http://dcktcontemporary.com/ Contemporary Art Gallery, Lower East Side, New York City en Copyright 2013, DCKT Contemporary, Inc. Tue, 21 May 2013 08:31:02 -0400 <div class="exhibition-subtitle">PLAYLAND</div> <div class="exhibition-dates">May 17 - July 7, 2013</div> <div class="exhibition-opening">Opens Thursday, May 16, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2414"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/54/54707.jpeg" alt="" height="231" width="500" /></a> <p>Maria E. Piñeres, <em>Hic et Nuc (Here and Now)</em>, 2012</p> <p> cotton floss on plastic mounted on wood panel, 22 1/2 x 48" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">PLAYLAND, MARIA</span> E. PI&Ntilde;ERES&#39;s fourth solo exhibition with the gallery. PI&Ntilde;ERES&#39;s signature medium of stitched needlepoint places the nude figure in an optical duel with the eye-catching graphics of the pinball machine playfields and backglasses of her adolescence.</p> <p><span class="caps">PLAYLAND, </span>a now defunct 1980s&#39; Times Square gaming arcade, stood as a shiny, visually stimulating beacon to youth, nestled in perverse contrast with the then ubiquitous porn palaces, peep shows and sex shops. PI&Ntilde;ERES&#39;s works set youthful rent boys and pin-up girls into the contextual backdrop of pinball, where their sexuality can be seen in a playful and sentimental light void of shame and smut. Preserving the common pinball themes of luck and chance, the Latin phrases that appear as machine names lend airs of levity and existentialism, alluding more to the real game of life than one of fantasy.</p> <p>Hic et Nunc (Here and Now), Ex Malo Bonum (Good out of Evil) and Caveat (Beware) are among PI&Ntilde;ERES&#39;s largest works to date and their heroic nude figures enliven more narrative landscape scenes. Varied stitching patterns and angles create a mixture of textures and added shading, allowing for the expansion of the image graphics while referencing historic Bargello needlework. The Latin phrases recontextualize the imagery and mask the actual pinball game names, which are often double entendres. </p> <p>PI&Ntilde;ERES lives and works in Los Angeles. Other solo exhibitions include Walter Maciel Gallery (Los Angeles). Group exhibitions include Stitched at the Armory Center for the Arts (Pasadena, CA), Pricked: Extreme Embroidery at the Museum of Arts &amp; Design (New York) and Celebrity at the Scottsdale Museum of Contemporary Art (Scottsdale, AZ). She has been included in publications such as The Wall Street Journal, The New York Times, Time Out New York, The New Yorker, Time, The Village Voice and V.</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 21 Orchard Street (between Canal &amp; Hester). <br /> Hours are Wednesday through Sunday, noon -6pm.<br /> For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/2414 <div class="exhibition-subtitle">Criminal Minded</div> <div class="exhibition-dates">March 15 - May 12, 2013</div> <div class="exhibition-opening">Opens Thursday, March 14, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2413"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/54/54483.jpeg" alt="" height="373" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present Criminal Minded, <span class="caps">RYAN HUMPHREY</span>&#39;s fourth solo exhibition with the gallery. This show is of and about New York City: what makes it simultaneously so alluring and so difficult; what draws certain people in and repels others; the daily aggravations and the elusive dreams; what can sometimes make it a monument to money and greed. <span class="caps">HUMPHREY </span>approaches these dichotomies with a sense of humor and through a modified version of civil disobedience.</p> <p>Almost all of the components of the exhibition have either been liberated from or found in the public domain of the street. Some works in the exhibition make use of police barricades, newspaper boxes, milk crates, hand painted signage, a bicycle rack, pennies and bottle caps as raw material. Other materials are the residue of crime: automobile glass, a dumped Chanel bag, a stolen computer, cut bicycle locks, a smashed iPhone.</p> <p><span class="caps">HUMPHREY </span>attentively considers the objects and their cultural resonance. There is even an element of performance in many of the works, as if they are props for a larger event. <span class="caps">HUMPHREY </span>is interested in hierarchies of social class and their effect on taste, how "new" money spends as opposed to how "old" money spends: "Sometimes more interesting solutions are better met by those with no money and limited resources." </p> <p><span class="caps">HUMPHREY </span>lives and works in New York City. Previous solo exhibitions include Salina Art Center (Salina, KS), Art and Culture Center of Hollywood (Hollywood, FL), The Moudy Gallery at Texas Christian University (Fort Worth, TX) and the Kemper Museum of Contemporary Art (Kansas City, MO). Group exhibitions include Queens International 4, Queens Museum of Art (NY) and the traveling group exhibition Will Boys be Boys?: Questioning Adolescent Masculinity in Contemporary Art, curated by Shamim M. Momin. <span class="caps">HUMPHREY </span>completed the Independent Study Program of the Whitney Museum of American Art, received his <span class="caps">MFA </span>from Hunter College in New York and his <span class="caps">BFA </span>from Ohio University. He has been included in publications including The New York Times, New York Magazine, Vogue and on <span class="caps">ESPN.</span></p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 21 Orchard Street (between Canal &amp; Hester). <br /> Hours are Wednesday through Sunday, noon -6pm.<br /> For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/2413 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 7 - March 10, 2013</div> <div class="exhibition-opening">Opens Thursday, March 7, 10:00 AM - 2:00 PM</div> <br/> <a href="/exhibition/view/2429"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/54/54198.jpeg" alt="" height="480" width="480" /></a> <p>Timothy Tompkins, <em>Explosion v.7</em>, 2013</p> <p> commercial enamel on aluminum, 48 x 48" </p> <br /> <div class="exhibition-description"><p><span class="caps">VOLTA</span> NY is an invitational show of emerging solo artists&#39; projects and the American incarnation of the successful young fair founded in Basel in 2005.</p> <p>By refocusing on artists through solo projects, <span class="caps">VOLTA</span> NY promotes a deep exploration of the work of its selected participants and offers the opportunity for discoveries beyond those afforded by a traditional art fair.</p> <p>In 2013 the invitational fair inaugurates its new location 82MERCER in SoHo, by showcasing 94 international galleries, spanning 6 continents and spotlighting artists from 38 nations.</p> <p><span class="caps">PREVIEW</span>:</p> <p>Thursday, March 7, 10 am - 2 pm<br /> (by invitation only)<br /> <br /> <span class="caps">PUBLIC HOURS</span>:</p> <p>Thursday, March 7, 2 pm - 8 pm<br /> Friday - Saturday, March 8 - 9, 11 am - 8 pm<br /> Sunday, March 10, 11 am - 6 pm</p></div> http://dcktcontemporary.com/exhibition/view/2429 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 11 - March 10, 2013</div> <div class="exhibition-opening">Opens Thursday, January 10, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2398"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/54/54105.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">BRION NUDA ROSCH</span>&#39;s second solo exhibition in New York. Deconstructing or rearranging the commonplace, <span class="caps">ROSCH</span>&#39;s collage and sculptural works heighten awareness, jarring the viewer out of an object or photograph&#39;s sense of embedded context.</p> <p>In his new body of collage works <span class="caps">ROSCH </span>combines images of scarecrows with sculptures by modern masters, large color forms disrupt empty landscapes and "meat on meat" suggests past works. In his paintings and sculptural works <span class="caps">ROSCH </span>creates a new series of props: a cut form, a covered bust, a painting painted many times before and rescued construction site ephemera. Continuing his practice within a guided set of rules, each work exists to challenge what has been given value and what is held sacred. </p> <p>Mundane materials such as found book pages, wood, concrete and recycled house paint are slightly or humbly altered. Small adjustments, such as additions or subtractions to found book pages, create seemingly impossible situations. The collaged images dictate and negate form and content as well as the monumental and un-monumental. Contradictions arise within their placement and presentation suggesting an interwoven conversation amongst the works. These process-based works are monuments for the everyday.</p> <p><span class="caps">ROSCH </span>lives and works in San Francisco. Previous solo exhibitions include Baer Ridgway Exhibitions (San Francisco), Greg Kucera Gallery (Seattle), Dolphin Gallery (Kansas City) and Toves Galleri (Copenhagen). He is currently included in the group exhibition Affinity Atlas at the Ruth and Elmer Wellin Museum of Art at Hamilton College (Clinton, NY), on view through April 7, 2013. Recent group exhibitions include Bay Area Now 6 at the Yerba Buena Center for the Arts (San Francisco), Material Deposits at the Atlanta Contemporary Art Center. <span class="caps">ROSCH </span>is the recipient of a 2009 Artadia Award. His work has been featured in publications including <span class="caps">ARTFORUM,</span> San Francisco Chronicle and <span class="caps">ARTINFO.</span></p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 21 Orchard Street (between Canal &amp; Hester).</p> <p>Hours are Wednesday through Sunday, noon -6pm.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/2398 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">December 4 - December 9, 2012</div> <div class="exhibition-opening">Opens Tuesday, December 4, 5:30 PM - 10:00 PM</div> <br/> <a href="/exhibition/view/2405"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/52/52870.jpeg" alt="" height="640" width="453" /></a> <p>Lia Halloran, <em>Aragonite</em>, 2012</p> <p> ink on drafting film, 84 x 60" </p> <br /> <div class="exhibition-description"><p><a href="http://www.dcktcontemporary.com/artist/seriesview/289/58">Helen Altman</a><br /> <a href="http://www.dcktcontemporary.com/artist/seriesview/293/103">Lia Halloran</a><br /> <a href="http://www.dcktcontemporary.com/artist/seriesview/263/288">Ryan Humphrey</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/288">Maria E. Pi&ntilde;eres</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/2053">Brion Nuda Rosch</a><br /> <a href="http://www.dcktcontemporary.com/artist/seriesview/1303/313">Cordy Ryman</a></p> <p>The inaugural Miami Project, a new contemporary and modern art fair will debut December 4-9, 2012 in Miami&#39;s Midtown / Wynwood Art District. Miami Project will consist of presentations by 65 galleries from around the world selected based on the strength and relevance of their programs. This year&#39;s show will be housed in a comfortable and centrally located modular structure located at NE 1st Avenue &amp; NE 29th Street.</p> <p>Fair Hours</p> <p>Tuesday, Dec. 4th: 5:30PM - 10:00PM<br /> Miami Project Preview<br /> Wednesday, Dec. 5th: 11:00AM - 5:00PM<br /> Thursday, Dec. 6th: 11:00AM - 7:00PM<br /> Private <span class="caps">MOCA</span> Event - 7:00PM - 10:00PM<br /> Friday, Dec. 7th: 11:00AM - 8:30PM<br /> Saturday, Dec. 8th: 11:00AM - 7:00PM<br /> Sunday, Dec. 9th: 11:00AM - 6:00PM</p></div> http://dcktcontemporary.com/exhibition/view/2405 <div class="exhibition-subtitle">Metamorphose</div> <div class="exhibition-dates">November 17, 2012 - January 6, 2013</div> <div class="exhibition-opening">Opens Friday, November 16, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2393"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/53/53014.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">LIA HALLORAN</span>&#39;s fourth New York solo exhibition, Metamorphose, in our new location at 21 Orchard Street. Large-scale works feature Halloran&#39;s unusual technique of laying ink on drafting film; the human form and the passage of time is simultaneously considered, where the organic body experiences a sublimation into the realm of the inanimate.</p> <p>Referencing rocks and crystals collected in <span class="caps">HALLORAN</span>&#39;s studio, the artist coerces the controlled movement of the ink from solution into solid. <span class="caps">HALLORAN</span>&#39;s process begins less at the moment the ink is applied to the drafting film, but more at the point where the deep blue pigment undergoes a &#39;self-reanimation&#39; and unpredictably migrates over the surface. <span class="caps">HALLORAN </span>describes this as a &#39;negotiation&#39; within the medium, engaging in a game of action and reaction. The completed image fluctuates between strict representation, the intangible object and the inherent fluidity of the medium. What begins as a dual depiction of close friends used as live models and actual crystalline forms becomes a sensitive, performative dialogue between the organic and inorganic. Similar to the photographic process of <span class="caps">HALLORAN</span>&#39;s Dark Skate series, the works illustrate how natural phenomena can overwhelm the body via scale, structure, time and the absence of light.</p> <p><span class="caps">HALLORAN </span>lives and works in Los Angeles and currently serves as Assistant Professor of Art at Chapman University (Orange, CA). She is a 2001 <span class="caps">MFA </span>graduate of the Yale University School of Art. Her work has been acquired by the Solomon R. Guggenheim Museum (New York). Solo exhibitions have been held at venues in New York, Miami, Boston and Los Angeles. Group exhibitions include Haunted: Contemporary Photography / Video / Performance, Guggenheim Museum (Bilbao, Spain). <span class="caps">HALLORAN</span>&#39;s work has been featured in publications including The New York Times, The New Yorker, The Boston Globe, The Los Angeles Times and New York magazine.</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 21 Orchard Street (between Canal &amp; Hester).</p> <p>Hours are Wednesday through Sunday, noon -6pm.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/2393 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 18 - October 21, 2012</div> <div class="exhibition-opening">Opens Thursday, October 18, 7:30 PM - 9:30 PM</div> <br/> <a href="/exhibition/view/2389"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/52/52228.jpeg" alt="" height="640" width="457" /></a> <p>Lia Halloran, <em>Barite</em>, 2012</p> <p> ink on drafting film, 84 x 60" </p> <br /> <div class="exhibition-description"><p><a href="http://www.dcktcontemporary.com/artist/seriesview/289/58">Helen Altman</a><br /> <a href="http://www.dcktcontemporary.com/artist/seriesview/293/103">Lia Halloran</a><br /> <a href="http://www.dcktcontemporary.com/artist/seriesview/263/288">Ryan Humphrey</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/2053">Brion Nuda Rosch</a><br /> <a href="http://www.dcktcontemporary.com/artist/seriesview/1303/313">Cordy Ryman</a></p> <p>The Texas Contemporary art fair features presentations from 65 galleries showcasing contemporary work from the most innovative, progressive and driven artists from around the world.</p> <p>Hours:</p> <p>Texas Contemporary Preview<br /> benefiting the Contemporary Arts Museum Houston<br /> Thursday, October 18, 2012 - 6:00pm to 7:30pm</p> <p>Opening Night Party<br /> Thursday, October 18, 2012 - 7:30pm to 9:30pm</p> <p>Regular Fair Hours<br /> Friday, October 19, 2012 - 11:00am to 7:00pm<br /> Saturday, October 20, 2012 - 11:00am to 7:00pm<br /> Sunday, October 21, 2012 - noon to 6:00pm<br /> Purchase Tickets for Texas Contemporary 2012</p> <p>Venue:</p> <p>George R. Brown Convention Center - <span class="caps">HALL</span> A<br /> 1001 Avenida De Las Americas<br /> Houston, Texas 77010</p></div> http://dcktcontemporary.com/exhibition/view/2389 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">July 19 - July 22, 2012</div> <div class="exhibition-opening">Opens Thursday, July 19, 6:00 PM - 10:00 PM</div> <br/> <a href="/exhibition/view/2366"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/50/50732.jpeg" alt="" height="568" width="480" /></a> <p>Claire Sherman, <em>Cliff and Water</em>, 2012</p> <p> oil on canvas, 78 x 66" </p> <br /> <div class="exhibition-description"><p><a href="http://www.dcktcontemporary.com/artist/seriesview/289/58">Helen Altman</a><br /> <a href="http://www.dcktcontemporary.com/artist/seriesview/263/288">Ryan Humphrey</a><br /> <a href="http://www.dcktcontemporary.com/artist/seriesview/1303/313">Cordy Ryman</a><br /> <a href="http://www.dcktcontemporary.com/artist/seriesview/1673/613">Claire Sherman</a></p> <p>artMRKT Hamptons, a contemporary and modern art fair, will feature 40 leading galleries from across the <span class="caps">U.S. </span>who will present painting, sculpture, drawings, photography, video and installation. Showcasing a tightly focused selection of work by important artists in a boutique setting, artMRKT Hamptons will create an ideal context for the discovery, exploration, and acquisition of art.</p> <p>Thursday, July 19, 2012 - 6:00pm to 7:30pm<br /> Evening Preview</p> <p>Thursday, July 19, 2012 - 7:30pm to 10:00pm<br /> Opening Night Party</p> <p>Regular Fair Hours:</p> <p>Friday, July 20, 2012 - 11:00am to 7:00pm<br /> Saturday, July 21, 2012 - 11:00am to 7:00pm<br /> Sunday, July 22, 2012 - noon to 6:00pm</p> <p>Venue:</p> <p>Bridgehampton Historical Society<br /> Located in the heart of Bridgehampton directly on the main road, Route 27.<br /> 2368 Montauk Highway (Rt. 27<br /> Bridgehampton, NY 11932</p></div> http://dcktcontemporary.com/exhibition/view/2366 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 17 - May 20, 2012</div> <div class="exhibition-opening">Opens Thursday, May 17, 6:00 PM - 10:00 PM</div> <br/> <a href="/exhibition/view/2344"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/49/49584.jpeg" alt="" height="411" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><a href="http://www.dcktcontemporary.com/artist/view/289">Helen Altman</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/291">castaneda/reiman</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/293">Lia Halloran</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/298">Timothy Tompkins</a></p> <p>artMRKT San Francisco, the Bay Area&#39;s premier contemporary and modern art fair will feature 70 highly reputable galleries from around the globe, bringing some of the world&#39;s most intriguing artists and galleries to San Francisco. In showcasing historically important work alongside relevant contemporary pieces and projects, artMRKT will create an ideal context for the discovery, exploration and acquisition of art.</p> <p>Hours:</p> <p>Thursday, May 17, 2012 - 6:00pm to 8:00pm<br /> Opening Night Benefit Preview Reception</p> <p>Thursday, May 17, 2012 - 8:00pm to 10:00pm<br /> Opening Night Party</p> <p>Regular Fair Hours:<br /> Friday, May 18, 2012 - 11:00am to 7:00pm<br /> Saturday, May 19, 2012 - 11:00am to 7:00pm<br /> Sunday, May 20, 2012 - Noon to 6:00pm</p> <p>Venue:</p> <p>Concourse Exhibition Center<br /> 620 7th Street at Brannan<br /> San Francisco, CA</p></div> http://dcktcontemporary.com/exhibition/view/2344 <div class="exhibition-subtitle">Untitled #105 (SFDF), 2009-2011</div> <div class="exhibition-dates">March 8 - March 11, 2012</div> <div class="exhibition-opening">Opens Thursday, March 8, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2319"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/47/47823.jpeg" alt="" height="375" width="500" /></a> <p>Josh Azzarella, <em>Untitled #105 (SFDF)</em>, 2009-2011</p> <p> 3 High-definition videos, edition of 5 + 1 AP, Durations: 3 minutes, 5 seconds; 7 minutes, 55 seconds; 7 minutes, 35 seconds </p> <br /> <div class="exhibition-description"><p>Please join us from March 8th through March 11th for the second presentation of Moving Image, the Contemporary Video Art Fair. Coinciding with The Armory Show in New York and within walking distance of of Independent, Moving Image is located in the the Waterfront Tunnel event space between 27th and 28th Streets with an entrance on 11th Avenue in Chelsea.</p> <p>Entrance to Moving Image is free and open to the public.</p> <p>Josh Azzarella&#39;s Untitled #105 (SFDF), 2009-2011 continues the artist&#39;s practice of appropriation by isolating three pivotal moments from 1933&#39;s groundbreaking movie King Kong. The work is comprised of three seamlessly looped HD video channels, each with 5.1 surround sound that combine to create a 15.3 surround sound experience. Azzarella suspends the iconic scenes, merging them with newly captured footage to create a naturalistic environment. In this fusion, tropical pools ripple and vines sway in anticipation of the thunderous entry of the protagonist, but instead the viewer is held transfixed in a moment. Untitled #105 (SFDF) displaces our experience of filmic events and challenges our grasp of legendary eminence.</p> <p>With an international selection of 30 single-channel videos and installations from Europe, Asia, the Middle East, Australia, and North America, Moving Image has been conceived to offer a viewing experience with the excitement and vitality of a fair, while allowing moving-image-based artworks to be understood and appreciated on their own terms.</p> <p>Hours<br /> Thursday - Saturday, March 8-10, 2012: 11 am - 8 pm<br /> Sunday, March 11, 2012: 11 am - 4 pm<br /> Opening Reception: Thursday, March 8, 6-8 pm</p></div> http://dcktcontemporary.com/exhibition/view/2319 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 27 - October 31, 2011</div> <br/> <a href="/exhibition/view/2262"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/45/45120.jpeg" alt="" height="705" width="500" /></a> <p>Helen Altman, <em>Blue Heron (looking right)</em>, 2011</p> <p> torch drawing on paper, 40 x 28" </p> <br /> <div class="exhibition-description"><p><a href="http://www.dcktcontemporary.com/artist/view/289">Helen Altman</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/286">Oliver Boberg</a><br /> <a href="http://www.dcktcontemporary.com/artist/seriesview/2386/565">Matthew Craven</a><br /> <a href="http://www.dcktcontemporary.com/artist/seriesview/2323/564">Everest Hall</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/293">Lia Halloran</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/2053">Brion Nuda Rosch</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/1303">Cordy Ryman</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/369">Michael Velliquette</a></p> <p><span class="caps">ART TORONTO</span></p> <p>October 28 - 31, 2011<br /> <span class="caps">METRO TORONTO CONVENTION CENTRE</span><br /> North Building, Exhibit Hall A &amp; B<br /> 255 Front Street West</p> <p><span class="caps">OPENING NIGHT PREVIEW</span><br /> Thursday October 27, 2011<br /> A Benefit for the Art Gallery of Ontario.