Exhibitions

Mayumi Lake

Latent Heat

Oct 23 - Nov 26, 2014

MIYAKO YOSHINAGA is pleased to present Latent Heat,a solo exhibition of photographic works by Mayumi Lake, from October 23 to November 26, 2014.  This is her fifth solo exhibition at the gallery and her first in four years.  The opening reception for the exhibition will be held Thursday, October 23, from 6 to 8 pm.  The artist will be present.

The ideas behind Lake’s atmospheric photography are primarily inspired by her life experiences.  Born in Osaka, Japan, Lake was conditioned to hold back her true feelings in a society where spoken and unspoken protocols for women are still significant.  Since her move to the United States two decades ago, she has investigated sexuality and female archetypes with both humor and irony throughout her work.  After March 2011, when Lake witnessed unparalleled disasters in her homeland caused by the catastrophic earthquake and tsunami, she was too overwhelmed to create any new work for a while.  Around the same time, Lake experienced several personal losses including a family member's mysterious illness and the sudden, unexpected death of a close friend. These life events eventually inspired Lake to create a new series full of ominous feelings.  

“Latent Heat,” Lake’s newest (and most sinister) series reflects upon those difficult years in an attempt to apprehend other people’s suffering and accept their ultimate fate.  Lake states: “These horrific events, unfolding through the media daily in my birthplace, and the uneasiness and apprehension associated with loss and grieving began to merge together, to synchronize. I was the vortex, the meeting space of several disconnected events that formed a personal sense of tragic ending; a belief akin to the fated sense of despair associated with the end date of the Mayan calendar. I began to think, and even truly believe in a single fated day for the end of all things.”

Some of Lake’s new images feature a woman in a colorful geometrically patterned kimono, as well as several simple theatrical objects ---a floating red disc, a white dress, a cluster of white umbrellas, a smoldering bonfire--- all situated in a dark, lush landscape akin to those depicted in a biblical tableau. These visionary scenes suggest unfathomable abysses connected to the netherworld.  Other images depict more realistic scenes, such as a night performance of a Navajo dancer in an empty sports field and stored kimonos in a plastic case.  Each image illustrates a yearning to preserve dying traditions.  Fabrics and papers, Lake’s favorite materials, are fragile, organic and flammable. They remind us of the transitional nature of life while serving as a poignant remembrance of the spirits of the departed.  In chemistry, latent heat refers to the axiom that the released and absorbed energy of an object are equal regardless of the state of the materials. Lake’s “Latent Heat” seems to convey her conviction that an ending in our material world may also be seen as the beginning of a new state of being.

Mayumi Lake studied photography at The School of the Art Institute of Chicago, the Rhode Island School of Design, and the Skowhegan School of Painting and Sculpture. Since 1997, Lake’s work has been exhibited at national and international venues including the MIT List Visual Arts Center, the Institute of Contemporary Art (London), Fotografie Forum International (Frankfurt), Art In General, the Asia Society, and the Museum of Sex (New York).  Nazraeli Press published two monographs by Lake (Poo-Chi, Ex Post Facto). In 2008, international photography magazine EYEMAZING featured her Ex Post Facto series.  She lives and works in Chicago.

  • solo exhibition

Issei Suda

Life In Flower 1971-1977

Sep 11 - Oct 18, 2014

From September 11 to October 18, 2014, MIYAKO YOSHINAGA is pleased to present “Issei Suda: Life In Flower 1971-1977,” featuring over 30 vintage and modern gelatin silver prints by Issei Suda (b.1940). Suda, a prolific 74-year-old Japanese photographer, is best known for his captivating street portraits exploring the mysterious and witty aspects of human life. An opening reception for the exhibition will be held Thursday, September 11, 6-8pm.  The exhibition features Suda’s signature square medium-format black-and-white photographs of ordinary people in public places in and around Tokyo in the 1970s.  Nearly four decades later, the images with fine detail and rich tonality in this exhibition immortalize the compelling nature of these unlikely subjects. 

 From 1971 to 1977, Suda traveled to traditional festivals where he found old-fashioned customs, rituals, and most importantly, exuberant participants and spectators. During this same period, Suda chronicled people engaged in their daily lives on the streets of Tokyo.  Crosscurrents of rural and urban, extraordinary and ordinary, and traditional and modern during the rapid urbanization of Japan in the 70’s run through Suda’s seminal twin works; Fushi Kaden (“The Flowering Spirit,” 1978) and Waga Tokyo 100 (“My Tokyo 100,” 1979). This exhibition represents selections from both series.

 During this era, many young Japanese photographers followed the street photography style made popular by artists such as William Klein and Robert Frank who took spontaneous pictures of public places and people.  Suda’s portraits, though serendipitous and unposed, often conjure a subtle artificiality.  Whether in full-length, three-quarter, or close-up views, his subjects are mostly single individuals shot against tightly cropped backgrounds.  They look lively yet a little off-kilter, trapped in a moment between conscious and unconscious states.  His landscapes and still-lifes set an otherworldly mood, a sort of Eastern film-noir.  Suda’s unusual viewpoint looks beyond the immediate subject, resulting in a final image that projects uncanny dissonance and curiosity.

 Issei Suda was born in Tokyo in 1940 and graduated from the Tokyo College of Photography in 1962. By mid 1970s, Suda emerged as a promising new photographer through his work in the photo magazines, particularly the trend-setting Camera Mainichi.  In 1976 his first major series Fushi Kaden earned him the Newcomer's Award from the Photographic Society of Japan.  Suda was one of 19 artists included in Japan: A Self-Portrait, the 1979 exhibition at the International Center of Photography, New York.  In the next four decades, Suda continued to produce many acclaimed series, including Waga Tokyo 100 (1979), Monogusa Syui (1982), Ningen no Kioku (1996) and Minyou Sanga (2007). He has held numerous solo exhibitions in and out of Japan, and most recently last year, the artist’s first major retrospective at the Tokyo Metropolitan Museum of Photography. Suda’s work has been represented by San Francisco Museum of Modern Art, Museum of Fine Arts, Houston, and The J. Paul Getty Museum among others. 

 This exhibition is organized in collaboration with Mark Pearson and Zen Foto Gallery, Tokyo and in consultation with Mihyun Kang.  An accompanying exhibition booklet as well as 2013 monograph “Waga Tokyo 100”(published by Zen Foto Gallery) are available upon request.

 

MIYAKO YOSHINAGA is dedicated to mounting a series of important solo exhibitions by contemporary Japanese photographers.  Last year, the gallery organized a successful exhibition entitled Eikoh Hosoe: Curated Body 1959-1970.

Bianca Sforni

Trees from the Pacific Shores

May 29 - Jul 12, 2014

From May 29 to July 12, 2014, MIYAKO YOSHINAGA is proud to present Trees from the Pacific Shores, the first solo exhibition of Bianca Sforni’s photography at the gallery. An opening reception for the artist will be held on Thursday, May 29, 2014, from 6pm to 8pm

Trees from the Pacific Shores is the first public exhibition of seven photographic prints dedicated to the artist’s earlier black-and- white tree series. The trees in this series are isolated against a velvety black background, revealing the naturally ephemeral character and fantastical qualities inherent in their awe-inspiring physical forms.

Bianca Sforni had spent an extended period of time in Los Angeles – a city with balconies facing eastward over the shores of the Pacific - when she became motivated, by curiosity, to fly across the ocean to the island of Cipango (Italian for Japan, Marco Polo, Il Milione, circa 1300).  Sforni immediately gravitated to cycads, a tree species distantly related to the palm tree, in their winter robes (komomaki).  These odd and somewhat surreal forms became the subject of From Cipango I-V, 2003.  Set alone or in a group, Sforni’s quirky images demonstrate the artist’s taste for the unknown, animated with a touch of sly humor.

Hollywood Juniper, 2002, in contrast, is an old pine tree with gracefully manicured branches. A seemingly gigantic botanical wonder, the depicted majestic juniper is actually a third-generation bonsai tended by several experts over many years.  Juniper I, 2002, meanwhile, displays a slender and soaring trunk with few branches. Here, the artist blurs the details, creating a ghostly abstraction of axis mundi, a link between the underworld into which the roots plunge; and the celestial spheres, toward which the branches stretch.

According to the Shinto tradition in Japan, trees are the natural residence of kami, or spirits. Concurrent with the tree-worshipping cults that flourished in both Eastern and Western cultures, the tradition of miniaturizing trees was also carried from Japan to the western world soon after the cultures began interacting. Just as Sforni’s photographs construct a theoretical bridge between the Pacific shores of California and Japan in terms of spirituality and scale, they can also be seen as a memorial to those Japanese-American citizens and resident aliens who were interned in California during World War II.

Bianca Sforni, (born 1963, Milan), lives and works in New York. Sforni’s work has been exhibited throughout North America and Europe, at the Museum of Contemporary Art, Rome (MACRO); Museum of European Photography in Paris (MEP); The Phillips Collection, Washington, DC; The Pool NYC; Miyako Yoshinaga Gallery, New York; and Galerie Emanuel Perrotin, Paris. Solo exhibitions were held at Claudia Gian Ferrari Arte Contemporanea, Milan; Yoshii Gallery, New York; Paul Kasmin Gallery, New York; and Galerie Eric Mircher, Paris.

An artist book will be published by Sforni to accompany the exhibition.

 

  • solo exhibition

Yojiro Imasaka

Sleeping Beauty

Apr 17 - May 24, 2014

From April 17 to May 24, 2014, MIYAKO YOSHINAGA is proud to present Sleeping Beauty, the solo exhibition of Yojiro Imasaka’s photography. An opening reception for the artist will be held on Thursday, April 17, 2014, from 6pm to 8pm

Consisting of over twenty color and black-and-white photographs, Sleeping Beauty is a selection from a larger body of work by Imasaka, who documented his two-month road trip across the United States. This exhibition presents a mix of his smaller 35mm film prints and his larger prints using a classic Deardorff 8 x10" large format camera. Imasaka alters “fast” and “slow” image-making techniques in response to the multi-faceted American scenery he observed.

In the summer of 2013 - traveling alone by car with camping equipment - Imasaka began his northern route in Maine, passed through the Midwest, then made his way across the Rocky Mountains to the west coast. He returned east by way of the southwest and Appalachia, ending in upstate New York, where his American wanderings first began. Although unreservedly quiet in its conventionality, Imasaka’s diverse American landscape gradually reveals hidden wonders just below the surface.   

With the 35mm film, Imasaka shot numerous roadside sceneries that resulted in the dozen postcard-sized color images in this exhibition. Deceivingly underwhelming and often vague and patchy, the group of small landscapes invites our scrutiny of what constitutes a vast part of the American landscape to be played against common perception. Imasaka makes a striking contrast with the series of larger, spatially complex images in his exhibition. An abandoned trailer in an expansive grass field or a dilapidated barn in a rampant forest - spotted often on off-road trails - are unremarkable at a first glance. And yet, their decays and remains suggest the furtive footprint of humanity reclaimed by the surrounding nature.

The superficially ordinary scenes in Imasaka’s Sleeping Beauty decelerate our hectic plugged-in life, and let us become immersed in a mysteriously physical and emotional space.

A monograph of the artist’s larger body of work, Untitled Scapes of America (USA), is being published and presented in conjunction with this exhibition. Russet Lederman, a writer and photobook collector, contributes her essay to this publication, and writes: “Imasaka instinctively understands the power of suggestion and masterfully uses it to reveal the shadows of people who have just passed through his frame or are still present at its periphery.”

Born in Hiroshima, Japan, Yojiro Imasaka lives and works in New York City. He received a BFA in photography at Nihon University College of Art in Tokyo, and went on to study at New York’s Pratt Institute from which he earned an MFA in 2010.  Imasaka’s work has been exhibited in North America, Asia and Europe, including the Tokyo Metropolitan Museum of Photography (Tokyo), ISE Cultural Foundation Gallery (New York), Gymnasia Herzliya (Tel Aviv), Recycleart (Brussels), ITS#Four / International Talent Support (Trieste), and VT Artsalon (Taipei).  Solo exhibitions were held at Miyako Yoshinaga Gallery (New York)’s project space in 2011, FOUR 11 Gallery (Brooklyn) and Chelsea West Gallery (New York) both in 2010, and NUCA Gallery (Tokyo) in 2007.

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  • solo exhibition

Manika Nagare

Line of Sight

Mar 6 - Apr 12, 2014

Line of Sight consists of seventeen recent oil paintings by Nagare, in which the artist applies translucent brushstrokes of both opulent and sober colors that flow organically across her pictorial surface. Blue, purple, magenta, yellow, and – occasionally - green, red and white, are delicately layered, bleeding, and morphing into dynamic abstract forms. 

For many years, observing strangers around her has been an impetus for Nagare’s art. She fixes her eyes on both the visible and invisible, the shapely and shapeless characteristics of a person, filtered through her imagination. By tracing these remnants in her studio, Nagare confronts the stranger’s reciprocated gaze. This distant and delayed exchange with strangers allows Nagare to create psychologically unsettling and ambiguous abstract portraits.  

These works, produced between 2013 and 2014 and featured in Line of Sight, adopt the same attitude towards the landscapes – particularly of Tohoku, a northeastern region of Japan – as her new interest.  The omnipresent beauty and strength in natural environments such as mountain ridges, clouds, rocks, or waterfalls are clearly the artist’s inspiration for the last three years. At the same time, the works communicate Nagare’s internal state of being as an intent witness of a potentially fearful sublime force. The artist keeps her eye trained on the lines of nature, allowing for the formation of her personal lines within the paintings.  Such lines eventually meet with the eye of others—viewers or strangers.  This open-ended “line of sight” concept is the key to appreciating the depth of Nagare’s mesmerizing work.

Manika Nagare was born in Osaka in 1975. After graduating from the department of painting at Joshibi University of Art and Design, she exhibited her work at the VOCA exhibition, a platform for young emerging artists, in 2000 and 2006. Since 2002, she has been an overseas artist-in-residence sponsored by the Agency for Cultural Affairs, and a recipient of the Pola Art Foundation Grant based in New York, showing her work in the US, Turkey and other countries. Major exhibitions include “Glib Reticence, Reticent Glibness” at the Pola Museum Annex, Tokyo, and “Domani: The Art of Tomorrow” at the National Art Center, Tokyo.  Since 2012, Nagare has organized an art workshop project Ichijigahaku (Artist For A Day) for the children affected by earthquake and tsunami, making frequent trips to Tohoku.

  • solo exhibition

Inbal Abergil, Erika deVries, Rodney Dickson, Mayumi Lake, Marc Lepson, Anders Ruhwald, Yojiro Imasaka, Bianca Sforni, Adoka Niitsu, Jacek Maczynski, Seana Reilly

Nocturnal Labyrinth

Jan 23 - Feb 22, 2014

Nocturnal Labyrinth is a group exhibition of drawings, paintings, photographs, and sculpture that evokes the mysterious psychological depth of nighttime. Some even suggest paranormal phenomena.  

The exhibition opens January 23 through February 22, 2014, and an opening reception will be held on Thursday, January 23, 6-9pm.

Nightfall marks the beginning of our private and intimate hours, the solitude provoking contemplation of spiritual matters as well as unbridled imagination and fantasy.  In this exhibition, eleven international artists express their visions of nocturnal power. 

The nocturnal environment is familiar terrain for light-sensitive photography.  The dehumanized Los Angeles nightscapes of Bianca Sforni are haunted by the otherworldly glow of green traffic lights. From a boat’s window at daybreak, Inbal Abergil captures an ephemeral reflection of lights floating like a constellation of UFO’s over the ocean. Yojiro Imasaka’s infrared film heightens the loneliness of a solitary figure walking on a rocky path under a dramatic cloudscape. Mayumi Lake utilizes “Rembrandt lighting” to intensify the sensuality of a woman’s semi-nude body.  In Erika deVries’s vision, flower petals and a tree stump are illuminated only by the intermittent light of a “Let it Shine” neon sign.

The artists, working in drawing, painting, and sculpture, explore myriad shades of nocturnal atmospheres.

Marc Lepson’s set of four charcoal drawings of unsettling images (a hand gripping a hammer, a moth, an angel’s wing in close-up) calls to mind the rituals of black magic. Using acrylic, pen, pencil, and sumi ink, Adoka Niitsu traces starry and feathery fragments against a shiny black surface. 

Rodney Dickson builds thick layers of oil paint until the sculptural surface becomes a shimmering cascade of nocturnal color – black, blue, purple, and more hidden beneath.  Seana Reilly applies charcoal and wax onto a film paper creating layered stalactites of darkness.  Her organic, micro-cosmic abstract painting shares its spiritual quality with Jacek Maczynski ‘s more rigidly composed abstractions. Until his untimely death in 2011, Maczynski devoted decades to the search for the ultimate black/white, shadow/light dichotomy in his Renaissance-style egg tempera paintings.  And in the field of sculpture, the ceramic artist Anders Ruhwald applies a primordial black glaze to an ambiguous rough-textured shape in which darkness threatens to spill over into waking consciousness.

The gallery hours are Tuesday through Saturday, 11am to 6pm. For more information and/or requests, please contact Miyako Yoshinaga, info@miyakoyoshinaga.com, tel. +1 212 268 7132.

  • group exhibition

Dominique Paul

Unnatural Selections

Dec 12 - Jan 18, 2014

From December 12, 2013 to January 18, 2014, Miyako Yoshinaga Gallery is proud to present Unnatural Selections, the gallery’s first solo exhibition of Dominique Paul. An opening reception for the artist will be held on Thursday, December 12, 2013, from 6PM to 8PM.

Using photographs and video work, Dominique Paul journeys through a plausible near future where humans and animals adapt to survive. Unnatural Selections derives from three projects the artist undertook between 2010 and 2013: The Insects of Surinam, Migrations of the Arthropods and Prometheus.

For The Insects of Surinam (2011-13), Paul combines contemporary magazine cutouts of male bodies with delicate Baroque-era illustrations of tropical plants and insects by Maria Sibylla Merian (1647-1717). Merian was a female naturalist who traveled to Surinam in South America in 1699 and became a pioneer in the study of the metamorphosis of insects. The two image sources, from widely different moments in time and space, are deceptively harmonized by the reflection of light through plastic and glass containers. The resulting imagery slyly comments on controversial genetic engineering in an era of increasingly endangered species.

Global warming is the subject of Migrations of the Arthropods, Paul’s 2012 photo and video work in which wearable structures are created using recycled plastic bottles to affect a transformation from human to insect, thus re-envisioning Kafka's Metamorphosis as an evolutionary survival mechanism.

In the photo series Prometheus (2010-2011), Paul questions human consciousness. A shamanistic figure wearing luminous headgear seems to channel the spirits of stuffed animals in what appears to be a natural history museum.

The artist performs and employs projection, collage, lighting and other techniques as well as designs costumes and props to construct her multi-layered imagery.

Dominique Paul (b. 1967) lives and works in New York (USA) and Montreal (Canada) where she received a Doctorate in the Study and Practice of Arts from the University of Quebec in Montreal, Canada (2009). Paul’s thesis titled “Entre chair et lumière: actualité de la photographie” is to be published by Art Le Sabord Editions in 2014. She has an MFA from UNSW, Sidney, Australia. Her work has been shown throughout Canada, the United States, France, China and Japan, and is featured extensively in European and North American Publications. In 2012, Paul was awarded an artist in residence with the Lower Manhattan Cultural Council (LMCC) on Governors Island where the series Migrations of the Arthropods was created. Paul has received generous support from: Conseil des Arts et des Lettres du Québec, Conseil des Arts de Longueuil, Société de Développement des Entreprises Culturelles du Québec, and the Québec Government Office in New York.

  • solo exhibition

Emi Anrakuji

O MAPA

Oct 24 - Nov 27, 2013

From October 24 to November 23, 2013, Miyako Yoshinaga Gallery is pleased to present the fourth solo exhibition of Emi Anrakuji since 2006.  The artist reception will be held on Thursday, October 24, 6pm to 8pm.

Known for her voyeuristic recording of dream-states in everyday life, Emi Anrakuji ultimately creates a compelling parallel world that is both intimate and remote.

In Anrakuji’s new series entitled O MAPA (“The Map” in Portuguese), 25 photographs, mostly black and white, feature a vulnerable and sensual female persona as the artist’s alter ego, who appears in an array of mysterious urban and rural settings. Fragmentary and obscure, the subject’s activity and/or location is purposefully left to the viewer to identify. The artist refers to these portraits simply as “actions” which are necessary to do in order to live and as essential as breathing, blinking, or sleeping. Most of the time, these visions seem confined within a liminal state while conveying a sense of motion. Anrakuji’ use of peculiarly low or high angles brings to mind the anonymous nature of surveillance photographs.  The artist has recently shifted her approach from expressing restrained emotions to exploring her persona’s surrogate life and developing an eloquent narrative around it.  In this regard, her current work tends to avoid displaying excessive emotional tones, allowing the viewer to read the photographs like a map with multiple perspectives. This new series, O MAPA releases a flow of emotions filtered not by logic but by intuition arising from the artist’s concocted dreams.

Emi Anrakuji (b. 1963) lives and works in Tokyo, Japan, where she studied oil painting at Musashino University of Art and Music. In the early 1980s, she was diagnosed with a cerebral tumor. During her recovery and a decade-long hiatus, she taught herself photography. Since 2001, her work has been extensively exhibited across Japan, Korea, the United Kingdom and the United States. Her work has been reviewed by many notable publications, including C-International Photo Magazine and X-funs. Nazraeli Press has published several monographs, including e-hagaki (2006), ANRAKUJI (2007) and IPY (2008).

  • solo exhibition

Eikoh Hosoe

Eikoh Hosoe: Curated Body 1959-1970

Sep 12 - Oct 19, 2013

New York July 25, 2013 --- From September 12 to October 19, 2013, Miyako Yoshinaga Gallery is delighted to present “Eikoh Hosoe: Curated Body 1959-1970,” featuring 34 vintage prints by the master Japanese photographer, Eikoh Hosoe. This exhibition is organized in association with Howard Greenberg Gallery, New York.  An opening reception will be held Thursday, September 12, 6-8pm.

