 Alex Lukas and Brian Willmont present new work in their two-person exhibition at Park Life in San Francisco opening on May 9th. Both artists are members of Philadelphia's Space 1026 artist collective. Alex Lukas paints contemporary landscapes depicting moments of disaster and destruction as seen from a distance. He collects his imagery from various sources, including the mainstream media and blockbuster films, which pump out threatening messages on a daily basis. All paintings include an element of unease and anxiety, familiar feelings in a post-9/11 atmosphere. He works with a variety of materials, combining watercolor, ink, spray paint, acrylic, and enamel on paper, creating a dynamic textural as well as emotional effect. In addition to painting, Lukas runs a small 'zine publishing company called Cantab Publishing. He began making 'zines in 5th grade when he created his first Xerox comic and continued throughout highschool and college. Lukas attended the Rhode Island School of Design and has previously exhibited at White Walls in San Francisco and Galleri Loyal in Sweden. Brian Willmont describes the new American folktale in his Technicolor paintings that are tarnished with traces of American History, Pre-Renaissance and Persian miniature painting, as well as dreamscapes and the fantastic. Willmont received his B.F.A. from the LaMontagne Gallery and the Mills Gallery. | |||
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 Californian artist Mary Corse has been creating bold minimalist paintings since the '70s. In recent work, the artist has focused on light and its effects through large reductive painting; this is clearly illustrated in "Untitled (Inner White Band)" above. Corse uses a mostly monochromatic palette that contains deep blacks, pure whites and varied grays. In the past, the artist created a series of light boxes that investigated various illuminations more literally through wall-mounted structures. In the past five years, Corse has exhibited three times with the Ace Gallery in Los Angeles and was reviewed in Art in America for her 1996 exhibition with Ace. Previous exhibitions include works with the Peter Blake Gallery in Laguna and Chac-Mool Gallery in Beverly Hills, California. Corse has received awards from the Cartier Foundation (1993) and a Fellowship from the National Endowment for the Arts (1975). | |||
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 A recent collection of works by Indian artistic duo Jitan Thukral and Sumir Tagra are currently on display at Gallery Barry Keldoulis, Waterloo. Known for their prolific use of color, their works often reference advertising and consumerism as a response to contemporary culture. Entitled Somnium Genero 02, their current exhibition is a combination of paintings and sculptural works, all of which include vibrant imagery and surrealist influence. Symbols of man-made technology including planes, television screens and radio transmitters are interwoven with images of flowers, evoking a sense of natural beauty. Such hybrid imagery is affixed to canvases and some circular sculptural works, causing them to appear almost as enlarged, ornate Christmas decorations. Thukral and Tagra were both born in New Delhi, where they still currently live and work. Both artists attended Delhi College of Art, while Thukral furthered his studies at Chandigarh College of Art, Tagra chose to do so at The National Institute of Design, Ahmadabad. They have collaboratively exhibited at institutions including Bose Pacia, United States, The Museum of Contemporary Art, Shanghai and Teatro Armani, Milan. In 2006 they were honored on the list of 101 Emerging designers of the world, as featured in Wallpaper Magazine. | |||
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 Currently showing at Sarah Cottier Gallery, Paddington is a recent collection of paintings by Queensland based artist, Julie Fragar. Entitled Liar, Fragar's works include depictions of people in a multitude of scenarios. These include children at play, people appearing ambiguously alone and families enjoying each other's company. Often her paintings include an overlapping of imagery, with the inclusion of thin outlines of figures which appear in other works within the series. Judging by the title of the exhibition, one could assume that these depicted people's often contemplative expressions suggest that they are guilty of lying to themselves or those around them. Fragar studied at Sydney College of the Arts, before later earning her doctorate in visual arts at Queensland College of Art. She has received various awards for her art practice including the 2005 ABN Amro Emerging Artist Award, The 2001 Freedman Foundation Traveling Scholarship for Emerging Artists and the Griffith University Postgraduate Research Scholarship. She has exhibited widely on a national scale within various solo and group exhibitions. Galleries her work has been displayed within include Mori Gallery Sydney, Boutwell Draper Gallery, Sydney and Queensland Centre for Photography, Brisbane. Her work also belongs to permanent collections at Artbank, Gold Coast City Art Gallery and Ferrier Hodgson, Sydney. | |||
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 Jason Roskey's solo exhibit, Stay Or Pass On Through Or Whatever, at 33 Bond Gallery in Manhattan opens this week. The Texas-born Brooklyn transplant's works are composed of pencil, paint, ink, and collage on paper. His themes are derived from the New York City environment: urban life, architectural ruins, decay, identity, and the American Dream. Like many collage artists, his images are collected from recycled magazines and periodicals. In an interview with NY Arts, Roskey explains his image searching process, claiming to have a specific preconceived database of images that he wishes to utilize, which generally includes war-torn areas, political iconography, and images from fashion shoots. Stay Or... is a fresh body in comparison to his heavy handed paintings and drawings of his past life in Texas. The show demonstrates Roskey's conceptual maturing and (spatial) adjustments in his art making. Roskey has no formal training as an artist but attended Texas Tech University in Lubbock, Texas. | |||
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 Dirt Mansion, a Judith Supine solo show, is exhibiting in Brooklyn at Bushwick's English Kills Gallery until June. The graffiti artist's large-scale collages consist of magazine cut-outs and photographic images which he has digitally enlarged and painted. His palette is bright-hot pinks, neon yellows, greens, and blues that stand out on the urban canvas. Supine's figures are fantastic, distorted images of people, animals and situations mostly created from rubbish and found objects. In Dirt Mansion, he creates a gallery-wide installation of his contorted figures and imagery, set in a black box which adds to the eeriness of his convoluted sculptures. In addition to his dark side, Supine is playful with his environment, he once created a floating sculpture in the East River, a large-scale hanging banner which hung from the Manhattan Bridge, and he has pasted an anti-war collage onto the walls of Time Square's army recruitment station. In this, Supine inhibits the role of the street artist, remaining mysteriously under-the-radar. Although little is known about his background or his motives, Supine is considered a member an elite group of Brooklyn-based street artists, which include Bast and the duo Faile. In January, he exhibited with Bast in a show titled, Booby Trap, at the Leonard Street Gallery in London. | |||