</p> <p>Special Collectors&#39; Preview<br /> 4:30-6:30pm<br /> Tickets: $300.00</p> <p>Opening Night Preview<br /> 6:30-10pm<br /> Tickets: $200.00</p> <p>A Benefit for the Art Gallery of Ontario<br /> For more information or to order tickets, call the Art Gallery of Ontario<br /> at 416.979.6628 or visit <span class="caps">AGO</span> Tickets</p> <p><span class="caps">PUBLIC HOURS</span>:<br /> Friday October 28 12 - 8pm<br /> Saturday October 29 12 - 8pm<br /> Sunday October 30 12 - 6pm<br /> Monday October 31 12 - 6pm</p></div> http://dcktcontemporary.com/exhibition/view/2262 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 20 - October 23, 2011</div> <br/> <a href="/exhibition/view/2258"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/39/39516.jpeg" alt="" height="581" width="480" /></a> <p>Oliver Boberg, <em>Gartenecke / Corner of a Garden</em>, 2011</p> <p> c-print, edition of 5 + 2 AP, 36 ¾ x 30 ¼“ </p> <br /> <div class="exhibition-description"><p><a href="http://www.dcktcontemporary.com/artist/view/286">Oliver Boberg</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/293">Lia Halloran</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/2053">Brion Nuda Rosch</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/1303">Cordy Ryman</a><br /> <a href="http://www.dcktcontemporary.com/artist/view/369">Michael Velliquette</a></p> <p>George R. Brown Convention Center, Houston, TX</p> <p>Thursday, October 20<br /> <span class="caps">CAMH</span> Benefit Preview Party - 6:00pm to 7:30pm<br /> <span class="caps">VIP</span> Preview Party - 7:30pm to 10:00pm</p> <p>Friday, October 21 - 11:00am to 7:30pm<br /> Saturday, October 22 - 11:00am to 7:00pm<br /> Sunday, October 23 - 11:00am to 6:00pm</p></div> http://dcktcontemporary.com/exhibition/view/2258 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 30 - October 3, 2011</div> <br/> <a href="/exhibition/view/2253"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/41/41415.jpeg" alt="" height="640" width="476" /></a> <p>Brion Nuda Rosch, <em>Cactus Flag Face</em>, 2010</p> <p> acrylic on paper on found book page, 12 x 8 7/8" UF </p> <br /> <div class="exhibition-description"><p>Opening Preview: Friday, September 30, 2011<br /> 3PM - 5PM Opening Preview<br /> 5PM - 9PM Vernissage Party benefitting the Hammer Museum, Los Angeles County Museum of art and The Museum of Contemporary Art.</p> <p>General Admission:<br /> Saturday, Oct 1 * 11AM - 6PM<br /> Sunday, Oct 2 * 11AM - 6PM<br /> Monday, Oct 3 * 11AM - 4PM</p> <p><span class="caps">L.A.</span> Mart&reg;<br /> 1933 S. Broadway<br /> Los Angeles, CA 90007</p> <p>The Art Platform - Los Angeles art fair will demonstrate the rich and diverse cultural landscape of Southern California and underscore Los Angeles&#39; influential position within the contemporary art world.</p> <p>This exhibition will bring together the local and international artists, dealers, collectors, museums, and art enthusiasts that play important roles in the vibrant Southern California art community. To emphasize the increased recognition of Los Angeles as an international art capital along with the anticipation of the shows and events taking place during the Getty&#39;s Pacific Standard Time initiative, the directive of Art Platform - Los Angeles 2011 will be to contextualize works by the many critically acclaimed artists working in and from Los Angeles. To demonstrate Los Angeles&#39; position in the contemporary art world, priority will be given to single artist presentations or to curated presentations of Los Angeles based artists, thus giving emphasis to artists individual practices both locally and globally.</p> <p>Art Platform - Los Angeles is launching the same weekend as Pacific Standard Time: Art in LA 1945 - 1980, an unprecedented collaboration of more than sixty cultural institutions across Southern California, coming together to tell the story of the birth of the <span class="caps">L.A. </span>art scene. Initiated through grants from the Getty Foundation, Pacific Standard Time will take place for six months beginning October 2011. Pacific Standard Time encompasses developments from <span class="caps">L.A.</span> Pop to post-minimalism; from modernist architecture and design to multi-media installations; from the films of the African American <span class="caps">L.A.</span> Rebellion to the feminist activities of the Woman&#39;s Building; from ceramics to Chicano performance art; and from Japanese American design to the pioneering work of artists&#39; collectives.</p></div> http://dcktcontemporary.com/exhibition/view/2253 <div class="exhibition-subtitle">Basilica Hudson: 110 South Front Street, Hudson, NY 12534</div> <div class="exhibition-dates">July 30 - July 31, 2011</div> <br/> <a href="/exhibition/view/2231"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/43/43781.jpeg" alt="" height="640" width="480" /></a> <p>Brion Nuda Rosch, <em>Monolith of Covered Bust</em>, 2011</p> <p> reclaimed ceramic, acrylic, plaster, </p> <br /> <div class="exhibition-description"><p><span class="caps">NADA</span> Hudson<br /> July 30-31, 2011<br /> 11am-7pm</p> <p>Basilica Hudson<br /> 110 South Front Street<br /> Hudson NY 12534</p> <p>Admission is free and open to the public.</p> <p>The New Art Dealers Alliance and Basilica Hudson are pleased to announce <span class="caps">NADA</span> Hudson, a large scale exhibition featuring 51 projects presented by <span class="caps">NADA </span>members and affiliates. <span class="caps">NADA</span> Hudson is not an art fair, but rather a site-specific project for the New Art Dealers Alliance, which will build upon the character of a historic venue in showcasing contemporary sculpture, installation and performance. The Basilica Hudson, built in 1884 as a foundry and forge for the manufacture of steel railway wheels, is the last great 19th century building on the Hudson waterfront. <span class="caps">NADA </span>is grateful for the team at Basilica Hudson who offer a home for the artistic and cultural community at large. <span class="caps">NADA</span> Hudson will occupy nearly 8,000 square feet of indoor space, a theatre space and well over 10,000 square feet of outdoor space.</p></div> http://dcktcontemporary.com/exhibition/view/2231 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">June 24 - July 23, 2011</div> <div class="exhibition-opening">Opens Thursday, June 23, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2207"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/42/42978.jpeg" alt="" height="640" width="480" /></a> <p>Everest Hall, <em>Bouquet</em>, 2011</p> <p> mixed media on paper, 24 x 18" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present Still Life &amp; Motion, bringing together new mixed media collages by <span class="caps">EVEREST HALL </span>and new digital video animations by <span class="caps">SEAN CAPONE. </span> In their latest works both Hall and Capone mine the garden for inspiration and use floral motifs to explore themes of reality and illusion, beauty and decay, and the passage of time. </p> <p>Everest Hall&#39;s latest graphite, ink and watercolor on paper works are images of in-studio tableaux of fresh cut flowers in bloom, personal props and mementos. Hall continues his exploration of the still life genre, setting up the images in layers as if they are floating. Hall often incorporates an image of the back of a stretched canvas to signify the internal life or soul of the artwork. The clash and combination of soft and hard is realized with lush irises and lilies juxtaposed with graphic abstractions and geometric repetitions.</p> <p>Everest Hall received his <span class="caps">MFA </span>in painting from Yale University. Solo exhibitions include Dunham Place Salon (New York), Richard Gray Gallery (Chicago), Bellwether Gallery (New York), Acuna-Hansen Gallery (Los Angeles). Hall&#39;s work has been reviewed in The New York Times, Art Review, and Flash Art and has been featured in Time Out New York and Domino. The artist currently lives and works in New York City.</p> <p>In Sean Capone&#39;s new digital video animations, sensuous floral arabesques and decorative gestures bloom, morph, decay and bloom again in an endless cycle of birth, death and renewal. Based on visual systems that draw upon the aesthetics of baroque exuberance, painterly abstraction and rhythm as well as the grammar of ornament, Capone addresses the often overwhelming digital landscape we now continuously inhabit. Capone also explores the historical relationship between art, nature and the emotional response of the viewer to the images&#39; cycle of beauty, efflorescence and decay.</p> <p>Sean Capone received his <span class="caps">MFA </span>from the School of the Art Institute of Chicago. Capone&#39;s large-scale digital video projections have shown internationally at many galleries, museums, public spaces, events and festivals, most recently at the Brooklyn Museum of Art, the Museum of Modern Art and the Museum of Arts &amp; Design. Capone was the 2010 recipient of the Grand Prize for Public Installation from the <span class="caps">DUMBO</span> Arts Festival.</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 237 Eldridge Street, south storefront.</p> <p>June 24 - July 1 hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5pm. The gallery will re-open on July 6 with Summer Hours of Wednesday through Saturday, 11am - 5pm.</p></div> http://dcktcontemporary.com/exhibition/view/2207 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 14 - June 19, 2011</div> <div class="exhibition-opening">Opens Friday, May 13, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2062"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/42/42243.jpeg" alt="" height="373" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary presents recent paintings by <span class="caps">TIMOTHY TOMPKINS.</span> The exhibition includes works from both his Reenactment series and Explosion series. The inspirations for <span class="caps">TOMPKINS</span>&#39;s paintings stem from his engagement with the tropes and language of the medium&#39;s history. <span class="caps">TOMPKINS </span>begins his process of digitally altering photographic imagery by breaking the images down to core colors and by effect blurring the contours. He then uses high-gloss commercial enamel to execute the paintings on aluminum panels. </p> <p>The images from the Reenactment series are from photographs or screen grabs from various historical documentaries that <span class="caps">TOMPKINS </span>captured and manipulated via computer. <span class="caps">TOMPKINS </span>explores the connection between the history of painting as social and historical recorder and broadcast media as contemporary vehicle for the dissemination of history. Specifically, he is looking for and focusing on the location shots that are used to transport the viewer into the story. Although the reference images are from specific programs and meant to represent particular moments within the context of the documentary, <span class="caps">TOMPKINS </span>is attracted to their general ambiguity.</p> <p>The images from the Explosion series are anonymous photos of firework explosions that <span class="caps">TOMPKINS </span>appropriated via a general Google Images search. Most are personal photos that people uploaded to the internet for public dissemination. His interest in firework explosions stem from the curious juxtaposition of their inherent violence and beauty. The explosions are reminiscent of broadcast images of bombings and communicate a voyeuristic comfort in witnessing manifestations of power and physics.</p> <p>The paintings, when viewed from a distance, reflect both physically and metaphorically a relational narrative which, upon closer inspection, dissolves into form and color. This effect endeavors to mimic the layers of codes and semiotics of an image while simultaneously asking the viewer to participate in an expanded dialogue of contemplation and connotation of content. The artist communicates a sense of removal from the present and a conceptual representation of social, cultural and personal "memory." The paintings play upon the idea of revealing the unseen and invoke the notion of a disjunctive relationship between observation, representation and interpretation.</p> <p><span class="caps">TOMPKINS</span>&#39;s work is included in the collections of the Frederick R. Weisman Art Foundation (Los Angeles, CA), the West Collection (Oaks, PA) and Harvard Business School (Cambridge, MA). Recent exhibitions include solo shows at Studio La Citta (Verona, Italy), Heather James Fine Art (Palm Desert, CA) and Susanne Vielmetter Los Angeles Project (CA) as as well as inclusion group exhibitions at the Santa Monica Museum of Art (CA), the Brevard Art Museum (Melbourne, FL), the Laguna Art Museum, (Laguna Beach, CA) and the Contemporary Art Center (New Orleans, LA).</p></div> http://dcktcontemporary.com/exhibition/view/2062 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 29 - May 2, 2011</div> <div class="exhibition-opening">Opens Thursday, April 28, 6:00 PM - 9:00 PM</div> <br/> <a href="/exhibition/view/2180"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/41/41869.jpeg" alt="" height="373" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>More than an art fair, <span class="caps">NEXT </span>is a showcase for the world&#39;s talents and an adventure in innovative culture. An opportunity to redefine the relationship between art and its public, <span class="caps">NEXT </span>is a platform for established and emerging galleries to promote the work of cutting-edge artists. <span class="caps">NEXT </span>is dedicated to the exhibition and advancement of today&#39;s art. <span class="caps">NEXT </span>is the catalyst for the exchange of information and experimental ideas aimed at today&#39;s educated collectors.</p> <p><span class="caps">NEXT </span>includes works from both commercial and non-commercial arts organizations--galleries, project spaces, art publications and key private contemporary collections from around the world.</p></div> http://dcktcontemporary.com/exhibition/view/2180 <div class="exhibition-subtitle">Awaken and Free What Has Been Asleep</div> <div class="exhibition-dates">April 2 - May 8, 2011</div> <div class="exhibition-opening">Opens Friday, April 1, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2053"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/41/41430.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">MICHAEL VELLIQUETTE</span>&#39;s third New York solo exhibition Awaken and Free What Has Been Asleep. <span class="caps">VELLIQUETTE</span>&#39;s new paper sculptures and drawings expand his engagement with ornamental abstraction. His bold new forms evolve from a self-described "rite" of meditation, reflection and drawing and show a heightened prowess with the process of cutting, layering and gluing his colored paper shapes.</p> <p><span class="caps">VELLIQUETTE </span>paints and draws on heavyweight paper that he uses as the raw material for his wall-mounted sculptures. This development results in an intense color palette and the precision of the cut paper components are countered by gestural brush strokes on their surfaces.</p> <p><span class="caps">VELLIQUETTE</span>&#39;s new series is influenced by the practice of sigilization - an occult-based method for developing personal symbols by which the words of a statement of intent are reduced to a formal design. The drawing series Good Ciphers 1-12 reveal this process most explicitly. Along the margins of each drawing are handwritten statements like "Opening to a deeper sense of self" which are accompanied by gestural rune-like symbols made from the very letters of the statements. The symbols are then repeated on a larger scale and more elaborately articulated. </p> <p>The sculptural works also derive from sigils and emanate a ceremonial aesthetic. Meat Eater appears to be a mask of a creature that is part vegetable, part animal. Works such as Flambeau and Illumine suggest symbolic lights while Chromasoul and Lil&#39;Orphist reference the power of color. The stalwart presence of the lone achromatic work Grey Guard allows viewers greater access into the complexities of the work&#39;s construction. </p> <p><span class="caps">VELLIQUETTE </span>lives and works in Madison, <span class="caps">WI.</span> His work is included in the collection of the San Antonio Museum of Art (Texas) and the Progressive Art Collection (Cleveland). Recent solo exhibitions include John Michael Kohler Arts Center (Sheboygan, WI). Recent group exhibitions include Psychedelic: Optical and Visionary Art since the 1960s at the San Antonio Museum of Art and Slash: Paper Under the Knife at the Museum of Arts and Design (New York). In 2011 he will be included in the group exhibition PaperWork in 3D at the Shelburne Art Museum (Vermont).</p></div> http://dcktcontemporary.com/exhibition/view/2053 <div class="exhibition-subtitle">Seven Screens</div> <div class="exhibition-dates">February 19 - March 27, 2011</div> <div class="exhibition-opening">Opens Friday, February 18, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2033"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/40/40343.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">ANDRZEJ ZIELI</span>&#323;SKI&#39;s Seven Screens, his second solo show with the gallery. On view are paintings of five Automated Teller Machines and two broken laptop computers. <span class="caps">ZIELI</span>&#323;SKI uses the medium of painting to explore the technology of communication and to beckon the viewer to interface with feral colors, wonky buttons and tractor-beaming screens.</p> <p>The color cacophony of <span class="caps">ZIELI</span>&#323;SKI&#39;s eccentric reverse engineering of Albers&#39;s color theories is a visual jolt. His color palette includes the use of interference pigments and saturated bright hues that are at odds with the staid grays and cold reflective metals of the actual machines. He connects the painted machines to the real world by using a 1 to 1 scale ratio with the actual subjects. <span class="caps">ZIELI</span>&#323;SKI&#39;s work goes from the shock of the unknown to humor and back again.</p> <p>The power of <span class="caps">ZIELI</span>&#323;SKI&#39;s work lies in its ability to stick in the mind, leading to new associations that are paradoxically made through the inherently static medium of painting. His use of 21st century advances in acrylics "up-dates" painting while the complicated surfaces show how <span class="caps">ZIELI</span>&#323;SKI&#39;s application of paint allows each brush or palette knife stroke to have a quadruple interpretation as description, suggestion, abstraction and bas-relief.</p> <p><span class="caps">ZIELI</span>&#323;SKI was born in 1976 and currently lives in Berlin, Germany. He will be a visiting artist in residence at the Australian National University in Canberra, Australia this spring. <span class="caps">ZIELI</span>&#323;SKI holds an <span class="caps">MFA </span>from Yale University and a <span class="caps">BFA </span>from The School of the Art Institute of Chicago. He is a 2009 recipient of the Charlotte Street Foundation Award (Kansas City, MO). Previous solo exhibitions include Motus Fort (Tokyo, Japan), The Dolphin Gallery (Kansas City, MO), Nicole Klagsbrun Gallery (New York, NY), and Marc Selwyn Fine Art (Los Angeles, CA). His work is included in the collection of the Nerman Museum of Contemporary Art (Overland Park, KS).</p></div> http://dcktcontemporary.com/exhibition/view/2033 <div class="exhibition-subtitle">Temple of the Bearded Man</div> <div class="exhibition-dates">January 7 - February 13, 2011</div> <div class="exhibition-opening">Opens Friday, January 7, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2014"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/38/38369.jpeg" alt="" height="355" width="500" /></a> <p>Irvin Morazan, <em>Coyote Procession</em>, 2011</p> <p> Friday, January 7, 6pm, </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">IRVIN MORAZAN</span>&#39;s solo exhibition Temple of the Bearded Man, inaugurating our new home at 237 Eldridge Street, between Stanton and Houston. This exhibition of photography, collage and sculpture lends itself to a myriad of mythologies, superstitions and sub-cultures. The exhibition opening coincides with <span class="caps">MORAZAN</span>&#39;s Coyote Procession, Friday, January 7 at 6pm. <span class="caps">MORAZAN, </span>accompanied by a Mexican Norte&ntilde;o band (subway Mariachis), will lead a celebratory procession from the old <span class="caps">DCKT</span> Contemporary location (195 Bowery) to the new <span class="caps">DCKT</span> Contemporary location (237 Eldridge Street).</p> <p>For the performance, <span class="caps">MORAZAN </span>will be wearing a headdress featuring a neon coyote, an animal that was used as a spiritual vehicle to transport the soul during ceremonies and rituals in Pre-Columbian times. Playing with the contemporary reference of El Coyote as a person paid to smuggle illegal immigrants, the procession highlights and celebrates the complications of passage and rebirth. An absurd ritual through space and time, the commemorative performance is an enactment of mobility, flux and continuity.</p> <p>The works in the exhibition are conduits for mythical beings and gateways into absurdity, forming bridges between artificial and natural worlds. Imaginary deities indulge in unpredictable hostility, gluttony and humor. Fantastical staged portraits and performances are intertwined with Pre-Columbian mythologies and urban street aesthetics to blur the boundaries of culture and stereotypes. Illegal immigration, homelessness, Shamanism, Pop culture and fast food are contemporary issues that ascribe to abstract qualities of passage and traditions.</p> <p><span class="caps">MORAZAN </span>lives and works in New York, <span class="caps">NY. </span> He is currently an <span class="caps">MFA</span> Candidate at Hunter College and received a <span class="caps">BFA </span>from The School of Visual Arts in 2003. <span class="caps">MORAZAN </span>attended the Skowhegan Residency in 2009 and is a recipient of a Mapplethorpe Award. Recent performances and group exhibitions include Art in Odd Places 2010, Jersey City Museum (NJ), Museum of Contemporary Native Arts (NM), Museum of the Caribbean (Baranquilla, Colombia), Marte Museum (El Salvador), Bronx River Arts Center (NY) and Exit Art (NY).</p></div> http://dcktcontemporary.com/exhibition/view/2014 <div class="exhibition-subtitle">Traces of Color</div> <div class="exhibition-dates">November 23 - December 30, 2010</div> <div class="exhibition-opening">Opens Tuesday, November 23, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2002"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/37/37763.jpeg" alt="" height="629" width="480" /></a> <p>Laura Lobdell, <em>Traces of Color 12</em>, 2010</p> <p> gouache & ink on rag paper, 50 x 38" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">LAURA LOBDELL</span>&#39;s Traces of Color, an exhibition of recent paintings on paper. <span class="caps">LOBDELL</span>&#39;s gouache paintings are layered meditations on time.</p> <p><span class="caps">LOBDELL </span>begins by painting color forms in gouache with large, Chinese calligraphy brushes. The spontaneous, gestural sweeps and spills become the starting point for lines and marks made with fine calligraphy brushes and fountain pen ink. These lines are repetitive and somewhat ordered, following a pattern of rules. The reality of the grounds makes strict application of the "rules" awkward or unappealing. The linear marks are a frustrated attempt to create order over the unruly color fields, literally traces of color.</p> <p><span class="caps">LOBDELL </span>holds a <span class="caps">MFA </span>from the School of Visual Arts and has been a participant in the Skowhegan School of Painting &amp; Sculpture&#39;s residency program and the Artist in the Marketplace program at The Bronx Museum of the Arts. She has been included in group exhibitions at The Bronx Museum of the Arts, the Arts Club of Washington and the Art Institute of Chicago.