Installation view.

July 2 – October 9, 2011

Documenting over a decade of output, I Found a Reason presents two related and ongoing series of abstract works by internationally-acclaimed artist Douglas Witmer (American, b. 1971). Beginning with found materials, Witmer’s intimately scaled wooden reliefs and hybrid painting/drawings on paper freely combine materials and approaches. Within a contemplative frame of mind, Witmer condenses everyday lived experience down to unexpected forms and intense colors. This visual investigation yields results that are quirky and playful, or somber and mysterious. A catalogue with an essay by Chris Ashley accompanies the exhibition.

Installation view.

July 1 – August 27, 2011

C2 Fine Art Inc. opens on Beach Drive in St. Petersburg, Florida with an exhibition featuring the work of five abstract painters: Siri Berg, Victor Kord, Carrie Patterson, Camilo Sanin, and Douglas Witmer. The show, organized by Gallery Director Camden Mosesmann and artist, Carrie Patterson presents bold, minimal, geometric abstract paintings that treat the eye and stimulate the mind. The viewer will find that color is a means to create both intimate and monumental works that capture the imagination. Each artist intuitively plays with material defining and redefining the boundaries of contemporary abstraction.

Work by Douglas Witmer

February 25 – April 2, 2011

As a departure from his larger minimalist paintings, Douglas Witmer has two series of intimate, seldom seen works. In The School Papers, the cream color and vertical lines of grade school notepad paper play off painted geometric forms. In his second series, small, quirky yet contemplative assemblages of reclaimed pieces of wood, glue, paper and paint serve as artifacts of sorts from an idealized place in the artist’s mind known only as Fruitville. This exhibition is the East Coast premiere of both of these decade-long series.

December 3, 2010 – January 15, 2011

Informal Relations: Contemporary works on paper curator Scott Grow selected 32 artists from the United States, Germany, Spain and Japan to focus on the diversity of practices within painting and abstraction today.

The exhibition’s title refers to kind the “informal relations” artists have with one another, their predecessors, with the modernist tradition, the future, and even with their own work. While works on paper may stand as finished works, they are also often places for exploration, thinking, planning, taking chances, and failure.

The show explores the challenges of abstract art. Since it typically refuses expected representation, language and absolute interpretation, it requires the viewer’s engagement and participation. Abstraction is not a singular school or style, the term itself is not necessarily helpful in identifying the qualities or concepts of the art object. Abstract artists often have shared and conflicting objectives for the art they make.

In response to these challenges with their genre of art, each artist in Informal Relations presents a definition of abstract painting. The exhibition explores the similarities, differences, and connections between these artists, their dialog with abstraction’s history, and various directions forward for abstraction.

Participating artists include: Patrick Alt, Chris Ashley, Patrick Berran, Kadar Brock, Matthew Deleget, Laura Fayer, Keltie Ferris, Patrick Michael Fitzgerald, Connie Goldman, Brent Hallard, Rachel Hayes, Jeffrey Cortland Jones, Michael Just, Matthew Langley, Jim Lee, Rossana Martinez, Rob Nadeau, Melissa Oresky, Paul Pagk, Danielle Riede, Maximilian Rödel, Eric Sall, Susan Scott, Gabriel J. Shuldiner, Jessica Snow, Henning Straßburger, Garth Weiser, Wendy White, Paige Williams, Douglas Witmer, Molly Zuckerman-Hartung and John Zurier.

Douglas Witmer, Fruitville
Mixed media on found wood
Less than 8 inches in any direction

June 20 – July 25, 2010

Some Walls is pleased to present Philadelphia-based artist Douglas Witmer’s exhibition Fruitville.

Douglas Witmer is well known for his paintings which intuitively combine simple geometric imagery, emphatic color, and subtle manipulation of surface physicality. In addition to this widely-shown and growing body of work, for the past several years Witmer has worked on a series small three dimensional pieces using found wood as a support called Fruitville. This exhbition is the first time the Fruitville works have been shown publicly. Witmer has said about this series:

“The Fruitville Pike is a road where I grew up in Lancaster County, Pennsylvania. It’s a major thoroughfare, but it doesn’t go to, from, or through anywhere called Fruitville. My efforts to find Fruitville, if there ever was such a place at all, have been inconclusive.”