Eikoh Hosoe (b. 1933) is widely acknowledged to be a pioneer of expressionistic post-WWII Japanese photography. Throughout an oeuvre spanning over fifty years, Hosoe has explored the human body’s physicality as a subject that reveals a shifting interior landscape of dreams and desires. The exhibition focuses on black-and-white photographs from Hosoe’s two seminal series Man and Woman (1959-1960) and Embrace (1969-1970). Produced ten years apart, these two series bookend a prolific decade of artistic production, solidifying Hosoe’s bold and dramatic aesthetics into a clear statement against the “objective” realism which was then the dominant photographic convention in Japan.

Permeated by dark, obscure images of naked bodies, Man and Woman is inspired by Tatsumi Hijikata, the charismatic dancer and founder of Ankoku Butoh (Dance of Darkness). Using Hijikata and other dancers as his models, Hosoe’s photo narrative evokes a hybrid myth of Western and Eastern rituals. The tensions arising from the model’s gaze, stripped body parts, and bodily interactions with the opposite gender serve to meditate on questions of life and death. Embrace, by comparison, testifies to Hosoe’s ability to compose austere yet soulful poetry out of the pure and uniquely expressive forms of the human body. Reducing the model’s flesh to a calm abstract contemplation of body contours, Hosoe then juxtaposes soft and muscular overtones, generating powerful illusions that bore deeply into one’s subconscious. Hosoe initially shot the prototypes of Embrace shortly after Man and Woman, but after discovering a striking resemblance to Bill Brandt’s iconic “Perspectives sur le Nu” (1961), Hosoe suspended production. Years later he completed the series in the studio. While Embrace’s refined aesthetics extracted the essence of Hosoe’s vision, Man and Woman laid the foundation for the dynamic style that has defined all of the artist’s subsequent projects.

Born in 1933 in Yamagata prefecture, the northern part of Japan, Eikoh Hosoe came of age during a volatile social climate when Japan was emerging from postwar trauma and poverty to a renewed sense of prosperity and concomitant identity. He began photography at age fifteen and went on to study at the Tokyo College of Photography. In the mid-and late-50s, the critic Tatsuo Fukushima produced Hosoe’s first exhibition “An American Girl in Tokyo” and continued to promote him in a pivotal group show, “The Eyes of the Ten.” Hosoe’s first critical recognition came when he was awarded New Photographer of the Year by the Japanese Photo Critics Association for “Man and Woman”(1960). His international fame was established by Barakei - Ordeal by Roses (1962) featuring Yukio Mishima and Kamaitachi (1969) featuring Tatsumi Hijikata. Hosoe also directed an experimental film “Navel and A-Bomb” (1960) and worked with Kon Ichikawa on the legendary documentary “Olympic Games in Tokyo” (1965). Hosoe’s work has been internationally exhibited and collected by major national and international institutions. The artist has published over fifty monographs as well as several essays and books about his own photographs. Hosoe is the first Japanese recipient of the Lucy Award (2006) in the “Visionary” category.

  • solo exhibition

Paco Cao, Joshua Weibley, Andrew Graham, Scott Goodman, Taylor Shields, Paul Hunter Speagle, Billy Rennekamp

IT'S IN THE CARDS

Jun 6 - Jul 25, 2013

Miyako Yoshinaga is proud to present IT’S IN THE CARDS, a group exhibition curated by David Gimbert on view from June 6 through July 20, 2013

It’s in the Cards is an unusual exhibition that touches all of us by appealing to our playfulness, our relationship to rules, our imagination and our childhood experiences. This exhibition establishes a dialogue between seven upcoming artists who have created a body of work using cards as medium and as subject.

The trick: the artists exploit playing cards, tarot cards, trading cards, scratch cards, or cards of their own creation, to develop a conceptual language and esthetic practice. Intrinsically, the ludic nature of cards bears witness to our need for leisure and escape from reality. Cards operate within three dimensions: visual (their appearance), informational (their function), and meaning (the systems they belong to or create). In this exhibition, the seven artists and their cards offer the viewer an opportunity to reflect on the often too invisible social discourse we are immersed in. They also reveal the different ways we interact among ourselves and with the world of representation. The works selected for It’s in the Cards illustrate the range of possibilities offered by cards as a medium in contemporary art.

The cognitive filter with which we, as viewers, translate symbolism into information depends on our cultural understanding of the structure in which the cards are used. Folk cultures have given birth to game structures using the medium of cards. Though extensively depicted since the Italian Renaissance, cards have seldom been used as a conceptual component in art. It’s in the Cards reveals cards’ unexpected potential.

One of the approaches of It’s in the Cards is the use of cards within a game structure. Either played by oneself or against opponents, cards define a mental activity in relationship with the phenomenon of luck or of a strategic procedure confined within the parameters of rules. Another approach of the exhibition consists in illustrating the attractiveness of the medium of cards as collectible items.  This aspect of cards reflects the emotional power they wield through their repeated use or, more recently, their trade.

Finally, It’s in the Cards explores the communicative aspect of cards in several ways: to define the structure and rules within a game system; to convey information forcing the cardholder to make a decision; or to uncover the realms of the occult exposing one’s eventual destiny.

About the artists

The contributing artists of It’s in the Cards have employed a wide range of approaches.  Joshua Weibley has adapted Microsoft Windows based Solitaire games.  Billy Rennekamp and Scott Goodman have elaborated on the popular 52 card game, Rennekamp on the formal rules of the game and Goodman on its material aspect. Paco Cao has reinvented a deck of tarot card reading. Taylor Shields has created language-based Go Cards. Andrew Graham and Paul Hunter Speagle have redefined collectible cards and instant game rewards.

  • group exhibition

Hans Benda

Something On Water

Apr 18 - May 25, 2013

NEW YORK, April 2, 2013 — Miyako Yoshinaga is pleased to announce Something on Water, the fourth solo exhibition of figurative oil paintings by German artist Hans Benda, on view from April 18 through May 25, 2013. A reception will be held on Thursday, April 18 from 6 to 8 p.m.

Hans Benda, in his own words, is “trying to catch one moment, one aspect of endless transition. Everything is on the move. The waves at the shore move in a similar way than the mountains in the back. Just more quickly!” Benda’s landscapes and portraits remind us of how ephemeral the spectacle of life is and urge us to embrace it. While a bucolic bay scene and a field landscape with blossoming trees imply a moment of calm and peace, brown tidal waves and a hovering last snow signal both rapid and slow changes.  By contrast, ruined walls in a field or a small lakeside view is more muted and restrained yet uninviting.

Something on Water breaks the boundaries between interior and exterior. In one of Benda’s compositions rampant nature slowly reclaims a well-tended pond and a greenhouse.  Whereas in a garage, a calm water surface indicates the aftermath of a deluge. Elsewhere, a quietly curtained living room concealing any outside view suggests a space immune to nature’s imprint.

Benda’s evocative paintings reflect a state of urgency, with a calm and observant realistic perspective.  His work reminds us to simply enjoy being alive. Benda's female semi-nude portraits emphasize both physical and mental fitness, their sensual bodies, offering a complementary perspective to his elegant and richly colored landscapes.  According to art critic Jill Conner “Benda utilizes painting to subsume one into nature, rather than push one away, suggesting the intricate physical and psychological connection that exists between one and the environment.”

Born in Berlin in 1960, Hans Benda studied Fine Arts at the Akademie der Bildenden Künste in Karlsruhe (1982-87). He currently divides his time between Verviers (Belgium) and Misakimachi (Japan). Benda’s work has been shown in Germany, Belgium, France, Japan and the United States. 

An exhibition catalog with a preface essay by NY-based art critic, Jill Conner, is available both in paperback and digital online (see artist reviews section). 

For media/press inquiries, please contact David Gimbert: david@miyakoyoshinaga.com 

  • solo exhibition

Joseph Burwell

A Survey of Nonexistence at a Glance

Feb 28 - Apr 13, 2013

NEW YORK, February 7, 2013 — Miyako Yoshinaga presents A Survey of Nonexistence at a Glance, a selection of new works by artist Joseph Burwell, on view from February 28 through April 13, 2013. A reception will be held on Thursday, February 28 from 6 to 8 p.m.

Miyako Yoshinaga is pleased to announce A Survey of Nonexistence at a Glance, the second solo show comprising new drawings and sculpture from Joseph Burwell. This exhibition is based on the idea of altering historical narratives by generating a visual system of architectures from disparate cultures that collide in time and space. A Survey of Nonexistence at a Glance examines the vestiges of a lost architectural period and its cultural byproducts.

Burwell’s singular vision offers a world engineered by a network of realms and technologies, meticulously constructed and superimposed. The effect of architecture and space onto the psychology and emotions of people is pivotal to the artist’s work. His drawings on wood are blueprints for modular structures inspired by ancient sacrificial sites, modernist habitats and medieval fortifications. Research and study of these constructions have given Burwell a unique visual lexicon paving the way for his own architectural semiotics. The function of those edifices is also placed at the center of the artist’s approach. Inherently operational, these systems of forged structures aspire more to raise questions than to give answers.

Using ink, graphite, color pencils, and cutting tools, the artist composes the drawn structures organically, letting them grow and shape similarly to mineral formations. Empty spaces surrounding the constructions serve as a potent transitional environment. The plan site rendered through an isometric perspective, floats amongst other fragments, erased arrangements and expressive color marks. In Burwell’s architectural compositions, details of textures and materials are given a significant importance as they show how the component parts interact with one another. Through the bright coloring of particular structures (e.g. crenels, glass windows, scaffoldings), the artist not only reaches out to the influence of the early Atari games of his childhood, but also introduces an element of playfulness into these otherwise “sinister” architectures. Burwell creates a graphical language bridging subjective impressions and objective facts.

Accompanying the drawings are sections of wooden scaffolding systems supporting various objects and signs. These sculptural frameworks harbor, among other things, a sacrificial office plant and its nourishing fluorescent light, and relate directly to the elements in his drawings that enable mutations. The temporary structures are thereby alchemically transformed into monuments and shrines for unusual myths and ceremonies.

Born in Iceland in 1970 and raised in southwestern Virginia, Joseph Burwell began to study Architecture at Savannah College of Art and Design, but changed his major to Studio Arts and received his bachelors degree at the College of Charleston in 1993.  He received his MFA in Sculpture from Tulane University in 1999 and moved to New York in 2000. Since, Burwell has exhibited in New York, Switzerland, Finland, Norway, Ireland, Egypt, Canada, South Korea, and many venues across the U.S. He is a 2011 New York Foundation for the Arts Fellow (Printmaking/Drawing /Artists Books).

Miyako Yoshinaga is located at 547 West 27th Street (between 10th and 11th Avenues) in New York. Viewing hours are Tuesday through Saturday 11 am to 6pm. For media/press inquiries, please contact David Gimbert at +1 212 268 7132 or david@miyakoyoshinaga.com

  • solo exhibition

Jose Luis Fariñas

Souls Documents

Jan 17 - Feb 27, 2013

The gallery is thrilled to present Soul’s Documents, the third solo exhibition comprising new watercolors from Havana-based José Luis Fariñas. Informed by the artist’s ongoing research of the Bible and the Book of Genesis, the aesthetic crossroads of Medieval mysticism and Renaissance humanism finds a new breath of life in the imaginative oeuvre of Fariñas.

The spiritual narrative developed in Soul’s Documents explores the churning inner layers of a world inhabited by creatures and ghostly apparitions. Working with a reduced palette of colors, mostly ocher, Fariñas is able to depict complex sceneries with detail and precision that unfold like a dream. Soul’s Documents are not portraits of rest and peace. Rather, they embody scenes of chaotic change. Throughout the exhibition, the iconography expresses the intensely obscure and ambiguous world of the artist’s soul. In Fariñas’ watercolors, hybrid creatures inhabit floating landscapes, and ovoid shapes cocoon a microcosm of spirits and larvae. These half human-half insect chimeras evolve in various stages of metamorphosis, alternatively embracing their human likenesses and surrendering to their animal natures.

Fariñas’ masterful watercolor technique executed with an extra thin brush gives the viewer a rare opportunity to see contemporary draftsmanship at its strongest. The precise detail of his poetic freehand lines exposes the unbounded inner worlds of the artist’s imagination. With Soul’s Documents, Fariñas employs his distinctive style and technique to achieve a conscious state of unconscious exploration, one that evokes the magical realms of Gustave Moreau’s Symbolist work and the preternaturally vivid visions of Albrecht Dürer.

Each psychic landscape is a documentation of Fariñas’ introspective mind, a mind striving to reach beyond personal values, traumas and hopes to ever further realms of possibility. About his thesis of Soul’s Documents, Fariñas himself says: “I try to focus, metaphorically, on some eventual horizons of fragmentation that support different levels of realities. Perhaps, like the metaphor of Hermann Hesse's Das Glasperlenspiel, I construct variations on a theme, submerged glances at the soul's agony in the chaotic and abyssal labyrinth of existence.”

José Luis Fariñas was born in 1972 to Spanish-Cuban parents of Sephardic origin. A graduate of the San Alejandro Academia de Artes Plásticas with high studies in the Instituto Superior de Arte in Havana, Fariñas has been included in more than 30 solo exhibitions and 140 group shows both in Cuba and abroad. In the United States, museum exhibitions include the Museo de las Américas , the Mizel Museum of Judaica, (both in Denver); the MDC Museum of Art + Design (Miami) and the Jewish Community Center of Pittsburgh. Recently, two art books illustrated by Fariñas for LIBER Ediciones, Cervantes, el soldado and Apocalypsis, received First National Prize for Book of High Bibliophilic Art (2006, 2010) and are included in the German Book Museum’s collection in Leipzig.

Miyako Yoshinaga is located at 547 West 27th Street (between 10th and 11th Avenues) in New York. Viewing hours are Tuesday through Saturday 11 am to 6pm. For media/press inquiries, please contact David Gimbert at +1 212 268 7132 or david@miyakoyoshinaga.com

  • solo exhibition

Yu Yamauchi

DAWN

Dec 11 - Dec 22, 2012

Extended through December 22 (Dec. 11 - 22 Open to the public)

Miyako Yoshinaga presents DAWN, an important body of work from Japanese photographer Yu Yamauchi, on view from October 18 through November 22, 2012.  Accompanying photobook 'DAWN' is available online. 

The gallery is honored to premiere DAWN (2006-2010), Yamauchi’s first major photographic series in the United States. The artist produced DAWN while he lived in a hut on the summit of Mount Fuji five months a year for four years, representing a total of 600 days. Each photograph shown in the exhibition was captured at dawn from the exact same location. By revealing the essence of an airy mystical place, Yamauchi gives us the rare opportunity to experience the incredible spectacle of Earth waking up from the perspective of one of the planet’s most breathtaking scenic points.

Regarded as the most sacred mountain of Japan, Mount Fuji profoundly influences Japanese history, culture and iconography. In art history, Hokusai's 36 Views of Mount Fuji count among the most well known representation of this iconic landmark. With the series DAWN, Yamauchi takes a singular and unique approach by focusing on the sacred landscape from the summit’s vintage point. Essential to the artist is the notion of a physical place situated between earth and the universe; removed from society, Yamauchi reminds us that our planet is part of a boundless extent. 

Using traditional film processes, Yamauchi fully renders the depth of colors and complexities of the skies to their fullest potential. Unlike painting or other traditional mediums, photography instantly captures the ever-changing reality set by time. The exhibition revolves around Yamauchi’s spiritual account of the morning sunshine called "goraikō" (御来光) which traditionally means "honorable arrival of light." The series DAWN explores the movement of light and air through the Rorschach test-like renderings of the celestial displays also suggesting the artist’s own Copernican discovery of the universe.

In sharing those spiritual visions of nature, Yamauchi hopes to remind the viewer that we, as conscious humans, are present here and now.

Born in Japan in 1977, Yu Yamauchi is a self-taught fine art photographer. He received honorable mention at the 2008 New Cosmos of Photography (Japan) and 2009 International Photography Award in Fine Art (USA). DAWN series is part of important public and private collections in Japan and the United States.

Yamauchi’s monograph “DAWN ( 夜明け)” first published in 2010 by AKAAKA, almost sold out. The second and redesigned edition was released this past spring. A limited number of autographed copies will be available at the gallery. 

Miyako Yoshinaga is located at 547 West 27th Street (between 10th and 11th Avenues) in New York. Viewing hours are Tuesday through Saturday 11 am to 6pm. For media/press inquiries, please contact David Gimbert at +1 212 268 7132 or david@miyakoyoshinaga.com

この度、MIYAKO YOSHINAGAギャラリーでは、アメリカでの初個展となる山内悠(やまうち・ゆう)の「DAWN(夜明け)」写真展を開催いたします。山内の DAWN(夜明け)シリーズは2006年から2009年にかけ延べ600日にわたり富士山頂の山小屋に滞在し、暗闇から光の世界へと刻々と変容する夜から朝にかけての天空のスペクタクルを撮影し続けた、前人未到のプロジェクトです。

 山内の作品は伝統的なフィルム写真技術を用い、大気や雲の複雑な色、模様、密度を細やかに表現しています。それぞれのイメージは全て同じ場所に固定されたカメラで撮影されたもので、各々の光景は我々の予想を遥かに超えた優美さと神秘さをたたえています。山内の写真はまた、彼自身が無限の宇宙の中で地球という惑星が起きだそうとする瞬間に身も心も一体化した経験を、あますところなく伝えようとしています。

 富士山は、日本の山々のなかで最も神聖であり日本の歴史や文化の象徴としてあまりにも有名です。美術の主題としても古くから登場する富士山は、特に葛飾北斎の「富嶽三十六景」によって世界中の人々に知られています。しかし、これまで、その富士山を視座とした作品があったでしょうか。 このDAWNシリーズにおいて山内は、まさに富士山が眼にしている風景にフォーカスすることで、比類のない個性的なコンセプトを確立しました。

 海抜3000メートル以上の高さに長期間滞在し、物理的にも心理的にも世間から隔離され孤独に置かれた山内には、眼下に漂う雲の膜の内側には数千万人の人々が生活しているという事実が虚に感じられ、これまでの人生観が一変します。地球と宇宙の狭間に身を置くことで、自分が広大な宇宙のなかの星屑にすぎない地球の中の、さらに極小な存在であることを思い知らされます。このDAWN(夜明け)シリーズには、鑑賞者一人一人に、広大な自然に対して圧倒的に非力な存在としての人間が「今、ここにいる」ことの奇跡と尊さを呼びかけたいという山内の願いが込められています。

 山内悠(やまうち・ゆう)は1977年、兵庫県生まれ。幼い頃より写真に親しみ独学で技術を習得し、2004年より本格的に作品制作を開始します。2008年第31回写真新世紀コンテストで佳作入選を果たし、2009年アメリカのInternational Photography Awardに入選しました。DAWN(夜明け) シリーズは清里フォトアートミュージアムをはじめ日本、中国、アメリカでコレクションされています。2010年に写真集「夜明け」を赤々舎より刊行し、今年3月には改訂版の「夜明け/DAWN」が刊行されました。署名入り写真集は、当ギャラリーで購入できす。

 尚11月1日(木)の夜7時より、山内悠のアーティスト・トークを行います。これまで日本各地で行ってきたように、スライドやフィルムなどで同プロジェクトの全容を紹介し、オーディエンスと体験を分かち合います。展覧会・トークの詳細および画像についての問い合わせは電話212 268 7132 またはDavid Gimbert, david@miyakoyoshinaga.com までお願いいたします。

 ギャラリーはマンハッタンのチェルシー地区、547 West 27th Street, Suite 204。10番街と11番街の間です。

  • solo exhibition

Cleverson Oliveira

GALÁXIAS

Sep 6 - Oct 13, 2012

opening reception: September 6, 6-8pm

Miyako Yoshinaga presents Galáxias, a new body of work from Brazilian artist Cleverson Oliveira, on view from September 7 through October 13, 2012. A reception will be held on Thursday, September 6 from 6 to 8 p.m. This is the artist’s fourth solo exhibition with the gallery.

Oliviera’s new work includes works on canvas, drawings, lithographs, a video, and a site-specific wall installation. Most of the works are black and white, some are surrounded by subtle shades of gray, and all feature a distinctive mix of linear geometry and explosive composition. Conceptually, the artist’s vision stems from the notoriously thorny poems of Haroldo de Campos* entitled Galáxias (1963-1979). Cleverson’s works reflect the fragmented structure of the poetry while insisting on the Neo-Concretist doctrine that the art be subjective and organic. The artist’s version of sacred geometry links mathematical structure to cosmic, psychic, spiritual, and organic experience.  These ‘sensorial maps’ reveal spatial and subjective connections relating to macrocosmos and microcosmos, society and individual, abstract and sensorial. Meanwhile, Oliveira’s employment of graphite, permanent marker, and adhesive vinyl demonstrates his belief in the potency of accessible-to-all materials and ideas.

The wall installation entitled Galáxias (Dimetiltriptamina) serves as the exhibition’s principal axis flanked by the recurring hyperspatial interconnections in the surrounding media. In his video piece, Oliveira introduces an organic element into the equation, superimposing his exploding fragments and kaleidoscopic patterns over a traditional musician playing an oud. Science, nature, art, and humanity all become part of an evocative melody as Oliveira uniquely expresses his experience of the world as one interconnected whole.

Cleverson Oliveira (born 1972, Brazil) studied sculpture at the Escola de Música e Belas Artes do Paraná. His work was subject of solo exhibitions at Museu de Arte Contemporânea do Paraná, Museu Joaquim Nabuco, Museu de Fotografia Solar do Barao, and was included in a number of group exhibitions in the United States and Brazil. His work was also shown at Pinacoteca do Estado de Sao Pãulo. The artist is represented in prominent collections internationally, including Ruth Kaufmann Collection, Sylvia Martins Collection, Brazil Foundation Art Collection, Fundação Cultural de Curitiba Collection, Guita Soiffer Art Collection. 