</p></div> http://dcktcontemporary.com/exhibition/view/2002 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 4 - December 30, 2010</div> <div class="exhibition-opening">Opens Thursday, November 4, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1978"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/36/36972.jpeg" alt="" height="550" width="416" /></a> <p>Sophie Crumb, <em>Sophie Manson</em>, 2010</p> <p> ink & watercolor on paper, 10 ¼ x 7 ¾” UF; 15 1/2 x 13" F </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">SOPHIE CRUMB</span>&#39;s debut solo exhibition. This exhibition coincides with the release of the monograph Sophie Crumb: Evolution of a Crazy Artist, edited by her parents R. Crumb &amp; Aline Kominsky-Crumb and published by W. W. Norton. A talk with R. Crumb is scheduled for 7pm on Monday, November 1 at Barnes &amp; Noble - Union Square. </p> <p><span class="caps">CRUMB</span>&#39;s drawings are expressionistic, unforgiving and starkly revelatory. <span class="caps">CRUMB </span>mines her emotions to create works based on her current experiences but always with an eye on her unique and eccentric past. Her drawings and prints often depict events culled from her life in a small town in rural France, as well as periods of time in New York and Berkeley.</p> <p>Other <span class="caps">CRUMB </span>drawings critique the way the media churns through people and products for the next big story, or flash in the pan. Images of models, starlets and socialites are rendered in harsh colors. Sunglass models no longer have perfect, airbrushed skin but are covered in the lines of the artist&#39;s hand. Starlet meltdowns are exposed with a tinge of sadness directed toward the media-addicted public that demands scandal. </p> <p>Sophie Crumb: Evolution of a Crazy Artist explores the development of an artist from her earliest beginnings to the present. <span class="caps">CRUMB </span>has peppered the book with commentary explaining the circumstances of her life at the time the drawings were made. <span class="caps">CRUMB </span>discusses the challenges of growing up the daughter of two celebrated artists and the pressure to find her own voice.</p> <p><span class="caps">CRUMB </span>has been included in group shows at <span class="caps">DCKT</span> Contemporary, Paul Morris Gallery and other galleries. She has been published in Vogue, V, Nylon, Vice and numerous other magazines. She has also collaborated with R. Crumb &amp; Aline Kominsky-Crumb on Dirty Laundry Comics and produced her own series, Belly Button Comix. <span class="caps">CRUMB </span>lives in the south of France with her husband and their son Eli.</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street).<br /> Hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5pm.</p></div> http://dcktcontemporary.com/exhibition/view/1978 <div class="exhibition-subtitle">Performances</div> <div class="exhibition-dates">November 4 - November 21, 2010</div> <div class="exhibition-opening">Opens Thursday, November 4, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1990"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/37/37341.jpeg" alt="" height="426" width="500" /></a> <p>Irvin Morazan, <em>El Coyote</em>, 2009</p> <p> mixed media sculpture, 133 x 45 x 49" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present a series of performances by <span class="caps">IRVIN MORAZAN. MORAZAN </span>creates characters that perform absurd sacrifices while wearing fantastical sculptural headdresses. He intertwines pre-Columbian mythologies with gluttonous rituals and ceremonies involving food. <span class="caps">MORAZAN </span>merges ancient tribal traditions with urban street aesthetics to invent personas that blur the boundaries of culture and stereotypes. The value of history and theory and their relation to contemporary art is central to his process.</p> <p><span class="caps">MORAZAN</span>&#39;s upcoming performances at <span class="caps">DCKT</span> Contemporary include:</p> <p>Introducing Masterblaster : Thursday, November 4, 6-8pm<br /> A sound battle between Ghettoblaster &amp; Masterblaster that starts in the gallery and ends in the street.</p> <p>Orgasmic/Delicious : Sunday, November 14, 3:30pm<br /> Bewitching sounds nourish a force-fed ritual.</p> <p>The Pizza Race : Sunday, November 21, 3:30pm<br /> "El Coyote" and "Plastic Shaman" will get down and dirty on this pizza race through the Lower East Side.</p> <p><span class="caps">MORAZAN </span>lives and works in New York, <span class="caps">NY.</span> He received a <span class="caps">BFA </span>from The School of Visual Arts in 2003. <span class="caps">MORAZAN </span>attended the Skowhegan Residency in 2009 and is a recipient of a Mapplethorpe Award. Recent performances and group exhibitions include Art in Odd Places 2010, Jersey City Museum (NJ), Museum of Contemporary Native Arts (NM), Museum of the Caribbean (Baranquilla, Colombia), Marte Museum (El Salvador), Bronx River Arts Center (NY) and Exit Art (NY). </p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street).<br /> Hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5pm.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/1990 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 9 - October 31, 2010</div> <div class="exhibition-opening">Opens Sunday, September 12, 5:00 PM - 7:00 PM</div> <br/> <a href="/exhibition/view/1946"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/36/36716.jpeg" alt="" height="311" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">CORDY RYMAN</span>&#39;s second solo exhibition with the gallery. <span class="caps">RYMAN </span>manipulates and reconstitutes an inherited visual language, defining himself in relation to it. His intuitive and spontaneous process is propelled and determined primarily by the characteristics of his media. Manipulating materials such as wood, metal, velcro, Gorilla Glue, staples and scraps from his studio floor, <span class="caps">RYMAN</span>&#39;s assemblages are physical and humorous.</p> <p>A number of new works created for this exhibition, including Trapped Wave, are recycled from Third Wave, a monumental installation work exhibited in <span class="caps">RYMAN</span>&#39;s first show with the gallery. The careful consideration of the painted wood and its contours guides the artist in the geometric patterning of his reconstructions. <span class="caps">RYMAN</span>&#39;s paintings and sculptures address elements of architecture with rich texture and a vivid color palette. <span class="caps">RYMAN</span>&#39;s process allows the work to dictate its own direction and evolution, oftentimes referring back to other pieces or ideas and often referencing the materials used.</p> <p><span class="caps">RYMAN </span>also works in an architectural mode where he creates a dialogue between his work and its surroundings. These spaces can be specific in location or as common as a 90 degree corner. In the sculptural installation Red Bricks, <span class="caps">RYMAN </span>stacks and steps multitudes of painted wood chunks to envelope the gallery&#39;s front window facing wall. Wrapping around the existing wall and facing into the gallery is Scrap Wall, a year&#39;s worth of leftovers monumentally recycled. The works respond to the unique aspects of their placement in a three dimensional manner. The space in many ways becomes a canvas. </p> <p><span class="caps">RYMAN</span>&#39;s previous solo exhibitions include Kavi Gupta Gallery (Chicago, IL), Mark Moore Gallery (Santa Monica, CA) and Lora Reynolds Gallery (Austin, TX). Previous group exhibitions include Aberrant Abstraction, Nerman Museum of Contemporary Art (Overland Park, KS), One More, Esbjerg Museum of Modern Art (Esbjerg, Denmark) and Greater New York 2005 at <span class="caps">P.S.</span> 1 Contemporary Arts Center (Long Island City, NY). His work is included in the Microsoft Art Collection (Redmond, WA) and the Rubell Family Collection (Miami, FL).</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street).<br /> Hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5pm.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/1946 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">June 25 - August 28, 2010</div> <div class="exhibition-opening">Opens Thursday, June 24, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1919"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/35/35321.jpeg" alt="" height="676" width="499" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">BRION NUDA ROSCH</span>&#39;s first solo exhibition in New York. Deconstructing or rearranging the commonplace, <span class="caps">ROSCH</span>&#39;s collages and sculptural works heighten awareness and jar the viewer out of an object or photograph&#39;s sense of embedded context.</p> <p>Mundane materials such as found book pages, wood, drywall and recycled house paint are slightly or humbly altered. Small adjustments, such as additions or subtractions to found book pages, create seemingly impossible situations. The collaged images create and negate form and content as well as the monumental and un-monumental. A painted stick or block rests on a pedestal, a symbol of importance and a sign that the object is a complete and finished work of art. Contradictions arise and the placement and arrangement of the objects are almost more important than the objects themselves. They are monuments for the everyday and homage to process.</p> <p>An Object&#39;s Significance Removed is a collection of objects found at 99 Cent stores or rescued from thrift stores. These objects once had significance yet are now devalued or discarded and their possible cultural significance is in question. Collected, gathered, covered in plaster and painted they now exist with an undefined meaning.</p> <p>For the past decade, <span class="caps">ROSCH </span>has used turquoise in his work as a symbol of escape. His unique practice and humble vision influenced Pantone&#39;s decision to name turquoise their Color of the Year for 2010. As Pantone writes, "Turquoise Transports Us to an Exciting, Tropical Paradise While Offering a Sense of Protection and Healing in Stressful Times."</p> <p><span class="caps">ROSCH </span>lives and works in San Francisco. He is the recipient of a 2009 Artadia Award. He will be included in the upcoming group exhibition Ultrasonic V at Mark Moore Gallery (Santa Monica, CA). Previous solo exhibitions include Baer Ridgway Exhibitions (San Francisco) and Allston Skirt Gallery (Boston). Recent group exhibitions include Pool Gallery (Berlin), Dolphin Gallery (Kansas City) and San Jose Institute of Contemporary Art.</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street).</p> <p>Summer Hours are Wednesday through Saturday, 11am - 5pm.</p> <p>Please note that the gallery will be closed on July 3 &amp; 4.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/1919 <div class="exhibition-subtitle">Early American</div> <div class="exhibition-dates">May 8 - June 20, 2010</div> <div class="exhibition-opening">Opens Friday, May 7, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1902"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/33/33298.jpeg" alt="" height="361" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present Early American, <span class="caps">RYAN HUMPHREY</span>&#39;s third solo exhibition with the gallery. <span class="caps">HUMPHREY </span>explores duality through an altered, customized version of an 18th century American interior. The installation hijacks the format of a formal and affluent interior, infusing it with cast-offs and objects more likely found in a rural garage than an antique shop. Class and taste are called into question and the hierarchy of materials associated with social stratification is discarded.</p> <p>Take a period room from a museum, filter it through the worlds of car culture, metal and hip hop music and the X Games and you end up with this: hand-painted faux wood paneling, console tables, wing back chairs, chandeliers, rugs, girandole mirrors and candlesticks all made from bottle caps, rubber coatings, broom handles, car rims, pop rivets, license plates and sheet metal.</p> <p>Tread is a hand-painted and lettered found sign from a Brooklyn "flat fix" storefront transformed into a contemporary "DON&#39;T <span class="caps">TREAD</span> ON ME" echo of a flag flown during the American Revolution. A series of bird houses incorporate "firebirds" from late 1970s Pontiac Trans Am muscle cars, symbolic of the mythical phoenix resurrecting itself. Good Gay, a banner with the logo from heavy metal band Judas Priest fused with a gay pride rainbow flag, creates a new symbol which highly alters the traditional meanings of the individual parts.</p> <p><span class="caps">HUMPHREY </span>lives and works in New York City. He will have a solo exhibition at Kunsthalle Galapagos (Brooklyn, NY) September 15 through November 7, 2010. Previous solo exhibitions include The Galleries at Moore (Moore College of Art and Design, Philadelphia) and the Kemper Museum of Contemporary Art (Kansas City). Group exhibitions include Queens International 4, Queens Museum of Art (NY) and the traveling group exhibition Will Boys be Boys?: Questioning Adolescent Masculinity in Contemporary Art, curated by Shamim M. Momin. He completed the Independent Study Program of the Whitney Museum of American Art, received his <span class="caps">MFA </span>from Hunter College in New York and his <span class="caps">BFA </span>from Ohio University.</p></div> http://dcktcontemporary.com/exhibition/view/1902 <div class="exhibition-subtitle">The Only Way Out Is Through</div> <div class="exhibition-dates">March 26 - May 2, 2010</div> <div class="exhibition-opening">Opens Friday, March 26, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1877"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/33/33212.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">LIA HALLORAN</span>&#39;s third New York solo exhibition. The exhibition includes new paintings of crystal caves and personified icebergs, along with ink on vellum works. <span class="caps">HALLORAN </span>uses science and the natural world to map out physical and psychological spaces in her painting and addresses time in ways that stretch our notions of perception.</p> <p><span class="caps">HALLORAN</span>&#39;s paintings of crystal caves explore a submerged space that is finite and bounded. The paintings accentuate the unreal quality of crystal formations and the claustrophobic environments of caves. A sense of disorientation merges with the inanimate and the imagery examines discernable entropy and decay. The environments are impossible and chaotic; the spaces are both beautiful and terrifying. The works are based on last decade&#39;s discovery of the Cueva de los Cristales in Naica, Mexico where monumental selenite crystals reaching over thirty-five feet long look more like architectural beams than mineral growth. </p> <p><span class="caps">HALLORAN</span>&#39;s paintings of personified icebergs embody rapidly shifting and transforming existence. The icebergs become a metaphor of the complexities of personal intimacy and separation. The work illuminates ideas of surface and transparency and offers the opportunity to view many layers simultaneously. There is an assertion and self- reflective quality in the paint handling, where movement and crystallization of the paint references the larger structure of the iceberg.</p> <p>A catalogue of the exhibition, with essay by Kristina Newhouse, will be available. Also on view will be editioned `crystal chandeliers&#39; produced in collaboration with Sarah Strauss of Bigprototype.</p> <p><span class="caps">HALLORAN </span>lives and works in Los Angeles. Her work was recently acquired by the Solomon R. Guggenheim Museum (New York). Group exhibitions include Superficiality and Superexcresence at Ben Maltz Gallery (Otis College of Art &amp; Design, Los Angeles) and Ultrasonic International <span class="caps">III </span>at Mark Moore Gallery (Santa Monica, CA). She is a 2001 <span class="caps">MFA </span>graduate of the Yale University School of Art.</p></div> http://dcktcontemporary.com/exhibition/view/1877 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 19 - March 21, 2010</div> <div class="exhibition-opening">Opens Friday, February 19, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1849"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/25/25333.jpeg" alt="" height="432" width="432" /></a> <p>Josh Azzarella, <em>Untitled #86 (Lopez)</em>, 2009</p> <p> Cibachrome, edition of 3 + 1 AP, 10 x 10" image </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present new photographs by <span class="caps">JOSH AZZARELLA. AZZARELLA </span>manipulates images from cinema, journalism and amateur photography. His photographs muddy the waters between the artificial beauty of a cinematic set and the inherent beauty of the natural landscape. Absent their most significant events, <span class="caps">AZZARELLA</span>&#39;s images raise questions about how our society constructs a narrative of our collective history.</p> <p>The emptying of the photographs presents each scene in its formal beauty but leaves a ghost of its narrative past. The viewer is tempted to draw relational lines between individual photographs and to decipher patterns and groupings, taking cues from color and film grain. Movie stills, homemade images and documentary footage mix together, as in our collective memory. How individual and collective memories form, the possibilities of confusing memories with realities or creating memories where none previously existed are all key to his oeuvre.</p> <p>In one photograph vines drape across branches, hearkening documentary photographs of the Vietnam War although its true source is the B movie classic Creature from the Black Lagoon. Emptied seascapes recall the stillness of Hiroshi Sugimoto photographs. The backs of two men on an Elvis Presley film set evoke 1960s family photographs, perhaps of a picnic. </p> <p><span class="caps">AZZARELLA </span>lives and works in New York City. Solo and group exhibitions include Mark Moore Gallery (Santa Monica, CA); Vancouver Art Gallery (British Columbia); Kavi Gupta Gallery (Chicago); Akademie der K&uuml;nste (Berlin). He was the recipient of the 2006 Emerging Artist Award and a solo exhibition from The Aldrich Contemporary Art Museum (Ridgefield, CT). His work is included in the permanent collection of the San Francisco Museum of Modern Art. This is his third solo exhibition with <span class="caps">DCKT</span> Contemporary.</p></div> http://dcktcontemporary.com/exhibition/view/1849 <div class="exhibition-subtitle">The Unraveling of Michelle duBois</div> <div class="exhibition-dates">January 8 - February 14, 2010</div> <div class="exhibition-opening">Opens Friday, January 8, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1822"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/31/31405.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">ZOE CROSHER</span>&#39;s The Unraveling of Michelle duBois, a reconsidered archive culled from crates, boxes and albums consisting of endless flirtatious smiles, tourist shots, cheesecake mementos and suggestive poses in every film type and size.</p> <p>It is simply an archive. But nothing is ever simple. Michelle duBois, one of a number of aliases, kept a lot of pictures of herself. Turning tricks in the Pacific Rim during the `70s, she took on many guises for her particular profession and kept fanatical documentation of her many dramatic transformations. Until one day, she didn&#39;t. Time passes, things fall apart, and the photographs record its circuitous and histrionic conclusion.</p> <p>duBois adopted <span class="caps">CROSHER </span>and bequeathed to her the dubious legacy of this archive. <span class="caps">CROSHER </span>has gotten lost in this archive. But an archive by itself, like an artwork by itself, is a static notion, a thing activated only when it is being handled, witnessed, experienced. And <span class="caps">CROSHER, </span>the artist with a vaguely similar appearance, is making pictures. In this instance of duBois&#39;s images, but pictures nonetheless. Pictures of pictures. Of obfuscated faces, of repeated shadows in dark black &amp; white doorways, of tiger prints and arched backs, of backs of backs of photographs and backs of necks, of eyes and mirrors and reflections, of notes taken and rewritten, scanned and scratched, kept and held and returned - all of which are coming undone in various shades of magenta and yellow and cyan. The photographic archive itself is dissolving, the pictures are fading, new surfaces are showing through. The two archives are collapsing into each other, conflating the history of the reordering of the unraveling and the unraveling itself. </p> <p>Their material, the photograph as a thing, is itself ending. Framed and reframed, duBois&#39;s Asianesque escapism viewed through the lens of <span class="caps">CROSHER</span>&#39;s transience obsessions provoke our own fantasies, encapsulating an imagined amateur history. One that is almost gone, never to be discovered or, as in this case, bequeathed ever again. Except here, momentarily halting the process for another peek, coyly giving us something vibrant to see.</p> <p><span class="caps">CROSHER </span>holds a <span class="caps">MFA </span>in Photography &amp; Integrated Media Cal Arts (Valencia, CA). She lives and works Los Angeles. In 2008 her solo exhibition The Reconsidered Archive of Michelle du Bois was shown at the Claremont Museum of Art (CA). She was included in the recent group exhibition Suddenly: Where We Live Now at the Douglas F. Cooley Memorial Art Gallery, Reed College (Portland, OR) and the Pomona College Museum of Art, (CA). Her work is included in the permanent collection of the San Francisco Museum of Modern Art. This is her third solo exhibition with <span class="caps">DCKT</span> Contemporary.</p></div> http://dcktcontemporary.com/exhibition/view/1822 <div class="exhibition-subtitle">Shredders</div> <div class="exhibition-dates">November 20, 2009 - January 3, 2010</div> <div class="exhibition-opening">Opens Friday, November 20, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1802"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/30/30484.jpeg" alt="" height="361" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Andrzej Zieli&#324;ski<br /> Shredders</p> <p>November 20, 2009 - January 3, 2010<br /> Opens November 20 6:00 PM - 8:00 PM</p></div> http://dcktcontemporary.com/exhibition/view/1802 <div class="exhibition-subtitle">Reclamation of the Modern Tongue</div> <div class="exhibition-dates">October 17 - November 15, 2009</div> <div class="exhibition-opening">Opens Friday, October 16, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1788"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/27/27851.jpeg" alt="" height="548" width="480" /></a> <p>Ted O'Sullivan, <em>Pope No</em>, 2009</p> <p> oil, crushed charcoal, marble dust, & paper-mâché on canvas, 80 x 70" </p> <br /> <div class="exhibition-description"><p>O&#39;SULLIVAN&#39;s painting process salvages, expands and reinvents the coded icons and systems of modernity. Oil, crushed charcoal, marble dust &amp; paper-m&acirc;ch&eacute; on canvas create an impastoed lexicon that subverts the rational philosophy or formal reductivism of the modern to create new verbal and pictorial prophecies.