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 Through in-depth self-examination artist Su-en Wong challenges issues of identity in relation to nationality, ethnicity, gender, adolescence and sexuality. Wong's self-portraits take place in a variety of coming-to-age environments, such as schoolyards, roller rinks and swimming pools. The artist casts her characters in these stereotypical scenes to reveal the close boundaries between adolescents and adulthood for a woman. Juxtaposing ideas of fantasy and reality with power and vulnerability, the artist's work speaks to the awkward stages of life where emotions and rationality run together. Wong was born in Singapore. She attended the Skowhegan School of Painting and Sculpture and is a M.F.A. graduate of the School of the Art Institute Chicago. She is a recipient of both an artist grant from the Joan Mitchell Foundation and from the New York Foundation of the Arts. Last year, the artist exhibited with Danese Gallery in New York and Shoshana Wayne Gallery in Santa Monica. | |||
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 Grant Barnhart, a previous DailyServing interviewee, is preparing for an upcoming exhibition entitled "Spread Eagle," on view from May 2nd - May 31st at Leslie's Art Gallery in Luxembourg. This will be the Seattle-based artist's first European exhibition. Barnhart investigates American archetypes of masculinity and heroism through wit and tounge-in-cheek humor. For his upcoming show, the artist will be using the images of cowboys and football players in absurdly vibrate color-field backgrounds. The newer metaphors of masculinity such as football players and cowboys are coupled with the artist's previous imagery such as urinating tanks. Together the images offer a glimpse into contemporary American culture and humorously sheds light on the current aggressive and confrontational nature of the U.S. Barnhart uses humor to disarm the viewer and allow for reflection on the American identity. Barnhart is a graduate of the Columbus College of Art & Design and is currently represented by OKOK Gallery in Seattle. The artist has a forth coming exhibitions with OKOK in 2008 and under their new gallery name Ambach & Rice in 2009. | |||
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 Saul Becker is a contemporary landscape painter who incorporates fragments of different places and sources to create dream-like natural scenes that are both beautiful and foreboding. Titles like "Last Look", "Entropia", and "Ghostland" give urgency to his compositions, which lack any human presence. His drawings are particularly evocative, showing incredible detail in the natural landscape as seen above in Ghostlog. Becker chooses a muted palette except for the leaves and branches in the foreground, which appear to be seeping green, a metaphorical reference to our slowly fading ecosystem. The fallen log in front is pushed into the picture plane as a strong symbol of destruction and life past. Becker received his B.F.A from Nova Scotia College of Art and Design in Halifax and his M.F.A. from Virginia Commonwealth University in Richmond. He has had solo exhibitions at King County Art Gallery in Seattle and at Anna Leonowens Gallery in Halifax, and has two upcoming exhibitions. The first is Works on Paper at Sunday L.E.S. in New York from April 24-May 25 and Eden's on Fire! at the Platform Gallery in Seattle from May 8-June 14. | |||
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 Iraqi-born artist Ayad Alkadhi uses Arabic calligraphy in the form of calligrams, or figurative imagery composed of interwoven written words, to create narratives within his work concerning the themes of religion, politics, and culture. His recent paintings reflect the war in Iraq and its psychological, emotional, and social ramifications for the modern Iraqi population. Alkadhi works in series, his latest series being Al-Ghareeb (which translates as "stranger" or "the strange one") and Father of No One's Son. Al-Ghareeb explores the complex emotions of fear, loss of control, anger, and rebellion in a war-torn society. Most of the figures used in this series are based on photographs of the artist himself taken by photographer/video artist Scott Gerst, lending an intensely personal aspect to the works while simultaneously drawing attention to the position and problem of the artist surrounded by war. The faces of the figures are obscured by weaponry and masks illustrated using the elegant Arabic script, as seen above in If Words Could Kill II, thus elevating the emotional content of the work by referencing imprisonment and torture. Alkadhi received a Bachelor's Degree in Engineering Sciences from the University of Technology in Baghdad. He has exhibited at the Orfally Gallery in Baghdad, but left Iraq at 23 after the first Gulf War. He has had a solo show at the Aeotea Gallery in Auckland, New Zealand before moving to New York in 2000 where he earned a scholarship to the ITP/Tisch School of the Arts graduate program at New York University. Since then, he has shown at the Fire Island Pines Arts Project's 9th Biennial, The National Arts Club and Nader Gallery in New York, and Exposure Gallery in Palm Springs, California. | |||
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 Appropriate, a recent collection of works by Sydney artist, Cash Brown is currently on display at Robin Gibson Gallery, Darlinghurst. The exhibition is comprised of various works on canvas which appropriate Gustave Courbet's infamous vaginal painting Origin of the World, 1866. While utilizing this image as a central source of inspiration, Brown has also incorporated influences from other western artists, painting Courbet's figure in the style of Tom Wesselmann's pop art nudes, integrating fish used in John Currin's The Moroccan and utilizing geometric Suprematist imagery ala Kazimir Malevich. Brown received her BFA from National Art School, Sydney and has had her work extensively exhibited on a national scale at institutions including the Museum of Contemporary Art, Sydney, Greenhill Galleries, Adelaide and MOP Projects, Redfern. She is currently the coordinator of Off the Wall, a showcase of works by unrepresented Australian artists, taking place as part of The Weekend Australian Art Sydney, Art Melbourne and Art Brisbane. | |||