Oliveira’s past solo exhibitions with Miyako Yoshinaga were "A Frontiers - New York to Rio by Bus - A Journey through the Americas (2006)," “GoldenYears (2004), and “Cleverlandia” (2002).  He currently lives and works in Curitiba, Brazil.

Miyako Yoshinaga is located at 547 West 27th Street between 10th and 11th Avenues in New York. Viewing hours are Tuesday through Saturday 11 am to 6pm. For media/press inquiries, please contact David Gimbert at +1 212 268 7132 or david@miyakoyoshinaga.com

 * Haroldo de Campos (1929-2003) was a Brazilian poet, critic, and translator.

  • solo exhibition

Milcho Manchevski

Five Drops of Dream

Jun 7 - Jul 14, 2012

Opening Reception: June 7, 2012, 6-8pm

MIYAKO YOSHINAGA art prospects is pleased to present Five Drops of Dream, the first United States solo exhibition by renowned film director, Milcho Manchevski. The exhibition is on view from June 7 through July 14, 2012, with an opening reception on Thursday, June7, from 6pm to 8pm. Gallery hours are Tuesday through Saturday, 11am to 6pm. 

Milcho Manchevski’s first film Before the Rain (1994) was described by Time magazine as "eerily beautiful” and “stunning,” by Janet Maslin of the New York Times as “sophisticated [and] overwhelming vision," by Roger Ebert as “[a] brilliant directorial debut. Work like this is what keeps me going.  A reminder of the nobility that film can attain," by Gene Siskel as "brilliant," by Boston Globe as “bold, hard-hitting, grandly arched, yet intimate and immediate," by the Chicago Tribune as "stunning… work of a filmmaker alive and inventive in every shot he takes." The Washington Post says: "It literally thunders with emotional power." The Toronto Sun: “A profound musing on humanity."  The Miami Herald: "Stunning. The sort of remarkable debut that reinstalls faith in the movies’ viability as genuine art. Director Milcho Manchevski has made a debut so astonishingly assured in writing and technique he is guaranteed a footnote in movie history even if he never makes another movie. “

After the success of Before the Rain (the film won an Academy-Award nomination and thirty awards, most importantly Golden Lion for Best Film in Venice, while the New York Times included it in its list of “1,000 Best Films Ever Made”), Manchevski traveled to five continents, relentlessly taking pictures, as the focus of his creative endeavors shifted to photography. His street photography (influenced by the American masters Evans, Frank and Winogrand, as well as Cartier-Bresson) is refracted through the conceptualist experience of the 60s and 70s, and leavened by a healthy dose of humor. Yet, he doesn’t limit himself to any particular genre: nudes, portraits and still-lifes all make appearance. From prosaic moments of everyday life, he creates compositions of sinewy elegance, bridging the gulf between the modern and the old-fashioned, the raw and the sophisticated with a distinctively earthy and warm view of humanity and its underlying social issues.   

For Five Drops of Dream, Manchevski has employed a rigorous process of selection, and – more importantly – has combined the selected images into compact compositions of five, assembling 49[1] groups he calls strings.  Each image in each string is chosen to reflect a formal and a narrative moment; and – most significantly – to work with and against the other four photographs in the group to create a unified piece – a string.  The photographs within each string interact on several levels (narrative, formal, contextual, objective), contrasting and complementing each other. The result is a lush collection of small, compact units with a vibrant inner dynamic.

Manchevski renders, in his own words, “the explosion of the visual in the mundane moment” and “the wrestle and embrace of the narrative and formal.” “These photographs live only when they are together and when they form strings.  Like notes in a song.”

In a 2010 exhibition essay, Zoran Petrovski, the curator at the Museum of Contemporary Art in Macedonia, explained the magic of Five Drops of Dream thus: “Manchevski uses the entire frame of the photograph to bring equal presence and importance to the seemingly peripheral  - at first glance imperceptible - details, which he often additionally emphasizes by means of unusual, askew, crooked or lowered angles of the shot. By means of such dynamic treatment of the composition, Manchevski makes room for his own subjective interpretation of the motiff.”  The viewers of Five Drops of Dream sense this deliberately widening focus and ambiguity in each of the five images, which leads to them inventing their own stories by filling the gaps using their own imagination.

Milcho Manchevski was born in Macedonia (then part of Yugoslavia). After receiving his degree at the Department of Cinema and Photography, Southern Illinois University, he wrote and directed the feature films Before the Rain (1994), Dust (2001), Shadows (2007) and Mothers (2010), 50 short forms, including Tennessee for Arrested Development (1991) and 1.73, and directed on HBO’s The Wire.  His films were distributed theatrically, on video and on TV in over 50 countries, and have close to 300 festival screenings.  Mothers will screen at the Pratt Institute’s Manhattan campus on June 4.

Manchevski’s films are part of the curricula at numerous universities worldwide; the University of Leipzig (Germany) and the European University Institute in Florence (Italy) hosted academic conferences dedicated to his films. He has lectured at a number of universities, cinematheques, art museums and art institutes, most notably as a Head of the Directing Studies at NYU's Tisch School of the Arts' Graduate Film program. His fiction, essays and op-ed pieces have appeared in New American Writing, La Repubblica, Corriere Della Sera, Sineast, The Guardian, Suddeutsche Zeitung and Pravda. He has authored a (very small) book of fiction, The Ghost of My Mother (1985-2000) and an (even smaller) essay-book Truth and Fiction: Notes on (Exceptional) Faith in Art (Punctum Books, 2012).  Manchevski’s two books of photographs, Street (1999) and Five Drops of Dream (2011), accompany the two photo exhibitions. 

Five Drops of Dream is the subject of the currently traveling solo exhibition at the Museum of Contemporary art in Macedonia (2011), the National Gallery in Bulgaria (2012), the Museum of Contemporary art in Novi Sad (2011) and Kuturni Centar Beograda, Serbia (2012). It is is also included in the fifth edition of GRID Photo Biennial, Amsterdam, (2012) from this May to July.  Beteen 1999 and 2006, his solo show Street was seen in France, Italy, Sweden, Slovenia, Croatia, Dominican Republic, Greece and Macedonia.  Manchevski has staged post-conceptual performance art with the group 1AM (which he founded) and by himself.

Contact: info@miyakoyoshinaga.com TEL + 1 212 268 7132

[1] This exhibition shows 18 strings.

 

  • solo exhibition

Jonathan Hammer

Paranormal Nightlight

Apr 26 - Jun 2, 2012

Paranormal Nightlight is Hammer’s 8th one-person exhibition in New York and his second with MIYAKO YOSHINAGA art prospects. As in his last show at the gallery, Hammer continues to use non-explicit imagery arising from his ongoing exploration of violent acts in Lithuania during WWII, specifically the massacre in Kovno that took place the night the Germans entered the city in 1941.

Victimology, always a concern in Jonathan Hammer’s work, is revealed through his singular use of childhood references such as toys, clowns, and monsters as narrative tools. Hammer gives us a universe inhabited by stuffed animals and their counterparts, the bogey men who lurk under the bed. The paranormal events unfold under cover of night, but a child’s nightlight illuminates the psychological terror and abuse. Hammer’s vocabulary of extremes: power/powerlessness; master/slave; victim/victimizer; innocence/culpability; maniac/seer, as well as the artist’s reflexive role in this entire mess, is as vividly evoked in this exhibition as it has been throughout his work.

Paranormal Nightlight includes pastels on paper, an installation on slate, and Hammer’s first exhibited canvases. He further inquires into perversity through the use of exotic skins such as stingray, frog, shark, cow stomach and duck foot, creating an open-ended sculpture of the night sky, a portion of which will also be on display.

A parallel exhibition of Hammer’s two projects; Kovno – Kobe referencing the 1941 massacres in Lithuania and a Japanese diplomat who rescued thousands of Jews, and Tarnish and Shine – Silverpoints, the artist’s retrospective in this medium, will be shown at the Derfner Judaica Museum and The Art Collection at the The Hebrew Home in Riverdale, New York.

Jonathan Hammer is an American artist living in Spain. For 25 years his work has crossed the boundaries of various media and techniques using exotic materials such as skins and porcelain and including books, works on paper (pastels, silverpoints), installation, sculpture, standing screens, photographs and prints.  Hammer has had 40 one-person exhibitions (including eight in New York, five of them with Matthew Marks Gallery) in eight countries, and museum surveys at the Geneva Center for Contemporary Art and the Berkeley Museum. His work is included in public collections such as the Museum of Modern Art, New York, the San Francisco Museum of Modern Art, the Whitney Museum of American Art and the Los Angeles Contemporary Art Museum. Hammer is an authority on Dada and has published his critical writing on the subject in “Ball and Hammer,” Yale University Press, 2002. 

For inquires/requests, please contact info@miyakoyoshinaga.com and/or tel. +1 212 268 7132.

 

The gallery will present part of Hammer’s Galaxia series at PUSLE New York, May 3-6, booth B14. 

  • solo exhibition

Hans Benda, Joseph Burwell, Jonathan Hammer, Carolyn Swiszcz, Robyn Voshardt & Sven Humphrey

PULSE New York 2012

May 3 - May 7, 2012

MAY 3 - 6, 2012 @ METROPOLITAN PAVILION, BOOTH B-14

Following last year's participation in IMPULSE, We are participating in PUSLE New York 2012 from May 3 to May 6.  

Our featured artists include JOSEPH BURWELL (drawing/print), CAROLYN SWISZCZ (painting), VOSHARDT/HUMPHREY (video/photography), JONATHAN HAMMER (drawing/sculpture), and HANS BENDA (painting).

LOCATION

PULSE New York The Metropolitan Pavilion

125 West 18th Street Chelsea, New York, NY 10011

FAIR HOURS

Thursday May 3

9am-12pm   Press and VIP Private Preview hosted by art net Auctions

12pm- 8pm  General admission

FridayMay 4

9am-10am  Private VIP Hour

10am-8pm  General admission

Saturday May 5

12pm-8pm  General admission

Sunday May 6

12pm-5pm  General admission

For more information

  • group exhibition

Takahiro Kaneyama

Shades of the Departed

Mar 15 - Apr 21, 2012

MIYAKO YOSHINAGA art prospects is pleased to present Shades of the Departed, a solo exhibition featuring new photography and video work by Takahiro Kaneyama

Following SHUMAFURA, his 2009 exhibition at the gallery, Takahiro Kaneyama creates transcendent photographic reflections on one of the holiest sites in northern Japan, Mt. Osore. According to traditional Japanese lore, this active volcano—whose name means “Mount Fear”—is the gateway to Hell, through which the souls of the deceased must pass on their way to the underworld. Every summer, this mythical place attracts many visitors who seek to remember and console the departed souls of their loved ones.

Each of the seven large color photographs in Shades of the Departed reveals a different mood of this foreboding landscape, which features a white, sandy shoreline that separates Heaven from Hell. The wild and rocky stretches evoke despair, while the calm lake water and early-summer sky exude a melancholic purity. From a distance, fresh flower bouquets placed on the Heaven side by pilgrims look like bathers lying on the beach. Up close, white and yellow mums and pink carnations, beaten and dehydrated, acutely express the fragility and transience of life. In one striking image, a row of colorful toy pinwheels stand at attention on the beach against a bluish background of mountain, sea and sky. Placed there for those who died as children, these pinwheels make otherworldly screeching sounds that can even be heard from far away. Kaneyama invites us to experience these enigmatic sounds, which still linger in his mind, in a video presented on three small monitors juxtaposed with his photographs.

Shades of the Departed quietly yet powerfully addresses universal themes that go beyond a particular culture or faith, exploring the trajectory of life, from birth to death. Just before shooting this series, Kaneyama travelled to the northeast coasts of Japan, which were struck by a magnitude 9.0 earthquake in March 2011, for a New York Times Magazine photo assignment. Having seen the unimaginable destruction that caused so much loss of life, he gradually moved from emotional distress and fatigue to the spiritual embrace of Mt. Osore. Kaneyama’s work refers less to the departed and their afterlife than those who survive and their continued duties and responsibilities in this life. This pragmatism anchors the ephemeral beauty in Shades of the Departed.

 

Born in Tokyo in 1971, Takahiro Kaneyama came to New York and studied film at the City College of New York, earned an MFA in Photography and Related Media at the School of Visual Arts and then studied documentary photography at the International Center of Photography. The recipient of several photo awards, Kaneyama has exhibited in Tokyo, Osaka, New York, Milwaukee and Zurich. His work has been reviewed and reproduced by the New York Times, ARTnews, DART Design Art Daily and Wraparound Magazine. Following the 2011 Japan earthquake and tsunami, Kaneyama issued five benefit photo prints of northern Japan from his SHUMAFURA series (2008). All proceeds went to the Japan Earthquake Relief Fund, which was set up by New York’s Japan Society Inc. to help victims of the disaster.

  • solo exhibition

Emna Zghal

Plato Pineapple

Feb 2 - Mar 10, 2012

Opening reception: Thursday, February 2, 6pm to 8pm

MIYAKO YOSHINAGA art prospects is pleased to present Plato/Pineapple, a solo exhibition of new works on paper by Emna Zghal. The exhibition is on view from February 2 through March 10, 2012, with an opening reception on Thursday, February 2, from 6pm to 8pm. Gallery hours are Tuesday through Saturday, 11am to 6pm. 

Following Against Reason, her 2009 exhibition at the gallery, Emna Zghal further asserts her interest in poetry, beauty and formal invention in this new exhibition Plato/Pineapple, which presents prints and drawings from her 2010 artist’s book: Plato Pineapple Poetry Painting. In it, she draws a parallel between Plato’s urge to banish poets from his Ideal City that is run by reason, and a contemporary art establishment that has seemingly expunged poetry from its discourse. In the accompanying essay of her new book published for this exhibition, Zghal questions the subversion often touted by contemporary art institutions as a validating quality of art. Can art be subversive (i.e., can it undermine authority) when it is the authorities themselves who put out such claims? Zghal affirms the role of the artist-poet to dream outside of the world of reason.

Zghal’s latest daydream is the pineapple, which becomes a visual thread in the prints and drawings of this exhibition. In expanding her interest in the infinite extension and unpredictability of organic patterns, Zghal focuses on an intriguing morphological study that utilizes her observation and unique approaches. She discovers that a pineapple is made of berries that join together to the core, which inspires her to carefully distinguish individual berries in her work. To create Pineapple Sun, a large print featuring two overlaid pineapple slices with dense fibers, Zghal scans a thin slice of the fruit, traces it digitally and then transfers it to a silkscreen/etching using condensed milk and salt. It is through such innovative and tactical processes that Zghal effectively explores not only a heightened sense of materiality but also a new level of biomorphic visual poetry.

Emna Zghal is a Tunisian-born visual artist based in New York. Her work has been featured in numerous solo and group exhibitions throughout the United States, Europe and Tunisia. She is the recipient of the American Academy of Arts & Letters Purchase Award (New York); the  First Prize of the Art of Tunis Salon 1995 (Tunis); the Republic's Prize for  Best Young Artist (Tunisia); fellowships from the Blue Mountain Center (Blue Mountain, New York); Cité Internationale des Arts (Paris), Weir Farm Trust (Wilton, CT) and Vermont Studio Center (Johnson, VT); and residencies from the Newark Art Museum (Newark, NJ) and the Centre des Arts Vivants (Radès, Tunisia). Reviews of her work have appeared in The New York Times, The New Yorker, Art Forum, ARTnews and The Philadelphia Inquirer. Her portfolio of prints The Prophet of Black Folk was acquired by the Schomburg Center for Research in Black Culture in Harlem, NY. Other works are part of the collections at the New York Public Library, Yale University, the Museum for African Art, NY, as well as Grinnell College, IA.

On Thursday February 23, 6:30 – 8pm, the gallery will host a special program featuring a dialogue between Emna Zghal and Lisa Binder, Curator at the Museum for African Art, on the recent cultural and social uprising in Tunisia, where Zghal visited last May/June.

Works in Plato/Pineapple and the publication of the book were made possible by a grant from the Creative Capital Foundation (NY), an organization that provides integrated financial and advisory support to artists pursuing adventurous projects. For inquires/requests, please contact info@miyakoyoshinaga.com and/or tel. +1 212 268 7132.

  • solo exhibition

Yojiro Imasaka

Landscape 2011

Dec 15 - Jan 28, 2012

Opening Reception, December 15, 2011, 6-8PM 

Project Room - a new photography series by Hiroshima-born New York-based photography artist. 

  • project room

Terry Taylor, Osamu James Nakagawa, Ingo Günther, Yu Yamauchi, Robyn Voshardt & Sven Humphrey

SUPERNATUREAL

Dec 15 - Jan 28, 2012

MIYAKO YOSHINAGA art prospects is pleased to present SUPERNATUREAL, a group exhibition that includes work by Osamu James Nakagawa, Ingo Günther, Terry Taylor, Yu Yamauchi and the collaborative team Robyn Voshardt & Sven Humphrey. In Project Room, we feature Landscape 2011; gelatin silver prints by Yojiro Imasaka.  

The exhibition is on view from December 15, 2011, through January 28, 2012. Gallery hours are Tuesday through Saturday, 11am to 6pm. The gallery will be closed on December 24 and January 31, in addition to our regular holidays.

Representations of natural landscapes-hills and valleys, mountains and canyons, lakes and oceans-are not only inspiring, but also intuitively understood. Throughout history, our interpretations of the natural landscape have shaped our social and cultural terrain. The artists of SUPERNATUREAL challenge conventional landscape photography by exploring sublime images of nature through both artists' expeditions and an interest in extreme image-making processes.

Osamu James Nakagawa presents a striking vertical image of the so-called "Suicide Cliffs" in Okinawa. Many civilians chose to jump hundreds of feet into the ocean from these cliffs (called "banta" in the Okinawan language) to avoid being captured by American forces prior to and during the World War II Battle of Okinawa in 1945. These hyper-real, highly detailed images of the cliffs were digitally photographed and then seamlessly put together. Based on his own experience of "standing between fear and beauty," Nakagawa's "Banta" series (2006) portrays the cliffs as quiet yet powerful witnesses of a tragic history.

Ingo Günther's "Topography Drive" series (2005/2006) generates a unique perspective on the entire Pacific Rim at the scale of 1:1700.000. At 4 inches high and 500 feet long, this particular rendering of radar-generated elevation model data translates into a dimension that breaks the confines of a traditional gallery or museum space. As a synthetic recreation of the horizon's shape, these works reveal skeleton-like silhouettes of the mountain ranges that look fragile yet beautiful. This iteration of the work, part of a multi-year on-site investigation of the Japanese coastline and environmental defense structures, features opposite sides of the Pacific paired together: Japan's east coast and America's west coast.    

London-based Terry Taylor looks for a particular scene in remote places in England's Lake District by walking. He chooses a scene because he perceives it as a cultural response to the idea of "nature," which includes ideas of idyll and ownership, experiential aesthetics and the timeless perspective of geological history. Seamlessly constructed from multiple images, Taylor's work favors distorted perspectives, bending peripheral vision to fit the flat picture plane. In his large-scale print, detail re-enforces references to romantic and sublime landscape painting.

Tokyo-based Yu Yamauchi completed his first major photography series "Dawn" (2006-2009) after spending 600 days at 10,000 feet above sea level at Mt. Fuji. A square-shaped format representing a window or traditional canvas reveals the astonishing colors and patterns of the ever-changing "empty" space between earth and sky. The clouds, both reflecting and absorbing light while constantly changing shapes, fuel the imagination like Rorschach tests in the sky. Some works, in a reversed position, seem like extraterrestrial scenes, suggesting Yamaguchi's own Copernican discovery in interpreting these transcendent images.

Robyn Voshardt / Sven Humphrey have teamed up to create both still and moving photographic images. Presented here are two videos: "Eternal Return" (2009), in which five different viewpoints of the same waterfall are shown continuously and endlessly; and "Sunshower" (2011), which investigates the meteorological phenomenon after which the work is named. Filmed from an extreme height to create an omniscient view, both works are about extremes: rising and falling; cultural projections vs. personal observations of the landscape; beauty and tragedy; calm and violence.

Osamu James Nakagawa is an associate professor of photography at the School of Fine Arts at Indiana University whose works have been exhibited across the United States and Japan. Ingo Günther has taught at the San Francisco Art Institute and the Academy of Media Arts in Cologne. His works have been exhibited around the world, including Nationalgalerie Berlin, Venice Biennale, Documenta, the Hiroshima City Museum of Contemporary Art, the Guggenheim Museum and Kunsthalle Düsseldorf. Terry Taylor lives and works in London, United Kingdom, and graduated from High Wycombe College of Art and Design, Durham University and Bournemouth & Poole College of Art and Design. Yu Yamauchi is a self-taught photographer and received honorable mention at the International Photography Awards. He published his first book, Yoake (dawn), in 2010. Robyn Voshardt and Sven Humphrey have collaborated on video, sound and photo-based projects since meeting at the School of the Museum of Fine Arts, Boston. Their works have been exhibited and screened at galleries and fairs internationally. Originally from Hiroshima, Yojiro Imasaka graduated from Pratt Institute Fine Arts Department, New York. He has exhibited his work in Tokyo and New York since 2007.  

  • group exhibition

Carolyn Swiszcz

A Thin Place

Oct 27 - Dec 10, 2011

extended through December 10

“Thin places,” the Celts call this space, Both seen and unseen, Where the door between the world,  And the next is cracked open for a moment, And the light is not all on the other side. -- excerpt from “Thin Places,” by Sharlande Sledge

MIYAKO YOSHINAGA art prospects is pleased to present A Thin Place, an exhibition of new works by CarolynSwiszcz. This is the artist’s fourth solo presentation at the gallery. The exhibition is on view from October 27 through November 30, 2011, with an opening reception on Thursday, October 27, from 6-8pm. Gallery hours are Tuesday through Saturday, 11am to 6pm.

