussions about valuation, autonomy and George Steinmann Katrin Ströbel socio-political issues. Winter & Hörbelt

COVER Florian Heinke It was written (detail) 2013 Acrylic on canvas 100 × 80 cm

INSIDE Florian Heinke Der Garten (detail) 2013 Acrylic on canvas 100 × 80 cm

BACK Florian Heinke POOR ANGRY BEST 2013 Acrylic on canvas 100 × 80 cm MEG HITCHCOCK STUDIO10, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.19

STUDIO10: MEG HITCHCOCK

WEBSITE Meg Hitchcock’s text drawings are comprised of isolated letters cut from sacred www.studio10bogart.com texts and reassembled to form the passages from other holy books or those of E-MAIL ideological significance. The texts include the Bible, the Koran and the Torah. The [email protected] individually cut letters are often set in precise bas-relief stacks or as streams of

PHONE contiguous text in meandering type. The line of text often contains no punctuation +1 718 852 4396 and is without any syntax in order to discourage a literal reading of the passage or

CELL the texts. Alternatively punctuation such as a comma serves as a structural means +1 718 213 2469 (A. McGavin) to determine the form and line of the collage. Like the circuitous floor maze of Char- +1 718 908 4253 (L. Greenberg) tres cathedral or a labyrinth, Hitchcock’s line acts as a path towards a centre, which CONTACT NAMES stands independent of understanding text. Annelie McGavin Larry Greenberg Hitchcock speaks of the labor-intensive aspect of her work as a meditation practice as well as a personal form of devotion. The artist’s act of confluence with the texts mediates between ideology and art making. Her family’s faith as Evangelical Chris- REPRESENTED ARTISTS tians formed the artist’s core beliefs about God and transcendence, and continues John Avelluto to influence her work. Though no longer a Christian, and vehemently eschewing all Perry Bard religious leanings, she has profound respect for an individual’s spiritual beliefs and Richard Garet Douglas Henderson experiences, and her work is a celebration of that sacred experience. Her practice and David Henderson points beyond the specifics of religious beliefs to the ineffable experience of con- Erik Moskowitz & Amanda Trager nectivity. David Schafer Adam Simon Meg Hitchcock studied painting in Florence, Italy, and has a BFA in painting from Tim Spelios the San Francisco Art Institute. She has exhibited in New York, San Francisco, Chi- Jude Tallichet cago, and Los Angeles, and her work has been reviewed in The New Criterion, Art Kate Teale in America, the San Francisco Chronicle, and featured online in the Huffington Post, artcritical, Bomb, The Daily Beast, and Hyperallergic.

COVER Meg Hitchcock Taboo, Letters cut from “Orpheus: A History of Religions” by Salomon Reinach 2013 Holy books, glue, and paper 14 × 11 in

INSIDE Meg Hitchcock The Sun: Surah 91 from the Koran, 2012, Letters cut from Bibles 2012 Holy books, glue, and paper 14 × 12 in

BACK Meg Hitchcock The Throne Verse (Ayat al-Kursi) from the Koran, Letters cut from the Tablets of Baha’u’llah 2010 Holy books, glue, and paper 9¼ × 9 in CHRISTY RUPP FREDERIEKE TAYLOR GALLERY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 1.39

FREDERIEKE TAYLOR GALLERY: CHRISTY RUPP

WEBSITE Christy Rupp is known as a socially and politically engaged artist. She participated www.frederieketaylorgallery.com in the legendary “The Times Square Show” and “The Real Estate show” of 1979- E-MAIL 80 and was affiliated with Colab and Group Material. The artist creates exquisite [email protected] sculptures and collages, while simultaneously raising important global and environ-

