Jeanette Fintz: Worldline Schreiber Paintings …Plus

Jeanette Fintz:
Worldline Schreiber Paintings…Plus

September 7 – October 7, 2017

An exhibition of recent paintings by Jeanette Fintz that explore a new, monochromatic palette and distilled linear geometry.
Opening Reception: Thursday, September 7, 6 – 8pm

New York, NY (CHELSEA) Garvey|Simon is pleased to announce the exhibition, Jeanette Fintz: Worldline Schreiber Paintings… Plus, featuring a groundbreaking new series of work entitled Worldline Schreiber. The show is curated by Annette Benda Fox, and runs from September 7 – October 7, 2017. This is the artist’s fourth solo show in New York City. The gallery is located at 527 West 27th St., 2nd Fl., New York, NY 10001. A full color catalog with essay by Carter Ratcliff accompanies the show.


Fintz’s new Worldline Schreiber paintings (in the main gallery) leap into a spatially ambiguous zone via deconstructed linear geometry and a crystalline blue and white palette. The artist is manipulating geometry to create clashing gestures and elusive planes, often evoking psychological states. She uses two overlapping grid systems that destabilize the symmetry of the picture plane and offer a distillation and reinterpretation of her previous approaches.

To date, Fintz’s best-known abstract paintings have a vibrant color palette and kinetic, planar symmetry. These paintings compose the second half of this exhibition and offer a counterpoint to her recent experimentations seen in the Worldline Schreiber works.

The term “Worldline Schreiber” came to Fintz in a vivid and influential dream, although she had no previous awareness of it. The German, “schreiber” translates to “writer” in English. In these paintings, the artist uses purposeful, geometric mark-making to reveal a narrative of space, matter and time. “Worldline” is a term most often associated with time travel in both physics and literature. In Einstein’s theory of relativity, time and space are mixed together: we cannot think of them separately. A “worldline” is a path of an object in 4-dimensional spacetime, tracing the history of its location in space at each instant in time. In science fiction and mathematical fantasy, the term is described as a filament with a spiritual component that follows an individual from birth throughout a lifetime, getting increasingly more complex as relationships entangle and time passes.

Quoting Carter Ratcliff from his catalog essay Vital Geometries, Temporality and Timelessness in the Worldline Schreiber Paintings:

As manifold images arise from the artist’s fields of white, universal being in its all-encompassing generality takes on specific and thereby vital form. The Worldline Schreiber paintings are revelatory. Charging inorganic geometries with the richness of personal experience, they hold up metaphorical mirrors to the shifting complexities and clarities of our individual lives.


Jeanette Fintz is a native New Yorker and currently resides in the upper Hudson River Valley. Considered a “painter’s painter,” she has exhibited her intelligent abstract work for the last 30 years; her work is collected both nationally and internationally. Fintz is also an independent curator and art writer whose recently well-received curatorial project was The Ritual of Construction at the Kleinert /James Center, Woodstock NY (with full-color catalog). Her selected grants and awards include the Ingram Merrill Foundation Grant for Painting, The NYFA Fellowship for Drawing, and the E.D Foundation Grant in Painting. She also received two sabbatical travel grants from The New School/Parsons to Spain and Turkey to research patterning systems. This is her first solo exhibition in NYC in 5 years. Previous solo shows in NYC took place at The Wall Street Journal Building Lobby, Rodale Press Building Lobby (both sponsored by the Durst Foundation), and Fox Gallery, NYC. Her work also graced the corridors of the Albany International Airport in solo and dual exhibitions.

Where: Garvey I Simon 547 W. 27 St, Suite 207
New York, NY, 10001

Opening Reception: Thursday, September 7, 6 – 8pm

Contact: Liz Garvey or 917-796-2146

Garvey|Simon is a contemporary boutique gallery with a special focus on drawing, works-on-paper, unusual materials and design. Our art advisory service, founded in 1999 by Elizabeth K. Garvey, specializes in American, Modern, and Contemporary Art

Eozen Agopian – Persistent Dichotomies / Beverly Miller Orthwein – Beyond Botancials

Fox Gallery NYC is proud to present our current exhibit of work by Eozen Agopian and Beverly Miller Orthwein. Passionate about their subjects and scrupulous about execution, both artists offer us a feast of engaging provocative and sensory images.

Eozen Agopian

Multimedia artist Agopian offers us a full menu of mixed media art from which to taste recent history, philosophy, emotions, connection and loss. Originally from Greece, of Armenian heritage, she has lived and worked in NY for decades. Her work involves two parallel investigations: Paintings in oil and/or acrylic on canvas, and assemblages with threads and fabrics that invoke a third dimension. Agopian creates visual parallels between rational and cosmological works through processes of constructing and deconstructing, layering and cutting, scraping and marking, unraveling and reconnecting.