There is Celtic saying, “Heaven and earth are only three feet apart, but in the thin places that distance is even smaller.” In this new body of work, Carolyn Swiszcz considers these places where, according to Sylvia Maddox, co-author of the book Praying with the Celtic Saints, “the veil that separates heaven and earth is lifted and one is able to receive a glimpse of the glory of God.”

In paintings that the artist says “depict what I have felt to be ‘thin places’ encountered on recent travels,” various public places like the Whitney Museum of Art in New York or the Shidoni Sculpture Garden in Santa Fe are rendered in layered patchworks of gritty, muted tones offset by a few Day-Glo bursts, revealing a mulitfaceted approach to painting that incorporates drawing and printmaking techniques.

Though her sites of interest are popular tourist attractions,  Swiszcz is more concerned with the creeping anxiety such locations engender when devoid of people or close to it. In “Lyndon B. Johnson Presidential Library,” for example, the few visitors are dwarfed by the massive open interior of the monumental building. In “Mall, Santa Fe,” a desolate mall food court is populated by a disarray of chairs and tables, while some of the horses of an unused carousel are represented as mysteriously blank outlines, as if they have leapt out of the scene. These works exude a liminal, apperceptive state, a feeling heightened by the overall flatness of the picture plane, upon which washed-out pigments bleed and coalesce in an unsettled, nebulous haze.

Recalling the alienation of the deserted streets of Hopper and De Chirico, or even the insignificance of the Lilliputian figures swallowed up by Corot’s hulking landscapes, Swiszcz sardonically illustrates the almost cartoon-like impotence of contemporary culture to save us from the unyielding indifference of both nature and architecture. For Swiszcz, “thin places” are not necessarily filled with glorious experiences. “Admittedly, what passes for a thin place in my world is thick, clunky and melancholy,” she says. “When the veil gets lifted, I am more often presented with a feeling like a pleasant kind of dread rather than something divine.”

Carolyn Swiszcz lives and works in West St. Paul, Minnesota. Her work is currently on display as part of Binocular City, a two-person show with artist Karen Brummund at the Johnson Gallery at Bethel University, St. Paul, MN. She has had solo exhibitions at Wendy Cooper Gallery, Chicago, IL; Plains Art Museum, Fargo, ND; the Highpoint Center for Printmaking, Minneapolis, MN; and Shonandai MY Gallery, Tokyo, Japan. Her work has also been exhibited at the Corcoran Gallery of Art, Washington, DC; the Minneapolis Institute of Arts, Minneapolis, MN; the Drawing Center, New York, NY; Islip Art Museum, East Islip, NY; and Steven Zevitas Gallery, Boston, MA. She is the recipient of several awards, including fellowships from the Bush Foundation, the Jerome Foundation and the National Foundation for the Advancement of the Arts. Her work has been featured in Art in America, The Boston Globe, New American Paintings and NY Arts and is represented in the Microsoft Art Collection and at the Minnesota Historical Society. She received a BFA from the Minneapolis College of Art and Design.

  • solo exhibition

Yayoi Kusama, Benefit Show for Children Affected by the Japan Earthquake

TILL ALL IS GREEN

Oct 12 - Oct 22, 2011

Reception & silent auction, Thursday, Oct. 20, 6-9PM

Now through Oct. 20 bid at www.32auctions.com

Auction ID: tillallisgreen / Auction Password: japan

MIYAKO YOSHINAGA art prospects is pleased to present Till All Is Green, a special art exhibition on view from October 12 through October 22, with a silent auction and musical tributes on Thursday, October 20. All proceeds from this event will go to help children who have been affected by the 2011 Japan earthquake and its aftermath.

Taking place in the prime of the fall art season and commemorating the past seven months of the disaster in Japan, Till All Is Green features over forty artworks donated by both internationally known and emerging artists, including Yoko Ono, Mariko Mori, Ingo Günther, Ellen Levy, Kunie Sugiura and Nobuho Nagasawa. During the event, Naoto Nakagawa creates ink portraits of donors in the same way he produces portraits of survivors and relief workers. The up-to-date list of participating artists/donors is continued on the second page.

 

The works in the exhibition/auction will directly and indirectly address the restoration and rebirth of the devastated community and natural landscape. In light of the nuclear crisis, our artists respond in support of clean, renewable and ecologically safe energy. “Green” in the title symbolizes our hope for a better and healthier future. The artworks and other auction items are viewable online at www.32auctions.com (auction name: tillallisgreen, password: japan). Online bids will be accepted October 5 through October 19.

As a highlight of our two-week fundraising effort, an on-site silent auction will take place on October 20, 6-8pm, followed by a special benefit concert by pianist Margaret Leng Tan, “the queen of the toy piano.” —  The New York Times (suggested contribution $25) from 8-9pm. Audio/visual artist León Grauer will contribute a performance and prayer.

Proceeds of the sale/auction/performance will go to ChildFund International, a non-profit organization that serves children in need throughout the world. Currently, the organization is focusing its efforts on helping children cope with the stress and symptoms of traumatic experiences of the earthquake/tsunami/nuclear disaster. ChildFund has been actively engaged on psychosocial childcare and grief counseling, and has created principal care manuals based on the experience of children following the September 11 attacks.

Till All Is Green is supported by Consulate General of Japan in New York, Sylph Editions, Pinetree Group, CLV Art Services and other organizations and individuals.

MIYAKO YOSHINAGA art prospects is located at 547 West 27th Street between 10th  and 11th Avenue, New York City. For further information, please contact 212 268 7132 or email relief@miyakoyoshinaga.com.

“Till All Is Green” Participating Artists/Donors (alphabetical order, as of Sept. 27, 201

Emi Anrakuji / Takako Azami / Hans Benda / Simone Bergantini / Joseph Burwell / Alexandra Catiere / Cleverson / Margaret Cogswell / Erika DeVries / Rodney Dickson / Yana Dimitrova / José Luis Fariñas / Farrell and Parkin / León Grauer / Ingo Günther / Heide Hatry / Pouran Jinchi / Takahiro Kaneyama / Nils Karsten / Mayumi Lake / Marc Lepson / Ellen K. Levy / Rita MacDonald / Conor McGrady / Kaoru Maki / Maria Morganti / Mariko Mori / Nobuho Nagasawa / Osamu James Nakagawa / Hiroyuki Nakamura / Yuko Oda / Yoko Ono / Shigeru Oyatani / Babs Reingold / Carol Rosenwald / Harold Krisel / Keiko Sadakane / Megumi Sasaki / Michael Scoggins / Yuri Shimojo / Kunie Sugiura / Jeanne Susplugas / Miho Suzuki / Carolyn Swiszcz / Margaret Leng Tan / Megumi Tomomitsu / Lin Yan / Tsukasa Yokozawa / Victoria Vesna / Voshardt  + Humphrey / Emna Zghal

For further information, please contact Miyako Yoshinaga at 212 268 7132 or email relief@miyakoyoshinaga.com.  

すべて緑になる日まで

---東日本大震災の被災子供たちへのチャリティ展覧会

 10月12日(水)〜 10月22日(土)2011

レセプション&サイレント・オークション 10月20日(木)5- 9PM

チェルシーの現代美術ギャラリー MIYAKO YOSHINAGA art prospects では、来たる10月中旬の10日間、東日本大震災で被災した子供たちへの支援を目的とするチャリティ展覧会Till All Is Green (すべて緑になる日まで) を行います。

 大震災から6ヶ月がたち、被災地の子供たちの生活にも新しい日常が戻りつつあるようですが、その子供たちの笑顔の奥には測り知れない心の傷が残っています。未曾有の規模で数々の喪失を一度に体験した記憶は日々の不安や不眠の原因となっています。

 この展覧会は、ニューヨークを中心に活躍する国際的なアーティストたちに働きかけ、寄付作品の展示販売とオークションを行い、収益金を被災地の子供たちの心のケアやカウンセリングを提供している非営利福祉団体チャイルド・ファンド・インターナショナル(www.childfund.org)に寄付いたします。

 Till All Is Green (すべて緑になる日まで) と題するように、この展覧会は、破壊されたコミュニティや土地・自然の再生、福島原発事故により切望されているクリーン・エネルギーの実現、そして過去の失敗と現在の葛藤を乗り越えより良い将来に対する希望を意味する「緑」をテーマにかかげました。

 寄付先であるチャイルド・ファンド・インターナショナルが発行する「被災後の子供の心のケアの手引き」は、現在、被災地の教師や大人たちのワークショップに利用されています。その手引きは9.11テロを含む他の災害時の経験に基づいて作成され、特にお絵描きやコラージュなどのアート療法は子供たちの心を開かせるのに役立っているそうです。本展覧会では、寄付者であるアーティストや美術愛好家が被災地の子供たちとアートの治癒力で結ばれ、また日本の3.11が本年で十周年目を迎える9.11テロと子供たちの心のケアという点で結ばれていきます。

 Till All Is Green (すべて緑になる日まで) はマンハッタンのチェルシー地区547 West 27th Streetのギャラリーおよび特設スペースを利用して、秋のアート・シーズン最中の10月12日から10月22日まで行われます。本展のハイライトとして、10月20日(木)6-9 PMにはレセプションとサイレント・オークションを行います。7:30PMより被災地写真のスライド・ショーや音楽家によるパフォーマンスも催される予定です。

なお、本イベントはニューヨーク日本総領事館の後援のほか、複数の団体および個人の方々の支援を受けております。詳細については、212 268 7132またrelief@miyakoyoshinaga.comまでお問い合わせください。

 

  • group exhibition

Emi Anrakuji

A Decent Life

Sep 8 - Oct 8, 2011

Artist reception: September 15, 6pm to 8pm

 

MIYAKO YOSHINAGA art prospects is pleased to present A Decent Life, an exhibition of new work by Emi Anrakuji.

This is the artist’s third solo presentation at the gallery. The exhibition is on view from September 8 through October 8, 2011, with an artist reception on Thursday, September 15, from 6pm to 8pm. Gallery hours are Tuesday through Saturday, 11am to 6pm.

In A Decent Life, a new series of over forty photographs, Tokyo-based artist Emi Anrakuji continues her cinematic investigation of voyeuristic dream-states. As in her past work, the photographs feature the artist as subject. But unlike her previous series, in which she interspersed various timeframes and locations, this new work presents several sets of a defined time and place, giving the collection a distinctive narrative quality. As a result, the series has a stylistic resemblance to cinema stills, with each photograph capturing a fleeting frame from a world that exists somewhere between the real world and fantasy. In particular, the black & white photographs, which were shot at night, exude a mysterious, foreboding quality that recalls both the film noir and horror genres.

 “I live in two worlds,” says Anrakuji, describing both her dual position as artist and subject as well as her interest in the space where reality and fiction meet. “Both are chaotic, uncertain, pathetically painful and utterly decent.”

 Using her own body as a catalyst for narrative exploration, Anrakuji illustrates two worlds in A Decent Life — day and night. Under a bright beam of sunlight or shrouded in dim streetlight, the artist crouches amid empty bus seats, drinks from a tiny medicine bottle and wanders through the streets, wraithlike, in a white dress. Ambiguity reigns supreme in the enigmatic and eroticized world that Anrakuji has constructed. In some images, her ritualistic gestures evoke the behavior of a spirit medium, channeling the realm of the mystical, the alchemical and the paranormal.

In training her lens on herself as a meticulously crafted persona existing in a subliminal state, Anrakuji negotiates a chaotic, emotional and ultimately sensual terrain that is governed more by intuition and subconscious desire than by logic or necessity, presenting a surrogate for a person caught between worlds, meandering through strange yet oddly familiar environments that for all intents and purposes, may very well have been concocted in a dream.

Emi Anrakuji (b. 1963) lives and works in Tokyo, Japan, where she studied oil painting at Musashino University of Art and Music. In the early 1980s, she was diagnosed with a cerebral tumor. During her recovery and a decade-long hiatus, she taught herself photography. Since 2001, her award-winning work been exhibited extensively across Japan, Korea, the United Kingdom and the United States. Her work has been reviewed by several notable publications, including C-International Photo Magazine and X-funs. Nazraeli Press has published several monographs, including ANRAKUJI, e-hagaki and IPY. In 2012, they will publish her previous series, CHASM, which was exhibited at MIYAKO YOSHINAGA art prospects in 2009.

  • solo exhibition

Anders Ruhwald, Satomi Shirai, Simone Bergantini, Rita MacDonald

Interior

Jul 14 - Aug 13, 2011

MIYAKO YOSHINAGA art prospects is pleased to present in our summer group show Interior four artists, Satomi Shirai, Simone Bergantini, Rita MacDonald, and Anders Ruhwald, who explore the emotional influences that the décor and architecture of a room hold on its inhabitants, what Christopher Alexander and other proponents of Organic Architecture would call it’s “aliveness.”  In light of mainstream’s desire for commercial modernist design and sleek, minimalist styling architecture, in which hand crafted design has given way to sterile formalism and rationalism, these distinct artists create evocative interior spaces that explore the emotional undercurrents that inform the “interior.”

Juxtaposing photos of her apartment with hand-made dollhouses replete with miniature furniture and commodities, Satomi Shirai’s work investigates the psychological act of creating spaces that merge the tangible, physical place and the intangible, experienced one. The resulting photo and photo-sculpture present skewed, uncanny narratives based on the artist's memories.

The photo series Seminario Sull'infantazia ("Seminar on Childhood") by Simone Bergantini documents old abandoned factories in the suburbs of Italy’s largest cities, homes to illegal immigrants, drug addicts, the homeless, and children at play. Instead of representational depictions, Bergantini chooses to let the domestic space and its incongruous trappings tell the story of denied childhood.

Rita MacDonald applies common home improvement materials, wall paint and the plaster-like drywall compound, directly onto wall surfaces to create warped or undulating decorative patterns. Interested in pattern for its relationship to the experience of place and memory, MacDonald constructs optical illusions of pattern moving in space that interact with the architecture of the wall.

Originally trained as a traditional kiln ceramicist in Denmark, Anders Ruhwald appropriates the medium of functional pottery to create off-kilter, inutile ceramic sculptures bearing superficial semblance to otherwise functional objects. Their surfaces are hand-modeled into uneven, globular exteriors, simultaneously suggesting their relegation to the manipulation of human hands, and rendering the sculptures dehumanized furnishings, which can no longer be encountered by the human body.

  • group exhibition

Yana Dimitrova

Tomorrow and Tomorrow

Jun 2 - Jul 9, 2011

Opening Reception, June 2, Thursday, 6-8PM

We are pleased to present recent works by artist Yana Dimitrova. The opening reception will be held on Thursday, June 2, 6-8 pm.

The title of the show, Tomorrow & Tomorrow, references a line from Macbeth by William Shakespeare, which contemplates the banality and insignificance of life. In her paintings and installations, Dimitrova portrays the mundane patterns and structures of everyday experience in order to critique the self-reverential nature of one's desires.

The series of paintings, “I Love Life and Life Loves Me,” is based on a Bulgarian popular YouTube music video. After watching the clip repeatedly, Dimitrova painted some of the stills off the computer screen. The paintings depict the ideals presented by the singer in the video, who has everything he desires from life. The blurry out-of-focus treatment combined with a cool color palette conveys a vacant, artificial environment.

Dimitrova’s landscapes counter the capitalist dream of monetary gain and opportunity for all. In one painting, highway billboards are whitewashed signifying an absence of opportunity. In another, the Coex Mall in Seoul, Korea - one of the largest malls in the world - is eerily empty. When stripped of the barrage of advertising that shapes modern man’s desires, what remains is literally a hollow monument to consumer culture.

The installation, “The Greatest Achievements,” is a larger-than-life checklist that borrows symbols from a smart-phone organizational tool.  Brighter checkboxes suggest urgency, and darker ones define more common day-to-day tasks. The piece represents the cyclical process of proposing a task, creating a box, achieving the task, checking the box, and adding new tasks. In addition, it shows that the checkbox is in fact the task itself, which by its creation is simultaneously achieved, suggesting the ineffectuality of daily activity. Thus Tomorrow & Tomorrow questions the proposed values of everyday experiences, presenting liminal sites in which a sense of self and the possibility for happiness are impossible.

Yana Dimitrova is a graduate of the School of Fine Arts “Acd. Iliya Petrov” in Sofia, Bulgaria (2002).  She received her BFA (2006) and MFA (2008) from the Savannah College of Art and Design in Savannah and Atlanta, Georgia (USA). Her most recent exhibits took place in Berlin, Budelsdorff (Germany), Bath, Manchester (UK), New York, Chicago, Philadelphia, Atlanta (USA) and Sofia (Bulgaria). Dimitrova currently lives and works in New York, NY.  For images: http://miyakoyoshinaga.com/artists/Yana_Dimitrova

  • solo exhibition

Erika deVries

Beautiful Things neon work at Hugo Boss

May 1 - Jun 2, 2011

From May 5 through June 2nd, 2011, Erika deVries' latest neon sculpture "Beautiful Things" is on display at Hugo Boss store at Manhattan's Meatpacking District (401 West 14th St). 

Recently on the subway, a woman psychic told the artist; "I see many good things around you, call me" and handed deVries her card. Grateful and wondrous at her kind words, deVries has translated the experience into "Beautiful Things" a new neon work for the windows at Hugo Boss. 

Aglow in neon and written in the artist's 7 year old son's hand, "Beautiful Things" crystallizes the moment when language, meaning and experience coalesce. The artist invites you to participate in the piece and to photograph yourself and loved ones standing within "Beautiful Things". She would like to remind us that photography is  writing with light.  deVries' other neon work "Our Infinite Capacity For Love" was last seen at her 2010 solo exhibition "An Enlarged Heart" at MIYAKO YOSHINAGA. 

Erika deVries is a mother, artist, lady in love, professor, fairy tale teller/reader/believer, thread thief, and mundanity expert. 

  • solo exhibition/project room

Conor McGrady

The Judgement of History

Apr 14 - May 21, 2011

We are pleased to present The Judgement of History, a series of new drawings by Irish born artist Conor McGrady

Since early adulthood Conor McGrady became convinced of the need for art to interrogate social and political realities. The artists who inspired him did not shirk away from depicting the ritualized violence and trauma that often besieged their everyday lives. Inheriting the aspirations of artists from Goya to the Neue Sachlichkeit, McGrady’s body of work focuses on the psychology of power in modern society.

The Judgement of History explores the role of authority and how it translates into symbols, iconography, and the self-conception of individuals and nation states. Large-scale gouache drawings depict figures of iconic stature situated within modernist and neo-classical architecture. In these works, groups of anonymous, mostly male figures perform social rituals as a unit in a joint effort against an unseen enemy, or they participate in a collective triumph over unseen victims. The white background and surrounding space, as well as the minimalist treatment of architecture imparts a distilled view of places that visually corresponds to political censorship and the state removal of dissidents, ideas or practices. Smaller works explore contemporary society’s fascination with power and status. In these, the relationship of the artist to the state comes under scrutiny, as does the architecture of government buildings, which functions as an ambiguous signifier of imagined permanence and stability, yet change and transition at the same time. A single work depicting a barricade serves as a reminder that not only political reality, but history itself, remains contested space. 

McGrady’s work reprocesses the traditions of portraiture and history painting alongside fascist aesthetics and socialist realism. As with his previous work, these drawings raise questions on the various manifestations of social order, and on the control of space, personal and national boundaries.

Conor McGrady was born in Downpatrick in N. Ireland, and lives and works in New York City. He earned an MFA from the School of the Art Institute of Chicago in 1998. Besides being exhibited at the Whitney Museum of American Art, his work has been shown in a number of US and European institutions including White Columns, the Chicago Cultural Center, and Gallery Karas, Zagreb, Croatia. He is editor of Curated Spaces, a regular feature in the journal Radical History Review.

 

 

 

  • solo exhibition

Takahiro Kaneyama

Fund Raising Project for Japan Earthquake Relief Fund

Mar 15 - May 1, 2011

We'd like to extend a big thank you to all our donors!  

We are happy to announce that as of May 1, 2011, we have raised the sum of $5,300 by offering Takahiro Kaneyama's benefit photo prints of Northern Japan to 40 donors.  The proceeds went to Japan Earthquake Relief Fund set up by New York's Japan Society inc. to help victims.  Together with Mr. Kaneyama, we would like to thank our donors for their generous supports. We are proud to be part of a united fundraising effort in New York art community.  We are also planning a benefit exhibition & online auction this fall.  For more information, please email us at relief@miyakoyoshinaga.com.

Project Description

Our New York-based Japanese-born artist Takahiro Kaneyama has donated 5 of his 2008 photographs of seaside villages of Northern Japan, the region severely destroyed by 3/11/11 earthquake and tsunami. To raise funds for ongoing relief efforts for those who lost everything, please consider purchasing Kaneyama's benefit print (images A to E below) for $60 each.  Any combination of more than 2 prints, $50 x quantity. Handling & Shipping  $5 within USA / $10 overseas is additional. Local pickup is welcome. 100 % of the proceeds will go to Japan Earthquake Relief Fund set up by Japan Society, Inc, NYC.    

Donation can be done entirely online, so please take steps 1 & 2 now!

Step 1

Please click each title to see the images. 

A. Fishing Boat Flagsimage 7 x 5 in. (17.8 x 12.7 cm), sheet 11 x 8.5 in. (28 x 23 cm), archival pigment print, A.P. 

B. Man by the Shore, image 5 x 7 in. (12.7 x 17.8cm), sheet 8.5x 11 in. (22 x 28 cm), archival pigment print, A.P. 

CSquid Fishing Boat, image 5 x 7 in. (12.7 x 17.8cm), sheet 8.5 x 11 in. (22 x 28 cm), archival pigment print, A.P. 