PHONE mental issues. +1 646 230 0992 Rupp’s recent work includes a series of sculptures of filter-feeding organisms from CELL the Gulf of Mexico created from welded steel and encaustic wax. The new work ex- +1 917 402 4881 amines varieties of planktonic microfauna living near the site of the Macondo well CONTACT NAMES blowout in 2010 and highlights the effects of bio-accumulation. The series includes, Frederieke Taylor among others, Crab Zoa, Shrimp Larvae, Mussels, & Jellyfish. An Hoang In another series, the artist explores the relationship between ivory and energy. These sculptures were made in response to threats presented by drilling, and the REPRESENTED ARTISTS very real occurrence of diminishing habitat for threatened species at the top of the Antenna Design food chain, many of which are then poached for their tusks. The Fake Ivory Series, Benjamin Britton Long-Bin Chen made from welded steel and encaustic wax, are sculptures of different types of tro- Mel Chin phies bound with scrimshaw or tattoo-like images of methane and carbon chemi- [dNASAb] cal chains, as a commentary on the value placed on energy over life of all species. Jackie Ferrara Mary Lum In order to give the new work historical context, the gallery will show video and doc- Raquel Maulwurf umentation of Christy Rupp’s public art projects from the early 80’s Times Square Kirsten Nelson show and Colab period. Marion Wilson Recent notable shows include “Dead or Alive” at the Museum of Arts and Design, NY 2010, “Dear Mother Nature” at the Dorsky Museum of Art, SUNY New Paltz, NY COVER 2012, “This Will Have Been: Art, Love & Politics in the 1980’s”, Museum of Contem- Christy Rupp porary Art, Chicago, IL 2012, “American Dreamers” Pallazzo Strozzi, Florence, Italy Walrus Tusks with Greenhouse Gases w/ Hudson River Museum, and “XFR STN” Transfer Station at the New Museum, NY 2012 2013, among numerous others. Welded steel and encaustic wax 26 × 11.5 × 5.5 in

INSIDE Christy Rupp Zero Balance Frog 2007 Mixed media with credit card solicitations 11 × 9 × 5 in

BACK Christy Rupp Drift 2013 Paper collage 16 × 20 in SATORU TAMURA TEZUKAYAMA GALLERY, OSAKA

VOLTA NY 2014 | BOOTH NUMBER 1.18

TEZUKAYAMA GALLERY: SATORU TAMURA

WEBSITE Satoru Tamura was born in Tochigi in 1972. He is a multimedia artist who creates www.tezukayama-g.com sculptures, , video art, and installations. His artwork is based on the theme E-MAIL ”destruction of meaning”, and he seeks to create a pure white idea with no back- [email protected] ground. In his artwork, he constructively destroys the meaning, which is done sub-

PHONE tly, never intensely, and is often meant to evoke laughter. He tries to stay liberated +81 6 6534 3993 from the meaning, origin and purpose of the chosen material and form. Perhaps, he

CELL even doubts them. For example, in his video piece Plastic Models Break Into Pieces +81 90 3283 2232 (R. Matsuo) (2000), the plastic toy model is broken into pieces by the swing of a baseball bat or +81 80 3817 3187 (C. Uchida) golf club, and presents a new sense of how to have fun with plastic toys. In Double CONTACT NAMES Mountain (2001)), the meaning of its existence is lost by the magnificent nonsense Ryoichi Matsuo of a mountain climbing a mountain. 2kg Cow (2004) from the “Weight Sculpture” Chie Uchida series is a sculpture of a 2000g cow, and its weight is adjusted as it is titled. The direct relation between title and artwork, and the expression of adjusting the sculp- ture’s weight to 2000g, allows escape from the associations of weighing, the cow, REPRESENTED ARTISTS Yasuka Goto or the number 2000. In the “Point of Contact” series, Tamura creates intermittent Tomohiro Kato blinks from dozens of small light bulbs using various points of contact as an energy Kazuma Koike source. This is simply blinking light, this phenomenon is the artwork itself. In the Misato Kurimune “Machine” series, the machine consists of a motor, gears and chains, which all have Hirohito Nomoto Yoshiyuki Ooe functions, but his machines do not. The chains just rotate, making the shape of the Kaoru Soeno title (‘Heart’, ‘Star’, ‘Love’ etc.). Perhaps the association, origin, and purpose, which Yuuki Tsukiyama stick to things, are our common measurement to link ourselves with society. They Hiroko Uehara melt in to our minds and will do so before we even realize. He intentionally destroys Kohei Yamashita or ignores them in his works. When the meaning, origin, and purpose are ignored or lost, the object really will only be “the object”. ‘What to make’, thought to be one of the most important decisions for an artist, is decided simply, each time. However, COVER Satoru Tamura maximum caution is given when making or presenting it only as it is. Point of Contact for Nagashima 2-4-20 2011 Mixed media Size variable Courtesy of AIRS Photo by Motoyuki Shitamichi

INSIDE Satoru Tamura Spinning Wooden Disk #1~6 2000 – 2013 Wood, steel, motor and others Various sizes Courtesy of PLAZA NORTH, Saitama Photo by Shinya Kigure

BACK Satoru Tamura Yankees Machine 2013 Steel, chain, bearing motor and others 130 × 91.5 × 19 cm NATALIE REIS TROIS POINTS, MONTREAL

VOLTA NY 2014 | BOOTH NUMBER 2.16

TROIS POINTS: NATALIE REIS

WEBSITE Emerging artist Natalie Reis deconstructs the tenets of painting through her work. www.galerietroispoints.com Thick viscosities of paint, moments of bad painting; finely rendered drawings, figu- E-MAIL rative sculptures and round-shaped canvases touch on historical practices, while [email protected] maintaining an incisive and critical relationship to the present.