The loose armatures of her sensuous thread-on-canvas works provide dimension and fluidity, musical movement and an embrace of a deeply felt narrative between the artist’s personal history as an outsider straddling three cultures, her material and the viewer.

Her paintings from 2011-2016 provide us with an understanding of her evolution. In Connecting Flight, we are held by transparent black grid and muted gray/white ground. The drawing and the veil of color transform into large, flat planes of color upon which float independent biomorphic or stacked quasi-geometric shapes in End of October an On Love from 2016.

Comparing her different painting techniques, Michael Walls* says “Agopian’s use of passages of grid-like, “allover” compositional structure, often contrasted with smaller or larger areas of interlocking, shard-like and/or curvilinear forms produces an arresting–and often–virtuosic–dialog between the two contrasting vocabularies. Her ability to fully orchestrate these two seeming dichotomies within an individual work produces that which the artist herself terms ”continuity and interruption”.”

EOZEN AGOPIAN is an artist of Armenian descent born in Athens, Greece. She received her Master of Fine Arts from Pratt Institute, Brooklyn, NY and her Bachelor of Fine Arts from Hunter College, New York, NY. She has exhibited her work in numerous solo and group shows in public and private venues in Greece, France, Italy, Germany, China and the United States, such us, Eleftheria Tseliou Gallery (Athens), Lesley Heller Workspace (New York) , Shiva Gallery of the John Jay college (New York), Michael Walls Gallery, (New York), Hellenic American Union (Athens), AAW Gallery, (Beijing), Museum of Contemporary Art Crete (Crete). She has been an invited resident artist at the Triangle Arts in Dumbo, Brooklyn. She currently divides her time between living and working in New York and Athens.

Michael Walls, “Traverse” Gallery Eleftheria Tseliou, Athens, Greece, 2015

Beverly Miller Orthwein – Beyond Botanicals

The beauty and power of the natural world and the accomplishments of highly literate and civilized cultures are celebrated in Beverly Miller Orthwein’s sophisticated watercolors. Her blend of vintage woodblock prints, antique texts and vintage sutras* provide us with a rich and delightful viewing experience.

Artist, gardener and beekeeper, Miller Orthwein’s lifelong passion for European botanical art evolved through her travels to the Far East, which led her to study Oriental brush painting technique and then to watercolor painting. After visiting a New York exhibit of Robert Kushner’s work in 2015, she was inspired to combine her botanical painting with collage elements that created a bridge between East and West, Old and New.

Beverly Miller Orthwein has exhibited at the Hammond Art Museum, North Salem, NY, the Greenwich Garden Education Center, Greenwich, CT and has had a one woman exhibit at the Bartlett Arboretum, Stamford, CT and at The Peck School, Morristown NJ.

*A rule or aphorism in Sanskrit literature, or a set of these on grammar or Hindu law or philosophy.

Padt Badt – Frames and Fragments / Scott Sherk – Sound Shadows


Pat Badt: Frames and Fragments Scott Sherk: Sound Shadows

FOX GALLERY NYC is pleased to exhibit recent work by Pat Badt and Scott Sherk, whose paintings and recordings ground and transport us in time and space.

Pat Badt: Frames and Fragments
Pat Badt is a painter of memory. Through specific coding of color and texture, her abstractions reference “overlooked events that make up daily routine…The layers of paint become a history, just as their historical sources come from specific events.” In addition, Badt’s frames and titles are clues to these specific moments which inspire personal musings, many of which have universally shared emotional components. Her colors and textures remind us that we are looking at painting and into our own histories.

Although she is deeply influenced by Agnes Martin and Brice Marden and their “connections to light, color and space through abstraction” it is Matisse ”whose joy of color and freshness is a daily inspiration and reminder.”

Badt’s painted and wax-sealed wood boxes contain personal elements of remembered events. They are satisfying and intriguing objects and they invite us to imagine the meanings of the secrets within.

Pat Badt is Professor Emeritus at Cedar Crest College. She received an MFA from the University of Pennsylvania and a BA from the University of California at Santa Cruz.

She has exhibited in Brussels, NY, LA, and Philadelphia. Her work is included in collections in The American Embassy in Riga, Latvia, The Ruth Highs Collections of Artist Books at Oberlin College and Bryn Mawr College and the Allentown Art Museum.

Scott Sherk: Sound Shadows
Scott Sherk creates sound visually. His early experimental recordings made him aware that sound was an important determinant in the perception of space. Initially a sculptor used to moving around masses and forms, Sherk noted that by manipulating sound he could carve into space, itself.

Ultimately I begin with sound work, and it seems it dictates how it wants to be realized–with video, objects or ethereally.” His current exhibit incorporates all three expressions of sound work: Three field recordings in stereo mix, with video, six laser etchings of sonograms on acrylic framed in shadow boxes, and a four channel sound piece, New Whitney, housed in a 7’ high tower and based on field recordings of room tones of each exhibition floor of The Whitney Museum, NY.