So Fruitville exists in my imagination as a kind of Eden; a place of purity, clarity, and quiet delight. It manifests itself in an ongoing visual process of experimentation with wood, paint, glue, paper, ink, light, and shadows. The things that make up my Fruitville exist to be in relationship to the places where they can be seen, and also in relationship with each other.

The sensitive, direct, and quirky color, spatial, and textural qualities that appear in Witmer’s paintings and works on paper are also found in the Fruitville series, continuing his approach to making art that is lush, playful, and deceptively simple, yet rigorous, iconic, and commanding.

Some Walls is a curatorial and writing art project in a private home in Oakland, California. Some Walls is open by appointment only. To view the exhibition online please visit somewalls.com. To schedule a visit, or for more information, please contact Chris Ashley at info@somewalls.com.

Mark Dagley, Final Sequence, 2007
Acrylic on canvas, 10 x 10 inches

April 22 – May 8, 2010
Floor Talk: Wednesday, April 21, 12noon

The Engine Room
Massey University
East End Block 1
Wallace Street
Wellington, New Zealand
T: 801 5799 x62170
Hours: Tuesday-Saturday, 12-4pm
web site

MINUS SPACE is delighted to announce the group exhibition Escape from New York at The Engine Room, Massey University, Wellington, New Zealand, from April 22 – May 8, 2010.

Curated by Matthew Deleget, the exhibition surveys reductive strategies by 29 artists living in and around New York City. Each artist will present a single small work, as well as an open letter to the local community of artists.

Escape from New York originated at Sydney Non Objective, Sydney, Australia, in 2007, and later traveled to Curtin University in Perth in 2008 and Project Space Spare Room, RMIT University in Melbourne in 2009.

Participating Artists:
Soledad Arias, Richard Bottwin, Sharon Brant, Michael Brennan, Bibi Calderaro, Mark Dagley, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Julio Grinblatt, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Steve Karlik, Daniel Levine, Sylvan Lionni, Rossana Martinez, Juan Matos Capote, Manfred Mohr, Karen Schifano, Analia Segal, Edward Shalala, Robert Swain, Li-Trincere, Don Voisine, Douglas Witmer & Michael Zahn

Also on view at The Engine Room: Collective Monochrome: Billy Gruner & Sarah Keighery.

SUPPORT
MINUS SPACE extends a BIG THANKS to artists Simon Morris (NZ) and Billy Gruner (AUS) for traveling the exhibition to Wellington. Additional thanks goes to the staff of The Engine Room and Massey University for their support of the exhibition.

MINUS SPACE’s programming is made possible by the generous support of The Golden Rule Foundation, as well as individual donors. We thank you!

Douglas Witmer, Things Mean a Lot at the Time, 2010
Acrylic on unprimed canvas, 20 x 24 inches

March 4-27, 2010

Blank Space Gallery presents Ring The Bells Anew, an exhibition of recent paintings by Douglas Witmer. This is the artist’s third solo show in New York, and his first with the gallery.

Over the past decade, Witmer has gained increasing attention for his uniquely distilled sensibility related to his paintings’ surface and color. His recent canvases feature one or two rectangles of solid color on top of and interacting with varied gray washes that cascade down the painting’s surface. Though reductive in their attitude and appearance, the resulting works are anything but “minimal.”

Contrary to first impressions, Witmer’s compositions are not planned or diagrammed. For the artist, painting is a process of inquiry; each piece is an individual result of decisions made intuitively and directly.

The critic and art historian Vittorio Colaizzi has written, “Witmer paints the inheritance of modernist abstraction, and perhaps, metaphorically, the more ecumenical spirituality of today, in the openness of his compositions, their perpetual almost-ness, and their refusal of closure or perfection.”

About the title for this exhibition the artist states, “I am trying to underscore the idea that my paintings embody new acts of declaration using long-existing means. Taken further, it communicates a hope in the continued relevance of abstract painting.”

Douglas Witmer holds a B.A. from Goshen College and an M.F.A. from The Pennsylvania Academy of the Fine Arts. In New York his work has recently appeared at P.S.1/MoMA in the group exhibition “Minus Space,” as well as The Painting Center and M55 Art in Long Island City. Other recent venues include: Pharmaka in Los Angeles, Gallery Siano in Philadelphia, The University of Maryland, The University of Dayton in Ohio, Sydney Non-Objective in Australia, and Bus-Dori Project Space in Tokyo, Japan. He lives and works in Philadelphia.