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 Sullivan + Strumpf Fine Art presents Kate Shaw in "Redux", opening on April 15th in Sydney. Shaw paints landscapes that waver between pictorial illusion and complete abstraction and evoke images of the alpine wilderness and tropical jungles. The bottom half of her compositions is devoted to watery reflections, displaying a distinct Rorschach effect. She uses a cool pastel palette which varies between gentle washes of color and areas of dramatic saturation to create beautiful yet foreboding environments, inevitably awakening our own environmental consciouses and fears of global warming. Her landscapes are uninhabited, representing a time when nature has regained her control over mankind and lending a sense of apocalyptic immediacy. The artist describes her paintings as "disaster scenarios kind of...but only a disaster for humanity..". Shaw graduated from RMIT University in Melbourne with a Bachelor of Arts and then completed a Diploma of Museum Studies at Deakin University in 1997. She has exhibited in Australia and internationally, at Luxe Gallery in New York and at the Glendale College Art Gallery in Los Angeles. She had a solo exhibition at SSFA in 2007 and recently finished a studio residency in Brooklyn, New York. "Redux" will be at Sullivan + Strumpf Fine Art until May 4th. | |||
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 Tony de las Reyes first re-imagined Herman Melville's Moby Dick in 2006, with an exhibition at Carl Berg that drew the attention of national critics. Ahab's America, the continuation of de las Reyes preoccupation with Melville's classic novel, is now on view at Carl Berg Gallery. De las Reyes uses red bister to make lush stains on paper. At first glance, these stains seem unassuming. But a closer examination reveals the intricate marine scenes that play out within the jurisdiction of the stains: rollicking waves or the confident mast of a ship. In Ahab's America, de las Reyes has also included a bronze sculpture of a skull, an elongated resin spout, and text paintings that quote passages from Moby Dick. The exhibition is a well-crafted, visually alluring exploration of American identity. De las Reyes received his BFA from California State University and his MFA from the San Francisco Art Institute. He has had solo exhibitions at Bentley Gallery in Scottsdale, Arizona, Howard House in Seattle, and Artplace in Los Angeles. His work has been featured in Art in America and Modern Painters. Ahab's America runs through April 12, 2008. | |||
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 For the first solo exhibition in a season-long multidisciplinary program called The Proper Animal at Black & White Gallery in New York, painter Asja Jung presents Mating Season, a series of humanoid apes set in highly ornate environments. The purpose and actions of the figures are ambiguous, but the intense gaze of the animal captures our attention. The subject stands alone in the elaborate surroundings, both confronting and confusing the viewer, causing us to ponder it's purpose. Jung's original iconography raises ethical questions surrounding the human-animal relationship. Several of her canvases are 96x40 inches, thus addressing us at our own human scale. Jung has previously exhibited at the Gedock Art Gallery in Hamburg, Gallery Reich in Cologne, and Monkdogz Urban Art Gallery in Chelsea. She has also done several independent painting projects in the streets of Cologne. Last year, she was a centerfold in the online art magazine Perfect 8. In Germany, Asja Jung completed a Study of Preparation of Cadavers for Scientific and Medical Studies at the University of Bochum and in pathologies, morgues, and museums in the area as well as in Munich and Berlin. She then began Art Studies at the Muthesius Hochschule in Kiel, Germany. She describes her subject matter as "in between the world of Bosch and Gruenewald creatures and science fiction movie aliens". | |||
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 On display until November at the Rubell Family Collection (RFC) in Miami is a decade of Hernan Bas' works collected by the Rubell Family. The RFC is a museum-size collection of contemporary works dating back to 1960 housed in a converted 45,000-square-foot former Drug Enforcement Agency (D.E.A.) confiscated-goods warehouse. The Bas exhibit opened in early December 2007 to coincide with the movement of collectors and dealers flying south for Art Basel Miami. Hernan Bas is one of South Florida's most well received artists. Though only thirty years old, his work is included in the Museum of Modern Art and Saatchi Gallery permanent collections. He graduated in 1996 from the New World School of the Arts and lives and works in Miami. Bas' acrylic, watercolor, and gauche paintings take on the aesthetic of a blurry photograph, capturing intimate moments with a wide brush. His figurative subjects, if any, are always boys and men, and the viewer is invariably invited to peek into Bas' world as a gay man. Bas' vibrant pallet and the fairy tale and mythological scenes that he creates-often derived from history and high-art does not linger far from stereotypical utopian playgrounds. In the RCF exhibit, Bas features three multimedia works one of which is an underwater symposium, titled "Ocean's Symphony (Dirge for the Figi Mermaid)." The installation includes a phantasmagorical documentation of an underwater dance searching for the Figi Mermaid. In the gallery space adjacent lays an archive of ocean treasures carefully collected including a life-size replica of the mummified mermaid herself. | |||
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 Videomaker Sadie Benning began making films at age sixteen with her Fisher-Price Pixelvision toy camera, a gift from her avant-garde filmmaker father. In her early videos from the 1990s, she retreated to the comfort of her bedroom to film intensely personal single channel videos exploring the themes of emerging sexuality and lesbianism. Experimental filmmakers like Benning loved the black and white grainy images and box frame of the Pixelvision, despite it's failure on the general market. These videos were referred to as "Pixelvision" videos, and the artist was seen as a pioneer of "Pixelvision". In 1993, her videos appeared at the Whitney Biennial. In 2007, the Wexner Center organized "Sadie Benning: Suspended Animation," which was her first museum retrospective. Now showing at Toronto's Power Plant is Benning's 2006 video, Play Pause, directed in collaboration with Solveig Nelson. This two screen video installation is made from hundreds of Benning's drawings which follow anonymous urban figures through public and private city spaces. Throughout the course of a day, the characters move through a city resembling Chicago, engaging in quotidian city activity which then leads to drinking and dancing at night. The video ends at the airport at dawn with a security guard scanning bags and two people having sex on the wing of the plane as it takes off. Play Pause is similar to Benning's earlier work in that it follows characters as they go about the process of defining themselves and their sexuality. In addition to her film and video practice, Benning is a former member and co-founder of the band Le Tigre. | |||