PHONE The work created for VOLTA NY contextually appropriates the long venerated history +1 514 866 8008 of floral painting, while referencing the tradition of Vanitas and tondo art. Images CONTACT NAMES of venomous bouquets reference the history of women and their relationship to still Émilie Grandmont Bérubé life painting, herbalism and the taboos of maternity and how these metanarratives Jean-Michel Bourgeois are cultivated and polarized through a contemporary lens.

Intimacy in these works is channelled by political and social provocations. The con- REPRESENTED ARTISTS tent of these artworks is intentionally critical, rather than positive — a characteristic Elmyna Bouchard that marks much of the postmodern movement of our time. Sylvain Bouthillette Olga Chagaoutdinova Born in 1981, Natalie Reis lives and works in Montreal and received some prices Michel Daigneault and distinctions while pursuing her MFA at Waterloo University (Canada). She has Evergon David Gillanders shown her work in numerous collective and solo shows in Canada and the US. Her Anne-Renée Hotte work is part of private and public collections in Canada. Mathieu Lévesque Alex McLoed Since its very first days in 1988, Trois Points dares to present emerging artists and Max Wyse several of these young artists are now well renowned in Canada. In 1994, we were one of the first institutions to invest the BELGO BUILDING, located downtown Mon- treal, an old textile factory now occupied by more than 25 exhibition spaces, being COVER the very heart of the Montreal visual arts scene. Natalie Reis Studio shot Dynamic duo Emilie Grandmont Bérubé and Jean-Michel Bourgeois took over the 2013 gallery in 2009 and have vivified the spirit of the gallery, positively inscribing them- INSIDE selves in the Canadian art scene, defending and pursuing Trois Points’ mission and Natalie Reis heritage. Ballistic Pendulum 2013 Oil, ink, acrylic and breast milk on canvas 72 × 96 in

BACK Natalie Reis Flora Toxica Trinity (detail) 2013 Ink, acrylic and breast milk on canvas 31 × 70 in MARK JOSHUA EPSTEIN VANE, NEWCASTLE UPON TYNE

VOLTA NY 2014 | BOOTH NUMBER 1.26

VANE: MARK JOSHUA EPSTEIN

WEBSITE Mark Joshua Epstein’s paintings attempt to resist depiction. However, the term ab- www.vane.org.uk straction is a kind of ham-fisted translation: for him, interactions manifest in the work E-MAIL as awkward spatial relationships, uncomfortable colour pairings, and dissonant pat- [email protected] terns. Early in the history of European modernist abstraction, non¬objective painting

PHONE was derided as little more than decorative. Flipping this criticism on its head, Epstein +44 191 261 8281 uses decorative elements as a generative point of departure. By welcoming the visual

CELL information deployed in typically domestic objects such as clothing, wallpaper, and +44 7713 097852 textiles into his work, he purposefully confronts historical criticisms of abstraction.

CONTACT NAMES In Epstein’s recent work he has engaged with the intricate monochromatic patterns Paul Stone printed on the interiors of envelopes sent from banks, employers and utility com- Christopher Yeats panies. Seemingly decorative, these patterns in fact serve as screens designed to obscure that which they envelop. The rhythm and repetition of such utilitarian

REPRESENTED ARTISTS patterning is echoed in traditional textiles from Turkey and Central Asia, where he EC Davies recently travelled to undertake research that has informed some of his latest work. Kerstin Drechsel Jorn Ebner Through juxtaposing such patterns in pictorial space, Epstein invites viewers to Nick Fox question conceptual relationships between different visual traditions that employ Jock Mooney pattern as both deception and disguise. The process of combining the two types of Michael Mulvihill patterns generates responses from Epstein’s own painterly vocabulary, which be- Stephen Palmer Josué Pellot come, like the information in envelopes and the draped body, by turns entangled, Narbi Price obscured, and revealed. While the resulting system of overlapping scrims seem- Morten Schelde ingly allows access to his decision-making, the painting process is in reality more complex. Patterns deposited early in a painting’s life are later taken up again, ob- fuscating the linear progression of layers and preserving a state of flux in which the COVER threads of pattern oscillate between proximity and distance. Mark Joshua Epstein Nimble elephant/careening dancer Mark Joshua Epstein was born in Washington DC in 1979 and lives and works in (large) #4 (detail) Brooklyn, New York. He studied at Slade School of Fine Art, London, 2002-2004, 2012 Oil on panel and School of the Museum of Fine Arts/Tufts University, Boston, 1998-2002. Solo 60 × 48 in shows include those at Illinois State University, Normal (2013), Vane, Newcastle, and Customs House Gallery, South Shields (2012). Group exhibitions include those INSIDE Mark Joshua Epstein at West Chicago City Museum, Chicago (2013), Mike Rollins Fine Art, New York My mind is wild for tomorrow... #4 (2012), and TrueSilver Union, San Francisco (2010). 2013 Oil on canvas over panel 20 × 16 in