Donning headphones while looking at each approximately 8min video is an immersion which allows the viewer to simultaneously incorporate one’s own mental imagery and sense of location, movement, and time. As Sherk reminds us ”When do we ever just listen?”

The music industry has certainly embraced this with generations of music videos that can inform the audience to content and meaning or create a visual focus that enriches the listening experience.

Sherk notes:”I love the physicality of sound and how it can occupy and define a space either mentally or physically. We exist within sound always: We do not have ear lids. How we shape it, and how we hear it has a profound impact on our lives”.

Scott Sherk has exhibited widely including at the Katonah Art Museum, NY, Allentown Art Museum, Kim Foster Gallery NYC, and Leslie Cecil Gallery, NYC. His solo exhibitions have been reviewed by the NYT, and Art Forum. His sound work is on CD by 3 Leaves, and/ OAR, and released on the internet by Statisfield and Wandering Ear. He is a Professor/Artist in Residence at Muhlenberg College, where he has been recipient of the Class of ’32 Research Chair and the Hoffman Research Fellowship.

SIGHT SEER David Pettibone and Owen Gray



David Pettibone Alaska Paintings 2015-16
Owen Gray Observed, Perceived Dreamed Selected Paintings
April 12, 2016 – July 12, 2016

David Pettibone
Fox Gallery NYC is pleased to exhibit two artists whose observed world is transformed by internal vision and perception. In the Alaska paintings of David Pettibone, trees share the position of subject with the actual paint. Citing LucienFreud and John Constable as powerful influences, he reworks his paintings according to the changing light and conditions, building up the surface to a highly tactile and breathing presence.

Pettibone states: Change is, in a sense, both the subject and the medium. Each tree is a constant against which to measure change. As the environment shifted in light, weather and season, I reworked the paintings, always chasing the newest transformation. Over time, the parts within the scene that changed the least began to emerge through both painterly illusion and the environment’s fingerprints in the paint by rain, snow, dirt and the occasional spruce needle or insect.

David Pettibone received his BFA in Painting from the Rhode Island School of Design and his MFA in Painting from the New York Academy of Art where he was awarded the New York Academy of Art Fellowship in 2008. 

He has regularly exhibited his work and taught painting and drawing at various schools and institutions throughout New York City. David currently teaches Drawing and Painting at University of Alaska,Anchorage, and continues to explore his environment through paint.

Owen Gray
An intimate world of monkeys, birds, reptiles, and insects, aggressively guarding their turf in the tropics reign supreme in Owen Gray’s paintings exhibited April 12 – July 12, at Fox Gallery NYC. Gray’s paintings are teaming with nature trying to survive. This particular cross section of wildlife juxtaposes mussels blackening water with snakes, frogs and musical instrument-like symbolic creatures. Other paintings include dug out boats colliding with each other.
Mario Naves of the New York Observer noted, “Mr. Gray’s symbolism has a strong spiritual subtext. Even when he paints something as mundane as a hillside covered with scrubby bushes, it’s shot through with retribution, redemption and, less assuredly, grace. This is what makes him special—there’s no separation between the dutiful naturalist and the visionary. Indeed, to call Mr. Gray a ‘visionary’ is to inflate the quiet rectitude of his fantasies.”
Gray’s imaginative compositions of water and nature, thick with foliage and animals, are inspired by his fantasies. His ability to evoke a sense of danger and playfulness is derived from his dreams of swimming with aquatic creatures. Elements from Peter Brueghel, Hieronymus Bosch, and 17th century Dutch still life have also influenced Gray’s subject matter.
Born and raised in Wayland, Mass., Owen Gray studied as a young man at the Portland School of Art in Maine and the Swain School of Design in New Bedford, MA. In 1975, he moved to New York and took classes at the New York Studio School, where he studied with Nicholas Carone and Leland Bell.

{Gray paints} “a kind of primordial peaceable kingdom, as far from the frenetic hard-edged modernity of New York City as one could get… a Freudian never-never land where the ego lives in close touch with churning instinctual energies.”
– Ken Johnson, The New York Times (2002)


Fox Gallery NYC  presents a solo exhibition of Elizabeth Gourlay’s  artwork created over the two-year period between 2013 – 2015.  Travels to Spoleto and Berlin during this time influenced  her ideas of color and form .

Gourlay presents us with deceptively simple and strong compositions.  If one carefully looks at her work, the reward is in the revealing of complex structures at once playful and serious.  From within paint, collage, ink and graphite emerge her love of music, architecture and nature.   Rich in emotional content,  these elements drive her compositions,  color combinations, layering of line and form filtered through a broad range of cultural influences and art making techniques.