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 For his first show with Freight +Volume in New York, Canadian artist Kim Dorland will be presenting several new paintings in the exhibition "North," in which he explores placing figures in various surroundings. Born in Alberta, Dorland draws his imagery from his native landscape in large-scale representations of a forgotten mid-century suburbia and its surroundings, ennobling the banal. His settings are as much the subject of his canvas as are Edward Hopper's peripheral locales. Dorland's strong compositions are punctuated by a high chroma palette and executed in a non-traditional media mix of oil, acrylic, and spray paint. His immediate and confident brushwork, along with the use of thick impasto combine to depict the familiar in a vibrant and unexpected way. Dorland received his B.F.A. from the Emily Carr Institute of Art and Design in Vancouver and his M.F.A. from York University in Toronto. He has had several solo exhibitions, having shown at Angell Gallery in Toronto and Kasia Kay Art Projects in Chicago. "North" will open on April 5 and will be Dorland's first exhibition in New York. | |||
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 Houston-based artist Robert Pruitt makes beautifully crafted work, but his exceptional craftsmanship is only a tool for exploring the ways in which African Americans have been represented throughout history. An exhibition of Pruitt's new work, titled Two Tears in a Bucket: Considering The Alcubierre Metric, is currently on display at Mary Goldman Gallery in Los Angeles. The exhibition presents a series portraits on Kraft paper. Predominately rendered in orange and black, the portraits exude an introspective confidence, but they also suggest a disturbing coalescing of misrepresentation. In Pruitt's work, Historic imagery merges seamless with contemporary imagery. The Alcubierre Metric, also known as Alcubierre Drive or, in Start Trek terms, "warp drive," is a mathematical speculation. Alcubierre Metric proposes a measure of space time in which you can travel faster than light, something that Pruitt hopes to do through his current work. Speeding up the dialogue surrounding representations of African Americans may, hypothetically, launch us into the future. Pruitt is a member of Houston collective Otabenga Jones & Associates, which participated in the 2006 Whitney Biennial. Pruitt has also shown at the Studio Museum in Harlem and the Contemporary Arts Museum in Houston. Two Tears in a Bucket opened on March 15thand runs through April 19th. | |||
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 For her first LA solo show, painter Korin Faught will be exhibiting a series of twenty two oil on canvas paintings and drawings at Corey Helford Gallery from March 22-April 19, 2008. Faught is influenced by mid-century modernity, both in fashion and interior design. She depicts young and stylish couples and twins together, but not necessarily engaged with one another. They seem slightly self-conscious and distracted, their gazes often divergent. She uses a neutral palette, which is complemented by highly diffused indoor lighting and a formal composition. However, this neutrality is enhanced by the subtle depth seen in the white of her palette. In "The Couple," her ability to depict an entire range of color can be seen in the suggestion of the pinkish skin underneath the sheet, the warm white of the wall, the coolness of the blouse, and the patterning of the pillow. Faught received her B.F.A. from Art Center College of Design in Pasadena in 2004 and has previously exhibited at Merry Karnowsky Gallery and Gallery Nucleus in California. She has also been featured in the Italian magazine Abitare and on Juxtapoz.com. | |||
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 The Whole of Everything,a recent collection of works by Del Kathryn Barton is currently showing at Karen Woodbury Gallery, Richmond. Often of a dark, fantastical nature, Barton's paintings, sculptures and ink works portray child-like characters, mutant creatures and deranged human forms. Best known for her vibrant water colours, Barton's monochromatic, whimsical ink works also make a prominent appearance within the exhibition, and depict a sexualized fusion of fantasy worlds and naked bodies. Barton currently lives and works in Sydney, Australia. She earned a Bachelor of Fine Arts from the College of Fine Arts, Paddington, where she later worked as a drawing lecturer. She has won various awards for her art practice, and most recently became the winner of this year's prestigious Archibald Prize - for a self portrait with her two children entitled You Are What Is Most Beautiful About Me, A Self Portrait With Kell and Arella. Her work has appeared in various solo and group exhibitions around Australia, while also appearing internationally in 2002 within Half a World Away: Drawings from Glasgow, Sao Paulo and Sydney, at Hallwalls Contemporary Arts Centre, New York. | |||
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 The current exhibition at Kips Gallery, Fay Ku: A Survey of Works 2004-2008 curated by Brendon MacInnis, demonstrates Ku's most significant works to date. Ku's exhibit coincides with Asian Contemporary Art Week in New York, which runs from March 15-24th. The Brooklyn-based artist is simultaneously showing at Sam Lee Gallery in Los Angeles in a two-part group exhibition, her part titled, Deviance. Born in Taiwan but raised in suburban America, Fay Ku's work explores the dichotomy of two worlds. Her sparse graphite, watercolor, and ink drawings on paper display Eastern influences, at times referencing the Japanese woodcutting technique, ukiyo-e or "pictures of the floating world," though the subject matter is purely her own. Children and women figure predominately in Ku's work, often presented precariously straddling the divide between myth and reality. Because of the scale of Ku's chosen canvas and the subject matter therein, the viewer is forced to investigate every minute limb and figure floating among the large stark white paper. In Deviance, there is a metamorphosis of Ku's subjects where feminism, coquettishness and innocence are faced with uncertainty and the treacherous adult world. Fay Ku received her MFA from Pratt Institute (2006) in Brooklyn and bachelor's degrees in visual arts and literature from Bennington College, Vermont (1996). | |||