D.  Seaweed Picker, image 5 x 7 in. (12.7 x 17.8cm), sheet 8.5 x 11 in. (22 x 28 cm), archival pigment print, A.P. 

E.  Man On the Boat, image 5 x 7 in. (12.7 x 17.8cm), sheet 8.5 x 11 in. (22 x 28 cm), archival pigment print, A.P. 

Step 2

Please email us the followings at relief@miyakoyoshinaga.com

1) Which print (A, B, C, D, E) and how many. 

2) Preferred payment method (cash, check, credit card)

3) Shipping/billing address including ZIP code & telephone number where we can reach you

THANK YOU!

  

  • solo exhibition/project room

Takahiro Kaneyama

東日本巨大地震被災地への義援金プロジェクト

Mar 15 - May 1, 2011

この救援基金プロジェクトは2011年5月1日を持ちまして終了いしたしました。この間、40名の方々のご協力により5300ドルの売上金をニューヨーク市のジャパンソサエティー/日本大地震救援基金(Japan Earhquake Relief Fund)に寄付いたしました。私どもでは今年9月に別のかたちでも救援金のプロジェクトを行う予定です。お問い合わせはrelief@miyakoyoshinaga.comまたは電話212 268 7132にて受け付けております。皆様のご協力に厚く感謝いたします。

(以下プロジェクトの概要を資料としてのみ掲載いたします)

このたびの3.11.11 東日本巨大地震で被災された方々への義援金に貢献するため、ミヤコ・ヨシナガ・アート・プロスペクツではNY在住の写真家、金山貴宏(かねやま・たかひろ)の作品販売を行っています。

金山は、2008年に親戚を訪ねて日本の東北地方を旅行し、風景を中心としたシリーズ「下風呂」を制作しました。その中には地震と津波でほぼ壊滅状態となった 岩手県大槌町も含まれていました。大槌町には金山の学生時代からの親友が住んでおり、地震発生より3日後に生存が確認されましたが、その親友の両親、祖母の行方は未だ分かっておりません。そのような経緯もあり、金山は被災者の方々への義援金のために、大槌町で撮影された1点を含む、東北地方の美しい海岸風景や人々の日常生活をとらえた作品5点の提供を申し出ました。 

各作品のイメージをご覧になるには、作品タイトルをクリックしてください。

A. 大漁旗 (Fishing Boat Flags), image 7 x 5 in. (17.8 x 12.7 cm), sheet 11 x 8.5 in. (28 x 23 cm), archival pigment print, A.P. 

B. 岸辺の男、大槌町 (Man by the shore), image 5 x 7 in. (12.7 x 17.8cm), sheet 8.5x 11 in. (22 x 28 cm), archival pigment print, A.P. 

C. いか釣り船 (Squid Fishing Boat) image 5 x 7 in. (12.7 x 17.8cm), sheet 8.5 x 11 in. (22 x 28 cm), archival pigment print, A.P. 

D.  海藻を拾う人 (Seaweed Picker), image 5 x 7 in. (12.7 x 17.8cm), sheet 8.5 x 11 in. (22 x 28 cm), archival pigment print, A.P. 

E.  船上の男 (Man On the Boat ), image 5 x 7 in. (12.7 x 17.8cm), sheet 8.5 x 11 in. (22 x 28 cm), archival pigment print, A.P. 

値段は各作品1点が60ドル、2点以上お求めの際は1点50ドル×枚数です。

送料はアメリカ合衆国内の場合は5ドル、国外の場合は10ドルかかります。直接ギャラリーへ作品を受け取りにいらっしゃる場合は、送料はかかりません。

売上金は100%、ニューヨーク市のジャパンソサエティー/日本大地震救援基金(Japan Earhquake Relief Fund)へ寄付されます。

<お申し込み方法>

1)ご希望の作品番号と枚数、およびお届け先(郵便番号、住所、電話番号)

2)ご希望のお支払方法 (小切手、クレジットカード、現金など)

クレジットカードでのお支払いをご希望の場合は、直接ジャパンソサエティーのウェブサイトで代金分を寄付していただくことになります。

3)以上を relief@miyakoyoshinaga.com までお知らせください。お支払い方法などの詳細をご連絡いたします。

まだまだ多くの支援が必要とされています。皆様のご協力をなにとぞよろしくお願いいたします。

  • solo exhibition/project room

Tomoaki Hata

The Night Is Still Young

Mar 10 - Apr 9, 2011

MIYAKO YOSHINAGA art prospects is pleased to present The Night Is Still Young, an exhibition by Tokyo- and Los Angeles-based photography artist Tomoaki Hata. The exhibition will run from March 10 to April 9, 2011.  The opening and book-launching party will be held Thurdsday, March 10, 6-8PM

In recent news headlines, Japan, once Asia’s economic superpower, has been portrayed as having lost its edge. Meanwhile, from the late 1990s to the early 2000s it became home to a vigorous burst of self-expression by one of the most secretive subcultures of Japanese society. Gender-bending men and women, who in their day-to-day lives conform to societal norms, began to gather weekly at small nightclubs in the gay district of Osaka to cut loose and be themselves.  The epicenter of this phenomenon was a bar called Explosion, where radically creative, smart, and witty drag queens combined art and activism in a talent show format. 

In 1996, Hata, then a college student, began documenting these exuberant late-night parties and continued to do so until 2004.  Now considered a rare chronicle of the nation’s first drag queen movement, these photographs were edited as a monograph entitled The Night is Still Young and published both in Japanese (Akaakasha) and English (powerHouse Books) in 2010.  Our exhibition follows on the heel of its Tokyo debut last October and presents a selection of 25 images that highlight the movement’s heyday in the early 2000s.   

The glamour and self-assurance of Hata’s drag queens, both on and off-stage, come to life in these color photographs, but along with the glitter, Hata also shows the seedy side of the life and explores moments of loneliness and despair. Like Boogie, a street photographer he admires, Hata gives himself up to the stream of happenings, observing the outrageous, out-of-control crowd with calm affection. Interspersed with the high-energy photographs of partiers and onlookers, Hata zeros in on an intimate portrayal of a male couple (originally shot for the City of Osaka’s safe-sex campaign). The Night Is Still Young provides an ardent testimony of the time, through which we may glimpse not only the make-believe extravaganza but also the poignant humanity underlying this obscure world.  

Born in 1974, Tomoaki Hata works primarily in Los Angeles and Tokyo. After more than ten years of education in law, sociology, media studies, cultural studies, and art criticism in Japan, Hata began his career as a photographer, shooting Japan’s groundbreaking HIV/AIDS benefit dance parties as well as for Japan’s gay porn industry. Hata’s photography is part of the Collection Lambert in Avignon, France and is included in other private collections worldwide.

  • solo exhibition

Joseph Burwell

IMPULSE at PULSE New York

Mar 3 - Mar 6, 2011

@Metropolitan Pavilion | 125 West 18th Street, New York

March 3, 10am -1pm  Press and Private Preview   

March 3, 1pm - 8pm

March 4&5, 12 noon - 8pm

March 6, 12 noon - 5pm

From March 3 to 6, 2011, we are pleased to present Joseph Burwell at Booth I-11 at IMPULSE section of PULSE New York, the art fair held at Metropolitan Pavilion on 18th st. bet. 6th & 7th Ave.  Our booth is located on the second floor of the Pavilion. 

Following his 2009 gallery installation with the same title, Joseph Burwell reconstructs an environment based on his former studio, a converted garage in Brooklyn, New York. The result is a carefully staged artist’s workshop referred to as School of the Viking Spaniard: Reconstruction of the Garage which plays off his half-Puerto Rican heritage and Icelandic birthplace. It's phrasing uses the language of art history to obscure both the era and the authorship. 

On walls, shelves, and sawhorses, an array of Burwell’s artwork is displayed, along with maps, photographs, tools and other artifacts. For his color drawings intensely executed with pencil and marker pen, Burwell fuses miscellaneous historical and archeological information from different cultures and religions. His sculptural forms reflect his interest in negative architecture and compliment the spaces in his drawings. While it’s true that the remnants of archeological information are often used to help reconstruct history, they may also be used to invent it. It is through this misinterpretation that Burwell eliminates established hierarchies and composes his potential stories.

Burwell’s installation, with bright colors, clashing patterns and absurdist sensibilities, demonstrates his surreal sense of humor over the more serious topics of religious and cultural identities. At the same time, his makeshift studio in a gallery space signifies both the vitality and vulnerability of contemporary artists who, like Vikings or Spaniards, without knowing it themselves, might well be creating their legacies for future historians or archeologists.

Joseph Burwel(b.1970) began to study Architecture at Savannah College of Art and Design in 1988. He received his B.A. in Studio Arts in 1993 from the College of Charleston. In 1999, Burwell received his M.F.A. in Sculpture from Tulane University in New Orleans, and in 2000 he moved to New York City. He has participated in residencies at The Cooper Union, PS 122 Project Studio Program and The Lower Manhattan Cultural Council’s Workspace Program. Burwell has shown in New York, Switzerland, Finland, Ireland, Egypt and Canada among others. New York venues include PS 122, NURTUREart, Exit Art, Vertex List and M.Y. Art Prospects.  

  • solo exhibition

Jose Luis Fariñas

Skirting the Apocalypse

Jan 20 - Mar 5, 2011

In his first New York exhibition since 2004's, The Beasts of Chaos, José Luis Fariñas unleashes a new series of meticulously detailed watercolors, Skirting the Apocalypse, featuring phantasmagoric creatures captured in various stages of metamorphosis as their bodies twist and rend, transforming into heaven-knows-what. In this exhibition, Fariñas has taken his sinister vision a step further by setting his figures in a landscape of embryonic skin, floating egg sacs, and fleshy pustules, to create abstruse dialogues with the foreground figures that may be fully understood only through the logic of dreams. Influenced by the artist's readings of the Old Testament and the Book of Genesis, Skirting the Apocalypse is nothing less than Fariñas' personal interpretation of the end of all things.

Critics have compared Fariñas' works to the demonological paintings of Brueghel and Bosch and to Goya's renderings of human suffering. Fariñas himself cites the influence of Durer, Da Vinci, Rembrandt, and Van Gogh, as well as the Cuban artists Wifredo Lam, Acosta León, and Carlos Enríques. But the impression one takes away from Skirting the Apocalypse is that of an intensely original artist working at the peak of his powers. 

José Luis Fariñas was born in 1972 to Spanish-Cuban parents of Sephardi origin. A graduate of the San Alejandro Academia de Artes Plásticas and the Instituto Superior de Arte in Havana, Fariñas has presented more than 30 solo exhibits and more than 100 collective exhibits both in and outside of Cuba. In the United States, he has been exhibited at the Las Américas Denver Museum, the Mizel Museum of Judaica, both in Colorado and the Jewish Community Center of Pittsburgh, Pennsylvania. Of recent note, one of Fariñas’ watercolors decorates the central panel of The Death of Narcissus, the new ballet created by Alicia Alonso, as her homage with the National Cuban Ballet, to José Lezama Lima. A novel illustrated by Fariñas, Apocalypse, was recently nominated for the 2010 National Prize of Book of High Bibliophilic Art.

  • solo exhibition

Yumi Kori

MATSUKAZE

Nov 18 - Dec 23, 2010

The installations of Yumi Kori invite the viewer’s participation within the exhibition.  Her simple motifs, which incorporate reflective and translucent materials, produce a soothing ambiance that gradually penetrates the viewer’s senses.  Kori, who is also an architect, alerts us to our surroundings and transforms an existing setting into a new environment in which space appears to expand and dematerialize into infinity.

For this exhibition entitled Matsukaze, Kori explores her favorite medium: light.  In a fresh take on the neon sign, she fashions her own unique lighting vessel from hand-blown glass and fills it with xenon gas. The pattern, strength, and hum of the light changes as the voltage fluctuates.  Rays of light appear and disappear, following ever-changing pathways through the glass.  In Kori’s words, the lights are dancing, and the glass, singing.

While a single one of these xenon light vessels reminds us of a glowing creature in a cocoon, arranging them in a group of various sizes and shapes creates a fascinating room-sized organic musical instrument. Wandering through the exhibition space, we are immersed in a shimmering dimension of our own creation. The artist’s own interpretation of the experience is wind (“kaze”) blowing through a pine forest (“matsu”), an ancient metaphor often associated with eternity in Japanese culture.  By naming this installation “Matsukaze,” the artist invites the viewer to travel through time and space within the exhibition.

Born in Nagoya, Japan, Yumi Kori studied architecture at Kyoto Prefecture University and Columbia University. Since 1999, her installation work has been exhibited in Japan, Germany, Austria, Switzerland, Brazil and the United States. U.S. venues include the Mattress Factory, PA, Japan Society, NY, List Art Center at Brown University, RI, and ISE Cultural Foundation, NY.  Kori’s work was also featured at the Museum of Modern Art Bahia, Salvador, Brazil in 2008. In addition to her critically acclaimed installation projects, she taught Japanese architecture at Columbia University and Barnard College from 1996 to 2005.  Since 2003, she has also designed stage sets for Sally Silvers and Dancers.

To see a video of the installation, click here.

  • solo exhibition

Mayumi Lake

Æther

Oct 14 - Nov 13, 2010

Mayumi Lake has been evoking emotional responses from her viewers for years. This time, she provides her own reaction first. In her new portraits of young women and pubescent girls, ominous illumination and vintage costumes add an evocative and uncanny tone to an otherwise genteel subject matter. Some of the subjects are posed in austere Victorian dress covering their feminine curves while others play schoolgirls wearing mini-skirt uniforms. Their shapes and facial expressions are obscured in strategic shadow. According to Lake, these unconventional portraits are based on historical or culturally specific stereotypes, and all of them have one thing in common: For the artist, these women and girls posses the power to inspire a sense of awe.

After tracing the difficult lives of her own mother and grandmother during the WWII in her “Ex Post Facto” series (2009), Lake was intrigued by the legacy of the Countess Mitsuko Coudenhove-Kalergi (nee Aoyama, 1874-1941), a pioneering Japanese woman who migrated to Europe in the late 19th Century and married into a prominent European family. Upon visiting the countess’ grave, Lake was struck by an inexplicable, overwhelmingly emotional unease which inspired Lake to find compelling female archetypes that she admired and feared at the same time. In Æther, Lake invites these women out of the darkness much as a medium calls forth spirits. It is through this deeply personal and intimate relationship with her own phobia and fantasies that Lake injects authenticity into her disquieting female portraits.

Originally from Osaka, Japan, Mayumi Lake studied photography at The School of the Art Institute of Chicago, the Rhode Island School of Design, and the Skowhegan School of Painting and Sculpture. Since 1997 Lake’s work has been exhibited at MIT List Visual Arts Center, the Institute of Contemporary Art (London), Fotografie Forum International (Frankfurt), Art In General, the Asia Society, and the Museum of Sex (New York). Her work was also exhibited in many cities including Amsterdam, Brescia, Munich, and Bangkok. Nazraeli Press published two monographs by Lake (Poo-Chi, Ex Post Facto). Her other series My Idol (2007) was also first shown at MIYAKO YOSHINAGA art prospects.

To read a review click here.

  • solo exhibition

Shogo Ozaki, Yuichi Saito, Yuki Tanaka, Hanae Sasaki

COUNTERPOINT: Outsider Art from Japan

Sep 9 - Oct 9, 2010

A rare group exhibition among the first of its kind in the U.S. COUNTERPOINT: Outsider Art from Japan will feature more than 40 works by 5 artists from Studio SYU*, a creative workshop for the disabled located outside Tokyo (Kawaguchi city, Saitama). The exhibition is co-organized by YUKIKO KOIDE PRESENTS, a prominent Tokyo gallery in the field of Art Brut and outsider art.

Through Studio SYU’s workshop environment, members have developed remarkably candid and compelling artistic vocabularies without any formal training. Their work represents so-called outsider art, due to its indifference to mainstream artistic norms and contemporary market trends. Rather than alienating these artists as outsiders, we hope to recognize their refreshing perspectives as valid counterpoints deserving of scrutiny. Inspired, like so much great art, by a “painful, difficult search within” (Louise Nevelson), outsider art is becoming an essential voice in today’s ever-evolving art scene.

With COUNTERPOINT, we are excited to introduce five truly inspiring artists. Yuki Tanaka’s playful portraits of Chataro, the studio's pet dog, recall the innocence of drawing as a labor of love. Shogo Ozaki, who lives with Down syndrome, channels his obsession with musical instruments and broadcasting equipment. His meticulous drawings may represent a stage set for his own virtual recitals. Considering Hanae Sasaki’s love for Disney and Japanese pop stars, her cryptic renditions of industrial machines and vehicles are delightfully unexpected. Yasuhiro Nishikawa creates vivid, abstract patterns of dots and circles echoing the aesthetic of much Aboriginal art, though this resemblance is coincidental. Yuichi Saito’s frenzied scrawling of Japanese TV show titles, a kind of avant-garde calligraphy, has been shown widely outside of Japan. Saito suffers from Rubinstein-Taybi Syndrome, and writing out words helps him focus. He created each of these works before watching his favorite TV shows, a culmination of his nervous anticipation. With the exception of Saito, this will be their first exhibition abroad. Notably, the majority of the artists are in their late 20s and early 30s, representing younger creators/consumers of Japanese culture.

*Since 1984, the founder of this workshop, the Minuma Welfare Foundation, has provided various working opportunities for the disabled. Today, the studio has grown to 21 members and provides painting, textile, and woodcraft workshops. The Studio is intended to be an open space where the disabled, their families, staff, volunteers, and local residents can unite in creative expression.

  • group exhibition

Inbal Abergil

24 Frames Per Second

Jul 15 - Aug 14, 2010

Israeli artist Inbal Abergil seeks to examine both aesthetic and societal norms held by Israeli communities and the world at large. Her work grapples with notions of time and memory, adeptly traversing the limits of photography. Abergil breathes new life into this established medium, imbuing her viewer with a fresh conceptual framework. 24 Frames Per Second (2008) is a photo series taken from the audienceperspective of films shown in theaters across Israel. Abergil sat among moviegoers while photographing the screen, and risked evading Israeli security by bringing her camera into the theater. New to the U.S., the series comprises 11 photographs, each measuring 33 square inches.

Hollywood productions are rife with formal and narrative conventions. For Abergil, film provides a challenge - a chase to elude these conventions and capture the ultimate image with only one 24th of a second devoted to each frame. The reel of film, itself a series of rapidly sequenced images, demands more than passive regard. It is a race between the advancing film and the artist’s reflex. Inevitably, the images are defined by a certain degree of ignorance, by what remains a blur. The result of this chase is a group of floating stills, each of which transforms the familiarity of film’s narrative form and aesthetic language into something entirely new. Abergil allows the shadowy space between the camera lens and the screen to permeate the photographic plane. Silhouetted rows of seats, spectators’ heads, and the big screen’s frame lend the images a nocturnal, even haunting quality. Looking at these works as examples of meta-photography, one might recall Hiroshi Sugimoto’s “Theatres” series, in which he too wrestles with time, though in his case by slowing down the shutter speed to capture an entire film in one shot. Abergil’s work is multifaceted, acknowledging the visual illusion of film and elegantly exposing, as in xray, its bone structure.

Inbal Abergil, once an Air Force photographer, studied photography at Jerusalem’s Hadassah College in 2001 and received her B.E.D. with honors in 2007 from the Midrasha School of Art. She is currently pursuing her MFA at Columbia University’s School of the Arts, while dividing her time between New York and Tel Aviv. She has exhibited work in New York City, Washington DC, Philadelphia, Amsterdam, and throughout Israel. 24 Frames Per Second was critically acclaimed during its maiden exhibition in Tel Aviv in 2008.

Hans Benda

LODGER

Jun 3 - Jul 10, 2010

Hans Benda nods to Northern European painting tradition in his captivating portraits of women and landscapes in that the works reveal quiet allegorical connotations. In the dozen small paintings that make up this exhibition, Benda uses tight cropping, focusing on the charm of the miniscule and the transient. In the portrait Zuviel J.S. Bach, he depicts a Vermeer’esque passing glance at an arguably innocent young brunette. In Nozze D’oro he uses a minimal palette of green and peach to magnify the endurance of the diminutive calla lilies in a celadon vase during a stage of decay. In Hostage, Benda plays with still-life tradition and the notion of modesty by juxtaposing powder-pink roses with a woman’s tanned bare breast. Upon closer examination, one realizes that the vase rests on the woman’s thigh not a table.

The artist decided on the exhibition title LODGER after hearing about the 1979 new wave album of the same name by singer-songwriter David Bowie. It is said that during its production, Bowie made the musicians swap their instruments after he grew tired of a too conventional sound. As a result the album has an air of displacement. Setting up plants like newly arrived tenants in his studio, Benda refers to Bowie in LODGER, which as a whole suggests, what he calls, feelings of latent homelessness. Aided by his paintbrush, Benda disproved his self-image as a dependent lodger and challenges viewers both aesthetically and intellectually. It is upon viewing LODGER that reflection turns into a state of meditation. Much like the paintings of small glass bottles by the Italian painter Giorgio Morandi, Benda’s subjects leave a lasting impression of melancholy and delicacy.

Born in 1960 in Berlin, Hans Benda divides his time between his homes in Vervier, Belgium and Misakimachi, Japan. He studied at the Akademie der Bildenden Künste in Karlsruhe, Germany. His solo and group shows have been held in Germany, Belgium, France, the United States, Japan, and Bangladesh.

Jonathan Hammer

KOVNO - KOBE

Apr 22 - May 22, 2010

For the past two decades, Jonathan Hammer has investigated the concept of narrative through a unique practice that includes such traditional techniques as etching, Japanese screen-making, 16th-century marquetry and the ancient art of bookbinding. From the image-text interplay of his lavish leather-bound tomes that bring together the work of contemporary artists and writers to the theatrical, story-based characters that populate his drawings and etchings to the historiographic corporealism that underpins his exotic animal-skin screens, Hammer mines the complex and sometimes troubling chronicle of our shared past to inform poignant meditations on the human experience.