ELIZABETH GOURLAY received her MFA from Yale University. She is the recipient of several grants and fellowships, including two Individual Artist State Grants from the DECD/Connecticut Office of the Arts. Gourlay traveled to paint on the Andrew Grant Traveling Scholarship while at Edinburgh college of Art and had three fellowships at the Vermont Studio Center.  At the invitation of Carol LeWitt, Gourlay has worked at the Sol Lewitt studio in Spoleto Italy for four of the last five summers. Her work is shown nationally and internationally including MASS MOCA, The National Academy  and School of Fine Arts, The Cummings Center at Connecticut College, the Hecksher Museum and the Widener Gallery at Trinity College, and at the Drawing Center NYC.

Atara Baker: Being and Belonging

Being and Belonging
Reflections on Jewish space
Gotthelf Gallery
San Diego Center for Jewish Culture

Curated by Stephanie Snyder & Karen Levitov, Asst. Curator, Fine Arts,
The Jewish Museum, NY

Atara Baker

Atara Baker’s untitled wood and mixed-media constructions are objects that appear both ritualistic and architectural.  Intimate in scale, they tell the story of the artist’s personal roots in two diverse cultures that share intense and politically volatile relationships to land–South Africa and Israel.

Baker’s sculptures begin with found wood that is then worked hard: burned, bound, painted, nailed ad gauged.  An accomplished painter, one can read this sensibility in the richly textured surfaces that emerge during Baker’s intensive working process.  The smudged and muted colors that Baker works into the wood–burnt red, white and yellow to name a few-are reminiscent of African forms of body decoration.

Like ceremonial tools, antique weapons or the architectural fragments of indigenous dwellings, Baker’s sculptures are grounded in sense of place that feels far removed from the polished hyperactivity of first-world societies.  Baker draws our attention toward the South, focusing us on the migrations and divergences of Jewish diaspora and the tribal routes of Jewish culture.

Stephanie Snyder

William Dilworth/ Jeanne Strausman


WILLIAM DILWORTH’s colorful and dynamic abstractions command our attention and encourage us to seek a narrative.  His paintings on Formica both assault and engage us with the same energy he states that he found working with this uncommon material 30 years ago.  “…I found that painting on Formica was liberating. ….it was ideally suited for oil paint, proving to be completely stable and amazingly versatile. (Formica) holds what I want it to keep and allows for what I don’t want to be entirely erasable.”  Dilworth credits  “the freedom of DeKooning, the care and spareness of Ryman and the draughtsmanship of Marden as the most important influences for his artmaking.

Employing mainly hands and feet because he felt his mark making became predictable,  Dilworth uses paintbrushes to lay down material and for touch-ups. He will, however, use shoes as paintbrushes.

Although  there is an intimacy to his smaller format work, they retain the energy of intelligent fingers and hands activating paint into intensely personal works of art.
“When I make a painting I take away as much as I put down…what is left is the middle of those spaces…the completed artwork being a settled and mysterious place. To look at them is to occupy that place in wonder.”

Originally from Detroit, Dilworth  came to New York because “it seemed to have no limits” however,  the evolution of the art world into the art market inspired him to go underground with his own work, exhibiting in selective venues such as City Without Walls, Newark NJ 2013; Hardscrabble/Tough Au Sable/Forks/Detroit, Tahawas Lodge Center, NY 2012; We’ll Know When We Get There, Cneai, Chatou, France, 2009.

He is the manager/caretaker of the Dia Art Foundation’s Earth Room since 1989, (a 1977 installation piece by Walter de Maria)  which he credits as a continuous influence on his life and art. “The routine care and quiet of the Earth Room balances busy and noisy city life. Tending the (280,000lbs of) earth has been grounding. I am saturated in earth, art, timelessness and quiet. That’s a great place from which to approach my own artwork.”
You can see a WNYC Culture’s Video Profile of Bill at  http:/ on YouTube



Jeanne Strausman collects and creates memories.  From her treasure trove of tarnished papers, old handwriting, bits of textiles, and dried organic material, Strausman carefully constructs settings for story telling.  She has stated that her work reflects her interests in nature, women’s issues and American History. To that end, Strausman’s collages read as intimate assemblages and dreamlike echoes of personal and collective histories, or stories passed down.
Her influences  include her husband, Albert Strausman, now deceased, Robert Rauschenberg, Robert Motherwell and Antoni Tapies.

Strausman is an  of Kurt Schwitters, Ann Ryan and  Hannalore Baron.  Her balanced compositions and spatial fluidity, deft handling of texture, color, shape and line, pay homage to them but allow for her own originality.

Strausman states that she will use “anything well loved and cast off”; her collages transmit this sensitivity for all to enjoy and contemplate.