Michael Zahn, Police and Thieves, 2009
Acrylic on canvas, 12 x 12 inches

May 14 – June 6, 2009

“To me, making a tape is like writing a letter — there’s a lot of erasing and rethinking and starting again. A good compilation tape, like breaking up, is hard to do. You’ve got to kick off with a corker, to hold the attention. . .and then you’ve got to up it a notch, or cool it a notch, and you can’t have white music and black music together, unless the white music sounds like black music, and you can’t have two tracks by the same artist side by side, unless you’ve done the whole thing in pairs and. . .oh, there are loads of rules.” — High Fidelity, Nick Hornby

Crossing genres, blending generations and connecting the emotional dots, My Certain Fate, a group show curated by Timothy Buckwalter at Pharmaka.

Bay area artist Timothy Buckwalter made his first mix tape in 1979 while staying up late trying to record Pink Floyd’s runaway hit song “Another Brick In The Wall, Part One.” The 45RPM had been sold out at his local record store for weeks. Lying on the floor with his RadioShack portable cassette player – its microphone jammed against his clock radio’s speaker – waiting for Pink Floyd to come on, Buckwalter realized that he could go beyond recording that one contemporary song of rebellion. He was soon jotting onto tape anything that evening that seemed connected to that song: Blondie’s Heart of Glass, Billy Joel’s My Life, M’s Popmuzik, The Knack’s My Sharona, Herb Alpert’s Rise and Don’t Bring Me Down from ELO.

Combining photography, painting, sculpture and text-based works in My Certain Fate, Buckwalter has crafted an exhibition that mimics the dynamic behind the mix tape – a genre he believed that evening he had invented but which is in fact a popular element within youth culture. Since the mid-70s the creation of a mix tape has been seen as an expression of the individual compiler’s taste in music. And, of course, as a gift, it has often been put forward as a tentative move toward creating some kind of emotional relationship with the tape’s recipient.

Featuring more than 65 works from 28 U.S. and international artists, My Certain Fate explores and connects the feelings emoting from each piece to create an overarching narrative. Bubbling to the surface of a photo is a mysterious tale of yearning and denial. A drawing begins to crack under the weight of its own smugness. A crisp Miminalist painting offers a space to breathe, a break in the mix. Lurking beneath a sculpture is a less than obvious tale of redemption. The title for the exhibition is excerpted from one of Buckwalter’s favorite songs, “That’s How I Escaped My Certain Fate” on Mission of Burma’s 1982 album “Vs. “ – a track that exudes a boatload of melancholia mixed with the possibility for love through self-sacrifice.

Included in the mix are works from John Altoon, Angela Baker, Val Britton, Martin Bromirksi, Manuel Dominguez Jr., Bill Dunlap, Sacha Eckes, Sylvia Fragoso, Tammy Harper, Kevin Parks Hauser, Jeffrey Cortland Jones, Michelle Lewis-King, Joe Macca, Michael Macfeat, Rob Matthews, Mike Monteiro, Marlon Mullen, Christopher Saunders, Jen Siska, Dean Smith, Brian Stechschulte, Katy Stone, Rebecca Whipple, Billy White, Jim Winters, Douglas Witmer, Michael Zahn, and Nina Zurier.

A catalog — with an essay by DJ and blogger Heidi De Vries, poetry by Suzanne Stein, and a Q&A between the curator and painter Michael Zahn – will accompany the show. Included will be a mix CD (playing during the show).

RMIT University School of Art and Sydney Non Objective present contemporary non-objective practice from MINUS SPACE New York. A survey of reductive strategies by artists living in and around New York City. Presenting a single work from each artist, as well as an open letter to the artist community affiliated with RMIT Non Objective.  The exhibition originated at Sydney Non Objective in 2007, and later travelled to Curtin University in Perth in 2008.