For KOVNO - KOBE, Hammer finds inspiration in his Lithuanian heritage, taking as his point of departure a little-known cross-cultural event from World War II in which some 2,100 Lithuanian Jews managed to escape the Nazi campaign of genocide by finding an unlikely safe haven in Japan, then an Axis power and German ally.

Just a few months before the Nazi invasion of Lithuania in June of 1941, vice consul for the Japanese Empire Chiune Sugihara (1900-1986) -- in direct opposition to the Japanese government -- issued transit visas to allow the refugees to travel to Japan on their way to settle in other countries. The Simon Wiesenthal Center estimates that around 40,000 descendants of those Jewish refugees are alive today because of the brave actions taken by Sugihara, who in 1984 was named one of the “Righteous Among the Nations” by Yad Vashem, Israel’s official Holocaust memorial in Jerusalem. 

Presenting pastels, gouaches and etchings in addition to the exhibition’s eponymous centerpiece -- a twofold screen made from the marquetry of exotic animal skins and precious metals such as gold and palladium -- Hammer contrasts the perspectives of the victims and victimizers of the massacre in Kovno, Lithuania, with those of the witnesses and saviors in Kobe, Japan. These works cast a new light on an extraordinary yet relatively unknown story from World War II. Related materials (video, books and photographs) documenting this remarkable event will be available in our project room.

  • solo exhibition

Erika deVries

An Enlarged Heart

Mar 18 - Apr 17, 2010

An Enlarged Heart takes language and light as central forms and metaphor with new works in neon, lenticular, photo etching, and embroidery. The exhibition is accompanied by a series of public events and performances.

Erika deVries' work is narrative and responds to cyclical transformations from girlhood, womanhood, and motherhood. The present exhibition incorporates the rhythms of daily living while exploring the nature of presence and absence. An Enlarged Heart draws on textual works in the artist's six-year old son's hand, as he copies phrases dictated by his mother. Rendered in neon, these transcriptions crystallize the moments when language and meaning coalesce. "Infinite Capacity" and "For Goodness Sake" also appear in a series of collaborative drawings with her son embroidered on tea towels. deVries writes, "New words and their meanings, movements, skills, and experiences are part the parent's every day parade. I am staggered by each moment's fullness then disappearance. I re-learn the power of words as my children work towards literacy."

Continuing her use of lenticular photography and exploring new fabrications transforming her photographic imagery, deVries matches the triumph of language acquisition with the reconciliation of loss including that of a family friend who died from complications due to an enlarged heart. Other works document marigold-dying processes, household compost, and seasonal shifts. In a photo etching created at Ten Grand Press, Victorian writing exercises and a mobile device's chat simultaneously explore how writing is communication both shared and internal.

The author Rebecca Solnit writes of utopias that bloom in the aftermath of disaster, and how in extreme conditions our human capacity can enlarge to engage circles of community, love, and care. At a time when a loved one was experiencing fear and anxiety, the artist learned a Kundalini exercise that involves breathing in the sufferer's pain in order to breathe out, and back, love. The artist writes, "Our Infinite Capacity For Love are words that have bound me to the people of my life: the family, friends, and others, past and present that I admire. This exhibition is in their tribute."

Erika deVries is a photography, performance and video artist living and working in Brooklyn, NY. She has lectured and exhibited internationally including: Halifax University, Nova Scotia, Canada; Los Angeles Center For Photographic Studies; Point of View Gallery, Chicago, IL; and Gemachtschule Universitaet, Kassel, Germany. She recently had a solo exhibition titled, "Your Mother Is In The Basement", at LaSalle University Art Museum, Philadelphia, PA. Her work was included in the exhibition "mother/Mother" at AIR Gallery this past winter. deVries's work will be included in the upcoming publication The M Word, Real Mother's In Contemporary Art, edited by Myrel Chernick, 2010.

  • solo exhibition

Anders Ruhwald

Temperance!

Feb 11 - Mar 13, 2010

For the last 10 years Anders Ruhwald has been creating ceramic objects shaped in forms long associated with household objects (i.e. lamp, vase, mirror) but not intended to be used as such. Ruhwald attempts to liberate these forms from their subordinating role as utilitarian objects and allow them to quietly but mischievously interact with the viewer. His investigations shed a new light on the nominative role certain objects play in the navigation of our daily lives. To this end, Ruhwald sets up individual sculptures-- typically glazed earthenware in a single color--as stage props or even characters waiting for an audience.

In his new show entitled Temperance!, Ruhwald’s objects are suggestive, restrained and yet playful. The central piece in the show, “The shades about to fall (division),” consists of 23 rectangular ceramic forms hung from the ceiling in a straight line spanning the length of the gallery. The work becomes a space divider that is constantly changing as the individual pieces move around themselves. The work limits the audience’s movement in the gallery while leading them through the space as the individual pieces gradually change hue from one piece to the next. As a counterpoint, two human-scale yellow vases are placed at end of a large low podium intersecting the gallery. Cone-shaped with a flattened top, the vases have protruding handles that are too small to hold, lending an air of incongruity to this oddly proportioned yet ostensibly everyday scenery. At the other end of the gallery, a hollow object on tripod legs seems to mimic a TV. On the wall hung from orange knobs, two chairs play with Shaker dogmatism. Since they are only outline forms, they serve no practical purpose except to flatly echo the ideology of a vanished era.

Anders Ruhwald (born 1974, Denmark) lives and works in London and Detroit. He graduated from the Royal College of Art in 2005. Solo exhibitions include “The state of things” at The Museum of Art and Design in Copenhagen, Denmark, “You in Between” at Middlesbrough Institute of Modern Art in the UK as well as various gallery solo-shows in Stockholm, London, Copenhagen, New York, San Francisco, Chicago, and Brussels. His work is represented in many museum and private collections including The Victoria and Albert Museum, London (UK), The National Museum of Decorative Art (Norway), The National Museum (Sweden), The Swedish Arts Council, The Museum of Art and Design (Denmark). Ruhwald has lectured and taught at many universities and colleges around Europe and North America and has held an associate professorship at the School of the Art Institute of Chicago. Currently he is the Artist-in-Residence and Head of the Ceramics Department at Cranbrook Academy of Art in Detroit.

  • solo exhibition

Kueng Caputo

Five Star Cardboard

Jan 21 - Feb 6, 2010

Kueng Caputo, a Swiss-born designer/artist duo, creates a cardboard hotel room within a gallery space which promises five-star comfort and luxury in spite of low-cost disposable materials.

Sarah Kueng and Lovis Caputo (a.k.a. Kueng Caputo) welcome gallery visitors to enter a simple white box they first designed in 2006.  Constructed with plain cardboard, the lightweight and portable box folds out in a second at any location.  The naturally warm interior is designed for relaxation or even an overnight stay; a guest can rest his/her upper body on the mattress and pillow inside, while stretching their legs outside the box.  Yet, the really surprising feature is the interior walls decorated with delightful laser-cut pop-outs and soft, warm LED lights. This portable, instantly accessible accommodation, Five Star Cardboard, offers a uniquely simple and inexpensive solution for people seeking a quiet, private, and inspiring space amidst an often hectic public area.

Although the exhibition will showcase only one such hotel room, Kueng Caputo has adapted this idea into several thematic rooms with different patterns and colors, i.e., Classico Romatico, Italian Lover, Sogni del Bambini, and Bosco di Hawaii.  Kueng Caputo allows visitors or guests to choose a room to match their taste by presenting a pop-out model representing each style.  These models will be displayed as part of the exhibition and available as limited-edition sculptures.  In addition, their by-product "Table Scenery," their bird, fish, and flower-pattern table decoration is a playful do-it-yourself kit also available during the show. 

Sarah Kueng (b. 1981) and Lovis Caputo (b. 1979) both studied at HGKZ, Department of Industrial Design, Zurich, Switzerland between 2004 and 2008.  Since 2006 they have collaborated as Kueng Caputo (www.kueng-caputo.ch) on innovative projects such as Five Star Cardboard and Copy, exploring mundane materials and environments to exercise and reflect high design/architectural concepts. Kueng Caputo has been invited to museums, galleries, and design/art fairs worldwide, including venues in Zurich, Basel, Milan, Cape Town, Seoul, Osaka, Tokyo, and New York. 

Joseph Burwell

School of the Viking Spaniard: Reconstruction of the Garage

Dec 10 - Jan 16, 2010

For his first New York solo exhibition, Joseph Burwell reconstructs an environment based on his former studio, a converted garage in Brooklyn, New York. The result is a carefully staged artist’s workshop referred to as School of the Viking Spaniard which plays off his half-Puerto Rican heritage and Icelandic birthplace. It's phrasing uses the language of art history to obscure both the era and the authorship.

On walls, shelves, and sawhorses, an array of Burwell’s artwork is displayed, along with maps, photographs, tools and other artifacts. For his color drawings intensely executed with pencil and marker pen, Burwell fuses miscellaneous historical and archeological information from different cultures and religions. His sculptural forms reflect his interest in negative architecture and compliment the spaces in his drawings. While it’s true that the remnants of archeological information are often used to help reconstruct history, they may also be used to invent it. It is through this misinterpretation that Burwell eliminates established hierarchies and composes his potential stories.

Burwell’s installation, with bright colors, clashing patterns and absurdist sensibilities, demonstrates his surreal sense of humor over the more serious topics of religious and cultural identities. At the same time, his makeshift studio in a gallery space signifies both the vitality and vulnerability of contemporary artists who, like Vikings or Spaniards, without knowing it themselves, might well be creating their legacies for future historians or archeologists.

Joseph Burwell (b.1970) began to study Architecture at Savannah College of Art and Design in 1988. He received his B.A. in Studio Arts in 1993 from the College of Charleston. In 1999, Burwell received his M.F.A. in Sculpture from Tulane University in New Orleans, and in 2000 he moved to New York City. He has participated in residencies at The Cooper Union, PS 122 Project Studio Program and The Lower Manhattan Cultural Council’s Workspace Program. Burwell has shown in New York, Switzerland, Finland, Ireland, Egypt and Canada among others. New York venues include PS 122, NURTUREart, Exit Art, Vertex List and M.Y. Art Prospects.

Alexandra Catiere

I Cannot Give You Anything But Love

Oct 22 - Nov 21, 2009

"What is the most important time?” “Right Now.” “Who is the most important person?” “The one in front of you.”

I Cannot Give You Anything But Love, Alexandra Catiere's new series of photographs, portrays precious moments she shared with people she met on the streets in Russia, France, Italy, and the US. They live without a home, without a thing other than themselves. Catiere floated around them with the camera, and the stories of their lives, friends and loves moved her to make their portraits. Each portrait in this series is named after her subject's first name such as Tanya, Gala, Jack, Nicole, Farah or simply Stranger, followed by a location.

Shot in exteriors using natural light, the men and women of different ages, races, and nationalities all appear candid and relaxed, some casting their soft gazes into the camera. Catiere almost always places her subjects against the simplest background possible, usually a plain or solid-colored wall. She then skillfully frames the subjects in a crisp close-up composition. As in fashion photography, Catiere seems keen to highlight her subjects' physical characteristics, i.e. skin, hair, eyes, body shape, as well as what they wear. She effortlessly blends her subjects into existing colors and light, and yet their presence always dominates the scene. In Catiere's treatment, they are too present to ignore and too strong to pity, no matter how much their bruised skin or unclean garments indicate their hard-knock existence. These photographs quietly leave the viewer with an afterimage that is surprisingly engaging and unforgettable. Catiere strives to show that even those who lack the most basic needs can care and love others on his/her own terms.

Born in Minsk, Russia in 1978, Alexandra Catiere began her photographic studies in 2002 in Moscow. In 2003, she moved to New York where she completed a certificate program at the International Center of Photography and worked as an assistant to Irving Penn. She has exhibited in New York, Paris, Milan, Rome, Madrid, Stockholm and Tokyo. Most recently, this new series was exhibited at International Festival of Photography in Rome and the LACEN Gallery in Paris.

Emi Anrakuji

CHASM - Sakeme

Sep 10 - Oct 17, 2009

Emi Anrakuji creates riveting labyrinth-like photographs combining images of her body and a variety of mundane objects. CHASM - Sakeme is a series of images of sensual, faceless bodies of herself reenacting prosaic routines such as washing hair, undressing, and self-examining of her body. They all emerge from a narrow opening in the darkness with the impact and lyricism of a daydream. The small and large prints demonstrate the artist's struggle with the vicissitudes of everyday life through a Zen-like realization of the futility of repeated acts.

Chasm, a Greek-rooted word meaning "gap", "opening", or "break", is a metaphor for the outlet from which Anrakuji can release her emotions. Anrakuji says, "I am not eloquent about my work. All I can say is 'chasm' is a stronger expression than 'scream'; If you are in deep trouble, mentally and physically, you cannot even scream." She expresses this constant feeling of no-exit through images of self-mutilatization, and yet she never lets this expression slide into overt narcissism. Instead, she strives to transform her personal trauma into the beauty of the impure and the outcast.

Anrakuji never lets her self-image slide into exhibitionist hedonism or self-inflicting narcissism. Instead, she commands a sophisticated body language with her willowy figure and long hair, achieving the haunting beauty of the impure and the outcast. In addition, her journey, from aspiring young artist diagnosed with a cerebral tumor, to a gradually reinstated late-bloomer, injects stubborn cynicism into her work. Like Sisyphus, she acknowledges the beauty and struggle of repetitive acts.

Emi Anrakuji, born 1963, originally studied oil painting at Musashino University of Art and Music in Tokyo. In the early 1980s, she was diagnosed with a cerebral tumor. During her recovery from the decade-long hiatus, she taught herself photography. Since 2001, her work has received a number of important photography awards and been exhibited extensively across Japan, UK, US, and Korea. The reviews of her work appeared in C-International Photo Magazine, X-funs, and many other publications. Nazraeli Press has published her several monographs, including "ANRAKUJI," "e-hagaki" and "IPY" This is her second solo exhibition in New York, following "E.A.S.E." at MIYAKO YOSHINAGA art prospects (formerly M.Y. Art Prospects) in 2006. Anrakuji lives in Tokyo, Japan.

Jonathan Hammer, Ming Mur-Ray, Michelle Provenzano, Marcin Ramocki

Soften Your Eyes: Art and Meditation

Jul 9 - Aug 7, 2009

Many visual artists create their work through a meditative process as they often call it. While meditation links to religious or spiritual experience, it aims at deeper self-awareness and freedom without losing sight of reality. We try to benefit from this ancient practice in every aspect of contemporary life. This summer exhibition, Soften Your Eyes: Art and Meditation, selects the artworks that provide a perspective for the ending of thought, a dimension beyond time and more in touch with the uderlying reality of the universe.

Bianca Sforni"NARMADA"(2006) is a panoramic photograph of the River Narmada at dawn, the most sacred of five holy rivers in India. While the artist was capturing this harmonious moment in time, the construction of a controversial hydroelectric dam was underway nearby. This scene is personal as well as iconic, urging us to think about both the irreversible loss of purity in nature and the swift passing of time. Similarly expressing the significance of the moment, Ming Mur-Ray draws a simple circle with a brush of burning sage. The idea of drawing a circle recalls the daily practice of Zen monks who interpret the circle as a symbol of enlightenment, strength, and the universe. Mur-Ray's circle drawing reveals the tension between one's mental state and a natural force such as fire. Michelle Provenzano has her own daily self-forming practice before she starts her main work. Calling them "Slips," Provenzano draws vulnerable and passive figures - i.e. animal creatures, hermaphrodites, children - in ballpoint ink and colored pencil. Their interactions, in imagined space, reveal a basic human desire and anxiety of intimacy and conformity.

Jonathan Hammer interprets a natural cycle as a long meditative process. The various sculptural forms of a simple twig ("Twig" series, 2004) are drawn entirely in silver. As the years go by, the color eventually changes and tarnishes, just as a twig itself decays and perishes. Yumi Kori's "Portable Infinity Device"(2007) invites the viewer to look through a narrow frame within a small box she constructed with a sanded acrylic board and paper. Instead of any image, all you can see is light-filled open space, beyond any dimension, evoking infinity.

Meditation has been explored by artists in cyber space as well. In Marcin Ramocki's video "Virtual Singer"(2003), the motionless singer, trapped behind a wooden fence, manifests a rudimentary freedom through random computer-generated seeding, producing a mechanical sounding chant. The randomness of the singer's melody reflects stratified, simulated, and the monotony of our routines. "Suburban Studio"(2009) by Paul Slocum appropriates a MySpace image of a man in a hip-hop recording studio with a subtle static animation of dark fields, emphasizing the passing of time and the emptiness in our daily life.

  • group exhibition/solo exhibition

Takako Azami

Viewing Light

May 28 - Jun 30, 2009

Takako Azami is fascinated with trees in the natural environment. Receiving the light and bending in the wind, trees are vulnerable, pliant and strong. Their structure is one of nature’s wonders, both chaotic and harmonious. For more than ten years, Azami has been exploring this single subject in her large sumi ink paintings, capturing close-up views of pines, plums, bamboos, and maples.

Viewing Light features a dozen large and medium size ink-on-paper paintings. Initially drawn from life, Azami’s tree paintings are atypical and abstract with rhythmical repetition of dots and lines. Trunks, branches, and leaves are represented in stylized shapes and spatial relationships. Her compositions focus on movement and interaction with temporal and intangible elements, especially the ever-changing dynamic of natural light.

“The morning sunray was so clear. The trees from my apartment window looked different with every passing second. From 9:30am, I sat for three hours by the window and observed the sunlight in the street, the winter trees, and the windows of the apartment across the way” - Takako Azami

In the studio, using the rich black and subtle gray tonality of sumi ink and slightly-textured white chalk pigments, Azami revisits trees' dynamics by moving a paintbrush across oversized, high-absorbent hemp paper. She marks dots—some as large as a fist—and draws lines with various widths from the back of the paper, letting the ink saturate but not completely through the paper. In layers, these marks overlap and collide with each other, charging the space with energy and rhythm. This method also reveals to the viewer the chronological reverse order of her art-making process.

Takako Azami was born in 1964 in Saitama Prefecture, a district north of Tokyo. She holds a BFA in Japanese-style painting from Tama University of Fine Arts. She has been invited to a number of important museum exhibitions, including “Suibokuga Today,” the Suiboku Museum, Toyama (2004 and 2009), “Post Nihongaism: It was Once Called Nihonga,” Nerima Art Museum, Tokyo (2004), both in Japan, and “Kaleidoscope: Abstraction in 10 Ways” at New Jersey City University gallery (2008). She has held gallery solo exhibitions in Tokyo, Moscow, and New York since 1993. As a recipient of fellowships from Agency for Cultural Affairs of Japan, Freeman Foundation and the Pola Art Foundation, she participated in New York's International Studio and Curatorial Program and the Vermont Studio Center from 2008 to 2009.

Carolyn Swiszcz

Minnesota Miracle

Apr 16 - May 23, 2009

For Carolyn Swiszcz, whether banal or celebrated, public sites are highly personal terrain. "These are paintings of places in and around the city where I live, West St. Paul, Minnesota. About 20,000 people live here; it's a suburb of Minnesota's capital, St. Paul. Like any city, it has beauty and ugliness. Through making art, I have found a way of getting pleasure from ugly things that formerly brought me down.” Indeed, for viewers, Minnesota Miracle is like a very personal visitor's guide complete with a ”Welcome to West St. Paul” signpost, a local church to pray in, a park to stroll through, a steak house that should not be missed, and miracle of miracles, the heroic headquarter buildings of 3M with its red logo glowing against the blue Sky.

Seasonal references give Minnesota Miracle a sensitive touch. Tire tracks on frozen roads, a snow-covered lawn in the backyard of a restaurant, the poor visibility in arctic air, all these images convey the difficulty of life in a place where winter prevails almost all year long. In Swiszcz's work, humans are absent, but the choice of the objects themselves displays the effect of human interaction with the environment. Swiszcz is not an idealistic urban dweller but a survivor who has learned to turn struggle into joy and find beauty in ugliness. Acclaimed for her tableaux, Swiszcz's method is far more complicated than it looks. She draws, paints, and collages, often combining several print-making techniques (monotype, rubber stamp, screen print among others). It is the combination of this craft with her fresh look at seemingly familiar images that makes Swiszcz's work original and compelling.

Carolyn Swiszcz attended the Minneapolis College of Art and Design where she earned a BFA in 1994. Since 2000, her work has been the subject of numerous gallery and museum shows in Washington D.C., New York, Chicago, Miami, Boston, Fargo, Twin Cities, MN, and Tokyo, Japan. Her work has also been exhibited at the Minneapolis Institute of Arts and the Drawing Center in New York. Her work is represented in the Microsoft Art Collection and at the Minnesota Historical Society, and was featured in Art In AmericaBoston GlobeNew American PaintingsNY Artsand other publications.

Takahiro Kaneyama

SHUMAFURA

Mar 5 - Apr 11, 2009

SHUMAFURA is Takahiro Kaneyama's latest series of color photographs, portrays a small fishing town called Shimofuro. Called Shumafura in the Ainu native language, Shimofuro is located on the northern tip of Honshu, Japan's main island, where the artist visited briefly last summer. At first glance, the paved roads, concrete buildings, and modern infrastructures may obscure the reality that the area is fast becoming a depopulated and graying society. Kaneyama's great uncle (his beloved grandmother's younger brother) has worked there all his life as a fisherman. Although the two had never met before, the process of taking photographs became a form of a dialogue that dissolved the distance between them, forging a new relationship.

During his three-day shooting, Kaneyama paid close attention to his great uncle's household full of paraphernalia, which had accumulated over generations. The great uncle, the male heir of the family, became the keeper of family memorabilia including an old photo album in which Kaneyama found a portrait of his mother at the age of 21. Kaneyama was raised by four women: his mother, grandmother, and two unmarried aunts. After his grandmother died, his mother and aunts began traveling together; Kaneyama coming with them to make evocative portraits of the three austere women posing against scenic backdrops. The images, in which memory plays a strong role, became a series titled While Leaves Are Falling. (A few works from this series will be displayed in the adjunct space.)