Ms. Strausman, a former student  of Color and Textiles/Surface Design at New York’s Fashion Institute of Technology,  has been living and working in the Hudson Valley for more than twenty years.  Residing now in Rensselaerville, NY, she concentrates her attention on the natural world and the study of art in many of its forms.



PHOTOGRAPHS: Musicians/Deborah Feingold; Intersections/Diane Love February 12 – March 28, 2015


We are delighted to have a second exhibit of Deborah Feingold’s rock n’ roll photography, in celebration of her recently published book “Musicians”,  which reveals Feingold’s unique ability to be an invisible and loving mirror for her subjects, who often have a love/hate relationship with promotional photo sessions.

We expect posturing and cockiness from rock music legends , but Feingold, a sensitive, empathetic music-loving photographer connects to her subjects’ essence of personality and their humanity.   She has her subjects almost immediately at ease, which engenders the kind of rare moments of honesty and intimacy that are the hallmark of her images. There’s magic at work in her photographs of music icons such as : Mick Jagger, Keith  Richards, Madonna, Bono, Prince, James Brown, Philip Glass, Phar​rell Williams, Chet Baker, Frank Zappa….. Planning, spontaneity and a deep love of her subjects is consistently evident.

Feingold states ” My belief in the power of the camera as a tool for self-expression and communication laid the groundwork for my career.”  After graduating Emerson, Feingold worked in a camera store in Boston and​attended performances by Miles Davis and Ashford and Simpson among others. She befriended young jazz musicians, then moved to NY in the 70’s to a then very-funky Chelsea .  Through her musician boyfriend, she met and photographed Chet Baker​; ​the rest is history. Feingold is grateful to Village Voice editor Fred McDarrah and staff Photographer Sylvia Plachy for her education but credits Musician magazine for her opportunity to shoot artists like David Byrne, Brian Eno, Steve Reich, Philip Glass and Laurie Anderson.

Feingold has not only photographed great musicians but also some of the most prominent names in American culture, including President Barack Obama, Bill Gates, Tom Wolf and George Carlin and Sarah Palin. Her work has been  published in the Rolling Stone , Time magazine and The New York Times.
To order Deborah Feingold’s book “Music” click here.


Multi-talented artist and designer Diane Love’s current photographic series “Intersections” refers to the serendipitous combining of images from recent work along with images she found when reviewing older contact sheets and negatives.  Concerning this particular group of photographs Love states” keeping up with world news is a big part of my life.  I did not realize until I was assembling my images for this exhibition how much impact my news diet has infiltrated my work.  Several images in this group are the intersecting of cultures and places completely unplanned.”

Love feels that “ Whether I am painting a portrait or catching a person in action it is still about capturing the essential qualities of that person.  I love the play of light on things, juxtaposing shapes, contrasting colors or playing up the many shades of grey in a black and white composition.” The work entitled Place de la Republique is the marriage of a photograph shot at the Park Avenue Armory layered over a photograph of a street dancer in Paris. Love relates, “It was December, 2014 and I had just emerged from the Metro into the vast Place de la Republique when I spotted an amazingly graceful young man dancing to sounds from his boom box. He seemed to float — lingering what seemed an eternity in the air.”  The motorcycle event at the Park Armory was photographed in 2007 while motorcyclists were following a scheme conceived of by Aaron Young, creating an array of rhythmic tire tracks on the Armory floor. Other Intersections are photographs shot on a trip to Cuba in 2012 juxtaposed with photographs taken of Whitney Museum visitors.

A graduate of Barnard College, Love has a long and illustrious career in NYC.  She is a nationally acclaimed designer of jewelry, home fragrance, decorative accessories for the home, painter, photographer, actor and playwright . In addition she is the author of Yes/No Design, Rizzoli ​for​ which she did much of the photography and Flowers are Fabulous. She also did the photography for her own column in HomeStyle Magazine.

Her work is represented by Staley-Wise in NYC and was also shown by Jane Eckert Fine Art, NY.  Love’s photographic work is in the permanent collections of The Central Park Conservancy​, ​Bear Stearns, Meridian Capital Partners and private collections .

PLAIN SIGHT Review by James Panero,  THE NEW CRITERION, January 2015 issue.


Abstract painting’s vitality is celebrated in the work of Claire Seidl and Kim Uchiyama, both recently invited to join American Abstract Artists. Both artists investigate the process of perception. Plain Sight suggests clarity and openness, but at the same time makes us wonder what we’ll discover upon closer inspection. We are asked to suspend judgment and allow these works to unfold in their own time. How we see and what we perceive is inextricable from our own experience. By noting the rhythm and interval of color, light and gesture in their work, we come to experience the art as the artist did when creating it.