</p> <p>O&#39;SULLIVAN&#39;s visual mantra of masks, totems, improvised architecture and modeled figurative appendages is conjoined through an autonomous flow of current streaming from stoicism to hysteria. His influences combine elements of Paleolithic cave painting, the Baroque, Russian Suprematism and 20th Century American and German painting to generate a process of working that revels in a perpetual state of evolution and devolution.</p> <p>The painting Pope NO (2009) portrays "the golden paramecium that slithers to the Darwinian finishing school of transcendence and into troglodytic form." The troglodyte figure, an individual that only roughly resembles a civilized human, is confronting the viewer with its otherworldly existence and innocent stare. With it the artist engages the raw id, utilizing an internal image bank of memories, invented forms and textures that have been codified and expanded to invoke a range of art historical language from the ancient to the modern.</p> <p>O&#39;SULLIVAN holds a <span class="caps">BFA </span>from The School of the Museum of Fine Arts, Boston (1999) and a <span class="caps">MFA </span>from the School of Visual Arts, New York (2006). He had a solo exhibition at The Happy Lion, Los Angeles (2006) and has been included in group exhibitions curated by Dan Cameron, David Hunt, Omar Lopez-Chahoud and Bob Nickas. He lives and works in Brooklyn, <span class="caps">NY.</span></p></div> http://dcktcontemporary.com/exhibition/view/1788 <div class="exhibition-subtitle">two arcs that curve in opposite senses</div> <div class="exhibition-dates">October 17 - November 15, 2009</div> <div class="exhibition-opening">Opens Friday, October 16, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1789"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/27/27915.jpeg" alt="" height="596" width="480" /></a> <p>Tom Gallant, <em>Among the Mournful</em>, 2009</p> <p> cut paper & collage, 26 1/2 x 21 1/4" </p> <br /> <div class="exhibition-description"><p><span class="caps">GALLANT</span>&#39;s works are meticulously crafted paradoxes of absent presence and are heavily subsumed by the process of removal, subtraction and fragmentation. </p> <p>The exhibition title refers to the definition of an ogee, a pointed arch having on each side a reversed curve near the apex. An ogee is a form most evident in the geometry of Flamboyant Gothic rose windows and was favored by 19th century decorative arts master William Morris in the underlying structure of patterns. In <span class="caps">GALLANT</span>&#39;s works, the ogee appears both literally and ontologically by bringing two motifs together through a process of removal and creating a montage contrasting fragile beauty with the obscene.</p> <p><span class="caps">GALLANT</span>&#39;s cut and layered silhouettes open up the language of collage and use it as a formal device to explore the strength of negative spaces. Among the Mournful is based on a detail from a Gustave Dor&eacute; illustration for the Bible and is made from three sheets of paper: the first is a colored sheet, the second is cut pornographic magazine paper and the top is black cut paper. Replications of the simple folds of cloth, magnified and isolated, are seen grappling with the forms beneath them yet rest in a state of suspended animation.</p> <p><span class="caps">GALLANT </span>lives and works in London. Previous solo exhibitions include Museum 52 (London) and Changing Role-Move Over Gallery (Naples, Italy). <span class="caps">GALLANT </span>is included in the upcoming group exhibition Slash: Paper under the Knife at the Museum of Arts &amp; Design (New York). Previous group exhibitions include Colette (Paris) and the Haifa Museum of Art (Israel).</p></div> http://dcktcontemporary.com/exhibition/view/1789 <div class="exhibition-subtitle">sculptures of paintings of places we’ve never been</div> <div class="exhibition-dates">September 10 - October 11, 2009</div> <div class="exhibition-opening">Opens Wednesday, September 9, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1780"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/28/28569.jpeg" alt="" height="335" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>castaneda/reiman here unite their mutual fascination with found landscapes and their ongoing concern with the relationship between the natural landscape and the desire for its representation in domestic spaces. At first glance, the installation appears to include these traditional landscape paintings. However, upon closer inspection, the installation is revealed as a collection of ersatz replicas constructed from plywood panels, drywall mud and other materials commonly found on construction sites - a methodology that has been consistently associated with castaneda/reiman&#39;s art-making practice throughout their nearly twenty year collaboration.</p> <p>These replicas use the landscape imagery literally and conceptually as a foundation by printing them directly on the drywall surface. Just as landscape paintings function in domestic spaces as stand-ins or reminders of places or horizons, the representations in the installation serve as stand-ins for the paintings themselves. In the greater installation, oak hardwood details serve as symbols of how elements of the natural world are placed into the service of interior domestic landscapes. Units of stacked drywall are framed in oak, subtly and ambiguously suggesting the fabrication of a home or the framing of a painting.</p> <p>These most recent sculptures and objects demonstrate a fundamental shift in castaneda/reiman&#39;s process. While still considering the architectural environment, their concerns have moved from the rigid structures that support a space to the residuum of materials reflected in those spaces. Through these sculptures, they rebuild and reinterpret the subjects of their collection into awkward and informal depictions of landscape collage.</p> <p>castaneda/reiman are collaborative artists who live and work in the San Francisco Bay Area. In 2004 they were awarded the Fleishhacker Foundation Eureka Fellowship and have since been included in group exhibitions at the Oakland Museum of California and the Berkeley Art Museum. Their work is included in the permanent collection of the San Francisco Museum of Modern Art. This is their third solo exhibition with <span class="caps">DCKT</span> Contemporary.</p></div> http://dcktcontemporary.com/exhibition/view/1780 <div class="exhibition-subtitle">Untitled #100 (Fantasia)</div> <div class="exhibition-dates">September 10 - October 11, 2009</div> <div class="exhibition-opening">Opens Wednesday, September 9, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1783"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/27/27503.jpeg" alt="" height="282" width="500" /></a> <p>Josh Azzarella, <em>Untitled #100 (Fantasia)</em>, 2007-2009</p> <p> High-definition video, ed. of 5 + 1 AP, 12:06 </p> <br /> <div class="exhibition-description"><p><span class="caps">AZZARELLA</span>&#39;s source material here departs from his well known use of historical news footage to the realm of historic popular culture. <span class="caps">AZZARELLA </span>assiduously scavenges, modifies and rewrites, frame-by-frame, Michael Jackson&#39;s iconic Thriller video, directed by John Landis. Devoid of the title song and emptied of all figures, including the late King of Pop himself, the viewer has no choice but to take notice of the lush, vivid landscape.</p> <p>Deserted streets, a foggy graveyard and a vacant movie theater become potential sites, waiting movie sets on which innumerable scenes could be played out. They remind us of our own projected fantasies and our desire to imagine ourselves inside popular culture. In noticing the emptied surroundings, we also question how the topography of a landscape affects the events within it and in turn how events affect the landscape.</p> <p>This work also marks <span class="caps">AZZARELLA</span>&#39;s first foray into sound. The landscape that was once the backdrop to the song Thriller has been imbued with a full surround sound mix of ambient, localized and constructed atmospheres based on sound from the original video.</p> <p><span class="caps">AZZARELLA </span>lives and works in New York City. He was the recipient of the 2006 Emerging Artist Award and a solo exhibition from The Aldrich Contemporary Art Museum (Ridgefield, CT). Previous solo and group exhibitions include Kavi Gupta Gallery (Chicago, IL); Academie der Kunste (Berlin, Germany); Sean Kelly Gallery (New York, NY); Catharine Clark Gallery (San Francisco, CA). His work is included in the permanent collection of the San Francisco Museum of Modern Art. This is his second solo exhibition with <span class="caps">DCKT</span> Contemporary.</p></div> http://dcktcontemporary.com/exhibition/view/1783 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">June 26 - August 22, 2009</div> <div class="exhibition-opening">Opens Thursday, June 25, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1705"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/26/26025.jpeg" alt="" height="584" width="480" /></a> <p>Claire Sherman, <em>Weeds II</em>, 2008</p> <p> oil on canvas, 72 x 60" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present two solo exhibitions: new paintings by <span class="caps">CLAIRE SHERMAN </span>and new needlepoint works by <span class="caps">MARIA</span> E. PI&Ntilde;ERES.</p> <p><span class="caps">CLAIRE SHERMAN </span>paintings address tragedy, romanticism and ambivalence through landscape. Philosophical writings on the sublime and existentialism influence her recent paintings depicting scenes of vast open spaces, cliffs, ravines, rapids and other ominous topography. The choice of landscape is deliberately idiosyncratic; the scenes can be anywhere or anything: tropical, arctic, lunar, or mundane. However, despite the hopeful curiosity this variety implies, emptiness pervades each environment. <span class="caps">SHERMAN</span>&#39;s approach is bold and painterly with large sweeping brushstrokes, from thin to overly thick areas of paint, as her images waver between abstraction and representation. </p> <p><span class="caps">SHERMAN </span>lives and works in Chicago. Her work is included in the Margulies Collection (Miami) and the Nerman Museum of Contemporary Art (Overland, KS). Recent solo exhibitions include Kavi Gupta Gallery (Chicago) and Hof &amp; Huyser (Amsterdam). She was included in the group exhibition Future Tense: Reshaping the Landscape at the Neuberger Museum of Art (Purchase, NY) in 2008. <span class="caps">SHERMAN </span>has been selected as a recipient of The Marie Walsh Sharpe Art Foundation Space Program for 2009-10.</p> <p><span class="caps">MARIA</span> E. PI&Ntilde;ERES&#39;s needlepoint works place the nude figure in an optical duel with decorative arts. Tantalizing black and white nudes are juxtaposed with the sharp bright colors borrowed and built upon from wallpaper patterns of the glamorous Art Deco era, questioning positive and negative space. The black, white and grey figures emphasize both the nostalgic value of erotic nudes of early men&#39;s "physique" periodicals and "girlie" magazines.</p> <p>PI&Ntilde;ERES lives and works in Los Angeles. Recent solo exhibitions include Walter Maciel Gallery (Los Angeles). She was included in the group exhibitions Pricked: Extreme Embroidery at the Museum of Arts &amp; Design (New York) and Celebrity at the Scottsdale Museum of Contemporary Art (Scottsdale, AZ).</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street).</p> <p>Summer Hours are Wednesday through Saturday, 11am - 5pm.</p> <p>Please note that the gallery will be closed on July 3 &amp; 4.</p></div> http://dcktcontemporary.com/exhibition/view/1705 <div class="exhibition-subtitle">Abundant Creatures</div> <div class="exhibition-dates">May 8 - June 21, 2009</div> <br/> <a href="/exhibition/view/1680"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/25/25061.jpeg" alt="" height="408" width="500" /></a> <p>Michael Velliquette, <em>Happy Minotaur</em>, 2008</p> <p> cut paper & glue, 16 x 20 x 2" UF, 17 x 21 x 3" F </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">MICHAEL VELLIQUETTE</span>&#39;s second New York solo exhibition. <span class="caps">VELLIQUETTE </span>hand cuts and glues paper cardstock into complex dimensional assemblages reminiscent of the interiors of large-scale pop-up books or mosaics in high relief. In his current body of work Velliquette returns once again to garden and jungle settings where humorous and visually dense paper tableaux are populated with animistic spirits, beasts, goons and gods.</p> <p><span class="caps">VELLIQUETTE</span>&#39;s primary material - commercially colored cardstock - has been made more available in recent years due to the rise in popularity of scrap-booking culture and the greater renaissance of the do-it-yourself home crafting movement. His interest in paper-crafting media evolves from of a background in mixed-media sculpture and installation where cardstock and other colored papers were often a component.</p> <p>Clown Beast, Humbaba and Sleepy Bunny present offbeat characters as straightforward portraits. They are vaguely mythological, sometimes Muppet-like, both fierce and friendly and are concerned with the dynamics of familiarity and otherness. In Little Friends and The Midnight Creeper Society, armies of tiny paper beings hide in a sea of black paper foliage. With their wild and quizzical looks they seem to stare, taunt and warn.</p> <p>The panoramic, eight-foot wide Grazing Ground and Abundant Creatures are inspired by ancient frescoes found on the Greek island of Santorini. Each work depicts an Arcadian paradise where menageries of imaginary wildlife cohabitate in utopian splendor.</p> <p>Two vertical Towers venture into ever-increasing levels of detail and dimensionality. Each work takes visual cues from indigenous and folk arts of varied world cultures as a means of integrating abstract figuration and transcendental themes. They allow <span class="caps">VELLIQUETTE </span>to indulge in his unmitigated enthusiasm for shape and color and also gesture toward devotional ornamentation.</p> <p><span class="caps">VELLIQUETTE </span>lives and works in Madison, <span class="caps">WI. </span> His work is included in the Progressive Art Collection (Cleveland) and Western Bridge (Seattle). In 2009 he will be a resident artist at the John Michael Kohler Arts Center (Sheboygan, WI). Recent solo exhibitions include LaMontagne Gallery (Boston) and <span class="caps">NEXT</span> 2008 (Chicago). In 2010 he will be included in the group exhibition Psychedelic at the San Antonio Museum of Art.</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street).<br /> Hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5pm.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/1680 <div class="exhibition-subtitle">Architectonic</div> <div class="exhibition-dates">April 3 - May 3, 2009</div> <div class="exhibition-opening">Opens Friday, April 3, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1645"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/24/24026.jpeg" alt="" height="253" width="500" /></a> <p>William Swanson, <em>Trace Dispersal</em>, 2009</p> <p> acrylic on wood panel, 33 x 65" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">WILLIAM SWANSON</span>&#39;s second New York solo exhibition. In <span class="caps">SWANSON</span>&#39;s acrylic on wood panel paintings architecture attempts to hold rein in a tumultuous battle with natural forces. Each presents a fictitious setting and fuses elements of nature, technology and architecture.</p> <p>Holding to a belief that disaster can be a transformative process, <span class="caps">SWANSON</span>&#39;s spaces play with end into beginning as in all natural cycles. Floods of light and debris spin in and out of view in unraveled space. Remnants of buildings, infrastructure and dilapidated structures are charted out in a survey of the damage. These are potential scenes of disaster.</p> <p><span class="caps">SWANSON</span>&#39;s palette is a mix of deep blues, blacks and grays with contrasting hot pinks and warm acrid citrus. The paint alternates between loose floods of blended pools, streaks and harder edge flat planes of solid color mass. Concentrated masses of form gather in piles of teetering planes and surfaces.</p> <p>In "Trace Dispersal", a black field is bisected by crystalline planes of color. Outcroppings of rock drift like remains of a larger development; the scraps of earth barely provide footing for temporary structures, pipes and other human networks. In another new painting, a wide expanse of glowing space floods an indeterminate horizon. Structures such as banks of computer monitors and display units stand without any use or users; a collective energy of information is swelling in the atmosphere. </p> <p><span class="caps">SWANSON </span>lives and works in Oakland, <span class="caps">CA. </span> Recent solo exhibitions include the Marx &amp; Zavattero (San Francisco) and Walter Maciel Gallery (Los Angeles). <span class="caps">SWANSON </span>was included in the recent group exhibition Future Tense: Reshaping the Landscape at the Neuberger Museum of Art (Purchase, NY).</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street). Hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5pm.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/1645 <div class="exhibition-subtitle">Greetings from Home</div> <div class="exhibition-dates">February 20 - March 28, 2009</div> <div class="exhibition-opening">Opens Friday, February 20, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1611"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/23/23048.jpeg" alt="" height="640" width="480" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary presents <span class="caps">HELEN ALTMAN</span>&#39;s solo exhibition of mixed media works. <span class="caps">ALTMAN </span>explores notions of reality versus artificiality in everyday life. Her interest in mimicry and replicas results in objects that are convincing and sincere while simultaneously absurd in their obvious artificiality.</p> <p><span class="caps">ALTMAN</span>&#39;s Goldfish is a 45 gallon aquarium filled with a multitude of individual cast plastic fish. The faux goldfish in the "feeder tank," as well as several goldfish bowls on view, address concepts of individuality, loss of identity, overcrowding, separation and loneliness.</p> <p>Lotus Bed consists of lotus leaf skulls on top of a chenille bedspread with cocoons sewn on. The skulls resemble something an insect would make and the cocoons mimic wasp eggs sometimes laid on living caterpillars that serve as the host for the growing wasp larvae. Here, the bedspread itself ("chenille" translates from French as "caterpillar") serves as host. The bed becomes a victim and the stand-in for the absent sleeper.</p> <p>With Weeping Iron, a dialogue between an inanimate object and the missing user is created. A clothes iron sits in an empty laundry basket atop a pile of wrinkled clothing. The iron is in fact a working fountain, weeping as if trapped and overwhelmed by an extraordinary task which it cannot complete.</p> <p>Also on view will be a selection of <span class="caps">ALTMAN</span>&#39;s wire birds and skulls molded from different natural materials.</p> <p><span class="caps">ALTMAN</span>&#39;s work is included in the permanent collections of the Museum of Contemporary Art San Diego, the Dallas Museum of Art and the Museum of Fine Arts, Houston. Recent solo exhibitions include the Galveston Arts Center, Dunn and Brown Contemporary (Dallas) and Moody Gallery (Houston). Recent group exhibitions include Walter Maciel Gallery (Los Angeles), University of North Texas Art Gallery (Denton) and the Chelsea Art Museum (New York).</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street).<br /> Hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5pm.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/1611 <div class="exhibition-subtitle">Longer Periods of Happiness 2009</div> <div class="exhibition-dates">January 23 - February 6, 2009</div> <br/> <a href="/exhibition/view/1621"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/22/22230.jpeg" alt="LOCATIONS" height="646" width="500" /></a> <p><p><span class="caps">LOCATIONS</span></p></p> <br /> <div class="exhibition-description"><p>Manhattan Community Arts Fund presents a public installation by <span class="caps">AARON KRACH</span>: Longer Periods of Happiness 2009. This project is made possible in part with public funds from The Manhattan Community Arts Fund which is supported by the New York City Department of Cultural Affairs and administered by the Lower Manhattan Cultural Council.</p> <p>*For a map of locations please <a href="http://maps.google.com/maps/ms?ie=UTF8&amp;hl=en&amp;msa=0&amp;msid=110369768639633370013.000461050cf2af53abb18&amp;z=13">click here</a> *</p> <p><span class="caps">KRACH </span>adds hundreds of posters, each his own color photograph of plastic Calla Lilies, to the multitude of advertisements for events and products pasted-up throughout New York City. No words appear, not even the project&#39;s title or artist&#39;s name. The image is a pure shot of joy injected into the city&#39;s forest of signs.</p> <p><span class="caps">KRACH </span>continues his search for the emotional heart of inexpensive commercial products and their transformation into objects of affection and contemplation. Through repeated mutations - real flower into fake flower, fake flower into photograph, photograph into poster, and poster into public art - <span class="caps">KRACH </span>reveals and revels in the secret life of objects.</p> <p>This is the second edition of Longer Periods of Happiness. The first, utilizing a different photograph of plastic flowers, was exhibited in 2006 inside and outside of <span class="caps">DCKT</span> Contemporary and simultaneously throughout Manhattan. It was also installed in North Adams, <span class="caps">MA, </span>and Terlizzi, Italy. </p> <p><span class="caps">KRACH </span>is included in the group exhibition Beyond the Fluff &amp; Fold: Contemporary Artists &amp; the T-Shirt at the Gallery at University Hall, The Art Institute of Boston. Previously, <span class="caps">KRACH </span>has had a one-person exhibition with <span class="caps">DCKT</span> Contemporary (New York, NY) and has been included in group exhibitions at Exit Art (New York, NY), Invisible Exports, (New York, NY), and Jack the Pelican Presents (Brooklyn, NY)</p> <p><strong>In conjunction with Longer Periods of Happiness 2009 Krach has created a limited edition, 11&#215;14" digital c-print in an edition of 30 for $250 each. For more information please contact <span class="caps">DCKT</span> Contemporary.</strong></p></div> http://dcktcontemporary.com/exhibition/view/1621 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 10 - February 14, 2009</div> <div class="exhibition-opening">Opens Friday, January 9, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1567"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/22/22199.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary presents <span class="caps">CORDY RYMAN</span>&#39;s solo exhibition of new abstract paintings, sculptures and installations. <span class="caps">RYMAN </span>uses traditional and non-traditional media such as paint, wood, metal, felt tip pen, velcro, staples and floor sweepings.</p> <p>Tinged with humor, <span class="caps">RYMAN</span>&#39;s works often contain reflected colors as well as real and painted shadows. The works play with illusion versus reality and attachment versus detachment. <span class="caps">RYMAN </span>manipulates and reconstitutes an inherited visual language, defining himself in relation to it.