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 Australian artist Sam Leach, who received his Bachelor of Economics from Adelaide University in 1993, is interested in how wealth is communicated through architectural spaces. There is often an ambiguous attitude towards the pursuit of wealth, and a sense of alienation in its presence. In contemporary culture, corporate spaces must balance a healthy display of success without being too overbearing or excessive in the eyes of the visitor. Several interior features have come to be seen as "corporate," such as halogen lights, brushed steel elevator doors, and polished beech boardroom tables. This same ambiguity towards wealth is seen in 17th-century Dutch still life painting, which is full of symbolic references to mortality, wealth, and corruption, including skulls and spoiling luxury foods. Sam Leach, who also received a Bachelor of Fine Arts in Painting from RMIT in 2003 and is in the process of completing his Master of Arts (Fine Arts) at RMIT, combines his economic and artistic interests in his exquisite still life paintings for the Sullivan + Strumpf Fine Art show titled Negentrophies. He chooses preserved game animals, insects, skulls, and other objects indicative of wealth as his subject matter. The artist states he is "investigating how the aesthetics of corporate space convey attitudes towards wealth and power using the conventions and principles of Dutch painting as a frame of reference." The artist paints darkly lacquered, fascinatingly detailed and hauntingly beautiful images of animals and relics. Meticulous attention is paid to each subject, echoing the fine calibration seen in nature. He encases each painting in a layer of glossy resin, recalling the glossy expanses of polished stone seen in corporate spaces. Through exquisite lighting and compositional simplicity, Leach evokes the transience of life and wealth. Leach was voted one of the '50 Most Collectable Artists' by Australian Art Collector magazine in 2007 and 2008. The exhibition Negentrophies will be showing at Sullivan+Strumpf Fine Art in Sydney from March 18 - April 6, 2008. | |||
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 Italian-born artist Angela DeCristofaro opened a exhibition entitled Wake, featuring a new series of paintings at Commissary Arts in Venice, California yesterday evening. The exhibition is continuation of ideas and images explored in her 2006 exhibition titled Totality Shaped Out of Nothing which was exhibited at the Metro Gallery in Pasadena, California. Freely appropriating images and ideas from contemporary culture, the artist often layers wedding cakes, water towers and vintage clothing styles in her figurative compositions. DeCristofaro moved from Italy to Southern California in the 1970's and returned to Italy to complete her BFA in painting and drawing at L'istituto D'arte e di Restauro in Florence. The artist has exhibited at Sonrisa Gallery in Los Angeles, Randon Gallery in Highland Park, California and the Italian Cultural Institute Gallery in San Francisco. | |||
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 The Gagosian Gallery is unarguably one of the most successful contemporary art galleries of our time. The current exhibition of works by the Los Angeles-based artist Ed Ruscha gives us new reason to delve into history and understand what it takes to become a historically important artist. Ruscha seems to intuitively know which new galleries would go on to claim their place in art history, and he wants to show his work in that context. His list of exhibitions includes Ferus Gallery in 1963, Nicholas Wilder Gallery 1967, Texas Gallery 1973, MTL 1978, Galerie Rudiger Schottle 1978, and Galerie Tanja Grunert 1984. Although these galleries may not be household names, a quick check will make it clear, (considering the other artists they showed early in their careers), that these are ground breaking establishments, and they've all shown Ruscha. Another thing that sets Ruscha apart from the field, he doesn't follow trends, he sets them. Quite possibly the first artist to make work using exclusively text, (his earliest text pieces are from 1963), clearly predating Laurence Weiner, Martin Maloney and Christopher Wool. While most artists wanting art world recognition move to New York, Ruscha stayed home in LA. He along with John Baldesarri, Paul McCarthy, Bruce Nauman and a few others trusted the future of LA. He also shares with Nauman and McCarthy a restless creative spirit, producing work in all mediums available. Maybe not good for the market originally, but it's certainly not a problem for them now. Fast forward to the present day. For his current exhibition at Gagosian, Ruscha again heads into new territory. Unafraid to challenge his own previous ascertains, this time he picks works from his own history, and pairs them with his new version of the original. "Tool and Die", "Tech-Chem", and "Trade School" take on a whole new meaning when combined with fences, buildings and barbwire. The original works done in nostalgic black and white have now been updated with futuristic color. Ruscha Ed Ruscha, at Gogasian Gallery, London until March 20, 2008 | |||
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 Currently exhibiting at Mary Boone Gallery in New York until March 1st is German artist Kati Heck. Heck earned her Masters in Painting from the Akademie voor Schone Kunsten in Antwerp and has recently exhibited at Annie Gentils Gallery in Antwerp and Marc Selwyn Fine Art in Los Angeles. The artist has previously been featured on DailyServing. Heck creates colossal paintings that link cultural imagery to give the allusion of collage. Formally reminiscent of Rita Ackerman and often somewhat disturbing, Heck's visual language includes references to art history, pornography, cartoon, and film. Each painting presents a new narrative, such as in "No Time for Masterpieces: Ascension Commando," which uses the gazes and gestures of the characters to direct the viewer across the canvas. This seemingly nonsensical, but incredibly theatrical, composition takes place over an image of the German flag, executed in huge painterly gestures. The anatomical anomalies and burlesque quality of these characters is initially confusing, but Heck's compositional tour de force is helpfully arranged according to our natural left-to-right scanpath. The masterful execution in the artist's chosen traditional medium of oil adds technical sophistication, and references to Magritte enhance the integrity of the work. By juxtaposing the formality of academic painting with inchoate imagery, Heck engages the viewer in an intellectual striptease. We want to know more. | |||
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 Opening this weekend at Freight and Volume in New York City will be "I and Thou," new paintings by Israeli-born artist Ophrah Shemesh. This will be the artist's debut exhibition with the gallery, and her third in NYC. Her work confronts and explores the psychology of the gaze, objectifying women by placing them in vulnerable and seductive situations. Shemesh is aware that she is working in a long art historic line of artists whose work functions through the gaze, and she addresses the notions of objectification with a quite empowerment embodied by her subjects. Her current body of paintings is based on the '70s art house film "Night Porter," a tragic love story of a woman and her Nazi captor. Shemesh received her BFA from the Bezalel Academy of Art and Design in Jerusalem, and continued her studies at the New York School of Drawing, Painting and Sculpture (NYSS). She has completed solo exhibitions at Stephen Wirtz Gallery in San Francisco, Baumgartner Gallery, New York and Mario Diacono Gallery, Boston, and her work has be featured in Art in America and Bomb Magazine as well as several other publications. | |||