While viewing Seidl’s paintings, one can imagine external and internal influences affecting the outcome. Her titles can serve as portals into both a private world and one with which we are all familiar. In The Swing of Things, an active narrative is visible and palpable through a loosening and dissolution of geometric drawing. Its surface initially confronts and challenges, and then invites the viewer to meander through. In Merrily Merrily as the title suggests, there is an immediate sense of sunny, summer days in nature but also a strong, insistent composition. Seidl’s willingness to imply internal, emotional dialogues feel tangible in the painting, In A Heartbeat.

In Seidl’s recent work on canvas and on mylar, as Karen Wilkin in her catalogue essay “Claire Seidl; Paintings Photographs” has written,”…previous states and underlying incidents are often veiled, like distant recollections or like things seen briefly and now largely forgotten…pictorial events can remain more or less visible through the layers of paint on canvas.”

Seidl’s photographs, mostly taken at night, are both familiar and strange. Seidl has said, “Some people see my photos as abstractions, but they are also deeply rooted in the real world; they are filled with specifics of place and people and natural phenomena. But there are images in the photos that only the camera can reveal: what we can’t see in the dark with our own eyes; what we can’t hold in sight after we shift our gaze. The camera accumulates what happens over time (seconds, minutes, hours) in a single two-dimensional place, the photograph. The photographs remind us not of memories but of memory itself. They speak of time passing and of mystery”.

Claire Seidl lives and works in New York City and in Rangeley, Maine. She has had thirty one-person shows and has exhibited in over one hundred group shows in the United States, Europe and Asia. In November, her work will be on exhibit for two years at the U.S. Embassy Residence in Qatar.  Recent shows include: After Hours, Red Filter Gallery, Lambertville, NJ (2014);  Vis-à-vis (with Emily Berger), The Painting Center, New York City (2014);  Whereabouts,  Aucocisco Gallery, Portland, Maine (2014); What Was, Is:  Recent Work (with Duncan Hewitt), Center for Maine Contemporary Art, Rockport, Maine (2013); Paintings 1988 – 2012, Icon Contemporary Art, Brunswick, Maine (2012).  Her work has been reviewed in The New York Times, The New York Observer, The Brooklyn Rail, Art In America, Art News, Arts Magazine, Art Examiner and Partisan Review. Seidl’s work is represented in numerous public, corporate and private collections.

Kim Uchiyama’s painting has been described as “classical abstraction” because “it underscores a commitment to compositional order…. In person, interesting things happen when the classical concerns of symmetry, proportion, and simplicity are matched with the freedom of abstract painting.” (James Panero, The New Criterion, October 2010). Uchiyama’s color bands convey a sense of musical composition with their timbre, texture and mysterious weight. The sturdy colors vibrate and hover on the picture plane, producing a compelling experience that evokes memory and feeling. “Everything in my work originates from a sense of place. Light and color in my paintings are not arbitrary decisions. Instead, they are the organic result of something that I have experienced, seen, felt.”

Uchiyama’s paintings evoke the anarchic trailblazing of the old west one moment, and the placidity of a timeless horizon the next, while conveying a musician’s sense of theme and construction. In Light Study #26 for example, her palette changes create a visual and aural experience that recedes and then emerges. Uchiyama is “interested in juxtaposing hues that convey the true character of light, meaning both its psychology and its mystery.” (Stephanie Buhmann, Girl Band Exhibition Catalog Essay, 2014)

In the paintings Origin, Site, Element and Mythos, one can sense an “unearthing” – a scraping back of layers of both paint and time. “The creation of an image is comprised of multiple layers of experience and history…emotion and psychology filtered by… imagination; the distillation of time and space into the essential form which remains.” Uchiyama’s paintings – vital, powerful and complex – ultimately find their place within the space of our consciousness through a process of endless dedication.

Kim Uchiyama lives and works in New York City. Recent solo exhibitions include Headwater Contemporary, Telluride, Colorado (2013), John Davis Gallery, Hudson, NY (2013), Kathryn Markel Fine Arts, Bridgehampton, NY (2012) and Lohin Geduld Gallery, New York, NY (2010). Prior solo exhibitions include Janet Kurnatowski Gallery, Brooklyn, Penine Hart Gallery, New York, John Davis Gallery, New York and Leslie Cecil Gallery, New York. In the past five years, she has participated in group exhibitions that include Jason McCoy Gallery, Muhlenberg College’s Martin Art Gallery, 490 Atlantic Gallery, Sideshow and Hofstra University’s Rosenberg Gallery. Starting October 16th, Uchiyama’s work will be on exhibit for two months in Freak Flag at Brian Morris Midtown. Her work has been reviewed in Art News, The New Criterion, The Brooklyn Rail, The New York Sun and The New York Times. Uchiyama’s work is represented in numerous public, corporate  and private collections, including that of the late Edward R. Broida.