</p> <p><span class="caps">RYMAN </span>works in two basic modes. The first is simply working without a clear path or specific means to an end. In the work <span class="caps">V3, </span>strips of velcro recycled from a previous work are arranged on a rough cut piece of wood in an orderly yet imprecise fashion. Some rows are horizontal, some diagonal and others vertical. The careful consideration of the wood and its contours guides the artist in the patterning. The resulting work undulates with yellows, browns and whites with a glow of hot pink across the top. <span class="caps">RYMAN</span>&#39;s process allows the work to dictate its own direction and evolution, sometimes referring back to other pieces or ideas and often referencing the materials used. </p> <p><span class="caps">RYMAN </span>also works in an architectural mode where he creates a dialogue between his work and its surroundings. These spaces can be specific in location or as common as a 90 degree corner. In the sculptural installation 193 Stairs, <span class="caps">RYMAN </span>stacks and steps multitudes of painted wood chunks to form a triangle on the wall. The work responds to the unique aspects of its placement in a three dimensional manner. The space in some ways becomes a kind of canvas. </p> <p><span class="caps">RYMAN</span>&#39;s previous solo exhibitions include Nicole Klagsbrun Gallery (New York, NY), Traver Gallery (Seattle, WA) and Stalke Up North (Gilleleje, Denmark). Previous group exhibitions include One More, Esbjerg Museum of Modern Art (Esbjerg, Denmark), Invitational Exhibition of Visual Arts, American Academy of Arts and Letters (New York, NY) and Greater New York 2005 at <span class="caps">P.S.</span> 1 Contemporary Arts Center (Long Island City, NY).</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street).<br /> Hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5pm.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/1567 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 7 - December 20, 2008</div> <div class="exhibition-opening">Opens Thursday, November 6, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1454"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/20/20575.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary presents new paintings by <span class="caps">TIMOTHY TOMPKINS.</span> The exhibition includes works from his ongoing Media series and debuts paintings from his new Nebula series.</p> <p>The inspirations for <span class="caps">TOMPKINS</span>&#39;s paintings stem from his engagement with the tropes and language of the medium&#39;s history. <span class="caps">TOMPKINS </span>begins his process of digitally altering found photographs by breaking the images down to core colors and by effect blurring the contours. He then uses high-gloss commercial enamel to execute the paintings on aluminum panels. The paintings, when viewed from a distance, reflect both physically and metaphorically a relational narrative which, upon closer inspection, dissolves into form and color. The artist communicates a sense of removal from the present and a conceptual representation of social, cultural, and personal "memory."</p> <p>10.24.07 (after Turner) utilizes as its source a news image of a helicopter preparing to drop water on a brush fire in Southern California. The classic struggle of man versus nature calls into question persistent human expansion into areas susceptible to the unpredictability of the natural environment. <span class="caps">TOMPKINS </span>echoes classic paintings by <span class="caps">J.M.W</span> Turner such as Rain, Steam, and Speed - The Great Western Railway (1838) and The Burning of the Houses of Lords and Commons (1835). Referencing painterly concepts of the sublime and picturesque, the painting denies the glorification of nature by its inherent violence. The vibrant hues of color mimic our turbulent political climate and the dire results of globalization.</p> <p>Nebula v.15 contrasts the dynamic activity of a nebula with the seemingly sedentary stars that surround it. Scientists capture images of nebulae with a technique of color reproduction known as the "Hubble Palette," a process in which the elemental properties of stellar objects are assigned specific <span class="caps">RGB </span>codes. The process allows a viewer to see these clouds of dust, gas, and plasma otherwise hidden from physical view. <span class="caps">TOMPKINS</span>&#39;s Nebula series plays upon ideas of revealing the unseen and invokes concepts of disjunction between observation, representation, and interpretation.</p> <p><span class="caps">TOMPKINS</span>&#39;s work is included in the collections of the Frederick R. Weisman Art Foundation (Los Angeles, CA), the West Collection (Oaks, PA) and Harvard Business School (Cambridge, MA). Recent exhibitions include solo shows at Susanne Vielmetter Los Angeles Projects, Studio La Citta (Verona, Italy) and inclusion in the group exhibition Rogue Wave &#39;07 at LA Louver (Venice, CA).</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street).<br /> Hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5pm. </p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/1454 <div class="exhibition-subtitle">All or Nothing</div> <div class="exhibition-dates">September 19 - November 1, 2008</div> <div class="exhibition-opening">Opens Thursday, September 18, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1453"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/18/18965.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary presents new works by <span class="caps">RYAN HUMPHREY </span>in All or Nothing, his second solo exhibition at the gallery. The symbolism of fearlessness, triumphant rebirth and its process is evident throughout the exhibition. The works utilize low-brow materials commonplace during <span class="caps">HUMPHREY</span>&#39;s youth in blue-collar rural Ohio combined with more traditional artistic media.</p> <p>In three large mixed media works (Back in Black, Now She&#39;s Black, and Burst into Light) <span class="caps">HUMPHREY </span>expropriates the original hood designs of late 1970s Pontiac Trans Am muscle cars. He creates mixed-media paintings incorporating the symbolism of the mythical phoenix resurrecting itself. In Burst into Light, the centralized figure of the fire-breathing bird is attached to a large panel that fuses a variety of disparate materials including: beer bottle caps, Nascar pop rivets, automobile sheet metal, custom pinstriping, printed fabric and airbrush work. </p> <p>Designer Appliance continues <span class="caps">HUMPHREY</span>&#39;s interest in the intimacy of domestic furnishings and consumer mentality. This work consists of a generic refrigerator customized by the artist and adorned with everything from band stickers to a bottle opener made from an exotic dancer&#39;s acrylic high heel. Filled with beer, condiments and J&auml;germeister, the appliance blasts classic rock and signifies a <span class="caps">D.I.Y </span>"live fast, die young" American mentality.</p> <p><span class="caps">HUMPHREY </span>completed the Independent Study Program of the Whitney Museum of American Art in 2006. He received his <span class="caps">MFA </span>from Hunter College in New York and his <span class="caps">BFA </span>from Ohio University. <span class="caps">HUMPHREY </span>had a solo exhibition at the Kemper Museum of Contemporary Art (Kansas City, MO) in 2006. Recently, his work was included in the traveling group exhibition Will Boys be Boys?: Questioning Adolescent Masculinity in Contemporary Art, curated by Shamim M. Momin. <span class="caps">HUMPHREY </span>also appeared on season one of Top Design on Bravo</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street). Hours are Tuesday through Friday, 11am - 6pm; Saturday, noon - 6pm; Sunday, noon - 5om</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/1453 <div class="exhibition-subtitle">Dark Skate</div> <div class="exhibition-dates">July 23 - September 13, 2008</div> <div class="exhibition-opening">Opens Wednesday, July 23, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1427"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/9/9956.jpeg" alt="" height="499" width="500" /></a> <p>Lia Halloran, <em>Dark Skate / LA River Tree</em>, 2007</p> <p> c-print, edition of 5 + 2 AP, 48 x 48" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">LIA HALLORAN</span>&#39;s second New York solo exhibition. The ten photographs on view were taken at night in various Los Angeles locations ranging from spaces appropriated by skateboarders, such as the Los Angeles River, to skate parks and backyard ramps.</p> <p>The works blur the boundaries of photography and become self-portraits and drawings as well as records of performances. Light is used to form the drawing line while <span class="caps">HALLORAN </span>skateboards at night through different venues. The resulting images are each a trajectory of the artist&#39;s movements over time. The photographs pair urban environments with lines of light which behave as physical objects or break apart into flurries of abstraction.</p> <p>The images also have ghost-like connotations, showing action with no trace of a figure and leaving an after-image of where but not of whom. They become memory as well as exaggerations of architecture combined with landscape. The light pollution of the Los Angeles night sky is often heightened by the long exposure time of the camera.</p> <p><span class="caps">HALLORAN </span>is a 2001 <span class="caps">MFA </span>graduate of the Yale University School of Art and a 1999 <span class="caps">BFA </span>graduate of the University of California, Los Angeles. Her work is included in Space is the Place, a traveling exhibition organized by Independent Curators International, on view at the Hudson River Museum through September 8.</p></div> http://dcktcontemporary.com/exhibition/view/1427 <div class="exhibition-subtitle">Sleep in Spite of Thunder</div> <div class="exhibition-dates">May 23 - July 18, 2008</div> <br/> <a href="/exhibition/view/1346"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/16/16451.jpeg" alt="" height="403" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">EXENE CERVENKA</span>&#39;s second New York solo exhibition featuring two new bodies of work deeply invested in the aesthetics of American culture: "The Spirits Are Alive and Well" and "EPIC <span class="caps">HERO</span>".</p> <p><strong>There will be a reception for the artist on Friday, June 20 from 6 - 8pm.</strong></p> <p>"The Spirits Are Alive and Well" is a talismanic series of collages created from antique photographs and other found material. The reclaimed portraits and pieces of castaway cultural ephemera are composite snapshots of America. The chance appearance of the number "46" during the creation of the first collage resonated with <span class="caps">CERVENKA </span>and led her to Psalm 46 in the Bible, rumored to have been translated by William Shakespeare for the King James Version. Several coincidences occur that have perpetuated this theory of Shakespeare&#39;s translation; at the time of publication of the King James Version, William Shakespeare was 46 years old. In Psalm 46, the 46th word from the beginning is "shake" and the 46th word from the end is "spear". </p> <p>"EPIC <span class="caps">HERO</span>" is a series of unique stenciled and spray-painted paintings referencing anti-flyposting messages such as "POST NO <span class="caps">BILLS.</span>" CERVENKA&#39;s stenciled lettering reclaims the ready-made template, combining American symbology and imagery that challenges militarism, patriotism and notions of valor. From the camouflage of army fatigues to Warhol&#39;s camouflage paintings, "EPIC <span class="caps">HERO</span>" and its layered complexity is at the very heart of contemporary Americana.</p> <p>An icon of the Los Angeles seventies punk scene, <span class="caps">EXENE CERVENKA </span>is known internationally as a founding member of the critically acclaimed band, X, currently touring the United States through June 13th. A spoken word and visual artist for more than 30 years, <span class="caps">CERVENKA</span>&#39;s work is included in Vexing: Female Voices from East LA Punk at the Claremont Museum of Art (May 18 - August 31, 2008). Previous one-person exhibitions include the Santa Monica Museum of Art (2005) and Western Project, Culver City, CA (2007).</p></div> http://dcktcontemporary.com/exhibition/view/1346 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 21 - May 17, 2008</div> <div class="exhibition-opening">Opens Thursday, March 20, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/877"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/15/15204.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce the opening of our new gallery at 195 Bowery (at Spring Street) on the Lower East Side with the first New York solo exhibition by <span class="caps">JOSH AZZARELLA.</span> There will be a reception for the artist on Thursday, March 20th, 2008, from 6:00-8:00 p.m.</p> <p>Through the manipulation of historical imagery, <span class="caps">JOSH AZZARELLA </span>creates stills and videos which radically alter the contexts and meanings of images ingrained in the public conscience. How individual and collective memories form, the possibilities of confusing memories with realities or creating memories where none previously existed are all key to his oeuvre.</p> <p>In his still photographs, <span class="caps">AZZARELLA </span>erases important features of iconic images to create an alternate history. Untitled #39 (265) takes as its source John Filo&#39;s Pulitzer Prize winning photograph of the 1970 Kent State shootings. Instead of Mary Anne Vecchio screaming as she kneels over the slain body of Jeffery Miller, the viewer is presented with an image of students walking through the university campus as if nothing has happened. Untitled #23 (Lynndied) shows cigarette-clenching <span class="caps">U.S.</span> Army reservist Lynndie England in an empty hallway finger-gun pointing and giving the "thumbs up" sign. Missing are the naked, hooded Abu Ghraib prisoners she humiliated and was later convicted of maltreating. </p> <p><span class="caps">AZZARELLA </span>assiduously modifies video and film footage frame-by-frame to rewrite history. Untitled #9 (W.T.P.1) uses the well-known Jules Naudet video footage from 9/11 of American Airlines Flight 11. Rather than crashing into the North tower of the World Trade Center, the plane flies harmlessly past the buildings. The artist not only erases the impact of the aircraft, but he also reconstructs the towers and allows the flight to continue.</p> <p>Using an altogether different technique, <span class="caps">AZZARELLA</span>&#39;s abstract videos transform painful footage into something more quiet, subtle and hopeful. Rather than re-creating history, <span class="caps">AZZARELLA </span>successively layers each individual frame, causing the scene to unfold slowly and obfuscating what transpires. Untitled #8, one of his most harrowing works to date, shows a dark object in the center of an azure field. The shape slowly morphs and changes but always remains at the center of the screen, endlessly floating. The image is in fact that of a person jumping from one of the World Trade Center towers on 9/11.</p> <p><span class="caps">AZZARELLA </span>was the recipient of the 2006 Emerging Artist Award and a solo exhibition from The Aldrich Contemporary Art Museum (Ridgefield, CT). He has been in group exhibitions at venues including Western Bridge (Seattle, WA), the Indianapolis Museum of Contemporary Art (IN) and the Jane Voorhees Zimmerli Art Museum (New Brunswick, NJ). </p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 195 Bowery (at Spring Street). Hours are Tuesday through Friday, 11am to 6pm; Saturday, noon to 6pm; Sunday, noon to 5pm. For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/877 <div class="exhibition-subtitle">The Intuitive Jungle</div> <div class="exhibition-dates">February 8 - March 10, 2007</div> <div class="exhibition-opening">Opens Thursday, February 8, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/796"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/6/6616.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present Michael <span class="caps">VELLIQUETTE</span>&#39;s first New York solo exhibition. Sheets of multi-colored archival card stock are hand-cut then glued, working from background to foreground, onto a paper backing in successive layers. Narratives ranging from the intimate to the epic address ongoing philosophical quandaries of the human condition including questions of self, other, place, transformation and transcendence.</p> <p>The flatness of the paper is countered by a dense layering of successively smaller and more ornate pieces; bending, folding and rolling elements coupled with the graphic qualities of the paper cut-out&#39;s edges create dramatic spatial relationships. An intuitive use of color supports the works&#39; handmade aesthetic. The intricately crafted constructions are set in deep frames to heighten the works&#39; three-dimensionality.</p> <p>Recurring strategies for image-making appear in several of the works and include eye-shapes accumulated into silhouettes of open hands and human profiles. These spectral embodiments are encountered in several of the works by a more visceral presence as depicted by mass groupings of small, faceless paper figures. To Willfully Summon the Storm represents in this meeting the need to embrace the consequences of one&#39;s life choices. Works such as Familiar and Exotica romanticize the natural world through fantastic landscapes populated with brightly feathered bird creatures and dense accumulations of paper flowers. Other wild terrains are dominated by imposing stone fortresses in Visitors at the Gate and The Awaited Return and are concerned with the tendencies of invasion and protection, on both personal and political levels. Finally, the visually jarring icon-like portrait titled The Great Protector depicts an omniscient and ferocious deity.</p> <p><span class="caps">VELLIQUETTE </span>was the recipient of an artist residency and one-person exhibition at Artpace (San Antonio) TX in 2004. He has previously had one-person exhibitions at galleries in Dallas and San Francisco and has been in included in group exhibitions at Western Bridge (Seattle) and Deitch Projects (New York).</p></div> http://dcktcontemporary.com/exhibition/view/796 <div class="exhibition-subtitle">The Middle of the End</div> <div class="exhibition-dates">January 6 - February 3, 2007</div> <div class="exhibition-opening">Opens Saturday, January 6, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/795"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/6/6019.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present The Middle of the End, new photo-sculptures and installations by Spanish born, New York based artist Isidro <span class="caps">BLASCO. </span> In this latest body of work, <span class="caps">BLASCO </span>uses digital photography and common building materials to assemble three-dimensional constructions that reconstruct interior spaces and outdoor environments culled from the artist&#39;s personal New York cityscape.</p> <p><span class="caps">BLASCO </span>combines architecture, photography and installation to explore themes of vision and perception in relation to physical experience. His work often references the realm of private or domestic space. <span class="caps">BLASCO </span>normally begins by selecting one angle in a room or outdoors and then constructs a new space from the perspective of that vantage point. Though the distortions and emphases that <span class="caps">BLASCO </span>orchestrates risk comparison with the actual streetscapes or rooms he&#39;s re-creating, the resulting effect is a fragmentation of a single line of sight that is reminiscent of Cubist collages. <span class="caps">BLASCO</span>&#39;s three dimensional sculptures result in an elliptical succession of multiple angles, producing a space that is at once recognizable and entirely new. </p> <p><span class="caps">BLASCO</span>&#39;s newest works expand his paradigm outward to urban spaces found upon exiting the interiors of his other works. For this exhibition, <span class="caps">BLASCO </span>has created three dimensional photographic constructions of his Jackson Heights neighborhood in Queens, <span class="caps">NY. </span> He has constructed collages consisting of the fa&ccedil;ade of his apartment building, a local subway stop, his building&#39;s inner staircase and a variety of street scenes. Within these mundane scenes, <span class="caps">BLASCO </span>adds explosions of apartment buildings, windows and cars, realizing his fears of the current political climate and reaction to the nightly news. <span class="caps">BLASCO </span>will also present several smaller wall mounted works that explore these new outdoor spaces as well as the public interior spaces of his new apartment building. </p> <p><span class="caps">BLASCO</span>&#39;s work is included in the collections of New York&#39;s Museum of Modern Art, Whitney Museum of American Art and The Queen&#39;s Museum of Art; Chicago&#39;s Museum of Contemporary Art; the Baltimore Museum of Art; Italy&#39;s Academia de Bellas Artes de Roma; and Spain&#39;s Colegio Oficial de Ingenieros de Caminos, and Museo de Arte Contempor&aacute;neo, among others. His numerous awards and grants include the John Simon Guggenheim Foundation Fellowship in Visual Arts; Rockefeller Foundation Studio Residency in Bellagio, Italy; and "In the Public Realm" Public Art Fund Grant.</p></div> http://dcktcontemporary.com/exhibition/view/795 <div class="exhibition-subtitle">Out the Window (LAX)</div> <div class="exhibition-dates">November 17 - December 20, 2006</div> <div class="exhibition-opening">Opens Friday, November 17, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/653"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/5/5740.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce Out the Window (LAX), a one-person exhibition of photographs by <span class="caps">ZOE CROSHER.</span> The exhibition marks the release of a monograph published by the Los Angeles Forum for Architecture and Urban Design and featuring essays by Norman Klein, Pico Iyer and Julian Myers.</p> <p>The question of how to photograph Los Angeles - a place that moves in shifts and perpetual motion with no real center - is central to <span class="caps">CROSHER</span>&#39;s recent work. This project investigates <span class="caps">LAX </span>and its surrounding infrastructure as a place of non-center and transience, a metaphor for Los Angeles, a city where movement is "not a walking-motion; it breathes in anonymous transit, spread and wide, seen through passing cars or from airplane windows." Thirty-one photographs taken between 2001 and 2005 will be on view; each photograph was shot from inside a different hotel or motel surrounding Los Angeles International Airport (LAX). Within each photograph <span class="caps">CROSHER </span>records the descent of an airplane into <span class="caps">LAX </span>capturing the tension between peripheral details of interiors and focused images outside the window, animating potential narratives about the room or the world beyond.