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 Monika Behrens Now showing at Horus and Deloris Contemporary Art Space, Pyrmont is the latest exhibition by Sydney artist, Monika Behrens. Entitled "Cool the Globe: Glam Barbie," the vibrant paintings are a tongue-in-cheek reflection of the media’s depiction of global warming. Polar bears can be seen stuffed inside martini glasses, while elongated structures at a windfarm are juxtaposed against the superfluous height of Barbie's legs. Behrens recently completed a Masters of Fine Art at the College of Fine Arts, Paddington. "Cool the Globe" is only her second solo exhibition, yet she has appeared in various group exhibitions both locally and internationally. The prominent inclusion of Barbie dolls within the series tie in with Behrens' previous solo show "Silent BANG," which depicts other children's toys such as plastic soldiers, babushka dolls and train sets in quirky scenarios. In 2005 she was awarded the Viktoria Marinov Scholarship in Art, and has appeared in several publications including Australian Art Collector, The Sydney Morning Herald (http://www.smh.com.au/) and Art and Australia. All works on display are able to be purchased. | |||
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 Currently on display through March 16th at Brooklyn gallery Jack the Pelican Presents are painters Robin Williams and Nathan Lewis in two separate solo shows within the same complex. Williams paints haunting young children stuck in the midst of play, while Lewis is a history painter. Williams' children are depicted alone or in multiples, engaged in quotidian childhood activities, such as drinking juice, jumping on trampolines, and blowing bubbles. The subjects have a disturbed quality, but are executed in a colorful palette. The limited surroundings allow the viewer to focus on the children, who seem terrified, as in Double Mint. The young twins are stuck in a gummy embrace, with their rheumy eyes glancing outward and their soft flesh displaying an unhealthy pallor. Formally recalling earlier figurative artists Lisa Yuskavage and John Currin, Williams departs from their purely aesthetic approach by portraying the anxiety-riddled psychological aspect of modern childhood. Williams received her B.F.A. in 2006 from Rhode Island School of Design and has previously shown at Nathan A. Bernstein & Co., Ltd. in New York and at 111 Minna Gallery in San Francisco. Nathan Lewis creates epic scenes of fear and disaster that often directly reference authors and events of the past. His compositions typically include several people in a dramatic state of panic, evoking themes of catastrophe and mortality. Lewis draws on our post-9/11 perpetual state of apprehension, allowing viewers to relate to the collective terror and fundamental futility presented in these large canvases. Lewis received his M.F.A. from the Tufts University and his B.F.A from the Lyme Academy College of Fine Arts. He has exhibited at Golden Street Gallery in New London, CT. This is the first solo show in New York for both Williams and Lewis. | |||
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 Christof Mascher's show at The Happy Lion Gallery in Los Angeles features a whimsically insidious array of paintings and drawings. Titled 'Fake Empire,' the exhibition is the artist's first U.S. solo show. Mascher's work eerily merges the expressionistic mark-making with illustrative, though far from literal, imagery and his paintings call to mind scenes from dark fantasy novels. While exhibition titles often seem removed from the work included, Mascher certainly seems to be masterminding a 'Fake Empire' in which murky expanses of water connect icy fortresses. Mascher, a German artist who lives and works in Braunschweig, attended the Braunschweig University of Art and the University for Applied Sciences and Arts in Hanover. His recent exhibition at Galerie Michael Janssen in Cologne, titled 'The Ghost Yard,' featured paintings on wood that were as dark and fantastic as the work at Happy Lion. However, the paintings and drawings currently on view in Los Angeles have significantly more perspectival depth to them, making it seem as though Mascher has created his own dimensional world. Mascher, who is new to the international art world, has also shown at Kunstverein Hannover and Figge Von Rosen Galerie, where he participated in 2006 show 'Cropped: Young Artists from European Academies.' 'Fake Empire' runs through March 1st. | |||
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 Artist Taylor McKimens is currently presenting a new group of paintings featuring his signature illustrated grotesque figures and objects in an exhibition titled "Sweet Dreams of Phoenix" with Gallery Loyal in Stockholm Sweden. The artist renders the mildly monstrous images with color and compassion, drawing influence from sources like MAD Magazine and Garbage Pail Kids. In addition to his paintings, McKimens also created large graphic cutouts that serve to bring his paintings into real space. McKimens began to reach national attention shortly after his graduation from Art Center College of Design in Pasadena, CA when the artist began to exhibit with New Image Art Gallery in Los Angeles. Since, the artist has exhibited with Deitch Projects and Clementine Gallery in NYC, as well as Annet Gelink in Amsterdam and Perugi Arte Contemporanea in Padova, Italy. Mckimens has been previously featured on DailyServing. | |||
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 Abstraction and it's placement in the contemporary situation is clearly addressed in the current installation at Galerie Michelen Szwajcer, exhibiting the Austrian artist Heimo Zobernig. Here he confronts these issues head on, in his first solo exhibition in Belgium. The first room of the exhibition presents a tame presentation of an abstracted domestic setting. It's a radial remuneration, you can see beds, heads, chairs, and stairs, but clearly no one lives here, this allows us the space necessary to ponder arts placement in the home. Proceeding to the back room one is confronted with the mind numbing wow of geometric abstraction. While stunning, they question the placement of art objects in a tranquil environment, while radically altering the sense of ease. Using tape as an art material, they reference the work of artists such as John Franklin, (time clock and type writer ribbon), or Chris Wilder, (duct tape on canvas), in their use of an easily available substance for the construction of new meaning. What at first seems to be geometric abstraction is really process painting. Sometimes it's tape, sometimes just paint, either way these objects suck you in, inviting the viewer to revel in their constructed beauty. In flipping the canvas to a diamond form, these jewel like objects are fractured, polished and refined to perfection. Having no subject allows us to luxuriate in their beauty. Zobernig has previously exhibited at Galerie Anslem Dreher, Berlin and Galeria Juana De Aizpuru, Madrid. | |||
