Exhibitions
Future
Robert Henry Contemporary will inaugurate its new home with an exhibition of drawings, collages and sculptures, titled, Centuries of Noon, by Brooklyn based artist Andrew Zarou.
With a predilection for both the homogeneity of pattern and the heterogeneity of change Andrew Zarou builds two and three dimensional compositions from found papers, such as graph paper, magazines, technical manuals, etc., plastic, metal, spray-painted paper, wire and wood. This exhibition will feature 30 new pieces from three bodies of work: a series of collages called Flotilla, a series of drawings titled Meditational Flaws and a series of small sculptures known as Mirror Canons.
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Past
Richard Garrison analyzes ubiquitous materials and objects from the suburban American landscape, such as Sunday newspaper sale circulars, drive-thru window menu color schemes and product packaging. Through a process of careful scientific-like scrutiny Garrison dissects and restructures the color schemes of common everyday objects and creates Minimalist compositions that expose the beauty in the banal. This deconstruction of quotidian objects and experience is a personal, non-judgmental, examination of the visual, emotional and conceptual aspects of consumerism.
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In acrylic on paper Deanna Lee intuitively paints flowing lines and shapes that pool, drape and cluster into areas of visual tension that evoke organic forms, natural systems, geographical strata and topography.
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Derek Lerner layers countless well refined marks, lines, and shapes to create complex systems that look as if we are peering through a microscope and a telescope at the same time. After 15 years of working, this group of 10 ink on paper drawings (all 2011) constitute Lerner's latest body of work, stemming from his contradictory feelings about urban sprawl, over-development and humanity as a virus.
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Jerry Walden paints hard-edged visual abstractions in acrylic on canvas by layering and juxtaposing random and well considered stripes of color to form undulating lines of shifting hue and direction that result in multi-colored Formalist compositions.
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Liz Jaff creates installations and objects which reflect her personal impression of space and memory. She explores the structural attributes and aesthetic qualities intrinsic to paper that she cuts and folds into highly formal compositions in both objects and large-scale installations. Her ink drawings continue these investigations by diagramming folds using ink soaked cloth to make patterns on paper. This exhibition will feature new cut and folded paper pieces and ink on paper drawings produced at the artist’s studios in Greenwich Village and Southampton, NY.
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In over 17 years of studio practice, through a process of drawing and photographing the cities he has lived in, Toronto and New York City, Mike Childs has developed an abstract language of visual signs and symbols that mimic the experience of looking at and moving through urban spaces.
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Henry Chung continues his exploration of obsolete technologies as metaphor for the changes and complexities of contemporary life in a series of portraits of computer enhanced images culled from flea markets and garage sales, rendered in computer punch tape.
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Sculptor Noah Loesberg’s work centers on contradictions and meanings they expose. Through shifts in scale and substitutions of materials Loesberg recontextualizes everyday items from our built environment into objects of rarefied ubiquity. Common things often overlooked or simply ignored by most of us are for Loesberg full of beauty and rich with metaphoric potential.
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For more than 30 years James Clark has been making sculptural objects and installations from non-traditional art materials like balloons, neon, car parts, live chickens, bubble and fog machines, water, helium and electroluminescent wire. His work is an exploration of conscious experience.
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This exhibition will highlight 10 new works on panel that includes collage, painting and even sculptural elements in each piece. Starting with small diagrams of ceiling vaults taken from old architectural dictionaries that are collaged, layered and reconfigured, Cullinane builds his composition with rigorous process. The optical effects that result from the process are accentuated by the addition of forms that are actually three dimensional, like map pins, sink drains and wasp’s nests. This conceptual bridge connecting implied or fictional space and physical space forms a tension that is central to Mr. Cullinane's studio practice.
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Charles Yuen’s whimsical, often political dreamscapes, "propose a poetics of the human psyche." This exhibition will feature 15 paintings and drawings (all oil on canvas or paper) that explore the artist’s incisive exploration of the tensions of contemporary existence.
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Andrea Wohl Keefe’s paintings on canvas and paper are derived from observation of the abstract in her everyday life. Through a process of “trials and errors, selections and eliminations, happy accidents, and lucky discoveries,” she develops her images into compositions composed of opposites.