MARCH 21, 2014 – JULY 31, 2014

FOX GALLERY NYC is pleased to present an exhibition of paintings, collages and works on paper by Kito Mbiango and Atara Baker.

Belgian/Congolese Kito Mbiango integrates his heritages and cultural exposure to explore themes encompassing memory, history, socio-political realities and spiritual yearnings.

With a collection of 10,000+ vintage images of African, Native American, Japanese and South East Asian peoples, as well as scientific illustrations and cartography, Mbiango has valuable imagery from which to draw upon.

His large mixed media canvases Hemisphere Celeste and Les Progres des Rayons, function as narratives, inviting personal musings upon viewing. The woodblock designs and stencil-like symbols connect diverse cultures in a dreamlike, surreal state. The addition of mother of pearl discs effect a shimmering energy to the work.

The mixed media works on paper such as CU or Malachite reference a loss of innocence and exploitation of African cultures, made poignant through the use of what he refers to as his muse, a majestic and elegant female African portrait in several aspects.

Reflecting a yearning for spiritual transcendence, Mbiango’s recent digital prints invite us to do the same with titles such as : Shut Your Eyes so Your Heart May Become Your Eye, Let The Winds of Heaven Dance Between You. In these works Mbiango’s use of color is key to experiencing those feelings.

Kito Mbiango was born in Brussels in 1966. He is completely self-taught in his technique and utilizes multiple production methods including image transfer and mixed media assemblage all applied meticulously by hand.
 His paintings have been featured in publications such as Town & Country Magazine, Architectural Digest, Miami INTERIORS (Tashen) and Luxe Magazine.

Non-profit groups, including UNICEF, Voices United, Haitian Art Relief Fund FOTORELIEF, and HEAL Africa, have also featured Mbiango’s work.

Israeli born San Diego artist Atara Baker articulates a shared personal, political and artistic spirit discovered during her decade experiencing the art and culture of the South African San(Bushmen).
Evident in her work is Baker’s search for the primeval in oneself , a connection to one’s roots, and the close similarity in the “mode of expression in primitive art ( drawing, painting and mask making) to that of modern artists (drawing, painting and object making.”

Baker’s large scale mixed media canvases, are compelling and mysterious objects whose high-relief physicality command our attention. Mainly vertical in orientation, they are bisected with a cross-like armature that sets the compositional framework. These “Masks” are composed of many hand-built built layers of cheesecloth, burlap, found objects and carefully chosen South African newspaper clippings that suggest social and political unrest. The images hold our gaze with their meditative and challenging presences.. Eyes and mouths are suggested by metal washers and discs. “ These industrial elements speak of a society at odds with modern civilization and our indifferent eye towards our ancient beginnings and tribal ancestry.”*

Rather than paint brushes, Baker uses handprints and fingerprints recalling the handmade quality of tribal ritual objects as well as the modern assemblages of Rauschenberg, Cornell boxes, and collages of Schwitters. Her colors are, for the most part, earth-toned; evocative of clay, native soil, and primitive forms.

The Hebrew inscriptions are tributes to her mentor in South Africa, Bill Ainslie, who Baker credits with teaching her an awareness of color and its relationship to observed form.

Atara has been a member of the San Diego Artists Guild and San Diego Art Institute, and her work is in private collections in South Africa, San Diego, Los Angeles and Palo Alto, California, Olympia and Seattle, Washington State, Ohio, Colorado, Utah, Chicago, IL, New Haven, Connecticut, New York, Mexico and Israel, and is at present working from her studio in La Mesa, Ca.

* Kevin Winger “Atara Baker at Mesa College Art Gallery, 2012”

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In the course of their respective careers Pinkney Herbert and Creighton Michael have interrogated and celebrated the expressive potential of the gestural mark. Through bodies of work as diverse as they are probing, Herbert and Michael offer novel insights into the rich possibilities of gestural mark making, sharing an unwavering impulse to engage deeply with its immediacy, directness and perhaps above all its potency.

Pinkney Herbert creates bold, confident paintings that demonstrate his keen sense for the emotive effects of color and line. Often inspired by the sights, sounds and energies of Memphis and New York—the two cities between which he divides his time—Herbert’s works are studies in duality: between cool and warm colors, light and dark and hard and soft textures. In one of his most recent paintings, Boogie Woogie, sleek conduit forms interweave with loose, spontaneous brushwork to create a montage of overlapping shapes and planes. Deftly combining carefully structured, digitally produced marks with broad, hand-painted gestures that appear to advance and recede, shift and pulse, Herbert takes the viewer’s eye on an undulating journey across a vibrant field of prefab and spontaneous mark making.