</p> <p><span class="caps">CROSHER </span>was recently featured in The New York Times Style Magazine, LA Weekly and Modern Painters and was interviewed for public radio&#39;s studio 360. <span class="caps">CROSHER </span>received a Penny McCall Foundation Publishing Grant in 2006. Her work is included in the collection of the San Francisco Museum of Modern Art.</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 552 West 24th Street, between 10th and 11th Avenues in Chelsea. Hours are 11am to 6pm, Tuesday through Saturday.</p></div> http://dcktcontemporary.com/exhibition/view/653 <div class="exhibition-subtitle">The World Is Bound with Secret Knots</div> <div class="exhibition-dates">October 13 - November 11, 2006</div> <div class="exhibition-opening">Opens Friday, October 13, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/652"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/5/5018.jpeg" alt="" height="299" width="448" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce the first New York exhibition of painter Lia <span class="caps">HALLORAN. </span> The six figure paintings in the show explore physical forces of nature and the possibilities of how these forces interact with, intersect and fragment the body. <span class="caps">HALLORAN</span>&#39;s paintings are inspired by physics and unseen natural forces around us such as light, motion, dissipation, centrifugal forces, gravity and magnetism. Laws of physics that are familiar and observable become just as important as the figures they interact with. The figures lie in an unresolved point between giving in and becoming overtaken, experiential in their environments.</p> <p>The title of the show, taken from an exhibit at The Museum of Jurassic Technology in Los Angeles, is a reference to magnetism and connectivity. Magnetic attractions and repulsions are attributed to governing everything from particles, planetary action, tides, wind, love, sympathy and hatred; all are ruled by this force of nature. <span class="caps">HALLORAN</span>&#39;s paintings explore the idea that familiar forces around us play more intimate roles than simply providing us with glue to the earth.</p> <p><span class="caps">HALLORAN </span>is a 2001 <span class="caps">MFA </span>graduate from the Yale University School of Art and a 1999 BA graduate from the University of California, Los Angeles. Her work has been exhibited at Sandroni Rey in Los Angeles and will be included in Space is the Place, a traveling exhibition organized by Independent Curators International opening November 18 at the Cranbrook Art Museum, Bloomfield, <span class="caps">MI.</span></p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 552 West 24th Street, between 10th and 11th Avenues in Chelsea. Hours are 11am to 6pm, Tuesday through Saturday. </p> <p>There will be a reception for the artist on Friday, October 13 from 6 - 8 pm.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/652 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 7 - October 7, 2006</div> <div class="exhibition-opening">Opens Thursday, September 7, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/651"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/4/4662.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce an exhibition by the collaborative artists castaneda/reiman. Their latest body of work focuses on the natural scenic environments existing on the fringes of the urban landscape, their various interpretations and how these areas are reflected within domestic spaces.</p> <p>Several large wall pieces loosely depict postcard versions of coastal California. At first glance, these appear to be large multilayered canvas paintings of beautiful scenes rich with glazes and grounded in painting tradition. In fact, they are standard 4&#215;8 foot plywood and sheetrock layered in drywall mud. This mud is pigmented with commercial tints and applied with a trowel more in the tradition of house building than conventional landscape painting.</p> <p>Dozens of carefully cast, concrete replicas of river rock and quarry stones ranging in scale from overlooked pebbles to average landscaping rock are carefully placed in piles around the gallery. Some rocks blend with the architecture of the space while others supply substructure for the weighty landscape pieces. It soon becomes clear that there is a uniformity of color and a repeat of the forms not present in nature, an evident indication that they are not rocks but replicas. Their function is multi-faceted: they represent the geological foundation of an exterior landscape, their concrete material represents the foundation of a house, while at the same time they are hand-crafted art objects.</p> <p>A palette, built at 80% actual size in solid walnut, goes from a functional to a contradictory object. This normally overlooked construction is now elevated as it becomes an absurd stage for more hand-cast rocks. The same absurdity that exists in the palette and rocks is seen in a hand-painted watercolor replica of a commercial wallpaper border. This manufactured, idyllic, natural landscape horizon repeats itself for 15 yards, existing in its `standard&#39; commercial form just as the drywall sheets do.</p> <p>castaneda/reiman are recipients of a 2004 Fleishhacker Foundation Eureka Fellowship. Their work is included in the permanent collection of the San Francisco Museum of Modern Art.</p></div> http://dcktcontemporary.com/exhibition/view/651 <div class="exhibition-subtitle">100 New York Mysteries</div> <div class="exhibition-dates">June 23 - August 4, 2006</div> <div class="exhibition-opening">Opens Thursday, June 22, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/546"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/3/3157.jpeg" alt="" height="270" width="360" /></a> <p>Aaron Krach, <em>Houston Street, New York</em>, 2006</p> <p> digital c-print mounted on Plexiglas, ed. of 3 + 1AP, 14 1/4 x 19 1/4" UF, 15 1/2 x 20 1/2" F </p> <br /> <div class="exhibition-description"><p>For his first exhibition at <span class="caps">DCKT</span> Contemporary, Aaron Krach stakes a claim to a piece of the rich and varied history of artists inspired by New York City. "My new work fits somewhere between late, jazzy Piet Mondrian and early, East Village Madonna," says Krach. "It&#39;s a genuine but perhaps futile attempt to capture the beauty of Manhattan streets and the sex appeal of pure, unadulterated pop culture."</p> <p>Works in the exhibition include photographs of new and discarded consumer goods as well as the artist&#39;s own sculptures comprised of commercially manufactured objects. The raw materials of Krach&#39;s art are the overlooked and underappreciated parts of the cityscape-wheat-pasted advertising, steam that billows up from under the streets, and discarded kitsch. But this is no straight documentary: Krach transforms images and the ideas behind (or underneath) them into myriad different media.</p> <p>100 New York Mysteries is a stack of 100 self-published books filled with 100 of Krach&#39;s photographs of the steam that seeps, spews and sprays up from under Manhattan streets. Krach transforms the ephemeral into static images only to degrade the images by producing machine-made books ordered online with minimal attention paid to production. Longer Periods of Happiness is a poster of a photograph of fake flowers "wild-posted" on a wall inside the gallery, on a two-story billboard on the exterior west wall of the gallery building, and around the city.</p> <p>Aaron Krach lives and works in New York. He published his first novel, Half-Life, to critical acclaim in 2004, and has exhibited artwork in low-fi venues in high-profile locations from Copenhagen to Cuba, Seattle to Sao Paolo. Most recently, Krach&#39;s work was included in The Studio Visit at Exit Art, New York. </p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 552 West 24th Street. Summer hours are 11am to 6pm, Tuesday through Friday.</p> <p>There will be a reception for the artist on Thursday, June 22 from 6 - 8 pm.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/546 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 13 - June 17, 2006</div> <div class="exhibition-opening">Opens Saturday, May 13, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/541"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2709.jpeg" alt="" height="259" width="500" /></a> <p>Oliver Boberg, <em>Seite 1 / Page 1</em>, 2004</p> <p> Lambda print, edition of 5 + 2 AP, 58 1/2 x 113 1/4" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce representation of Oliver <span class="caps">BOBERG </span>and his first exhibition with the gallery. Works from the Seiten / Pages series will be debuted as well as films from the Nacht-Orte / Night Sites series.</p> <p>Inner connections between combined images, in both color and black &amp; white, are created in each Seite / Page. Each image is no longer perceivable without the others and a connection, as subtle as it may be, is involuntarily made in the mind of the viewer. This is the first time that <span class="caps">BOBERG </span>has used black &amp; white images and he has said "It is clear that we percept a non-color image in a different way than a color picture. They hold the notion of history, but also documentary style and maybe even nostalgia."</p> <p><span class="caps">BOBERG</span>&#39;s photographs are deceptively simple conclusions to a complex process.<br /> A typical image begins as a collection of details describing a type of area or edifice from which he culls items to be included in elaborate scale models that he constructs. <span class="caps">BOBERG </span>then photographs the models from predetermined vantage points, achieving the finished photograph. Through his careful manipulation of visual information and mental expectation, <span class="caps">BOBERG </span>achieves a strangely compelling "reality" that is recognizable and unknowable; banal and universal.</p> <p>Oliver <span class="caps">BOBERG </span>lives and works in F&uuml;rth, Germany. His work is included in the collections of the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; the Houston Museum of Fine Arts, Texas; the San Francisco Museum of Modern Art; the Victoria &amp; Albert Museum, London; and the Norton Museum of Art, West Palm Beach, Florida.</p> <p>The exhibition will be on view at <span class="caps">DCKT</span> Contemporary, 552 West 24th Street. Additional works will be on view at Paul Morris Gallery, 530 West 25th Street, floor 5. Hours are 11am to 6pm, Tuesday through Saturday.</p> <p>There will be a reception for the artist on Friday, May 12 from 6 - 8 pm.</p> <p>For further information, please contact Dennis Christie or Ken Tyburski at the gallery.</p></div> http://dcktcontemporary.com/exhibition/view/541 <div class="exhibition-subtitle">Damage</div> <div class="exhibition-dates">April 1 - May 6, 2006</div> <div class="exhibition-opening">Opens Friday, April 7, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/515"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2489.jpeg" alt="" height="293" width="400" /></a> <p>Christina Ray, <em>Damage Study 0001 [Robin Antiga]</em>, 2006</p> <p> latex house paint & graphite on paper, 23 x 30 1/2" UF; 25 3/4 x 33 1/2" F </p> <br /> <div class="exhibition-description"><p>Christina <span class="caps">RAY </span>invites you to damage <span class="caps">DCKT</span> Contemporary by proxy through her enactment of collected requests. Prior to the opening of the show, the <span class="caps">DAMAGE </span>interactive <a href="http://damageproject.christinaray.com">website</a> will allow visitors to mark a spot to be damaged on a virtual map of the gallery and to submit a message, poem, story or other text relating to the concept of damage. Based on the submissions, <span class="caps">RAY </span>will inflict physical damage points on the actual wall space which will generate the pattern for a large-scale wall drawing.</p> <p><span class="caps">RAY </span>will execute the wall drawing April 1 - 7 and the gallery will be open to the public while she works. The collected damage messages will inform an audio environment designed by <span class="caps">RAY </span>and Brooklyn-based band My Best Fiend. A video piece relating to the installation co-produced by <span class="caps">RAY </span>and music video director Robin Antiga will be screened as well. <span class="caps">RAY </span>will also present a series of studies for the wall drawing as part of the exhibition.</p> <p><span class="caps">DAMAGE </span>builds on <span class="caps">RAY</span>&#39;s previous work in which she utilized observed actions of urban pedestrians and street traffic as public space pattern generators for drawings. As action-at-a-distance turns into something real, the participants will become materially connected to the interior space. The roughed-up wall surface, painted paths and acoustic triggers will translate the participants&#39; web experience of clicking and typing into a tactile, located experience. The inclusion of the public as well as a production team for the web, audio, and video components of the exhibition reflects Ray&#39;s process of working collaboratively, which is an important element of her practice.</p></div> http://dcktcontemporary.com/exhibition/view/515 <div class="exhibition-subtitle">Divine Objects of Hatred</div> <div class="exhibition-dates">February 18 - March 25, 2006</div> <div class="exhibition-opening">Opens Saturday, February 18, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/516"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2714.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>For Ryan <span class="caps">HUMPHREY</span>&#39;s first exhibition with <span class="caps">DCKT</span> Contemporary, the artist will show round paintings made to resemble practice targets in a variety of diameters. At first glance the paintings are seemingly decorative but upon closer examination one sees that they have in fact been riddled with bullet holes.</p> <p><span class="caps">HUMPHREY</span>&#39;s negotiations of the pitfalls of capitalism and his existence within the contradictions of the class system are facets of his life experience. The paintings have been titled to reference adverse events with individuals, the pettiness of the "art world" and engagement with larger entities. <span class="caps">HUMPHREY </span>questions the assimilation of art within the home decorating industry and the use of artworks as accessories. The paintings are consciously benign and decorative yet wounded, raw, unforgiving and purposely devalued.</p> <p><span class="caps">HUMPHREY </span>will have a solo exhibition, Empty Thoughts, Lame Excuses and Decorative Lies, at the Kemper Museum of Contemporary Art, Kansas City, <span class="caps">MO, </span>from April 7 through July 2, 2006. <span class="caps">HUMPHREY </span>is included in the <span class="caps">ICI </span>organized traveling group exhibition Will Boys Be Boys? Questioning Adolescent Masculinity in Contemporary Art, curated by Shamim M. Momin. Upcoming venues include the Museum of Contemporary Art/Denver, the Herbert F. Johnson Museum of Art at Cornell University and the Indianapolis Museum of Art.</p></div> http://dcktcontemporary.com/exhibition/view/516 <div class="exhibition-subtitle">America the Beautiful</div> <div class="exhibition-dates">January 7 - February 11, 2006</div> <br/> <a href="/exhibition/view/542"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2720.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">EXENE CERVENKA</span>&#39;s first New York exhibition. On view in America the Beautiful will be journals and mixed media collages dating from 1974 through 2005 by one of the founding members of the seminal Los Angeles punk group, X. The exhibition was originally organized by the Santa Monica Museum of Art and guest curators Kristine McKenna and Michael Duncan.</p> <p>The exhibition will feature a selection of journals from the collection of approximately 100 that <span class="caps">CERVENKA </span>has completed over the past thirty-one years, as well as eighteen collages. <span class="caps">CERVENKA</span>&#39;s journals combine rough drafts of songs and personal reflections rendered in a baroque calligraphic script with photographs, drawings and scraps of ephemera found while traveling as a musician. Similarly, the collages are created from found materials to form an interpretative composite portrait of the country she&#39;s come to know through her life experiences on the road.</p> <p>An icon of Los Angeles&#39;s seventies punk scene, <span class="caps">EXENE CERVENKA </span>is known internationally for her work with the critically acclaimed band, X. Today she continues her musical career with X as well as in solo performances and participation in bands such as The Knitters, Auntie Christ and The Original Sinners. A visual and spoken word artist for more than thirty years, <span class="caps">CERVENKA </span>has also published four volumes of poetry.</p></div> http://dcktcontemporary.com/exhibition/view/542 <div class="exhibition-subtitle">A Rogues' Gallery</div> <div class="exhibition-dates">November 19 - December 17, 2005</div> <br/> <a href="/exhibition/view/543"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2732.jpeg" alt="" height="324" width="250" /></a> <p>Maria E. Piñeres, <em>Robert Downey Jr. I</em>, 2005</p> <p> cotton thread on paper, 12 x 9" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present A Rogue&#39;s Gallery, a new series of work by <span class="caps">MARIA</span> E. PI&Ntilde;ERES. With her signature medium of stitched needlepoint images, PI&Ntilde;ERES confronts media-saturated contemporary culture&#39;s favorite guilty-or-not-guilty pleasure: the celebrity mug shot. <br /> Celebrity culture exists today almost completely without boundaries. In adversity to the tightly controlled studio system generated publicity of Hollywood&#39;s golden era, nothing today is off-limits. There is hardly any distinction between public and private - and the more private, stark, and embarrassingly real, the better. In the 1940&#39;s and 50&#39;s, readers of Confidential and other such scandal sheets collectively gasped a joyfully naughty, voyeuristic breath and eagerly wrung their hands at the novel site of police-file mug shots of Robert Mitchum and Frank Sinatra. The publication of Kenneth Anger&#39;s Hollywood Babylon (1958) furthered the airing of Hollywood&#39;s dirty laundry into a cultish pastime and created an outlet for a scandal-loving subculture. Today, especially given the access-all-areas manner of internet-disseminated information, such images are commonplace.</p> <p>In A Rogue&#39;s Gallery, <span class="caps">MARIA</span> E. PI&Ntilde;ERES captures an eerily doll-like Michael Jackson and a seemingly helpless Lizzie Grubman among many others. All are depicted in the police station after the initial brush with the law, yet before the indignant publicist denials and the ensuing round of post-release talk show appearances. In her new work, PI&Ntilde;ERES goes one step further from her previous series. Homespun grandmotherly needlework, already turned on its ear, is taken into the world of stars which have crashed and burned, darkly glowing through the atmosphere, onto the decidedly non-lunar surface of central booking. Both the dazed Nick Nolte and snarling Sid Vicious are given true <span class="caps">VIP </span>treatment: vertical diptychs featuring kaleidoscopic serial imagery of their respective mug shots with hallucinogenic multicolored backgrounds--a conscious mirror image of the windmills of her iconic subjects&#39; addled minds. We see a variety of emotions in these faces, rather then blank slates: guilt or embarrassment sometimes, but, more often, defiance, smugness, sweetness and, most often, rebelliousness. </p> <p>This is PI&Ntilde;ERES&#39; second one-person exhibition in New York. Her work has been shown in one-person and group exhibitions at <span class="caps">DCKT</span> Contemporary and, recently, in group shows at both Sara Meltzer Gallery and John Connelly Presents.</p></div> http://dcktcontemporary.com/exhibition/view/543 <div class="exhibition-subtitle">Manifest Destiny</div> <div class="exhibition-dates">October 15 - November 12, 2005</div> <br/> <a href="/exhibition/view/544"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2754.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present our second exhibition of new paintings by <span class="caps">TIMOTHY TOMPKINS. </span> Manifest Destiny takes its title from a rhetorical document written in 1839 by John L. O&#39;Sullivan which advocated the belief that it is America&#39;s God-given right to expand outwards and dominate the continent in the name of economic and political security. On a global level, <span class="caps">TOMPKINS</span>&#39; paintings exist within the framework of the current political climate manifesting itself today where certain disturbing parallels and connections could be made between the Jackson Administration and the Bush Administration. From continental expansion to the current presence in the Middle East, the desire of this nation to extend itself outwards in the name of self-interest and protectionism is a defining and controversial character trait unchanged since the 19th century.</p> <p><span class="caps">TOMPKINS </span>begins by digitally altering his own photographs, breaking the images down to between 12 and 15 core colors and blurring the contours. He then uses high-gloss commercial enamel sign paint on aluminum panels to execute the paintings. The quick-drying nature of the paint, manufactured by 1 Shot, enhances its expressive liquidity and materiality. Often, the contours of the underdrawing and small areas of the aluminum support are still visible, as if the image is still forming.</p> <p>The Interstate Sublime series of paintings take as their foundation a re-investigation of the Hudson River School artists and the idea of national identity expressed through landscape. The paintings began with a series of photographs taken during several road trips. The scenic environments range from mountain to ocean. With the point of view as that of the driver the viewer becomes a participant and conspirator within the landscape, in contrast to the 19th century ideal of simple observer of the landscape. In the past the emphasis was on the awe-inspiring and untamed beauty of nature. Now that same nature has been tamed and the landscape can be perceived as an inconvenience and something to be passed through as quickly as possible.</p> <p>The Empire painting series plays with the idea "American Imperialism" as represented through the iconic building. The structure that seems to define the nation&#39;s character juts syringe-like into the sky, at once beautifully imposing and increasingly pretentious in name, it is also represents a modern vulnerability. Referencing Monet&#39;s "series" paintings, the Empire State Building is painted in varying light conditions ranging from sunrise to evening.</p> <p><span class="caps">TOMPKINS</span>&#39; work was recently on view at The 2005 World Exposition in Aichi, Japan and in Oil Paintings at White Columns, New York, <span class="caps">NY. </span> In 2003, his work was seen in New American Talent: The Eighteenth Exhibition, curated by Dominic Molon (Associate Curator, Museum of Contemporary Art, Chicago), which traveled extensively through Texas. <span class="caps">TOMPKINS </span>is in the collection of the Frederick R. Weisman Art Foundation, Los Angeles, <span class="caps">CA.