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Robert Lansden’s multiple series of obsessive drawings appear divergent, however, his search for “a visual expression of the dialog between the finite and the infinite,” remains constant. Lansden’s strong curiosity about the nature of existence and the process of making are the motivation behind his work. He says, “Drawing is a way for me to find out what will happen, and more importantly how it will feel, if I repeat a specific mark, line or pattern.”
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Robert Walden’s Ontological Road Maps suggest aerial views or maps of elaborate urban zones complete with housing developments, industrial areas, and business districts. However the accustomed crisp printing of ordinary maps gives way to the insistent presence of the hand of the artist, as one imagines him making each of the fine delicate lines that constitute his webs of transit networks.
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In haunting, yet stunningly rich images of silhouetted trees Louise Dudis catches the elusive moment at late dusk when light from the rising full moon is balanced with the light of the falling sun.
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Sharon Lawless explores the tension between random accidents and planned control in her paintings and collages on paper. This exhibition, which is her first with the gallery, will focus on her paper collages and a new body of wood block prints she derives from the collages.
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Pulling diagrams from a variety of sources as broad as internal medicine, psychology, chemistry and physics Phillip Buntin coalesces imagery into not quite functional pictographic explanations of complicated ideas.
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Colin Keefe makes meticulously crafted plan views of fictitious built environments. Although drawn heavily from architectural pictorial schema Keefe's sculpture and ink and pencil drawings explore "methods for breeding buildings." This exhibition will focus on Keefe's Architectural Pollination series which implements a biological interpretation of a city's evolution, each drawing resembling a microscope slide teaming with life. In this petri dish of architectural spaces buildings breed, consume one another, fuse and fission.
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As a teenager Andrew Zarou was fascinated by the Cold War Era short wave radio transmissions that covert agents used to send coded messages around the world. Inherent in his deep interest in these broadcasts was his lack of understanding. In essence, his ignorance of the meaning of these electronic messages formed the basis of his interest. The random, repetitive lists of numbers and odd tone sequences riveted him as a child and forms the basis for Andrew's visual vocabulary today.
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Three years ago, a diagnosis of cancer provided artist Jerry Walden the impetus for reflection. Looking back over his career, he felt much of his work was no longer visually valid. To reenergize both himself and his work, he began blocking out parts of his original paintings, covering some parts, leaving others to show through. In Deconstructing Jerry #40 (pictured at right), for example, the artist took his 1971 painting, Hi-way Drive-in, rotated it and painted over some of the original colors. By combining parts of his work that he finds valid with new layers of paint, he creates reinvigorated patchworks that have a life of their own.
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In over 15 years of studio practice Childs has developed a minimal, mainly abstract language of patterns, symbols, structural logic and colors derived from photographs of Modern buildings he has taken of buildings in Toronto, Canada and New York City.
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For more than 10 years Mr. Cullinane has been exploring the metaphorical power and psychological significance of children's book and dictionary illustrations. Through laborious process Cullinane transforms illustration into complex, often seemingly nonsensical images that float somewhere between the figurative and non-figurative.
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Robert Walden’s Ontological Road Maps suggest aerial views or maps of elaborate urban zones complete with housing developments, industrial areas, and business districts. However the accustomed crisp printing of ordinary maps gives way to the insistent presence of the hand of the artist, as one imagines him making each of the fine delicate lines that constitute his webs of transit networks.
More info »
Henry continues his exploration of obsolete technologies as metaphor for the changes and complexities of contemporary life in a series of portraits of computer enhanced images culled from flea markets and garage sales, rendered in computer punch tape.
More info »
Ms Cateura paints deceptively simple color field paintings that, “question how we experience and relate to nature in an increasingly urbanized world.” Painted in acrylic on canvas, these peculiar geometric shapes float seemingly weightless in spaces of intense monochromatic colors and are on closer inspection a building, or a machine or beams of headlights on a mountain road at midnight. Behind the serene whimsy of her visual meditations Cateura laboriously manipulates the color and position of objects in each composition.
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Ms Chamberlain paints mysteriously psychological vignettes of towns or sailboats perched high in the air on impossible stilts. Sometimes oddly shaped humanoid figures populate these platforms set against emotionally charged colorful skies. Chamberlain’s imagery evokes questions about our society’s sustainability or anxiety, or possibly her own version of glass houses.
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