BACK (LEFT) Mark Joshua Epstein Nimble elephant/careening dancer (large) #5 (detail) 2012 Oil on panel 60 × 48 in

BACK (RIGHT) Nimble elephant/careening dancer (large) #5 Untitled 2012 Oil on panel 60 × 48 in BIGGS & COLLINGS VIGO, LONDON

VOLTA NY 2014 | BOOTH NUMBER 2.24

VIGO: BIGGS & COLLINGS

WEBSITE Collaborative artists Biggs and Collings’ work reveals a deep understanding of www.vigogallery.com modern and pre-modern art. They believe colour and form in painting can produce E-MAIL a structural space that is like observable reality. Instead of depicting recognizable [email protected] objects they use color, pattern and repetition to create complex image — they aim

PHONE to be truthful about the sensation of seeing. +44 207 493 3492 “Primary among our aims is changeability: you don’t see what you think you see. The CELL grid and the color are employed to contrast predictable and unpredictable pattern. +44 978 5401 2138 (P. Austin-Little) Bounded forms with close tones create a fusion of field and figure. Layered color and +44 777 190 7069 (T. Clarke ) color that is striated light-and-dark are combined to create indeterminacy of surface. CONTACT NAMES Scientific grid is countered by miasmic tone. We are interested in recording elisions, Toby Clarke Pia Austin-Little reflections, visual tricks and confusions, without framing them in a form that sug- gests either propaganda or sentimentality. Our paintings and graphics throw down the glove to what’s going on now. They are not nihilistic. They are not ironic. They REPRESENTED ARTISTS can’t be read as an expression of dematerialised, postindustrial production. They Boyle Family start from a conceptual basis, two people from diverse fields turn over and look at Kadar Brock lost knowledge, a lost interest — colour. It used to be part of what an artist knew. It Leonardo Drew Ayan Farah doesn’t have to be anymore. Is that a by-product of alienation and atomisation, or Marcus Harvey the radical overturning of an exclusive field of knowledge? We think it’s the former. Heywood & Condie And our work, via a tortuously complex procedure of balancing and harmonizing, Johnny Abrahams sets out the terms of this visual argument.” — B and C 2013 Henry Krokatsis Penny Lamb Nika Neelova Zak Ové

COVER Biggs & Collings Living Creature 2013 Oil on canvas 120 × 60 in

INSIDE Biggs & Collings Every Quarter 2013 Oil on canvas 60 × 60 in THRUSH HOLMES MIKE WEISS GALLERY, NEW YORK

VOLTA NY 2014 | BOOTH NUMBER 2.42

MIKE WEISS GALLERY: THRUSH HOLMES

WEBSITE Splaying wood panels with exuberant spray paint and slapdash neon tubing, Holmes’ www.mikeweissgallery.com unapologetic methods elevate the still life, the reclining nude figure, and even poetry E-MAIL from their traditional banality to culty, fetishistic status. With the gestural fluidity of [email protected] Twombly and the poetic dexterity of Basquiat, Holmes’ intuitive, swaggering prac-

PHONE tice reveals eccentric florals, brazen silhouettes, glowing prose, and monumental +1 212 691 6899 “TH” initials — an arresting display of drunken ego and flexing machismo, rife also

CELL with subtle romanticism and raw honesty. +1 213 361 8181 Behold a psychedelic underworld where smears, splatters, and drips of paint co- CONTACT NAMES alesce into familiar form, swooping petals and blinged-out physiques that oscillate Mike Weiss between the manual prowess of representation and the improvisational violence of Lauren Licata abstraction. Pure gesture takes center stage and distills form down to its bare es- sence, crowned by keyed-up frames in fluorescent hues and brilliant lights. With