The painting’s title and colorful network of tubular forms recall Piet Mondrian’s geometric tribute to the dynamism of New York City, Broadway Boogie Woogie (1942-43). And as it was for Mondrian, the city for Herbert is not a thing but rather a set of feelings. Using an intuitive approach to evoke rather than illustrate the syncopated rhythms of urban life, Boogie Woogie reveals Herbert’s intimately expressive way of organizing and processing the energies of the world around him.

A similarly sophisticated yet personalized dynamism is found in Herbert’s S. Martini, one of a group of works inspired by a recent trip by the artist to Italy. Spirited brushstrokes of pinks, yellows and blues interlock and overlap, vying for the viewer’s attention and suggesting various spatial layers. S. Martini hums with a tensile energy; a series of agitated black marks propose a graphic, two-dimensional reading, while elsewhere Herbert’s physical handling of paint bears illusionistic impressions, as a window-like form and a wispy passage of blue suggestive of an expanse of sky invite the viewer into the canvas’s impalpable depths. The work’s title alludes to the 14th-century Sienese painter Simone Martini, whom Herbert admires for his precise forms and direct yet stylized religiously themed compositions. In S. Martini, broad strokes of color become the conveyors of the emotional states and spiritual values to produce a decidedly modern pictorial field that pulsates with its own material and auratic energy.

A similar energy is found in Backbeat 4, from Herbert’s Mark series. Here, Herbert has applied thin strokes of pastels and black and walnut ink in sweeping gestures to create horizontal bands that wind their way up the surface of the canvas. Evanescent patches of shimmering color hover around the transverse structure, producing a subtle visual vibration in the viewer’s eye. Herbert likens this sensory experience to that generated by rich sound harmonies, and based Backbeat 4’s crosspieces on the staves of a musical score. With its chromatic vitality, improvisational rhythms and sublime visual effects, Backbeat 4 strikes a harmonious emotional chord, a characteristic experience of Herbert’s ongoing engagement with the emotive possibilities of the gestural mark.

For Creighton Michael, the draughtsman’s mark is of distinct and central importance to his artistic practice. Using his own history of mark making as both the subject of and the physical material for new artistic production, Michael has produced a uniquely tautological body of work that explores and elaborates on the transformative possibilities of the graphic mark.

In his painting Backchannel 711, Michael uses a formal vocabulary derived from his earlier drawing episodes. The work’s initial improvisational appearance—a pictorial space filled with seemingly spontaneous calligraphic marks—belies a meticulous artistic process. To make Backchannel 711, Michael fed details and elements from previous drawing activity into a computer and then used basic graphics editing software to manipulate the digital files. Wielding the software’s erasure tool like an artist’s brush, Michael composes intricate patterns upon, or perhaps more accurately within the ground of this digitized imagery. Backchannel 711 thus becomes both a record of the artist’s current process and an abstracted archive of previous mark making.

This palimpsestic approach to his own oeuvre is further evident in Backchannel 711’s upper register, where a colorful cluster of serpentine lines allude to a pattern of marking activity found in his Trace series, two of which, Trace 1413 and Trace 913, are on view nearby. Michael’s Trace works consist of paper that has been soaked in a graphite bath, giving it a decidedly sculptural sensibility. In so doing, Michael transposes the most basic elements of drawing— graphite and paper—in what he refers to as “dimensional drawings.” In Backchannel 711, Michael transfers these sculptural episodes from the Trace series back onto the planar surface of the canvas. Through this aggregative process, Backchannel 711 simultaneously reflects inwardly on its own complex structure and form and outwardly onto a broader history of drawing activity to which it is indebted.

Michael’s recent Aperture series further elaborates on the artist’s richly innovative approach to mark making. In Aperture study 113 and Aperture study 213, Michael uses transfer images derived from patterns digitally redrawn from earlier series to produce new patterns of marking. The series takes its title from the narrow arrow slits found in medieval fortifications, architectural apertures whose form is echoed in the strong vertical bands that organize the pictorial space in Aperture study 113 and Aperture study 213. Befitting Michael’s transcriptive approach to art, the series’ title is not restricted to just one reference; the term “aperture” also alludes to photography—a modern means of image making that Michael has progressively integrated into his creative process.

The layered surfaces of Aperture study 113 and Aperture study 213 thus become compendiums of Michael’s history of drawing. By using his own oeuvre as building blocks for new work, Michael invites viewers to both appreciate the productive power and immediacy of the singular mark and to bear witness to an evolving formal vocabulary of accumulative marking patterns pursued over time and across a breathtaking range of artistic media and techniques.
Herbert and Michael offer varied and dynamic meditations on the relationship between innovative and historical forms of mark making. Employing hand-wrought, mechanical and digital means of production, the artists also reveal the remarkable richness and resiliency of the gestural mark.

Max Weintraub, Ph.D.
Assistant Visiting Professor of Modern & Contemporary Art
Department of Art, Hunter College


Axes Mundi on Frank Boros and John Haubrich