</span></p></div> http://dcktcontemporary.com/exhibition/view/544 <div class="exhibition-subtitle">Beginning’s End</div> <div class="exhibition-dates">September 6 - October 8, 2005</div> <br/> <a href="/exhibition/view/545"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2771.jpeg" alt="" height="432" width="490" /></a> <p>Isidro Blasco, <em>40th Street / Borden Ave., Queens</em>, 2005</p> <p> c-prints, mixed media, 35 x 38 x 7" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present new works by Isidro <span class="caps">BLASCO. </span> In this latest body of photo-sculptures, <span class="caps">BLASCO </span>uses digital photography, common building materials, and video to assemble three-dimensional constructions that reconstruct interior spaces and outdoor environments culled from the artist&#39;s personal New York cityscape.</p> <p><span class="caps">BLASCO </span>exclusively re-presents his personal spaces at home and in his studio. These urban interiors are reassembled for the viewer as fragmented photo-sculptures revealing the spaces&#39; dimensions and contents, sometimes including his family or neighbors. WC is a near life-size freestanding entry into his family&#39;s bathroom where dining room, linen closet, bedroom, and bathroom are all visible yet fragmented and compressed into a memory of the actual space. Projected on a wall behind the photo-sculpture is a video of the artist and his family entering, using, and exiting the bathroom throughout the day. This fusion of photography, sculpture, architecture, video and sound create a total environment. </p> <p><span class="caps">BLASCO</span>&#39;s newest works expand his paradigm outward to urban spaces found upon exiting the interiors of his previous works. The distortions and emphases that <span class="caps">BLASCO </span>orchestrates risk comparison with the actual streetscapes. Despite being available to everybody, the spaces chosen are personal in that they are scenes that the artist encounters in his daily life. Times Square&#39;s jagged skyscrapers are reconstructed and skewed as he remembers his daily walk from subway to studio and back. Manhattan and Queens street facades are reconfigured in impossible ways as only <span class="caps">BLASCO </span>can remember them from his routine errands. During his daily walks, Blasco can&#39;t help but imagine cinematic manifestations of impending disasters. Airplanes, tornadoes, and smoke permeate the city-scapes of his sculptures realizing the artist&#39;s post-9-11 fears. In connection with these disaster images, Blasco&#39;s large-scale video projection of a typical street reveals dormant threats. The viewer has the potential to add their own memory and biography to that of the artist&#39;s. </p> <p>Concurrently with this exhibition, <span class="caps">BLASCO</span>&#39;s work will be shown in Off The Wall curated by Tracy Adler at Hunter College Art Galleries, New York from September 8th to October 25th and Odd Lots: Revisiting Gordon Matta-Clark&#39;s "Fake Estates" organized by Cabinet magazine at White Columns, New York from September 9th to October 20th. </p> <p><span class="caps">BLASCO </span>has received numerous awards and grants including the Guggenheim Foundation Fellowship in Visual Arts; Rockefeller Foundation, Bellagio, Studio Residency Italy; "In the Public Realm" Public Art Fund Grant; and Socrates Sculpture Park&#39;s Emerging Artist Fellowship. His recent solo exhibitions include Thinking About That Place, which appeared in Espacio Uno, <span class="caps">MNCARS </span>(Reina Sofia Museum, Madrid) in 2004 and Left Behind, on view this past summer at <span class="caps">CAB </span>(Centro de Arte, Caja de Burgos, Spain).</p></div> http://dcktcontemporary.com/exhibition/view/545 <div class="exhibition-subtitle">curated by Tyler Green</div> <div class="exhibition-dates">June 24 - August 12, 2005</div> <br/> <a href="/exhibition/view/557"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2955.jpeg" alt="" height="333" width="500" /></a> <p>Rosana Castrillo Diaz, <em>Untitled (tape drawing)</em>, 2005</p> <p> Scotch tape, approx. 24 x 42" </p> <br /> <div class="exhibition-description"><p>In My Empire Life is Sweet includes work by Rosana Castrillo D&iacute;az, Augusto Di Stefano, and Dan Steinhilber, each of whom soften seriality to the point of dissolution. Green selected the three artists because their work builds on the seriality of Minimalists such as Carl Andre and Donald Judd, who repeated forms with hard, jutting masculine edges and shapes dominated by 90-degree angles. Each artist included in In My Empire Life is Sweet repeats forms, but they do it so quietly that their work almost disintegrates before the eye. Only with close, careful viewing do the repeated forms - and the works themselves - become clear. </p> <p>Each artist uses different materials. Dan Steinhilber and Rosana Castrillo D&iacute;az both use everyday items in their art. For In My Empire Life is Sweet, Steinhilber&#39;s installation will feature an untitled work from 2003. It is a semi-tapestry made up of hundreds of overlaid clear, plastic duck sauce packets hung flat against the wall. Castrillo D&iacute;az will exhibit one of her tape installations, a version of which was recently on view at the San Francisco Museum of Modern Art. The work is from Castrillo D&iacute;az&#39; "Tape Drawing" series, and will be made up of a barely-visible web of tape, suspended from a few anchors in the wall. Di Stefano will show recent paintings that recall the sculptural potential in rich oil paint.</p> <p>Rosana Castrillo D&iacute;az is one of four recipients of the 2004 San Francisco Museum of Modern Art <span class="caps">SECA </span>award. Castrillo D&iacute;az has exhibited throughout the Bay Area, including <span class="caps">SFMOMA</span>&#39;s biennial <span class="caps">SECA </span>exhibition and Warped Space at the California College of Arts&#39; Wattis Gallery. She is included in Wall to Wall Drawings: Selections Summer 2005 at The Drawing Center, New York, from June 18-July 30. Castrillo D&iacute;az lives and works in San Francisco.</p> <p>Augusto Di Stefano was featured in Come Forward, the Dallas Museum of Art&#39;s recent exhibition of Texas artists. Di Stefano&#39;s work was recently acquired by the Altoids Curiously Strong Collection and will be on view in a future exhibition at the New Museum of Contemporary Art, New York. In January and February, 2006, Di Stefano will be an artist-in-residence at ArtPace, in San Antonio, and his work will be exhibited there in March, 2006. In 2004, Kori Newkirk included Di Stefano in his ArtForum "Top Ten." He lives and works in San Antonio.</p> <p>Dan Steinhilber has had a one-person exhibition at the Hirshhorn Museum and Sculpture Garden and his work is included in their permanent collection. In 2006, Steinhilber will have a one-person exhibition at the Contemporary Arts Museum, Houston and will create a site-specific installation at The Mattress Factory, Pittsburgh. Steinhilber lives and works in Washington, <span class="caps">DC.</span></p> <p>Tyler Green is the <span class="caps">U.S. </span>art critic for Bloomberg News. Green has also written and edited Modern Art Notes (MAN) since September 2001. Hosted by ArtsJournal.com, magazines such as Slate and Art in America have recognized <span class="caps">MAN </span>as one of the top art blogs. Green is a member of the International Association of Art Critics.</p></div> http://dcktcontemporary.com/exhibition/view/557 <div class="exhibition-subtitle">Heaven or Las Vegas</div> <div class="exhibition-dates">May 7 - June 18, 2005</div> <br/> <a href="/exhibition/view/558"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2858.jpeg" alt="" height="287" width="432" /></a> <p>Mario M. Muller, <em>LV #3</em>, 2005</p> <p> India ink on paper, 26 x 40" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce <span class="caps">MARIO</span> M. <span class="caps">MULLER</span>&#39;s second New York solo exhibition. The show will consist of India ink drawings from The Las Vegas Suite (2004-5), ranging in scale from 45&#215;68 inches to 26&#215;40 inches. This exhibition marks the debut of <span class="caps">MULLER</span>&#39;s Las Vegas Suite which was begun in 2004 and which the artist sees as an on-going series. </p> <p>Drawn to the high and incredibly bright desert light of Las Vegas, <span class="caps">MULLER </span>offers a view of this tourist and gambling destination that transcends the fleeting glances a typical stroll down the strip might afford a casual viewer. <span class="caps">MULLER</span>&#39;s visual paradigm has been to transform the instantly recognizable aspects of an urban existence and offer them anew, stripped of detail and feature. For this new body of work, the artist has departed from the human form and focused on the architectural details of a city where veneer replaces substance. Each work is a still life in high-contrast silhouette and shadow depicting building facades, marquees, artificial parking lot lights, and surveillance technology. </p> <p>The largest scale drawing in the exhibition, LV #10, 2005, is of an ornamental cupola of iron filigree and rows of light bulbs as seen from a severe vertical angle, silhouetted against the stark desert sky. The immense amount of vertiginous detail acts abstractly when viewed from near and, as one recedes, snaps into focus.</p> <p>The entire oeuvre creates a visual pendulum swing between the immediately identifiable landscape and an abstracted and narrow view of light and shadow patterns on three-dimensional objects. Throughout, Muller harnesses the high contrast and liquid nature of India ink to mimic the pooling and fluid aspects of sunlight. The strong horizontal proportions of these compositions are reminiscent of the panoramic vistas of the West.</p> <p><span class="caps">MULLER</span>&#39;s work is included in the permanent collections of The Speed Art Museum, Louisville, KY; University of Louisville, KY; Northwestern University, Evanston, <span class="caps">IL. MULLER </span>was recently awarded an Art in Transit commission for the Kingsbridge Road Station in the Bronx and commissioned by the <span class="caps">MTA</span> Network Poster Program to interpret the New York City subway system.</p></div> http://dcktcontemporary.com/exhibition/view/558 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 9 - April 30, 2005</div> <br/> <a href="/exhibition/view/564"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2847.jpeg" alt="" height="640" width="480" /></a> <p>Helen Altman, <em>Who Am I?</em>, 2005</p> <p> embroidered baby blanket, 40 x 29 1/2" </p> <br /> <div class="exhibition-description"><p>Helen Altman, Chris Ballantyne<br /> Isidro Blasco, castaneda/reiman<br /> Zoe Crosher, Kim Krans, David Lefkowitz,<br /> Mario M. Muller, Maria E. Pi&ntilde;eres, Christina Ray, William Swanson, Tony de los Reyes, Timothy Tompkins</p> <p>To inaugurate <span class="caps">DCKT</span> Contemporary&#39;s new, independent space located at 552 West 24th Street we are pleased to announce Welcome 2 the Jungle, a group exhibition. Each artist included in the exhibition has previously had a one-person show with <span class="caps">DCKT</span> Contemporary and will present new work in our new habitat. Works include:</p> <p>Helen Altman&#39;s Who Am I?, a work from a new series of babies&#39; blankets, depicts a silhouette of a nestful of baby birds craning their young necks for food, oblivious to the embroidered snake entwined in the branches above. Altman says that the blankets "reference the fragile nature of infants and childhood in general...in most of the blankets something has gone slightly wrong....the central characters have been replaced by something you might not expect."</p> <p>Kim Krans&#39; recent solo debut at <span class="caps">DCKT</span> Contemporary was an ArtForum.com "Critic&#39;s Pick" in which her work was described as "resurrecting the Romantic tradition of the sublime landscape." Krans&#39; employs a combination of techniques in her newest large-scale work on paper, using collage and layering to break away from the logic of traditional drawing and historic landscape painting practices. </p> <p>Mario M. Muller&#39;s India ink on paper works are from a new series, "The Curb." Renderings of urban street-sides are seen as plays on shadow and scale resulting in a fictionalized yet instantly recognizable portrait of contemporary metropolitan existence. Muller&#39;s next one-person exhibition, Heaven or Las Vegas, will be on view at <span class="caps">DCKT</span> Contemporary from May 7th - June 18th, 2005. Muller was recently commissioned by the <span class="caps">MTA</span> Network Poster Program to interpret the New York City subway system and was named an Art in Transit commission finalist for the Kingsbridge Road Station in the Bronx.</p> <p>Christina Ray is both observer and observed in drawings from her new "Visitor.Files" project. Ray documents the common flow of city sidewalk activity and translates the recorded observations into a visual code presented as a series of hand-drawn maps, each a unique graphic image of a specific location and time. The code Ray has developed for the maps uses geometric shapes to represent pedestrian movement, traffic and ambient activity and colors to represent days of the week, time and weather.</p></div> http://dcktcontemporary.com/exhibition/view/564 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 3 - April 9, 2005</div> <br/> <a href="/exhibition/view/570"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/3/3318.jpeg" alt="" height="299" width="448" /></a> <p></p> <br /> <div class="exhibition-description"><p>Sophie Crumb, Davis/Langlois, Tom Fabritius, Tom Gallant, Lia Halloran, Portia Hein, Rashid Johnson, Marcel Van Eeden</p> <p>Mary-Kate &amp; Ashley Olsen represent a manufactured world of blonde tips, fake tans, BeDazzler^TM-ed jeans, overexposure and false idolization. The works on paper in this group exhibition challenge concepts derived from lyrics in the famed Olsen Twins song Sore Feet, asserting "they had to fit just right, not too loose, not too tight." Although their song ranks 111,481st on the Amazon hit list, these twins are the idols of multitudes of young girls worldwide. This manufactured universe, once just a job for publicists and agents, is now a central concern of today&#39;s society</p> <p>The works selected for Not Too Loose and Not Too Tight demonstrate how the real world tends to dissolve into a daydream, as a shadow of today&#39;s ersatz reality. Tom Gallant&#39;s climbing rose constructed of cut porn defies the innocence of youth as well as the origin of it&#39;s craft. The subjects in watercolors by Tom Fabritius are taken directly from television and offer us an overview of the media&#39;s presence in our lives. Portia Hein summons up the sensations of a remembered childhood outdoors, running in the grass, lying in a field, catching your breath under the midday sun. The graphite works of Marcel Van Eeden reference photographs taken before his birth in an effort to describe a world in which he never inhabited. Racial boundaries are crossed and questioned in Rashid Johnson&#39;s work with his use of iconic symbols of today&#39;s cultures mixed with traditional presentation, chronicling the existence of ethnic stereotypes. Davis/Langlois&#39; bold images make one moment explode through the use of color-washed backgrounds and a strong focus on the subject. A self-portrait by Sophie Crumb is a raw characterization of the artist in an introspective setting with colors and perspective as detailed as the reaction it provokes. Lia Halloran&#39;s images seem to linger as gracefully in the air as they do in the mind, portraying twisted environments that appear to be on different planes through just a few of the artists gentle strokes.</p> <p>Not Too Loose and Not Too Tight brings back a sense of reality to a society that has been diluted with teen idols, airbrushing, and Botox&reg; injections. The strong images in this exhibition command a response. The images cannot simply be tailored to fit to the society we have destined ourselves to create, the overly tanned, malnourished glitterati world of the Olsen twins.</p></div> http://dcktcontemporary.com/exhibition/view/570 <div class="exhibition-subtitle">…but whatever it was, it came out of the trees</div> <div class="exhibition-dates">January 20 - February 26, 2005</div> <br/> <a href="/exhibition/view/576"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2965.jpeg" alt="" height="576" width="432" /></a> <p>Kim Krans, <em>Fireblight</em>, 2004</p> <p> oil, acrylic, graphite, leather, copper foil, sandpaper, sequins , feathers, staples, and glue on paper, 47 x 39" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce <span class="caps">KIM KRANS</span>&#39; first New York solo exhibition ...but whatever it was, it came out of the trees. Drawing, painting and collaging fur, leather, metal, sequins, feathers, and beads, <span class="caps">KRANS </span>creates suspenseful landscape compositions with highly-charged emotional impact. On view will be two large scale works along with a series of smaller drawings. </p> <p>In her work <span class="caps">KRANS </span>uses a combination of techniques to produce her sublime landscapes. She begins with a traditional, descriptive line to define elements within the landscape such as foliage, grass, or branches. She then uses hatching to define space through obsessive repetition. In No Name Ocean <span class="caps">KRANS </span>has used this technique to create the ocean horizon by drawing thousands of horizontal lines for the desired shading and perspective. It is the third step, where she uses collage and layering, to break away from the logic of traditional drawing and historic landscape painting practices. <span class="caps">KRANS </span>builds up the collaged areas with these additive elements to build up texture then tears into these layered areas to create a literal depth to the work. In Fireblight, the inside of the dead stump is torn away as if the image itself was infected with the deadly disease. It is with this looser handling of line and collage that three dimensional aspects of the works take form. </p> <p><span class="caps">KRANS</span>&#39; inspiration draws from fantasy, memory, and cinema, as well as historical painters such as Turner and genres such as the Romantics and the Hudson River School. Like these past artists, <span class="caps">KRANS </span>is interested in how the perceptual effects of light and color emerge as objects of contemplation in their own right. She adds to this dialog by introducing the three-dimensional element of collage. The lack of life in the works is also essential to draw the viewer in more deeply to the image and transfer their own presence further into the work. </p> <p>Kim Krans is currently a second year <span class="caps">MFA </span>candidate at Hunter College.</p></div> http://dcktcontemporary.com/exhibition/view/576 <div class="exhibition-subtitle">LA-Like</div> <div class="exhibition-dates">December 9, 2004 - January 15, 2005</div> <br/> <a href="/exhibition/view/577"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2969.jpeg" alt="" height="493" width="500" /></a> <p>Zoe Crosher, <em>Acapulco Gold</em>, 2004</p> <p> c-print mounted on aluminum, ed. of 5 + 1 AP, 7 3/4 x 7 3/4" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce <span class="caps">ZOE CROSHER</span>&#39;s first New York solo exhibition, LA-Like. In this series, <span class="caps">CROSHER </span>continues photographing her native Los Angeles, this time focusing her lens on the decidedly photogenic Los Angeles subjects of sunlight and lush foliage.</p> <p><span class="caps">CROSHER</span>&#39;s work continues investigating and documenting the transient icons of Los Angeles. Literally shooting into the sun as a starting point <span class="caps">CROSHER </span>begins each image by attempting to capture the overwhelming Los Angeles light. Shooting each image through windows or screens, she consciously chooses to interrupt a clean view of her subject, emphasizing her investigation of photography itself. <span class="caps">CROSHER </span>proceeds to manipulate light within the apparatus of the camera and the darkroom. Often the paper and the film is burned to the point of obfuscation, both physically and metaphorically. The photographs illicit the false promise of being blind-sided while allowing her to merge the metaphor of the physicality of the photographic medium with her investigations of temporality. </p> <p>The show includes a series of ten images almost entirely blackened, except for faint shadows and beams of light pouring in and around corners and edges, like horror films or disaster scenarios. Black-Like #3, inspired by the great Los Angeles fires of 2003, depicts what appears to be the desert horizon during sunrise, ablaze in red hue. Also included are diptychs of large, seemingly abstract white images juxtaposed with images of artificial landscapes. Smaller-scale individual works will depict images of the fleeting "LA-Light". In Acapulco Gold, the evening sunset is viewed though the slits of two drawn curtains.</p></div> http://dcktcontemporary.com/exhibition/view/577 <div class="exhibition-subtitle">Improvised Structures</div> <div class="exhibition-dates">November 3 - December 4, 2004</div> <br/> <a href="/exhibition/view/578"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/2/2981.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce <span class="caps">DAVID LEFKOWITZ</span>&#39;s first New York solo exhibition, Improvised Structures. Working with watercolor and colored pencil on corrugated cardboard, <span class="caps">LEFKOWITZ </span>renders architectural structures that hover between abstract geometric forms and literal renderings of stacks of cardboard boxes. </p> <p>In this current body of work, <span class="caps">LEFKOWITZ</span>&#39;s interest in the embodiment of certain contradictory ideas is readily apparent: the relation between object and image, the real and the ideal, as well as earnestness and parody. <span class="caps">LEFKOWITZ </span>references the utopian aspects of modernist architecture while suggesting a very practical approach to constructing shelter, specifically the use of a readily available waste product of consumer culture, cardboard. These Improvised Structures recall children&#39;s playtime clubhouses and cardboard shelters used by the homeless as well as offer a new possibility for Modernism&#39;s tenet of "architecture for the masses". </p> <p>The small scale work by <span class="caps">LEFKOWITZ </span>will be presented in a grid pattern with each drawing depicting an architectural structure made out of cardboard boxes. This work and its display recall the industrial architecture photographs of Bernd and Hilla Becher, the American vernacular imagery of Ed Ruscha as well as variations on modular forms by minimalist masters such as Sol Le Witt and Donald Judd. The large works, measuring as much as 6 &#215; 12&#39;, consist of several cardboard boxes pieced together and depicting a single construction. "Retreat Center" is a conference center that appears to sit alone on top of a hill. Some of the windows have cardboard flaps poking out while the roof sits unopened, exposing this already vulnerable edifice to more of the elements. It is with these touches that <span class="caps">LEFKOWITZ </span>brings a bit of playfulness to his meticulously rendered drawings and watercolors.