REPRESENTED ARTISTS all the virtuoso of graffiti and John Hancocks loud enough to proverbially piss their Tom Fruin territory, each work simultaneously binges on its own sense of power and exercises Michael Brown mature restraint. They are unafraid of beauty yet also gorge on a certain vile aggres- Stefanie Gutheil sion — eloquent yet unstable, explicit but without perversion, fearless yet calculated. Will Kurtz Eugene Lemay Knowingly borrowing what iconography lies just as easily in thrift shops as any mu- Herman Nitsch seum collection, Holmes navigates grandiose concepts of biography, introspection, Cameron Gray Yigal Ozeri and materiality with all the sincerity of a scrawled cocktail napkin. As the familiar Jan De Vliegher transmutes into a Frankenstein hybrid and entirely new, evocative visual language, Kim Dorland time-honored genres once so bogged down by their own histories can live again and wreak havoc once more.

COVER Thrush Holmes lives and works in Toronto and has been widely exhibited throughout Thrush Holmes Canada. His work can be found in permanent collections such as the Elton John Unsubconscious Wide Experience Aids Foundation, Sony Dreamworks, and Defjam Records among others. 2013 Oil, enamel, pigment print, and neon on canvas 131 × 72 in

INSIDE Thrush Holmes Studio view 2013 Toronto, Canada

BACK Thrush Holmes Third Dynasty Motherfucker 2013 Plywood, spray paint, and neon Dimensions variable MATTHIAS LIECHTI WIDMERTHEODORIDIS, ZURICH

VOLTA NY 2014 | BOOTH NUMBER 2.07

WIDMERTHEODORIDIS: MATTHIAS LIECHTI

WEBSITE For this year’s VOLTA NY, widmertheodoridis has selected Swiss artist Matthias www.0010.ch Liechti with his installation “Black Eye Purple”.

E-MAIL The installation consists of eleven metal boards and refers to Liechti’s work Correct- [email protected] ness, which he conceived for the gallery project space in 2013. In his work Liechti PHONE experiments intriguingly the physics and the sensual perception of objects. +41 43 497 3970 “I’m interested in the discussion on measurable matters such as a vertical line. The CELL +41 79 293 1852 vertical is defined by earth center and gravity and is therefore considered invio- +41 79 443 1154 lable and true. The lack of technical equipment or opportune reference points on

CONTACT NAMES the other hand makes it difficult to verify precision and correctness. What appears Jordanis Theodoridis to be vertical, even or diagonal is subjective. Because of earth’s curvature even Werner Widmer the vertical seems to be relative because it differs depending on the position of the observer. The chosen colour of the installation (violet-blue) refers to a determin- able fact such as colour and is subject to a numeric code and to wavelength. The REPRESENTED ARTISTS mixed colour, however, might be described by the ones as violet and by others as Erika Babatz Othmar Eder blue. I consider automotive paint technology as one of the most precise, manually Andreas Fux applied painting techniques. A specially designed room is needed to vacuum all Sybille Hotz particles and to ensure even application and drying of the different layers. Correct- Scanderbeg Sauer ness stands with a wink of the eye for correctness, or truth, established by preci- Ernst Stark Nicolas Vionnet sion”. — Matthias Liechti Stefan Thiel Matthias Liechti (b. 1988) lives and works in Bern, Switzerland. He has completed Franz Wassermann Nadine Wottke his education with a bachelor of fine arts degree in 2009 at the Hochschule der Künste Bern. He is a recipient of the ‘Prix Kunstverein’ of the Kunstverein Biel. He has participated in the annual Christmas exhibition of the Centre Pasquart, Biel COVER and in the group show ‘Beerhaus – offenes Atelier’. Last year he was presented in Matthias Liechti the Kunstmuseum Bern show ‘KUNST NÄHRT!’ (Aeschlimann Corti Stipendium). Sketch of Blacke Eye Purple 2014 Car paint on stainless steel From 23.9 to115/40 cm

INSIDE Matthias Liechti Room Room Shift 2013 Spruce, Montenegri stone 520/360/350 in

BACK Matthias Liechti correctness 2013 Car paint on stainless steel 220/40 cm RYAN MARTIN MARK WOLFE CONTEMPORARY, SAN FRANCISCO

VOLTA NY 2014 | BOOTH NUMBER 1.35

RYAN MARTIN

WEBSITE For the past year, Ryan Martin has been painting face-only portraits of the same www.wolfecontemporary.com model, all 12 x 9 inches, all oil on canvas. Despite the uniformity in size and model E-MAIL identity, each portrait offers its own self-contained world — unique in terms of its [email protected] concept, composition and execution — presenting a compelling narrative of love,

PHONE obsession, and shifting personas. +1 415 369 9404 Martin lives and works in the San Francisco Bay Area, where he attended the Cali- CELL fornia College of the Arts. He has been the focus of two solo exhibitions at Mark +1 415 205 1479 Wolfe Contemporary, and has been featured in numerous group shows and art fairs, CONTACT NAMES including Art Miami, SCOPE, and Aqua/Wynwood. He was recently chosen as a Mark Wolfe Best of 2013 by the Arts & Culture editiors of The Advocate, and his paintings are Alexis Mackenzie featured in MTV’s The Real World: San Francisco.