In SHUMAFURA, Kaneyama's main subjects — the three important women — are absent, except in one close-up shot of a page from an old family album. Instead, Kaneyama contemplates the birthplace of his grandmother, where the three sisters had visited as children. The houses, streets, harbors, and children in SHUMAFURA speak of righteous beauty, of the pride of a long enduring history, and of their modest hope for a brighter future through the fishing industry and tourism. These images explore the delicate lines between depression and melancholy, dullness and tranquility, decay and beauty, etc, as if everything had an equal potential to evolve into any of several possibilities.

Born in 1971 in Tokyo, Japan, Takahiro Kaneyama first came to the U.S. to study film at the City College of New York. He went on to get an MFA at School of Visual Arts (New York), and then studied documentary photography at the International Center of Photography (New York). The recipient of several photo awards, Kaneyama has exhibited at Fuji Photo Salon (Tokyo), Recruit Guardian Garden (Tokyo), Kiyosato Photo Museum (Kiyosato), and the Japan Society (New York), where he exhibited While Leaves Are Falling series in the group show “Making a Home” in 2007. A self-published photo-book titled SHUMAFURA accompanies this exhibition.

Hans Benda

Seascapes

Mar 7 - Mar 8, 2009

Yana Dimitrova

Please, Remain Seated

Feb 12 - Feb 28, 2009

Please, Remain Seated is a new painting installation by a young Bulgarian-born artist who investigates the nature of escape through the pictorial narrative with sophisticated representational style. Following the academic tradition of figurative painting and the influence of Byzantine murals and social realist monuments, Yana Dimitrova creates an installation that transforms the exhibition space into a transitory environment of ‘non-space,’ suspending a viewer between past, present, and future. Subdued colors and a sepia tone of her painting evoke a sense of nostalgia for distant memories and a psychological discomfort of relocation.

Dimitrova’s painted subjects are drawn from personal memories combined with sociological/ideological research, and her references are as intimate as a family album and as social/industrial as a vessel of transportation or a modern apartment building. Collectively, they serve as a metaphor for the immigrant’s existence. The repetitive representation of a single subject such as a chair, an assembly line worker, or an aircraft passenger conveys shifting states of escape/confinement in collective/individual territories. Her use of curved or window-shaped canvases enhance an illusion, mimicking the physical space and textures of architectural components in the manner of the trompe l’oeil tradition in Europe.

Yana Dimitrova studied at the School for Fine Arts and Culture “Acd. Ilia Petrov” in Sofia, Bulgaria. After relocating to the U.S. in 2002, she studied at the Savannah College of Art and Design in Savannah and Atlanta, GA. She has exhibited her work nationally and internationally, including shows at Gallery Twenty-Four in Berlin, Germany and shows in the UK, Eastern Europe and around the US. Dimitrova currently lives in New York City.

Richard Gorycki

Paraphernalia and Other Treasures

Jan 22 - Feb 7, 2009

In 1979, when he was 33 years old, Richard Gorycki suffered a nervous breakdown and was diagnosed with schizophrenia. In the early 1980s, he began taking art therapy classes at Gowanda Psychiatric Center in western New York. The paintings and drawings in this exhibition roughly cover the span of time from 1985-1995. Although naiveté is a word often used to describe outsider artists, Gorycki's wide range of interests as a youth, such as economics, Sanskrit and Vedic philosophy, and European art (which he studied in Madrid), all hover in the background of his unique introverted vision.

The idea behind Paraphernalia and Other Treasures began several years ago when the artist's childhood friend and playwright, Jeffrey Haddow, received dozens of color photographs documenting artwork Gorycki created in his art therapy course. Some of the works--depicting imaginary buildings and landscapes, as well as abstract geometric shapes—were drawn on paper with colored pencil. Others were watercolors, and some were painted in oil on canvas. The striking nature of the images led Mr. Haddow to investigate their artistic value. He says, “I knew there was something called outsider art, and I thought it might be possible to find a market for Gorycki’s work.” His idea of helping Mr. Gorycki progressed another step last year when he discussed the idea with several dealers at the annual Outsider Art Fair in New York. He ultimately decided to organize an exhibition to draw attention and hopefully garner positive feedback from as many people as possible, including experts on outsider art.

Richard Gorycki was born in Jamaica, New York in 1946. He studied at Georgetown University, graduating in 1969 with a degree in economics, and immediately upon leaving school faced the draft. At his pre-induction physical, he was found to have hypertension and given a medical deferment. Throughout the 1970s, he worked at various jobs while pursuing studies in Eastern religions and philosophies. In 1979, he suffered a breakdown and was diagnosed with schizophrenia. After being discharged from a psychiatric center in 1980, Mr. Gorycki studied land surveying at Alfred State College. Although he took a job in this field shortly after completing his studies, he was unable to continue and voluntarily committed himself to Gowanda Psychiatric Center. It was while in residence at Gowanda that he began drawing in art therapy classes. He used mainly colored pens and some pastels on paper, but also explored oil on canvas. Although he found creating art to be beneficial, he gave it up in 1995, mainly because, as he says, “there was no payoff.” In an autobiographical sketch, he writes: “While I have not painted for over a decade now, I feel I could go back to it on short order. But only if there were a payoff. If I could earn money from my artwork, I would do it. Otherwise I have no interest. So I guess I am not an artist at heart, someone who would create regardless of a payoff or not.” Mr. Gorycki currently lives on a small disability pension in Alfred, New York.

Emna Zghal

Against Reason

Dec 11 - Jan 17, 2009

Against Reason features Emna Zghal's latest oil paintings with a smaller selection of prints and watercolors. Drawn from lyrical forms found in nature, she uses a wide spectrum of tones and minute strokes to create highly conceptual, abstract pieces. Turning away from contemporary conventions, she rigorously pursues her idiosyncratic themes of abandonment, lostness, and bewilderment.

Zghal is moved by the brilliant colors of a garden, the subdued beauty of a forest, the reflections within moving water. Her work brings to mind the abstractions of Lee Krasner and Joan Mitchell, particularly in her use of repetitive, swirling strokes with careful but unstrained release of color.

"It had to be contained and subordinated like a woman. Colour was a permanent internal threat, and an ever-present inner other which, if unleashed, would be the ruin of everything, the fall of culture. " - David Batchelor (Chromophobia)

Stimulated by the controversial "chromophobia" theory, Zghal emphasizes the "sheer truth" in color over design, in a world where color comes second to drawings and concepts. These pieces are about the sensory experience of color as yet undefined, present right now, not within the confines of pre-existing conventions of design. Although this is precisely the implication of her chosen title, Against Reason, there is an underlying theme of embracing bewilderment over certitude.

Always linked to nature, Zghal's keen interest in femininity, poetry, politics, and her Arab-African heritage help to take her into new horizons in these color abstract painting.

Born in 1972 in Tunisia, Emna Zghal studied at the Ecole Des Beaux Arts in Tunis. In 1999, she earned an MFA from the Pennsylvania Academy of Fine Arts in Philadelphia.

After less than a decade in New York City, she has distinguished herself both in personal achievement and social commitment. Last year, she was awarded the Purchase Prize by the American Academy of Arts and Letters. Zghal and Michael Rakowitz are 2008 Creative Capital visual art grantees for their project Dark Turquoise, which initiates a series of public craft workshops seeking to reproduce recently lost, stolen, or destroyed Iraqi artifacts using traditional American Indian techniques.

Since 1993, Zghal has held solo exhibitions in Tunisia, the U.S., France, and Germany, and most recently Tree of My Mind at M.Y. Art Prospects, New York. Her work is currently on view in a group exhibition Utopian Visions at the Arab-American National Museum, in Dearborn, Michigan.

Her work is represented by the Museum For African Art, NY; Flint Institute of Arts, MI; Rochester Institute of Technology, NY; New York Public Library, NY; Yale University, CT among others.

Marc Lepson

Yesterday, Today, and Tomorrow

Oct 16 - Nov 22, 2008

In July 2002, Marc Lepson responded to 9/11 with his installation entitled Breathe: a meditation on claustrophobia, confinement and comfort. It covered one side of the space with screen-printed images of the Metropolitan Detention Center, where many immigrants were held with no formal charges. On the opposite side were images of blossoming cherry trees representing the freedom outside the center. As a reminder of the time spent by these detainees, enlarged newspaper texts (also screen prints) accompanied the images.

For this exhibition, Marc Lepson creates another simultaneously comforting and disquieting space, filling the gallery walls with digital images enlarged from low-resolution files taken by a cell phone camera. With this super handy tool, the artist's viewpoints travel from New York Times front pages to public spaces traversing spheres both domestic and global —from former Attorney General Alberto R. Gonzales to a sea turtle in a Brooklyn aquarium, from mounted policemen in Gaza to the artist's son in the bathtub.

As newspaper pictures highlight ceaseless conflicts and despairs, lies and hypocrisy around the world, blissful images of the artist's young children—as well as their fascination with rockets and animals—raise questions about a better, more hopeful future

All of these images are collectively aimed at reconciling the competing temporalities in our life: centered then marginalized, focused then obscured, featured then forgotten. The exhibition also boldly challenges the conventional image-making process. By adjusting and enlarging low resolution digital files, Lepson emphasizes their origins as well as the process of absorbing information through media (old and new) and experience.

Marc Lepson holds an MFA from the Art Institute of Chicago in Printmaking (1997) and a BA from SUNY at Albany in English literature (1991). His solo exhibitions include Boston, New York, and Chicago. He has held numerous group exhibitions in New York, San Francisco, Albany, Buffalo and Boston. This year he participated in a number of group shows including 1968: Then and Now at the Nathan Cummings Foundation and New Prints/Summer 2008 at International Print Center (both in New York). Marc Lepson lives and works in Brooklyn, New York.

Rose Farrell and George Parkin

Restoration

Sep 4 - Oct 11, 2008

Melbourne-based artist duo, Rose Farrell and George Parkin, the leading contemporary photography artists in Australia, are widely known for their unique collaborative projects exploring the history of medicine through the application of complex theatrical scenery using large format photography.

In RestorationFarrell and Parkin draw their inspiration from the classical style of the Renaissance. While their previous work has exuded the dark, raw atmosphere of the medieval period, their latest theatrical scenes are lighter in mood and more refined. These carefully arranged tableaux bring to mind fine Renaissance perspective drawings. Each image in the series features an injured aristocratic man or woman lying on a sumptuously draped daybed in an environment of magnificent arches and columns. The figures look pale and wan as if they were hovering between life and death and resigned to their fate. Papier-mâché hands and other props attached to the figures suggest arcane medical treatments. This rather disturbing subject matter is executed in beautiful pastel tones achieved through the “afterglow” of photographic lighting. The images as a whole evoke a strange sense of tranquility.

Farrell and Parkin once again emphasize the fragility of human body through their enigmatic representation of traditional medical treatments. Farrell and Parkin's fictitious historical tableaux make us aware that the vulnerability of human body has essentially remained unchanged throughout history.

Farrell and Parkin once again emphasize the fragility of human body through their enigmatic representation of traditional medical treatments. Farrell and Parkin's fictitious historical tableaux make us aware that the vulnerability of human body has essentially remained unchanged throughout history.

Rose Farrell was born in Brisbane in 1949. She completed a Diploma of Photography (Fine Art) at Photography Studies College, Melbourne in 1986 after completing a Bachelor of Applied Science at Queensland Institute of Technology in 1971. George Parkin was born in Corowa in 1949. He completed a Bachelor of Arts (Graphic Design) at Swinburne Institute of Technology, Melbourne in 1984.

Farrell and Parkin have collaborated together for more than two decades. They have had numerous solo and group exhibitions worldwide, including "Random Acts & Traces of the Flood", Queensland Centre for Photography, Brisbane (2006); "Tranquility", The Art Gallery of New South Wales, Sydney (2005); "The Artists Surgery: A Constructed Reality", Arc One Gallery, Melbourne, Victoria (2004); "Traces of the Flood", Paved Arts + New Media, Saskatoon, Canada (2003). We previously hosted two of their exhibitions,"Tranquility" (2005) and "The Trace of the Flood" (2003). Works by Farrell and Parkin have been published in numerous exhibition catalogs and other publications, including Paco Barragán's “El Arte Que Viene (The Art To Come)” in 2002.

Takako Azami

New Paintings by Takako Azami

May 8 - Jun 14, 2008

For more than a decade, Japanese-born Takako Azami has been painting monochrome ink paintings inspired by the trees in her immediate environment. She has painted the ancient pine tree in front of her house in Japan over a dozen times in the last decade. Her latest obsession is the tree she can see from the window of her present apartment in Manhattan. This long commitment to the simple subject of a tree contributes to a rich spectrum of artistic expressions, an almost Impressionist take on natural light and ephemeral beauty. Her signature black and white dots depict the ever-changing patterns of branches and leaves reflected in sunlight.

"The morning sunray was so clear. The trees from my apartment window looked different with every passing second. From 9:30 am, I sat for three hours by the window and observed the sunrays in the street, the winter trees, and the windows of the apartment across the way." -Takako Azami

Takako Azami was born in 1964 in Saitama Prefecture, Japan. She graduated from Tama University of Fine Arts with a B.A. in painting with an emphasis on Japanese-style painting. She has been invited to exhibit in such important group exhibitions as "The Vision of 'Nihonga': Between the Inside and the Outside," The Museum of Modern Art, Wakayama, Japan and "The Tenth International Art Fair 'ART MOSCOW'," Moscow City Hall Cultural Committee, Russia. Her recent solo exhibitions include "Viewing Light," Art Front Gallery/Art Interactive Tokyo, Japan in 2006 and Gertsev Gallery, Moscow, Russia in 2006 and Citizens Gallery of Meguro Museum of Art, Tokyo in 2006.

Takako Azami is the recipient of a 2007-08 fellowship to study in the US for a period of one year in the Japanese Government Overseas Study Programme for Artists.

Mayumi Lake

Ex Post Facto

Apr 3 - May 3, 2008

In this calm yet emotionally charged photographic narrative, Chicago-based artist, Mayumi Lake traces her family history back some sixty years and revisits her childhood fantasy of bringing back her grandfathers who were killed in combat during WWII.

In Ex Post Facto, rural landscapes evoke memories of battlefields, and female portraits pay tribute to those who suffered the loss of their loved ones. Panoramic green fields and untamed woods suggest the epic scale of destruction and sacrifice, while dimly illuminated women (portrayed by the artist) express subtle but complex moods and emotions -aggression, lamentation, resignation, hope, and longing.

Ex Post Facto raises questions about the possibility of reconciling personal pain and loss by imagining that events that have already occurred can be reversed or altered retrospectively. Although it is autobiographical, the series avoids being self-serving. With a bird's-eye view, the work spans three generations of women in the artist's family. In portraits of 1940's Girl Scouts, Lake portrays herself as idealistic youths who can rescue their grandfathers who never came back. These girls are by-products of Henry Darger-ish fantasies of the artist. In other images, Lake plays her mother and her grandmother: a teenager from the 1950's reads a letter her mother wrote but never sent to her father stationed abroad; a young wife holds a husband's combat helmet that was never recovered.

Originally from Osaka, Japan, Mayumi Lake studied photography at The School of the Art Institute of Chicago (BFA, 1997 and MFA, 2000), the Rhode Island School of Design (1997-98), and the Skowhegan School of Painting and Sculpture (2003). Since 1997 Lake's work has been exhibited at MIT List Visual Arts Center, Cambridge, the Institute of Contemporary Art, London, Fotografie Forum International, Frankfurt, Art In General, and the Asia Society, New York. Her work was also recently exhibited in Brescia (Italy), Munich (Germany), and Bangkok (Thailand). Her critically acclaimed "Poo-Chi" series was published as a monograph by the Nazraeli Press in 2002. Lake's last show at M.Y. Art Prospects, My Idol, was selected as "Best In Show" by R.C. Baker for The Village Voice in 2006.

Carolyn Swiszcz

Project Room: Some Days Are Better Than Others

Dec 13 - Jan 12, 2008

Conor McGrady

New Arcadia

Oct 18 - Nov 21, 2007

Five years after his participation in the 2002 Whitney Biennial, this solo exhibition of Conor McGrady's work focuses on his recent paintings and drawings. These depictions of urban and rural terrain, often featuring uniformed individuals, are a testimony to McGrady's ongoing investigation into how power manifests itself in the symbols and iconography employed by individuals and nation states. 

McGrady grew up in Northern Ireland during the height of the region's recent conflict. Although politics there have evolved, the experience of living in a war zone is still vivid in McGrady's memories. 

McGrady's work raises questions relating to the control of personal space and national boundaries. His rural landscapes examine the tension implicit in areas that represent the archetypal romantic idyll and yet contain hidden threats. In the drawings of urban areas, neo-classical architecture conjures up a sense of imagined order and permanence. The impersonal and often uniformed subjects of his figurative compositions explore individual and collective psychology in situations of social instability. 

All of the works are executed in black-and-white, but grays take the works in a different direction. "They bleed off the solid black lines, suggesting impermanence." McGrady comments, implying that the power/social structures in our society are both solid and yet impermanent. 

Conor McGrady lives and works in New York City. He earned an MFA from the School of the Art Institute of Chicago in 1998. Besides being exhibited at the Whitney Museum of American Art, his work has been shown in a number of US and European institutions including White Columns and the Chicago Cultural Center. 

Go Sugimoto

Daydream In My Garden

Sep 6 - Oct 13, 2007

Daydream In My Garden features two black-and-white photo series produced by the young photographer Go Sugimoto between 2003 and 2006. Walk In the Night, his first mature work, is a series of nightscapes spontaneously shot on desolate streets in Manhattan and Brooklyn. By contrast, his second series, Paper-Work, features folded sheets of white paper set against white backgrounds, carefully staged in his small bedroom studio. 

Although seemingly very different, these two series share the distinctive sensitivity Sugimoto expresses through his labor-intensive darkroom operations. He manipulates contrasts in order to achieve a rich spectrum of shades between black and white. This emphasis on tonality is so important to his work that light draws us in with the magnetism of the void, and shadow becomes poignant. Consequently, looking at his photography changes our normal perception of positive/negative, presence/absence, real/ethereal. 

The exhibition also introduces his latest series, Daydream In My Garden (2007), which explores flowers, subjects Sugimoto describes as "amazing and necessary in my life." Their presence brings him a profound feeling of comfort and happiness, inspiring him to wander in a garden of the imagination where he 'arranges' flowers just so they can appeal more directly to him. The results are unusually subtle, almost skeletal images of flowers. He then adds a tint of color by hand in the manner of old postcards. In all three series, Sugimoto searches for simplicity and purity in his creative process. It is not how his work looks, but how he expresses complex emotions and realities. It's a moment of clearing the mind to be able to fully savor day or night dreams. 

Go Sugimoto (b. 1979, Japan) graduated from the International Center of Photography, New York, in 2003. His work has been exhibited in US, Japan, France and Spain and published in Fahrenheit, Studio Voice, and Time Out New York. Next month, his work will be featured in a group exhibition, "Making a Home: Japanese Contemporary Artists in New York," at the Japan Society, 333 East 47th Street, New York City. 

Pouran Jinchi

Recitation

May 17 - Jun 23, 2007

A trained calligrapher, Pouran Jinchi works within the formal conventions of Persian and Arabic script. Her recent choice of source text, however, is unusual. The Recitation drawings focus on the Qoran, the oldest and most sacred book of Islam. The 7th-century text is never the subject of poetic license: few stylistic variations are allowed and its contents cannot be changed. Here the artist renegotiates this principle. 

In the main gallery space, the Tajvid scrolls reproduce the Qoran with one conceptual remove. Selections of text have been rewritten by hand, faithful to the original in almost every way—except that the consonant letters have been erased. Only the guiding vowel sounds are left. These diacritical marks are the tajvid of Qoranic recitation, used to guide the reader through the conventions of Arabic pronunciation. But without the main consonant letters, the text is unreadable. 

In the Project Room, the Zamineh drawings complete the theme by displaying what has been removed from the larger scrolls. Here the Qoranic verses are almost readable, but still lack the dots necessary for telling letters apart. The two groupings are connected by the verse names and numbers, which appear in both; and by the consistent use of bright green, the color that distinguishes the descendants of the Muslim prophet.

Jinchi brings focus back onto the visual and aural pleasure of the Qoran, while teasing apart the apparent unity of religious form. Yet the authority of the sacred text has not been tampered with—it has been wholly displaced. Recitation reconsiders the ways in which any text establishes a communicative relationship with its audience. 

Pouran Jinchi (born Mashad, Iran) graduated from George Washington University with an engineering degree. Later she studied fine art at the Art Students League of New York. Her work has been exhibited in the United States, Germany, Japan, and the United Arab Emirates. M.Y. ART PROSPECTS has presented three solo exhibitions of the artist: “Rubaiyat” in 2000, “Antworks” in 2001, and most recently “Alef” in 2005 in its Project Room. 

Main text adapted from “Pouran Jinchi: Recitation,” by Media Farzin, with her permission.

Anders Ruhwald

"We float in space and cannot perceive the new order"

Apr 12 - May 12, 2007

This year's Sotheby's Award (Victoria and Albert Museum, UK) winner, Anders Ruhwald creates ceramics in combination with a variety of other materials that evoke the intimacy and familiarity of utilitarian objects but are neither functional nor subject to a pure aesthetic status. 

Six years ago, Ruhwald's work changed course from functional pottery to an investigation into the potential of functional forms to articulate larger themes. He began creating ceramic objects that, while recognizable, do not suggest specific purpose or function. Ruhwald identifies himself as an artist who came from a studio tradition that generates carefully labored utilitarian objects. He describes his work as "amongst utilitarian objects at a conceptual level without committing to them practically." 