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 Rooted in stenciling and street art, Christofer (Tofer) Chin's paintings depict abstracted landscapes and fantasy environments. Blurring the line between nature and architecture, Chin's rendering of the landscape is represented by geometric abstraction that references architectural elements. These reductive paintings make use of unnatural vibrant colors and geometrical devices which cause a psychedelic dream-like quality where abstract shapes become mountains, roller coast tracks, or large zig-zag lines. Christofer Chin received his BFA from Otis College of Art and Design, Los Angeles in 2002 and was included in Otis' 2006 exhibition Otis LA: Nine Decades of Los Angeles Art at the LA Municipal Art Gallery, Barnsdall Park. Chin has exhibited his work internationally, and a book of his photography, Finger Bang!, was released in 2006 with book signings at the Museum of Contemporary Art, Los Angeles and POP in Sao Paulo, Brazil. Chin is featured on the cover in the November issue of Flaunt Magazine. | |||
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 In an old wallpaper factory in the West End of Leipzig, Germany is the collective gallery space Tapetenwerk Galerien. One of the contained galleries is display, a space directed by Galerie Emmanuel Post and Kunstraum Delikateessenhaus. Next week display will open the new exhibition "Unschuld in tausend Noten," featuring watercolor paintings by Berlin-based artist Caro Suerkemper. The artist's work often contains heightened sexual imagery, exploring the mechanics of seduction and submission while employing the female form. Formally, the paintings utilize geometric abstraction to reduce the subject and detach it from a greater context. Suerkemper studied at the Akademie der Bildenden Kunste Karlsruhe from 1984-90 and since has exhibited internationally with shows at Galerie Haus Schneider, Ettlingen and Galerie Wallner in Malmo, Sweden. | |||
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 Daniel Richter's current show at Regen Projects in Los Angeles couples expressionistic painting with pop-culture imagery. Loud colors and kinetic brushwork characterize Richter's work and enhance the rockstar warfare that occurs when the subjects in his paintings clash with the vibrant surroundings. The show at Regen Projects also features a series of drawings that give a different picture of Richter's practice. Less confrontational than the oil paintings, the drawings give a clearer glimpse into the loose narrative thinking that is part of Richter's oeuvre. Richter, who lives and works in Berlin, studied at Hochschule der Bildenden Kunste in Hamburg, Germany. He has shown at David Zwirner Gallery in New York, Contemporary Fine Art in Berlin, and the National Gallery of Canada in Ottawa. A survey of his work, curated by the Denver Art Museum’s Modern and Contemporary Art curator Dr. Christopher Heinrich, recently graced the Hamburger Kunsthalle in Hamburg. Richter, who once worked as an assistant to famed painter and Sigmar Polke protege Albert Oehlen, has taught at the Akademie der Bildenen Kunste in Wien and at the Universitat der Kunste in Berlin. His show at Regen Projects runs through March 1st. | |||
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 Multi-talented artist Donald Urquhart is currently showing stylized paintings, drawings and mixed media at Jack Hanley Gallery in LA. Urquhart devised the exhibition, titled The End, to be a farewell to the past and the included work feels like a montage of 20th Century iconography. Urquhart, who fell in with the infamous performer Leigh Bowery in the 1980s, became an intricate part of London's campy nightclub scene, collaborating with Bowery and even co-running a club called The Beautiful Bend. As Urquhart suggests in his writing on Bowery, the flashiness of the nightclub life influenced his stylized aesthetic. Urquhart's work was included in the Saatchi Gallery's Unreal: Altered Perspectives in Painting and in Beck's Futures at the ICA in London. His recent solo show at Maureen Paley Gallery in New York included multiple renderings of girls and his 2006 exhibition at Herald Street Gallery in New York also featured girl-centric imagery, broaching everything from school girl play to pin-up girl glamor. The End at Jack Hanley Gallery will remain on view through February 12th. | |||
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 On view from January 12 - February 10, 2008 at Gallery 94 in Soho is a group exhibition featuring James Brittingham, Devon Costello, Michael Greathouse, Jim Lee, Sylvan Lionni and Pete Pezzimenti titled CHANGECASE - curated by Steven Stewart and Yasha Wallin, co-directors of Freight + Volume. Bringing diversity and individualism while sharing common concerns in extending the traditions, language and possibilities of painting; CHANGECASE will aim to spotlight the properties inherent within painting as an art object and consider the interaction of painting with alternative media. By uncovering and combining essential characteristics from multiple modes of art making, the work challenges the notion of definability. | |||
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 "A week of Sundays", now showing at the Tim Olsen Gallery, Woollahra, showcases an exciting collection of works by David Bromley. The exhibition includes an array of canvases, embroidery and works on linen. Part of the display explores the female form in a multitude of nudes and portraits, while the other is a discovery of children at leisure, stylised as vintage graphics. Bromley emigrated from England to Australia as a child, where he has remained ever since. His work has appeared in numerous group and solo exhibitions, including the 2004 Toronto International Art Fair, Zaishu Show at Jan Murphy Gallery, Brisbane and the 2006 Melbourne Art Fair. All works on display are able to be purchased. | |||
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 Currently showing at Hardware Gallery, Enmore is Josonia Palaitis' evocative paint series Metamorphoses. Inspired by Ovid's collection of poetry by the same name, the artist's works provide a modern spin on classical myths such as Venus and Adonis, The Abduction of Europa and The Cave of Envy. Palaitis received her Diploma of Art Education from National Art School in Sydney, where she currently lives and works. She has received several awards for her art practice, including the 1994 Doug Moran National Portrait Prize and the People's Choice Award at the 1995 Archibald Prize Exhibition. She has been commissioned to create works of highly notable subjects including ex-Australian Prime Minister John Howard and his wife Jeanette, TV journalist Ray Martin and the victims of the Childers Backpackers Hostel fire. | |||