REPRESENTED ARTISTS Todd Lanam MARK WOLFE CONTEMPORARY Jordan Eagles Sarah Thibault Founded in 2003, Mark Wolfe Contemporary exhibits a range of local and interna- Jacob Tillman tional art with an emphasis on emerging and mid-career artists. We are proud to Alexis Mackenzie present a diverse roster of practitioners working in a wide range of media — from painting to video art — all sharing a commitment to conceptual rigor and a firm command of their craft. The gallery’s artists have garnered critical praise in local and COVER national publications and media, including Art Forum, art ltd, KQED Public Television, Ryan Martin Optimistic Voices New York Times, San Francisco Chronicle, S.F. Bay Guardian, and Village Voice, and 2013 have exhibited at the Museum of Art and Design, SF MOMA, the Oakland Museum, Oil on canvas and numerous other venues. 14 × 11 in

INSIDE Ryan Martin Ryan Martin Studio View 2014

BACK Ryan Martin Insect Kin 2013 Oil on canvas 12 × 9 in PETRA JOHANNA BARFS WOLFSTÆDTER, FRANKFURT

VOLTA NY 2014 | BOOTH NUMBER 1.24

WOLFSTÆDTER: PETRA JOHANNA BARFS

WEBSITE Excerpt of an interview: The Interview with Antje-Friederike Herbst was held in April www.wolfstaedter.de 2013 in Imbituba, Brazil. Herbst, born 1967 in Hannover, is the German master of a E-MAIL merchant ship, navigating heavy load carriers of a Hamburg shipping company. She [email protected] is one of the few women in this field of shipping and thus became known through-

PHONE out international media. +49 163 6329 817

CONTACT NAME Juergen Wolfstaedter You are the only female Captain of a heavy-lift carrier and often underway for months. I assume most of your colleagues are male. How has that been so far?

One of my colleagues answered a similar question: “The rank of the Captain has no REPRESENTED ARTISTS gender.” I think, that is the best answer to that. Of course there are serious differ- Andreas Exner Thomas Kilpper ences in the leadership provided by men and women, but these have nothing to do Selena Kimball with seafaring, and can also be found in every company and business on land where Erling Thor Valsson Klingenberg women are heading toward or already working in leading positions. I could tell you Michael Klipphahn a thousand stories of the reactions I’ve had from port authorities and dock workers Ins A Kromminga Carolin Kropff around the world, when I appear. The astonishment is always coming from them Xue Liu unless I myself come across a female pilot. That’s always a mutual happy surprise! Eva Schwab The crew on board are used to this, as I already know many of them for a long time. Benjamin Patterson What do you first think of when you think of the term homeland?

For me, home is an old fashioned term. Local films, local history, evenings at home… COVER for me they are all terms from the 1930’s, 40’s, 50’s and 60’s which to some extent Petra Johanna Barfs o.T. (detail) associate with the horrors of national socialism, and the “ideal world” together with 2012 which it was proclaimed. I use the term “home”, that is where my bed is, where I Collage can relax, where I can spend my life with friends and family, where I can relieve the 20 × 30 cm stress associated with travel. INSIDE Petra Johanna Barfs Do you carry anything (photo/memento) that reminds you of home when you’re at Black Forest sea? Is there a story associated with it? 2013 Collage No, I don’t carry any mementos or mascots around with me. I have photos on the 80x 84 cm laptop, as well as music and films I enjoy watching. I also carry books, but memen-

BACK tos from the “homeland”? No. Petra Johanna Barfs Waldstück 2013 Collage 80 × 42 cm ROBERT CHAMBERLIN MILLER YEZERSKI GALLERY, BOSTON