</p></div> http://dcktcontemporary.com/exhibition/view/578 <div class="exhibition-subtitle">The Strange Tale of Near and Far</div> <div class="exhibition-dates">October 7 - October 30, 2004</div> <br/> <a href="/exhibition/view/617"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/3/3330.jpeg" alt="" height="336" width="448" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce <span class="caps">TONY </span>de los <span class="caps">REYES</span>&#39; first New York solo exhibition The Strange Tale of Near &amp; Far. Working with oil alkyd in a palette of blues and whites reminiscent of Delftware, Toile de Jouy, and 18th century chinoiserie, de los <span class="caps">REYES</span>&#39; latest series depicts scenes from a mythical Baroque journey involving ships, oceanic passages and fertile lands. </p> <p>de los <span class="caps">REYES </span>works with a viscous, industrial oil alkyd paint that he drips onto wood panels. The paint is applied in clearly formed reservoirs of blue and white which he then drags into forms through the use of a wood stylus. Upon close inspection this highly delicate technique, which relies on no small part to gravity and chance, produces a highly abstract field of fluid forms. When viewed from a distance the paintings appear solid and figurative. These pools of varying shades of blues form waves, ships, and bouquets which are most often set within expansive fields of white, unanchored by linear space.</p> <p>In de los <span class="caps">REYES</span>&#39; paintings, the images themselves come from a variety of sources, all historical, which are combined and altered to form an abbreviated narrative involving exotic places and the desire to reach them. In Sweep, a full-rigged ship with its sails torn off is practically horizontal and obviously in dire straits. One gets the sense this might be the crew&#39;s last journey. The creamy whites and cool blues of the painting belie the intensity with which this image resonates. It is with duality that de los <span class="caps">REYES </span>seems to be most intrigued, whether it is the duality of the at once abstract and figurative image or the duality of the coolness of his palate against the rugged intensity of the image.</p></div> http://dcktcontemporary.com/exhibition/view/617 <div class="exhibition-subtitle">Landscape Modification</div> <div class="exhibition-dates">September 7 - October 2, 2004</div> <br/> <a href="/exhibition/view/618"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/3/3341.jpeg" alt="" height="336" width="448" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present <span class="caps">WILLIAM SWANSON</span>&#39;s debut New York solo exhibition. For Landscape Modification <span class="caps">SWANSON </span>has produced a series of paintings along with a site-specific installation.</p> <p><span class="caps">SWANSON</span>&#39;s work attempts to visualize the workings of modern, post-industrial landscapes by hovering the line between landscape and abstraction, between the real and the synthetic. Using a palette that is both soothing and insolent, <span class="caps">SWANSON</span>&#39;s paints recognizable forms combined with abstract marking. The results are illusory images that suggest the familiar as well as the fantastic.</p> <p>In his paintings, <span class="caps">SWANSON </span>combines vividly colored abstractions with images influenced by Pop culture, Japanese animation, science fiction, architecture, nature, and music. In "Flow Schematic", splashes of color morph into trees of kaleidoscopic hues while drips of paint combine to create waterfalls of pigment that splash upon graduated blocks of color reminiscent of mid-century cantilevered architecture. In "Habitat Grouping", day-glo colors of pink and orange outline the skyline of a cityscape framed by a sea of dusty-blue. Sitting precariously on top of this window is an otherworldly, synthetic garden that blooms in shades of black and grey, the colors one would normally associate with a cityscape. The effect is a warping of space that thrusts the viewer into different perspectives.</p> <p>With his work, <span class="caps">SWANSON </span>presents us with a world in which nature, technology, and architecture have been combined to become indistinguishable from each other. Through this hybridization of subject matter, <span class="caps">SWANSON </span>has achieved in representing a utopian future in which all the elements of our world feed into each other and space becomes flexible.</p></div> http://dcktcontemporary.com/exhibition/view/618 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">July 1 - August 27, 2004</div> <br/> <a href="/exhibition/view/619"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/3/3346.jpeg" alt="" height="538" width="383" /></a> <p>Hillevi Baar, <em>Blue Willow</em>, 2004</p> <p> color pencil, ink, Mylar, steel rods, 75 x 24 x 18" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce a two person show of works by <span class="caps">HILLEVI BAAR </span>and <span class="caps">PAMELA HARRIS. </span> Each artist begins with the act of drawing, venturing in different directions with their work. </p> <p><span class="caps">HILLEVI BAAR </span>begins by drawing delicately rendered patterns in colored pencil and ink on translucent materials such as Mylar or vellum. As she develops the patterns, she begins to think of the paper in sculptural terms, shaping them into the objects she envisions. In Blue Willow, <span class="caps">BAAR </span>composed an elaborate drawing of blues and grays on Mylar. She then cut the Mylar into almond shapes and attached them to wires, allowing them to gracefully cascade down to the floor like falling leaves. In other works she has cut the support into repetitive patterns, allowing the work to fan out like an accordion, or folded the paper origami-like, displaying them on shelves. The quiet simplicity of her work belies the elaborate construction. </p> <p><span class="caps">PAMELA HARRIS </span>examines systems and patterns and how they cycle and replicate. <span class="caps">HARRIS </span>creates her works with the repetitious use of a single gesture. By adapting basic architectural principles of construction and deconstruction to her technique, elaborate and seemingly three-dimensional images are formed. Each layer of pastel or charcoal supports, joins, enhances, or disguises another layer. Her process creates random mutations suggesting new elements. In 022004, layers of charcoal and pastels in deep reds and oranges form a virtually kinetic cloud of recorded gestures. The beauty and delicacy of the work is expertly balanced with its tendency to almost spin out of control.</p> <p>With completely different end results, each artist exposes the systems and patterns that go into making their work. While <span class="caps">BAAR </span>takes two-dimensional works and makes them physically three-dimensional with a series of systems and processes, <span class="caps">HARRIS </span>focuses on making her work appear three-dimensional by using her own series of systems and processes.</p></div> http://dcktcontemporary.com/exhibition/view/619 <div class="exhibition-subtitle">curated by Glowlab</div> <div class="exhibition-dates">July 1 - August 27, 2004</div> <br/> <a href="/exhibition/view/620"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/3/3352.jpeg" alt="" height="442" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Corin Hewitt, Shih-Chieh Huang, Paul Ramirez Jonas, kanarinka, Mario M. Muller, ON/Megumi Akiyoshi, Christina Ray, Swoon, Alex Villar, Lee Walton</p> <p><span class="caps">DCKT</span> Contemporary is pleased to present 1:100, curated by Glowlab, in which 1 foot of interior space is equivalent to 100 feet of the city. By enlarging the gallery floor plan and placing it over a map of the surrounding neighborhood, Glowlab transforms the gallery space into a three-dimensional map of the area. According to this hybrid map: Chelsea Waterside Park is located at the gallery&#39;s main entrance, the High Line elevated railway travels north through Gallery 1, and, in Gallery 2, Madison Square Garden is located near the east wall and the General Post Office is in the center of the room. Each artist has selected a section of the gallery / neighborhood and created new work in response to his or her chosen location.</p> <p>By focusing the viewer&#39;s awareness on the surrounding urban landscape, each artist creates a link between the interior space of the gallery and the exterior space of the city. Several artists work with locally gathered materials. Shih-Chieh Huang creates a sculptural installation of plastic containers, relay circuits and microcontrollers, all found or purchased at dollar stores, pet shops and hardware stores in the neighborhood. Corin Hewitt uses the dirt swept from a local street corner to cast his sculpture of a discarded plastic trash bag. Embedded in the dirt and resin are waste and refuse, turning the idea of the receptacle inside out. Paul Ramirez Jonas scours the neighborhood for stray bricks, bringing them into the gallery and building a section of brick wall. Although dividing or supporting nothing in particular, the unused bricks are given an optimistic second life as work of art. Mario M. Muller&#39;s ink on paper works correspond to the four cardinal points and are placed accordingly within the gallery. These "urban canyons" offer long views of the light and architecture extending beyond the confines of the neighborhood map. </p> <p>Other artists&#39; works invite direct interaction with the streets immediately surrounding the gallery. kanarinka provides the means to investigate "infinitely small things" in the area and record them as part of a larger work. In addition to a documentary installation, she offers two group expeditions during the course of the show. Street artist Swoon adds peep-holes throughout the neighborhood, through which one sees fictitious scenes that could be occurring behind that very wall. These miniature images are reproduced as three-dimensional works in the gallery. Christina Ray offers a guide to navigating the city by the patterns and locations of its brightly colored corner news-boxes. A printed guide will be available in the gallery and distributed in neighborhood news-boxes throughout the summer, and a walking tour using the guide will take place on the final day of the exhibition. Ray also presents a series of small drawings based on her walks. </p> <p> </p> <p>Attention to street fixtures and other objects that help and hinder our passage through the city is also evident in a number of performance works. Alex Villar&#39;s depiction of an absurd way of using a curbside mailbox disrupts the solemnity of the James A Farley Station (8th Avenue between 32nd &amp; 33rd Streets) that appears as the background for his intervention. ON/Megumi Akiyoshi, dressed in her signature "ON Gallery" attire, wheels a gumball machine throughout the neighborhood as a mobile gallery, allowing customers to purchase the small works of art inside to wear while walking through the Chelsea art district. The gumball machine and video documentation of her performance will be shown in the gallery. Lee Walton&#39;s performance, documented as a video work, is a series of scripted actions selected and enacted on a specific street corner in combinations chosen by the other artists in the exhibition. As an extension of this piece, Walton offers a real time performative piece in which he will dribble a basketball up and down 36th Street every morning of the exhibition.</p> <p>About the Curator: Glowlab is a Brooklyn-based arts lab dedicated to the production, documentation and presentation of multi-media work in psychogeography and public-space arts.<br /> They produce events and lectures, organize collaborative projects and exhibitions, and maintain an online lab at www.glowlab.com. Psychogeography is an open and highly experimental discipline concerned with the ways in which the geographic environment affects emotions and behavior. Approaches to psychogeography vary, and include artistic, political, philosophical and scientific work in fields ranging from archaeology and cartography to programming, performance and street art. Glowlab aims to bring together these diverse perspectives and engage in dialogue on the methods and practice of psychogeography.</p></div> http://dcktcontemporary.com/exhibition/view/620 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 22 - May 22, 2004</div> <br/> <a href="/exhibition/view/621"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/3/3378.jpeg" alt="" height="378" width="500" /></a> <p>Timothy Tompkins, <em>Ikea Kitchen and Dining (After Vermeer) v.2.0</em>, 2004</p> <p> commercial enamel on aluminum, 45 x 60" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present the debut solo exhibition of <span class="caps">TIMOTHY TOMPKINS. </span> The paintings explore consumerism in contemporary society and allude to previous art historical themes and practices. <span class="caps">TOMPKINS </span>begins by digitally altering his own photographs, breaking the images down to between 12 and 15 core colors and blurring the contours. <span class="caps">TOMPKINS </span>then uses high-gloss commercial enamel sign paint on aluminum panels to execute his paintings. The quick-drying nature of the paint, manufactured by 1 Shot, enhances its expressive liquidity and materiality. Often, the contours of the underdrawing and small areas of the aluminum support are still visible, as if the image is still forming.</p> <p>For his Oil Rigs, <span class="caps">TOMPKINS </span>photographed platforms rising from the Pacific Ocean off the coast of Southern California during different weather conditions and times of day. Oil Rigs - Sunset Effect is emblazoned with deep oranges and browns while a fiery setting sun begins its descent below the horizon. In contrast, the colors of Oil Rigs - Overcast Effect are washed out purples and pinks with a barely discernible difference between sky and horizon. The oil rigs in each painting clearly reference Claude Monet&#39;s Haystacks yet <span class="caps">TOMPKINS </span>brings a thoroughly contemporary approach to Monet&#39;s study of shade and color variance. The paintings also allude to the economics of our ongoing need for fuel and desires of wealth, much as Monet&#39;s Haystacks did over a century ago. </p> <p>Other paintings in this exhibition include still-lives composed and photographed in the seasonal aisles of Target, an architectural study of the Sears tower in Los Angeles, and a genre painting staged in an Ikea. <span class="caps">TOMPKINS</span>&#39; art historical references in each of these works further the dialog between contemporary consumerism and the classical themes of painting.</p> <p><span class="caps">TOMPKINS</span>&#39; work is currently on view in a group show at <span class="caps">ACME </span>in Los Angeles through May 1, 2004. In 2003, his work was seen in the 18th exhibition of "New American Talent" curated by Dominic Molon (Associate Curator, Museum of Contemporary Art, Chicago).</p></div> http://dcktcontemporary.com/exhibition/view/621 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 9 - April 10, 2004</div> <br/> <a href="/exhibition/view/622"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/3/3394.jpeg" alt="" height="642" width="432" /></a> <p>Maria E. Piñeres, <em>J.T.</em>, 2004</p> <p> cotton thread on paper, 8 1/2 x 5 1/2" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present new works by <span class="caps">MARIA</span> E. PI&Ntilde;ERES. In her current body of work, PI&Ntilde;ERES stitches images culled from snapshots of friends, celebrity portraits, shoes, and 70&#39;s erotica set against her re-creations of familiar textile patterns.</p> <p>Although using the technique of needlepoint, PI&Ntilde;ERES does not make her works following the typical conventions of the genre. Her source materials include personal photographs and magazine pictures that she then stitches freehand, making no pre-meditated marks on the canvas. Flat, glossy source images are thus transformed into beautifully textured cloth. PI&Ntilde;ERES&#39; imagery is not that of traditional needlepoint. Instead of a classic sampler or commercial designs, many of her images depict nude subjects in sexually suggestive poses. PI&Ntilde;ERES has said of her inspiration: "I prefer the body type and photographic aesthetics of pin-ups from the 70&#39;s. I also include celebrity portraits because I like that they are universally familiar images and reference Pop art." There is a fetishistic aspect to PI&Ntilde;ERES&#39; work that relates them to each other. </p> <p>Most of PI&Ntilde;ERES background patterns relate to textiles: camouflage, flower and animal skin prints, as well as classic fabrics such as plaid, herringbone and houndstooth. Her work is noticeably influenced by iconic textile designers. The 50&#39;s and 60&#39;s technicolor patterns of Emilio Pucci, Lilly Pulitzer, and Vera Neumann as well as the current designs of Missoni and Burberry can all be seen in her work. Her use of non-traditional color combinations, unruly stitches, and radical images break the inherent rules of needlepoint. </p> <p>This is PI&Ntilde;ERES solo debut in New York. Her work was previously shown in the group show "Title" at Exit Art, New York, NY curated by Nicole Eisenman in 2002. PI&Ntilde;ERES received her <span class="caps">BFA </span>in Illustration from the Parsons School of Design, New York, <span class="caps">NY.</span></p></div> http://dcktcontemporary.com/exhibition/view/622 <div class="exhibition-subtitle">Thinking About That Place</div> <div class="exhibition-dates">February 5 - March 6, 2004</div> <br/> <a href="/exhibition/view/755"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/4/4913.jpeg" alt="" height="338" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to present new photo-sculptures by Isidro Blasco. In his current body of work, "Thinking About That Place", Blasco photographes the apartment and building he and his family inhabit and creates three-dimensional constructions with common building materials.</p> <p>Blasco&#39;s photographs are investigations of his personal spaces, both home and professional. The artist&#39;s bedrooms, studios, and bathrooms are transformed into public spaces. The images in these works are not direct photographs of the spaces. The original digital photographs are displayed on his monitor and Blasco then photographs this image. These "images of images" create a disconnect between what is real and what is not, always veiling what is real. Hallways spiral into each other, stairs suddenly drop off and windows look to nothing. Blasco&#39;s work is a new paradigm through which we view these remembered spaces. Blasco&#39;s use of common building materials (drywall, wood, nails, clamps, etc.) emphasizes the construction involved in making these works. Blasco leaves nothing to hide: every beam and nail is visible. </p> <p>As <span class="caps">BLASCO </span>recounts, "My first impression of New York was of this sudden accumulation of wood and paint and pipes and cables, a lot of material somehow wrapped together. All this seemed to me like it was made by a person who wasn&#39;t following any specific directions from anyone. No plans. A person that was obsessed with the idea of filling up the surface just in front of him." These first impressions of New York had a lasting influence on the artist&#39;s work. The haphazard use of architecture challenges viewers to perceive new variants of space and the resulting sculptures are a three dimensional, physical archive of his memories of these places. </p> <p>A complimentary installation to this exhibition, also titled Thinking About That Place, is on view at SculptureCenter, Long Island City. Blasco presents a large-scale re-creation of his Manhattan apartment using light, construction materials, photographs, and video, creating a displaced home away from home. This installation is on view through April 11, 2004.</p> <p>Blasco has received numerous awards and grants including the Guggenheim Foundation Fellowship in Visual Arts, New York, (2000); Rockefeller Foundation, Bellagio, Studio Residency Italy (2002); "In the Public Realm" Public Art Fund Grant (2002/03); and in spring 2004 will be exhibiting in Espacio Uno" MNCARS (Reina Sofia Museum, Madrid).</p></div> http://dcktcontemporary.com/exhibition/view/755 <div class="exhibition-subtitle">Smoke Signals</div> <div class="exhibition-dates">January 2 - January 31, 2004</div> <br/> <a href="/exhibition/view/756"><img border="0" src="http://dcktcontemporary.com/static/dyn-images/4/4918.jpeg" alt="" height="367" width="460" /></a> <p>Helen Altman, <em>Spotted Dog</em>, 2003</p> <p> thermal transfer on quilted fabric, 65 x 82" </p> <br /> <div class="exhibition-description"><p><span class="caps">DCKT</span> Contemporary is pleased to announce <span class="caps">HELEN ALTMAN</span>&#39;s first solo exhibition in New York. On view are three moving blankets and a selection of torch drawings. In this exhibition, <span class="caps">ALTMAN </span>explores notions of reality versus artificiality in everyday life. <span class="caps">ALTMAN </span>adheres to themes on imitation nature touched on in her earlier work.</p> <p><span class="caps">ALTMAN</span>&#39;s moving blankets reference the nostalgia often associated with quilting. <span class="caps">ALTMAN </span>combines found fabrics with commercially manufactured moving blankets and found photographic imagery of animals with thermal transfer technology.</p> <p>In Gulls, a flock of seagulls fly toward the viewer with a horizon line of sea and sky horizontally bisecting the black and white image. A vertical bar of black fabric with gold polka dots anchors the right side of the blanket. A chevron pattern has been mechanically quilted over the entire surface by the moving blanket manufacturer, following <span class="caps">ALTMAN</span>&#39;s specifications. The binding edges in kelly green frame the work and further estrange the viewer from this seemingly natural world. One is constantly reminded that we can not be part of this scene, that what we are viewing is completely artificial. The other two blankets in the show, Horse and Spotted Dog each picture the larger than life animal in a solitary stance. With these animals isolated from the rest of their flock, vulnerability is palpable. </p> <p><span class="caps">ALTMAN</span>&#39;s torch drawing technique, which she has been fine-tuning for over a decade, is unforgiving and often results in more failure than success. <span class="caps">ALTMAN </span>uses an actual propane torch to scorch water-soaked paper before it ignites. In each drawing, a different animal is centered on the sheet of paper and rendered in a natural stance. Varied hues of brown are the only indication that flame creates their physicality and depth. The animals are drawn both from memory and photographic reference.</p> <p><span class="caps">ALTMAN</span>&#39;s work is included in the permanent collections of The Museum of Contemporary Art, San Diego, <span class="caps">CA.</span>; The Dallas Museum of Art, TX; Museum of Fine Arts, Houston, <span class="caps">TX.</span></p></div> http://dcktcontemporary.com/exhibition/view/756 <p class="press-added">May, 2013</p> <p><a href="http://promotions.vf.com/not-your-mothers-needlepoint?fb_action_ids=10200341052861296&amp;fb_action_types=og.likes&amp;fb_source=other_multiline&amp;action_object_map=[144069532448085]&amp;action_type_map=[%22og.likes%22]&amp;action_ref_map=[]">link</a></p> http://promotions.vf.com/not-your-mothers-needlepoint?fb_action_ids=10200341052861296&fb_action_types=og.likes&fb_source=other_multiline&action_object_map=[144069532448085]&action_type_map=[%22og.likes%22]&action_ref_map=[]