Over the years, Ruhwald has become increasingly interested in how we perceive manmade objects, and for this exhibition, he has created objects that have ambiguous references to pieces of furniture or other interior items. The objects are applied with a black glaze, emphasizing variations in form and placement. Ruhwald's unique installation design allows the work to be experienced as distinct tableaux, each invoking a comparison to a common domestic setting. The works feature foreign and yet familiar forms finished with delicately crafted surfaces and a minimalist sensibility. The objects elicit complex associations with our material world while resisting the matrixes of traditional consumer society. 

Anders Rhuwald (born 1974, Denmark) graduated from the Royal College of Art (UK). His work has been exhibited in Denmark, the UK, Germany, Sweden, Austria, Spain, Estonia, Norway, as well as USA, South Africa and Taiwan. His work has recently been acquired by The Victoria and Albert Museum (UK) and The National Museum of Decorative Art (Norway). Other public collections include The Swedish National Museum and The Museum of Art and Design (Denmark).

Erika deVries

Far and Then Farther

Feb 22 - Mar 31, 2007

Far and Then Farther features a series of photographs (including some lenticular prints) that Erika deVries took over the past four years, often while she was traveling. deVries features herself, members of her family, and friends in these photographs, although they refuse to settle into ordinary portraits; the real subjects of deVries' work are landscapes that she explores with a hyper-awareness of small details and textures. House, garden, thicket, playground, and park are set and stage, inspiring stories and revealing meaningful connections with diverse living beings and locales. A torso in a red T-shirt, a dead sparrow lying on a sidewalk, entangled tree roots - each frame in this series delivers highly condensed or abbreviated information like great verse, and colors, shapes, and gestures become eloquent symbols of hope, loss, nostalgia and everyday reality. Her ability to connect her audience with the essence of life is strikingly evident in this recent work. Perhaps watching her young children growing up makes deVries acutely aware that these moments can quickly fade into the past and be forgotten. Her recent camera work not only reminds us of the powerful emotions attached to these mundane places and moments, but also refreshes our perspectives of life itself. 

Erika deVries is a Brooklyn-based artist who holds an MFA from the Art Institute Chicago. She currently teaches at New York University Department of Photography & Imaging. Her recent solo exhibitions include "preschool" at M.Y. ART PROSPECTS' Project Room (2006), New York and "Naming Trees" (2003) at Buzzer Thirty, Queens, New York. Her work is represented in the collection of The Center For Creative Photography, Tucson, AZ.

Emna Zghal

The Tree of My Mind

Jan 11 - Feb 17, 2007

I do not want to be a tree, I want to be its meaning.  Orhan Pamuk The title of the exhibition is the same as Emna Zghal's latest artist's book, The Tree Of My Mind (published by the Women's Studio Workshop) in which the tree is explored as a metaphor for human existence. As in her previous book project, Cultures Of War: An Essay, Zghal's imagery has a close affiliation with words and poetry. In this new book, from the Qur'an and French chansons to Orhan Pamuk - this year's Nobel Prize for Literature, wide-ranging sources have inspired her to create this set of eleven etchings. Each image transforms the unpredictable patterns of nature into rhythmic compositions of ink on paper. 

In addition to displaying individual etchings from the book, the exhibition will showcase Zghal's signature paintings that combine the techniques of woodcuts, rubbings, collage, gouache and ink drawing. Translucent veils of color, together with graceful contours from wood grains and barks, create a potent emotional effect. By evoking natural phenomena such as a mirage or a swirling eddy, Zghal's work draws the viewer into an infinite labyrinth of nature. 

Emna Zghal is a Tunisian-born artist living in New York City. She holds a B.A. from the Ecole Des Beaux Arts in Tunis and an MFA from the Pennsylvania Academy of the Fine Arts in Philadelphia. She has held solo exhibitions in Tunisia, the U. S., France and Germany since 1993. 

This exhibition coincides with two group exhibitions in which Zghal's work is included: RE: GENERATION curated by Joan Snyder and Molly Snyder Fink at the Smack Mellon, Brooklyn, NY (Jan. 27 - Mar. 11, 2007); and a drawing show at the Kentler International Drawing Space, Brooklyn, NY (Feb. 9 - Mar. 17, 2007). 

Zghal's work is represented in several public collections. A copy of the book, The Tree Of My Mind, was recently acquired by the New York Public Library, NY. 

Cleverson Oliveira

Frontiers: New York - Rio by Bus A Journey Through The Americas

Nov 30 - Dec 30, 2006

Beginning November 30, 2006,M.Y. Art Prospects is pleased to present its 3rd solo exhibition by Cleverson, a New York-based multimedia artist.  The exhibition will remain on view through December 30, 2006.

 Born and raised in Brazil, Cleverson moved to New York in 1996 to pursue his career as an international artist.  Nine years later in 2005, he took unusual routes to his hometown in Brazil, across the North, Central, and South Americas. In 38 days, he crossed 12 countries almost entirely by bus: the United States, Mexico, Guatemala, Nicaragua, El Salvador, Honduras, Costa Rica, Panama, Colombia, Peru, Chile, Argentina and Brazil. The exhibition, entitled Frontiers: A Journey Through the Americas, is based on this trip that challenges both geographical and psychological limits.

While incorporating documentary materials such as photography, video, notes and interviews, the exhibition alludes to an old fashioned narrative.  It seems that Cleverson creates a character to tell his story as a traveler. The contents of Frontiers witnessed by this character are full of unknown lands and unexpected, unplanned events.  It is, however, felt less romantic and heroic than expected. It evokes invisible barriers among the Americas while the character encounters and interacts with the locals, indigenous peoples, and other travelers.    

A dramatic multimedia installation and a live performance (the latter is for opening night only) contribute to Cleverson’s eerie storytelling style.  The highlight of the artifacts is a large mural drawing of a mountain in the Andes directly executed onto the center wall. This landscape, seen from a town called Mendoza near Santiago, Chile, symbolizes the entire South American continent and connects East and West as a gateway for Pacific and Atlantic Oceans.  Meanwhile, a DVD showing the section of his trip in Central America is shown from atop a platform resembling a camp site placed in front of the mural so that the landscape works as a theatrical backdrop.  For the DVD, Cleverson mixes the footage of the trip with allegorical imagery and sounds suggesting the exhibition’s various themes.  

Cleverson was born in 1972 in Brazil. He studied sculpture at the Escola de Música e Belas Artes do Paraná.  He has shown works including drawing, sculpture, and film at various venues in New York as well as Curitiba, São Paulo, Rio de Janeiro. Most recently, he held a solo exhibition at Museu de Arte Contemporânea do Paraná in Brazil.  His past solo exhibitions with M.Y. Art Prospects gallery are “Golden Years” (2004) and “Cleverlandia 2002” (2002).

  • solo exhibition

Emi Anrakuji

"E A S E"

Oct 19 - Nov 18, 2006

Emi Anrakuji is a Tokyo-based photographer whose work consists of quietly provocative images of self-indulgence and social taboos. 

For this exhibition, the gallery walls will be covered with more than 500 intimate and spontaneous shots of the artist herself as well as other subjects. Posing naked clothed, and partially dressed, Anrakuji takes a uniquely obsessive interest in her own body. She reveals her legs, hands, toes, lips, teeth, and hair with subtle provocation. In addition, she captures hedonistic and playful images of the phallus, which, in contrast to feminist polemics, celebrates the sublime power of the organ. Blending styles and emotions, nakedness and elaboration, fragments and stories, the real and the surreal, Anrakuji's work is unsettling in its refusal to conform to established categories. This character of her work bears a strong relationship to her view that life is a continuous cycle of labor and pleasure, much like a Mobius strip. Anrakuji says that her greatest hope is to be able to throw herself into this endless flow. 

Emi Anrakuji originally studied oil painting at Musashino University of Art and Music in Tokyo. By her mid 20s, she was diagnosed a cerebral disease that severely curtailed her activities for more than a decade. During her gradual recovery, she took up photography. For a while her audience was only herself and the jurors of public competitions to which she sent her entries. Since 2001, her efforts have earned her several important awards as well as increasing support from the art community. A prolific producer of images, Anrakuji often arranges her work as handmade books, one of which will be presented in this exhibition. 

Emi Anrakuji is the 2006 winner of the New Photographer Award in the renowned Higashikawa Photography Prize. Other awards include the International Photography Award’s Fine Art Photography of the Year, the Fine Art Abstract First Prize (USA), the Arbion Art Museum Photography Competition, the Grand Prize and Yoshikazu Ueno Photography Award, Grand Prize (Japan). 

Carolyn Swiszcz

Shelf Life

Sep 7 - Oct 14, 2006

For this exhibition entitled Shelf Life, Minnesota-based painter/printmaker Carolyn Swiszcz once again demonstrates her provocative take on strip mall stores and store window displays. The humble appeal of these barely surviving Midwest suburban stores inspires the artist to conduct detailed investigations into their materials and the designs of their displays. Swiszcz explained it like this in one of her recent magazine interview: 

"When I see these window displays my heart swells and I think, 'Oh! They're trying! Somebody tried their best with their time and resources.' They actually made those decisions and ordered those signs and they had dreams about their business." While being faithful to her observation, Swiszcz also applies hyper-real colors and patterns to the buildings and their surroundings, combining varied techniques of painting, drawing and printmaking. Swiszcz's dollhouse-like painted buildings cynically but affectionately crystallize the dreams and ambitions of middle class Americans for a better life. If the products these stores sell have a shelf life, shouldn't the business itself? Swiszcz seems to know the answer. "Ultimately I'd like things to stay the way they are, and since those places seemed doomed, I can at least preserve them in my work." 

Born and raised in New Bedford, MA, Carolyn Swiszcz attended the Minneapolis College of Art and Design where she earned a BFA in 1994. Since 2000, her work has been the subject of numerous gallery and museum shows in Washington D.C., New York, Chicago, Miami, Boston, Fargo and her base, the Twin Cities. Her work has also been exhibited at the Minneapolis Institute of Arts and the Drawing Center in New York. A 2002 recipient of the Bush Fellowship, Swiszcz lives in St. Paul, MN. Her work is represented in the Microsoft Art Collection and at the Minnesota Historical Society, and was featured in Art In America, Boston Globe, New American Paintings, NY Arts and other publications. In 2003, Swiszcz presented her solo show Daydreaming is Free at M.Y. ART PROSPECTS.

Mayumi Lake

A Distant Mirror

Jun 30 - Jul 29, 2006

Lyndell Brown & Charles Green | Cleverson | Megan Cump | Erika deVries Vandana Jain | Pouran Jinchi | Mayumi Lake | Marc Lepson | Hironori Murai The group show, "A Distant Mirror," features concept-derived works by ten distinguished artists.Revolving around the idea of metaphorically seeing oneself in a remote reflection,"A Distant Mirror" examines each artist's take on facing the unknown in hopes of discovering the rich possibilities in merging two separate worlds. This theme is carried through a variety of media such as paintings, photographs, drawings, sculptures, and videos. Known for her twists on everyday commercial items and symbols, Vandana Jain uses the water bottle to give birth to futuristic architectural cityscapes. Similarly inspired by popular images, Pouran Jinchi creates her own version of the American flag infusing Islamic geometric patterns and symbols.. Jinchi's painting is a response to the current political and social status of this country. Megan Cump and Cleverson respectively visit romantic sites such as waterfalls and ancient ruins, where landscapes become a channel between the physical and spiritual, and upper and under worlds. In Cump's case, a C-print photograph is used to contrast skeletal figures against the lush forests of Pennsylvania, whereas Cleverson videotapes himself dressed up as his own shadow running against stonewalls of an ancient Mayan ruin in Mexico. Generational exchange is the key to self-reflection for artists Mayumi Lake andErika deVries. Lake's hanging pieces with silhouettes of her mother and herself as a child evokes an innocent attachment between the two who dressed and posed very much alike. DeVries' photo series recorded herself holding her infant son at the same spot over a period of three years. Both artists emphasize the repeated and progressive nature of time and personal memories. Other artists reflect upon political and cultural events of our time in their work.Hironori Murai explores the long overdue exchange between the Korean and Japanese. After his joint performance with a Korean artist at a border in the ocean, he continues to make drawings and sculptures referring to this experience. Marc Lepson blows up specific areas of newsprint photos to point to the many ways that important political events and decisions become lost within our over saturated media environment. The artist duo Lyndell Brown & Charles Green creates a small photo-realistic painting of the World Trade Center site to meditate upon historical memories.

Erika deVries

preschool

Nov 17 - Dec 24, 2005

preschool features new digital lenticular photographs by New York-based artist, Erika deVries. In this exhibit, deVries photographs her daydreams and day-to-day experiences. 

deVries creates performances for the camera, using landscape and place as set and stage. Her images of the everyday, such as blossoming branches, folding laundry, pumping breast milks, changing skies conjure poetic stories based on her emotions. She tells her stories in order to make meaningful connections with other living beings and with places.

"I am interested in how these lenticular images - like life experiences - mostly quietly, sometimes acutely, shift between the magical and the mundane. I am drawn to the lenticular process from a fascination with the lenticular postcards my father would mail to me on his exotic travels as an airline pilot. These postcard parental memories, new experiences of childhood as parent, and the lenticular's out-of-date don't look at the man behind the curtain' clunky transformation and optimistic qualities have led me to work with the process." deVriies says.

Some of deVries's recurrent themes and interests are: hope, loss, control, narrative, everydayness and magic. 

Erika deVries currently lives and works in Brooklyn, New York. deVries completed her MFA at Art Institute of Chicago in 1997 and currently teaches at New York University, Department of Photography & Imaging. Her recent exhibitions include "Naming Tress" (solo, still-photo/video installation, 2003), "Roads and Pastimes" (group, 2004) both at Buzzer Thirty, Queens, NY, and "Watch What We Say" (Radio Free Erika internet, Internet radio forum, 2004) at Schroeder/Romeo Gallery, Brooklyn, NY. M.Y. ART PROSPECTS presented her solo exhibition "A Little Bird Told Me" (still-photo & mixed-media installation) in 2002 at its former location.

Mayumi Lake

Poo-Chi

Feb 17 - Mar 19, 2005

Poo-Chi introduces works by Chicago-based artist Mayumi Lake.  Her photographic images reveal undeniable and uncontrolled desires in sexuality and fantasy, while creating an ambience somewhere between pleasure and danger, comfort and pain.

“Poo-Chi” is a word coined by the artist for a particular part of the adult body that she transforms into something provocative.  The Poo-Chi series (1999/2004) visualizes a variety of fetish fantasies of young girls’ bodies in a fashion-shoot format. Lake changes models and settings according to theme, class, and ethnicity.  She pays attention to every detail of the models’ skin, hair, and choice of girlish clothes—it is not only the suggestion of pubic hair but each fabric’s texture, color, and pattern that lure the eye. Her pursuit of cuteness or kitsch serves to amplify the erotic tone.  Only through closer and careful inspection, does the viewer reach a realization that all he or she sees is an illusion.     

Lake’s most recent series, Final Address (2004), is a collection of images of funeral homes in Chicago.  Lake understands that funeral homes in America welcome every citizen, including immigrants of many different cultures and religions, and therefore represent themselves as an ‘American Dream’ of abundant wealth and luxury. Their overwhelming architecture, old-fashioned furniture, and gorgeous flower arrangements remind one of the movie sets of the 1950s and 1960s.  

Mayumi Lake studied photography at The School of the Art Institute of Chicago, where she earned a BFA (1997) and an MFA (2000).  She also studied at the Rhode Island School of Design (1997-98) and Skowhegan School of Painting and Sculpture (2003).  Lake is a recipient of the Bruce Goodman Memorial Fellowship and Skowhegan Fellowship. 

Since 1997 Lake’s work has been exhibited by a number of prominent art institutions in Chicago and other locales, including MIT List Visual Arts Center, Cambridge (“Mirror Images: Women, Surrealism and Self-Representation”), the Institute of Contemporary Art, London (“Uncut Special Edition”), Fotografie Forum International, Frankfurt (“Relating to Photography”), and Art In General, New York (“Re:Source”).  She has also had two solo exhibitions at Gallery O, Tokyo in 2000 and 2001.

In 2002, the Poo-Chi series was published as a monograph by Nazraeli Press, and the book was awarded 2002 Photo-eye Award in Best Nude/Fugure Study. Her work has also been published in numerous exhibition catalogs as well as European Photography, NY Arts, Rhizomes.net, n.paradoxa, and F Newsmagazine.

  • solo exhibition

Alexandra Catiere

Letters

Dec 2 - Jan 8, 2005

Work by Alexandra Catiere is refreshingly straightforward. It doesn't conceal her love for her subjects. She photographs old letters that ended up in flea markets; some look aged and tired, some miraculously intact. In Catiere's artistic hands, these letters are resurrected and emerge full of life. The results are as fascinating as human portraits, capturing the sheer beauty of surface and texture. Russian-born Catiere recently completed a certificate program at the International Center of Photography, New York.

Cleverson Oliveira

Golden Years

Oct 21 - Nov 20, 2004

M.Y. Art Prospects is pleased to announce its second solo exhibition of the Brazilian-born, New York-based artist Cleverson

 The exhibition entitled Golden Years extends Cleverson's previous formal and thematic concerns in myriad directions.  Consisting of photography, video and sculpture, Golden Years is a meditation of sorts on the fleeting nature of life. Yet even when they plummet into what may ostensibly be dark themes, the works in the exhibition are more than contemporary memento mori as they existentially examine violence and death through the prism of childhood, which, in turn, are collectively anchored in a colloquialism known for the elderly that is the exhibition's title.

The disparity between works that include images of youth and those that refer to the twilight of life are poetic couplings that evince a philosophical concern with subject matter underscored with a mastery of artistic execution. Cleverson's subtle artistic strategies infuse his works with sublimity that produces formal and conceptual tensions. 

In the video entitled Golden Years, for example, a young boy voices his fears about a violently heinous crime that may have occurred or that may be purely fictional. The child's intensity of vocal delivery is offset by his seemingly innocent air of boyhood. Compounding this is a young girl whose appearance is interspersed with the young boy and who philosophically muses as to “where you go before you die.”  Reminiscent of music videos while citing such film genres as noir and horror, the piece is also evocative of the gothic and is accentuated via the wide range of formal techniques deployed including rapid-fire editing, idiosyncratic camera angles and lighting, and seamless meshing of soundtrack and imagery. Formal repetition of the video has a psychological effect achieved through the cacophonic barrage of sound and image as well as its overall cinematic rhythm.

Similar affectation can also be found in Cleverson’s photographs; here, however, the pictures are more demure but they are no less as powerful. The slightly blurred quality of the photographs attains an aesthetic sensibility closer to painting. The pictures consist of children holding skulls or human bones and dressed in carnival garb; these images have been taken out of their original context and now photographically reside somewhere between portraiture, the film still, animation, computer imaging and digital manipulation.  

Cleverson (b.1972) studied sculpture at the Escola de Musica e Belas Artes do Parana in Brazil.  He started working with children in 1995 when he produced Pias do Zodiaco, a short film which won the Ed Wood Prize at the 12th Annual Rio Cine Festival, with the children at Casa do Pia Boys Shelter in Brazil.  Since then he has been studying digital media through giving film and video workshops for children at Children’s Aid Society and Goodwill Industries.  In 2003, he had a solo exhibition at Museu Joaquim Nabuco in Recife, Brazil and Museu da Fotografia Solar do Barao in Curitba, Brazil, where he is from.   He has participated in numerous group exhibitions in New York, New Jersey, Pittsburgh and Chicago.   His first solo exhibition in New York "Clevelandia 2002" was at M.Y. Art Prospects in 2002 and was reviewed by Grace Glueck of the New York Times.

Marc Lepson

Breathe: a meditation on claustrophobia, confinement and comfort

Jul 10 - Jul 20, 2002

The following essay was written in conjunction with Marc Lepson’s solo exhibition at M.Y. Art Prospects           

A t  l i b e r t y ?

 By Erin Donnelly*

Responses to 9/11 have balanced the immediacy of emotions with an attention towards the arena of global politics.  Informed by an ongoing engagement of the space where the personal overlaps with external realities, Marc Lepson describes his latest installation "Breathe" as a meditation on claustrophobia, confinement and comfort.  In relation to a social context, a primary role of this work is to articulate the experience of individuals since 9/11 in ways that counter typical media representations.

While the installation specifically addresses the detainment of hundreds of Arab, South Asian, and Muslim immigrants who have been arbitrarily and secretly rounded up since 9/11, the viewer must navigate the space as a protagonist of sorts.  Control and danger are suggested by one’s tentative movements across the fragile glass tile flooring or around the narrow perimeter of the room lined with images of a Brooklyn detention center.  Underscoring the sensation of confinement, a neon sign commands "breathe" as if this vital human function were unnatural to the environment where "many people whose views or accents are unpopular feel a sense of suffocation."

Incorporating newspaper text and screen-printed imagery, a technique used in billboard production, the use of these strategies of mass communication against themselves is a strong element of Lepson’s work.  Disarming the authority of the prison facade behind which dozens of immigrants are held, screen-printed patterns shift in perspective to flatten the building’s girth.  Traditional Islamic textile and tile designs are evoked by the repetition of structural details that form geometric abstractions across the surface.  Effective and unsettling, the fracturing of the imposing exterior speaks to the invisibility of the detained immigrants whose names have been withheld from public record.

In another component of the installation, the effect of reducing the visual hierarchy of New York Times print layout to densely packed text blocks questions the importance and priority of the field of sequenced words and phrases. As passages lifted from the page and reorganized as a cross-section of the entire text, these headers retain their symbolic value through bold and capitalized formatting.  Isolated from their context where news reports compete with the larger scale of advertisements, these frankly stated headlines take on greater meaning.

In contrast to the set of master narratives generated by the mainstream, Lepson registers an alternate experience of the silenced.  It is significant that the process-based work of artists acknowledges that the situation is still unfolding.  "Breathe" raises important questions about the civil space of all Americans.

*Erin Donnelly is the Associate Director of Visual & Media Arts Initiatives at the Lower Manhattan Cultural Council.