VOLTA NY 2014 | BOOTH NUMBER 2.33

MILLER YEZERSKI GALLERY: ROBERT CHAMBERLIN

WEBSITE Robert Chamberlin is a conceptual artist working across various media (ceramics, www.milleryezerskigallery.com photography and performance). In Chamberlin’s most recent artistic investigations, E-MAIL he chooses porcelain to explore desire. [email protected] The work shown in VOLTA is a continuation of Chamberlin’s last exhibition entitled PHONE “Fill Me Up.” In that exhibition, a series of 108 heavily decorated porcelain vessels +1 617 262 0550 were displayed to explore the theme of desire. The artist’s concept of desire is ex- CELL plored through the titling of pieces; where some empty vessels are given specific +1 617 620 9818 names, others are accompanied by a number. These names rep¬resent past ob- CONTACT NAMES jects of the artist’s desire, either living in his imagination or being present in reality. Ellen Miller The material of porcelain itself signifies western desire; Europeans were so crazed Howard Yezerski for the material that for years they tried to replicate it but were only able to fashion inferior white clay vessels. It is this white on white façade as well as the blank gal-

REPRESENTED ARTISTS leries that invite the viewers to project their own desires filling the empty vessel. Laylah Ali The act of creating these works requires Chamberlin to “fill up” his molds everyday Lalla Essaydi Emily Eveleth and then pour them out each evening leaving the shell of a vase. The emptiness Christian Haub of these works leaves space for projection. The unique qualities of each vase al- David Maisel lows them to become personified “individuals”. By thinking about the vocabulary Heather McGill of the vase, neck shoulder and foot, each vase comes to have the language of a Andrew Millner Michael Oatman body. This idea is further pushed by Chamberlin’s handling of the porcelain vase John O’Reilly as skin, letting it slump and morph like a human body. The forms Chamberlin uses Deb Todd Wheeler are sourced from large floral online retailers that reference Sevres pottery desired by the likes of Marie Antoinette.

COVER Chamberlin’s new work further develops the formal qualities of his “Fill Me Up” se- Robert Chamberlin ries while evolving into an auto-biographical expression that explores the elusive Empty Vessel 67 idea of relation¬ships. With these new works Chamberlin creates conjoined vessels 2013 that con¬sider the push and pull of relationship. Where some vessels seem to have Porcelain 6 × 11 × 6 in achieved homeostasis, others appear less stable and balanced.

INSIDE Each vase is decorated by hand using cake decorating tools and is adorned to cre- Robert Chamberlin ate an individual piece with a unique personality. The decoration, inspired by the 69, 1st Iteration great jewels and palaces of history both allude to the opulence and power of the 2014 past while they also speak of its demise. Some vases, unable to carry the weight of Porcelain 9 × 15 × 9 in their decoration, slump and fall.

BACK (LEFT) Robert Chamberlin Couple (Empty Vessel 110) 2014 Porcelain 9.5 × 6.5 × 9 in

BACK (RIGHT) Robert Chamberlin Empty Vessel 11 2013 Porcelain 4.6 × 6 × 6 in KATSUTOSHI YUASA YUKI-SIS, TOKYO

VOLTA NY 2014 | BOOTH NUMBER 1.19

YUKI-SIS: KATSUTOSHI YUASA

WEBSITE WOODCUT AS A NEW WAY OF PHOTOGRAPHY www.yuki-sis.com Katsutoshi Yuasa’s woodcut print and relief works are based on his own digital E-MAIL photographs. While woodcut is a very traditional Japanese printmaking technique, [email protected] and there is a long process of production, of carving and printing all by hand, he

PHONE thinks this offers many interesting questions regarding the origin of photography. +81 3 5542 1669 The original meaning of photography is a primitive light picture using a camera for CELL catching light. However he lost the vague atmosphere and personal emotions when +81 90 8513 2271 he takes the photographs by the camera. There is just the fictional two-dimensional CONTACT NAME information in the surface: no reality or no real existence. Therefore he cannot be Yuki Terashima satisfied with photographic results as his representation. Yuasa decided to use the woodcut technique as a way of exposing images for adapting the subjective percep- tion to the objective fiction. He aims to grasp the light to plywood by hand instead REPRESENTED ARTISTS Kohei Kawasaki of exposing the film. Yuasa uses monochrome photographs as a starting point for Hiroko Tsuchida crystallization and refinement of light. In the monochrome images, there are only Kyoko Shindo black and white dots or lines and white becomes light and black becomes dark- Hirotsune Tashima ness. After spending several weeks carving on plywood and printing on paper, the Fumiko Kikuchi Monika Chlebek final result of his representation is already far away from the original simultaneously Toshiyuki Tanaka it is not reality or fiction. It would be said the abstract reality or the real abstract Sumito Sakakibara because it contains both of objective and subjective perceptions and interactions Hideki Tokushige between light and him. Then he hopes the work makes the neutral space for others Daisuke Tsuchigahata and him in the new dimension.