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 Jim Shaw's "Dr. Goldfoot and his Bikini Bombs" at Metro Pictures re-opened January 4th with the addition of many new works. The original exhibition of paintings, drawings, and sculpture, on view since November 30 has doubled in size with the addition of Shaw's previously self-edited work. Included in the show are Shaw's series of "Dream Objects" that use sculptural forms of human body parts. Also on display are giant sculptures of half heads and noses, as well as a monumental 11x15 foot painting that merges a self portrait of the artist with one of Vincent Price. During the initial installation in November, Shaw edited works he deemed as unresolved, undesirable or noncommercial. His vision of a "traditional" gallery exhibition is placed aside in the second half of the show as he vulnerably exposes these "unfinished" pieces, illustrating the ongoing artistic practice. Jim Shaw has exhibited widely in the US and internationally since the late 1980s. Among his previous series are "My Mirage" (1985-1990) which follows the experiences of a fictional boy named Billy as he grows up during the 60s and 70s; "Dream Drawings" and "Dream Objects," (1991-present) featuring recreated imagery and art objects from the artist's dreams; and works defining the evolution, dogmas and rites of his fictitious religion "Oism" (2000 to present). Recent solo shows include PS1, New York ("The Donner Party"); Magasin Center of Contemporary Art, Grenoble; and Kunsthaus Glarus, Switzerland. | |||
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 Khalif Kelly's first solo show at Thierry Goldberg Projects, "Recess," will be on display from January 11-February 10. Kelly's paintings depict African-American children playing with each other on playgrounds, alone and pensive, and in groups around props, such as tree houses and laundry lines. Kelly's vivid palette, spatial flatness, and portrayal of African-American life call to mind the figurative work of Jacob Lawrence as well as the puppatoon animations of George Pal, especially the "Jasper" series. Like Pal's characters in the "Jasper" series, Kelly's forms have been winnowed down to basic geometric shapes and flat blocks of color make up nostalgic backdrops in which children cluster in dynamically charged groups. Khalif Kelly was born in Nashville, Tennessee in 1980 and grew up in Arlington, Texas. He currently lives and works in New Haven, CT. He holds a BFA in painting from The Art Institute of Chicago, and is currently enrolled in the MFA program at Yale University. | |||
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 Petra Projects is the work of young curator Anastasia Rogers and has been presenting exhibitions in the New York area since 2006. On a rotating schedule of quarterly exhibitions Rogers presents emerging and mid-career artists from NYC and beyond. For her first show of the year, Petra Projects will present "These Wounds Will Beckon the Flood," by painter Aaron Maximillian Gleason, to be held at the Mehr Gallery in NYC. Gleason is a figurative artist who is interested in the area between physical and non-physical matter, often aiming to render energy through visual symbols and metaphors such as clusters of flowers. The artist predominately uses a muted palette consisting of flesh tones, except for areas of heightened pockets of energy, which are represented by intense pinks and reds. Gleason currently lives and works in New York and is a graduate of Rhode Island School of Design (2002) with a BFA in sculpture. The artist has exhibited nationally and recently participated in Scope Art Fair, Hamptons, NY. | |||
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 Currently on view at Antwerp's newest gallery, Base-Alpha, are two solo shows by the young Antwerp artists Rachel Agnew and Lieven Segers. Seeking to break open the Antwerp art sceane, Base-Alpha will be presenting young unknown talent that have previously not found a place in the hermetic Belgian art scene. Run by, Captain: Bart Vanderbiesen and 1st Commander: Geoffrey de Beer II, the reining look at this gallery is a sort of Futuristic Adrenalized Post Punk. In this, her first solo gallery exhibition Rachel Agnew presents large scale paintings that sarcastically celebrate abundance. Be it credit cards, cash or beauty, these self portraits relish in excess, but their crude making under cuts her belief in this system. While seductive and repulsive at the same time, they ask us to question our involvement in the selfish capitalist system. Having received his MFA from Post Sint Joost, Breda (Holland) in 2001, Lieven Segers has previously exposed at De Brakke Grond and Stella Lohaus Gallery. Segers takes this opportunity to show a wide range of graffiti influenced, text based works. Directly addressing the anxieties that are a common component in contemporary life. His is a whimsical attempt to find a way out, in our desperate times. Rachel Agnew "Collateral Damage" and Lieven Segers "Blow-ups and Other Things" December 15, - January 28, 2008 at Base-Alpha, Antwerp, Belgium | |||
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 Artist Ross Bleckner recently exhibited a series of new paintings at the Mary Boone Gallery Chelsea location. Bleckner employs a series of leaf-and-vine pattern in each of the works which optically seems to hover over the painting surface. The "Meditation" paints reference spiritual imagery such as mandalas. The paintings, which use both symbolic and organic forms simultaneously, operate on both a formal and conceptual platform. Bleckner was born in New York in 1949, graduated from New York University in 1971 and California College of the Arts 1973. He currently lives and works in NYC. Blecker began showing with Mary Boone in 1983, and since has completed a dozen shows with the gallery. Addition recent solo exhibitions include works at Ruzicska Gallery, Salzburg, Austria "Dialogue with Space", Esbjerg Art Museum, Esbjerg, Denmark and Maureen Paley/Interim Art, London, England. | |||
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 Alber Oehlen, a German artist who currently lives and works in Bizkaia, Spain has been on the international radar for decades as a provocative painter. The artist studied with Sigmar Polke in the mid-seventies at Hochschule fur Bildende Kunst, Hamburg and emerged in the 1980's along side artist Martin Kippenberger. Oehlen challenges painting today by rigorously investigating and referencing historical painting from many periods, simultaneously. The scope of his painting references allows the artist to point out some of art's failures, something that Oehlen is very interested in revealing. The artist recently exhibited "Spiegelbilder" with Max Hetzler in Berlin, and "The Good Life" at the Nolan / Eckman Gallery in New York. Oehlen has appeared in countless publications, and in April of 2003 Artforum conducted an interview between Oehlen and Eric Banks. | |||
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 Glasgow-born painter Kaye Donachie bases her work on found imagery and film footage of rebellious members of counter-culture groups. The work directly confronts power structures and the dynamics of social groups to reveal patterns found in cultural references that have become a part of a collective consciousness. The artist also manipulates these references so that they operate as a narrative, building connections between the past and the present. Donachie is a graduate of the Royal College of Art in London and attended both the Hochschule der Künste (H.D.K) in Berlin and the University of Central England, Birmingham. She currently lives and works in London. Recent exhibitions include "Monte Verita" at Maureen Paley Gallery and |