Exhibitions
Current
Time Times Three, June 13 – July 28, 2013
Time Times Three presents the work of three artists Pancho Westendarp, Victoria Burge and Tom Kotik, whose work explores ideas about time. Pancho Westendarp's drawings, videos and installations seek to analyze relationships between time, space, memory and movement. Victoria Burge works on top of old maps to chart new visual systems that convey her explorations into memory, absence and the multiple dimensions and implications of space, both human and scientific. Tom Kotik explores the interaction of music and sculpture in minimal abstractions of sound equipment arranged on the wall like notes on a staff. The colors and reflections of which reveal themselves slowly, silently like a crescendo of sound.
Past
On Not Knowing by Phillip Buntin, May 3 – June 9, 2013
Phillip Buntin’s paintings in acrylic on canvas and enamel on Plexiglas are visual explorations of complexity, ambiguity and understanding. He explores the experiential aspects of incompleteness by creating abstract structures that are explorations between categories of thought in philosophy, science and art
Eye Level with the Smallest Leaf by Louise Dudis, March 22 – April 28, 2013
Eye Level with the Smallest Leaf by Louise Dudis features 5 new large-scale pieces from her Fallen Tree Series that consists of multi-panel photographs of the forests of the Hudson Valley, and specifically trees that lie in the forests along the Hudson River’s edge. With its focus on the emotional and spiritual influence of the land, Dudis sees her work as a contemporary reexamination of the 19th Century’s Hudson River School of painting. Through the lens of 21st Century technology and environmental concerns, her work, influenced by American Transcendentalism, questions our impact and relationship to the land and explores ideas about time, the environment, spirituality and philosophy.
Steady-State by Sharon Lawless, February 15 – March 17, 2013
Steady-State is the latest manifestation of Sharon Lawless's exploration of chance and the resulting relationships, conflicts and insights associated with the juxtaposition of unrelated images culled from her extensive collection of scientific manuals, horticulture and botanical catalogs, maps and popular magazines. Included in the exhibition will be a site specific installation of framed and unframed collages and wall drawings. It will also feature a new series of block prints based on her collages that visualize scientific principles about steady states and creep.
Travel/Log by Elise Engler, January 11 – February 10, 2013
Travel/Log, an exhibition of colored pencil drawings on paper, will feature a selection of "suitecase drawings" that date from 1999-2012 that catalogs the objects New York City based artist Elise Engler takes with her when she leaves and returns home from travelling. In the tradition of the naturalist/artist/scientists of the 18th and 19th Centuries, like John James Audubon, Hans Sloane, Charles Darwin, and others, Engler's minature serial drawings record memories, reveal personal experiences and act as a sort of taxonomy and natural history of her daily life.
Diagramming Schematic Intangibility by Robert Strati, November 30 – January 6, 2013
Motivated by interests in the interactions of art, architectural theory, music and science, Robert Strati’s work draws from musical notations, engineering schematics, architectural plans, alphabets, nodal networks and maps. Strati’s archival Ink-jet prints and sculptures in wire, balloons and packing tape are formalist explorations of two and three-dimensional space that seek to expose subtle, sometimes unseen aspects of our lived experience.
Chance and Necessity by Robert Lansden, October 19 – November 25, 2012
In 16 new drawings in ink or watercolor on paper, New Orleans based artist Robert Lansden obsessively repeats the same mark over and over searching for a contemplative space as a metaphor for the experience of the infinite. His colorful, repetitive, mark-laden abstractions blend thoughts about existence and the nature of being from ancient Greece with Eastern religions and contemporary Western Philosophies.
Structural Biology by Colin Keefe, September 7 – October 14, 2012
In ink on paper, Colin Keefe draws meticulously crafted plan views of built fictitious environments constructed with design principles gathered from diverse sources such as the reproductive processes of plants, the propulsion methods of micro-organisms, urban planning and architectural theory.
Mapping the Equivocal, July 13 – August 12, 2012
Robert Henry Contemporary is pleased to present Mapping the Equivocal featuring the work of Phillip Buntin, Derek Lerner and Robert Walden. A map is a representation of space or place, or of phenomena as they exist in space. Maps project a three-dimensional space on a 2-D plane, usually much smaller than the actual space being mapped. The best maps are often considered to be the most accurate ones, however, the assumptions, intentions, biases and preferences of the mapmaker subjectify every map. Maps convey nonlinear and simultaneous knowledge. In a single glance a viewer can tell what’s going on over the whole map at a single moment in time, a Gestalt. The three artists in this exhibition use what could be considered “thematic maps” to explore ideas related to hermeneutics, biology, environmental degradation and ontology.
Centuries of Noon by Andrew Zarou, June 1 – July 1, 2012
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.
Richard Garrison, April 12 – May 20, 2012
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.
Deanna Lee, March 1 – April 1, 2012
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.
Derek Lerner, January 26 – February 26, 2012
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.
Jerry Walden, December 11 – January 22, 2012
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.
Liz Jaff, October 20 – November 20, 2011
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.
Mike Childs, September 14 – October 16, 2011
Mike Childs has developed an abstract language of visual signs and symbols that mimic the experience of looking at and moving through urban spaces. Through subtle shifts in color and value Childs uses his keen color sense to manipulate our understanding of space. This persistently shifting place and our experience of looking at it stands as a powerful metaphor for the experience of negotiating a constantly changing urban environment.
Henry Chung, June 16 – July 31, 2011
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.
Noah Loesberg, April 28 – June 12, 2011
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.
James Clark, March 10 – April 17, 2011
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.
James Cullinane, January 20 – March 6, 2011
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.
Charles Yuen, December 2 – January 16, 2011
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.
Andrea Wohl Keefe, October 21 – November 21, 2010
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.
Robert Lansden, September 9 – October 10, 2010
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.”
Robert Walden, July 14 – August 22, 2010
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.
Louise Dudis, May 19 – June 27, 2010
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.
Sharon Lawless, April 4 – May 16, 2010
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.
Philip Buntin, March 10 – April 11, 2010
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.
Colin Keefe, February 3 – March 10, 2010
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.
Andrew Zarou, January 3 – January 31, 2010
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.
Jerry Walden, November 11 – December 20, 2009
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.
Mike Childs, October 7 – November 8, 2009
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.
James Cullinane, September 6 – October 4, 2009
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.
Robert Walden, July 29 – August 23, 2009
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.
Henry Chung, June 20 – July 19, 2009
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.
Patty Cateura, May 9 – June 14, 2009
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.