COVER Katsutoshi Yuasa KATSUTOSHI YUASA was born in 1978. After he graduated from the Musashino A Moment of Silence Art University as a major in Printmaking, he went to United Kingdom to pursuit a 2013 higher level of education. In 2005, he received his master’s degree in the Royal Col- Oil based woodcut print on Paper lege of Art in London. 53 × 24 in YUKI-SIS was established in 2012 in Tokyo, Japan. We present young emerging INSIDE (LEFT) Katsutoshi Yuasa contemporary artists of many nationalities. We hold many exhibitions at our space A History of a Lady and participate in international art fairs. 2013 Water-based woodcut on paper 42.1 × 31.5 in

INSIDE (RIGHT) Katsutoshi Yuasa There is what we choose to see and what we are able to see, whereas there is a lot of things that people don’t choose not to see 2013 Oil based woodcut print on Paper 23.6 × 17.7 in ULTRA VIOLET CULTURE SHOCK, NEW YORK

VOLTA NY 2014

CULTURE SHOCK: ULTRA VIOLET

WEBSITE ULTRA VOLTA: THE SPECTRUM OF ULTRA VIOLET www.cultureshockny.com In short, Ultra Violet is a cultural icon. Ultra Violet is not just a living testament to E-MAIL what went before. She is the last living link to a generation that initiated everything [email protected] that is important today. We now live in a world where everyone can be “famous for

PHONE fifteen minutes”. For good or for bad, was prophetic of the times we +1 347 463 9023 now find ourselves in.

CELL +1 917 363 6027

CONTACT NAME Debra Anderson

COVER Culture Shock presents ULTRA VOLTA: The Spectrum of Ultra Violet, The artist, Ultra Violet writer, actress and singer, born Isabelle Collin Dufresne in , France on Sep- Luminous Self Portrait 2012 tember 6, 1935, is often overlooked as a ‘muse’ to such luminaries as Salvador Dali, Digital photographic print utilizing , John Chamberlain and Ed Ruscha. But there’s a distinct grey area be- Philippe Halsman photo of Ultra tween inspiration and participation. As the lover and confidante of Salvador Dali for Violet two decades, she has a history that she describes simply as “surreal”. When it comes 8.5 × 11 in to Warhol it was more direct. The huge flower canvas that adorns her living room ( ) INSIDE LEFT exhibits her influence: she mixed the paint, chose the colors — violet and orange. Ultra Violet Self Portrait Patrons are invited to immerse themselves in the transmedia Spectrum of Ultra Violet 2011 installation, peruse her memoir Famous For 15 Minutes: My Years With Andy ­Warhol, Baroque Frame in Transparent Acrylic with Mirror and Mirrored and interact with her Self Portrait and Selfie baroque mirrors, as “everyone’s self Self Portrait Letters portrait”, a democratic illusion. 25 × 25 in Ultra Violet rebelled against her aristocratic upbringing, leading her parents to have INSIDE (RIGHT 1) her exorcised by a Catholic priest in 1948 and committed to an asylum. Ultra Violet The Last Supper She moved to New York City in 1951. In 1963, Dufresne met Andy Warhol. He told 1972 her to choose a more memorable name. She chose the name Ultra Violet, and be- Film still. Archival pigment print on Arches paper came known as a Pop icon, and one of The Factory’s “Superstars”. 30 × 19 in She has performed in films (John Schlesinger’s and Woody ­Allen’s INSIDE (RIGHT 2) Night Train) and with the famed Theater of the Ridiculous, directed by John ­Vaccaro. Ultra Violet She made an album with Capitol Records that was never released. She is the au- Till Death Do Us Part 2007 thor of a bestselling memoir entitled Famous for Fifteen Minutes: My Years With Wood, acrylic, LEDs Andy Warhol, and an opera Famous has been written, based on her life story. 5 × 5 × 5 ft Ultra Violet’s artworks are in the collections of the Museum Pompidou (Paris), the INSIDE (RIGHT 3) Knokke-Heist Museum (Belgium), and in the private collection of Whitney Museum Ultra Violet Ultra Violet and Andy Warhol trustee Beth deWoody. Ultra Violet operates studios in both Chelsea, New York City stepping out in New York City and Nice, France. She is represented by Dillon Gallery in New York and represented 1977 for transmedia by Culture Shock, New York. Photograph c/o of the artist

BACK (LEFT) Ultra Violet Ultra Violet and Salvador Dali at the Huntington Hartford Museum in New York City 1969 Photograph c/o the artist

BACK (RIGHT) Ultra Violet Ultra Violet 2010 Photograph c/o the artist