Participating Artists
Soledad Arias, Richard Bottwin, Sharon Brant, Michael Brennan, Bibi Calderaro, Mark Dagley, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Julio Grinblatt, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Steve Karlik, Daniel Levine, Sylvan Lionni, Rossana Martinez, Juan Matos Capote, Manfred Mohr, Karen Schifano, Analia Segal, Edward Shalala, Robert Swain, Li-Trincere, Don Voisine, Douglas Witmer & Michael Zahn

SUPPORT
MINUS SPACE is a sponsored project of the New York Foundation for the Arts. Funding for this exhibition has been generously provided by the Golden Rule Foundation.

MINUS SPACE extends a heartfelt thanks to artists David Thomas and Billy Gruner for bringing the show to Melbourne! Additional thanks to Daniel Argyle for his assistance.

Installation view
Photo: Matthew Septimus

Closes Monday, May 4, 2009

The exhibition is curated by artist, Brooklyn Rail publisher, and P.S.1. Curatorial Advisor Phong Bui. The exhibition marks MINUS SPACE’s 5th anniversary.

We greatly thank curator Phong Bui and the remarkable staff at P.S.1, the participating artists and their galleries, and our generous donors, whose financial support made this exhibition possible.

Exhibiting Artists
Soledad Arias, Shinsuke Aso, Sharon Brant, Vicente Butron, Bibi Calderaro, Melanie Crader, Matthew Deleget, Lynne Eastaway, Gabriele Evertz, Zipora Fried, Daniel Göttin, Julio Grinblatt, Billy Gruner, Terry Haggerty, Inverted Topology, Steve Karlik, Sarah Keighery, Andrew Leslie, Daniel Levine, Juan Matos Capote, Salvatore Panatteri, Karen Schifano, Jan van der Ploeg, Don Voisine & Douglas Witmer

PLEASE NOTE: Our exhibition in P.S.1′s Boiler Room space closed on January 26, 2009.

April 28 – May 23, 2009

Since the late 1990s, Douglas Witmer’s paintings demonstrate an increasingly distilled sensibility related to surface and color. Intuitively combining simple geometric imagery, emphatic color, and subtle manipulation of the surface, his paintings are inquiries into the materiality of seeing, perception, feeling, and memory.

In a recently published interview with the Tokyo-based artist Brent Hallard, Witmer said, “I want the present moment of seeing to be charged with the possibility of some kind of change in the next present moment of seeing. I hope for that to activate the sense that you feel yourself seeing. I like to think of these moments as clear, pure, innocent, and solitary. And if you can get to them, then you have, in a way, started an experiential engine for yourself, and your thoughts can begin to move in uniquely personal directions.”

The exhibition title “Field + Stream” is taken from the popular hunting and fishing magazine, which the artist often saw as a young boy. This title acknowledges the influence of nature in Witmer’s paintings, and refers to the binary elements in his work: rectangles of dominant color set upon a cascading gray ground.

Installation in cafe space

Exhibition in cafe space continues until May 2009.

(Boiler Room exhibition closed on January 26, 2009.)  

MINUS SPACE
Curated by Phong Bui
P.S.1 Contemporary Art Center
A Museum of Modern Art Affiliate
Long Island City, NY  

The exhibition is curated by artist, Brooklyn Rail publisher, and P.S.1. Curatorial Advisor Phong Bui, and includes the work of 54 artists from 14 countries. The exhibition marks MINUS SPACE’s 5th anniversary.

Participating Artists
Soledad Arias, Shinsuke Aso, Marcus Bering, Hartmut Böhm, Richard Bottwin, Sharon Brant, Michael Brennan, Henry Brown, Vicente Butron, Bibi Calderaro, Melanie Crader, Mark Dagley, Julian Dashper, Christopher Dean, Matthew Deleget, Lynne Eastaway, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Daniel Göttin, Julio Grinblatt, Billy Gruner, Terry Haggerty, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Simon Ingram, Inverted Topology, Kyle Jenkins, Mick Johnson, Steve Karlik, Sarah Keighery, Andrew Leslie, Daniel Levine, Sylvan Lionni, Lotte Lyon, Gerhard Mantz, Rossana Martinez, Juan Matos Capote, Douglas Melini, Manfred Mohr, Salvatore Panatteri, Dirk Rathke, Karen Schifano, Analia Segal, Edward Shalala, Tilman, Li-Trincere, Jan van der Ploeg, Don Voisine, Douglas Witmer & Michael Zahn

Ongoing Performance
Bibi Calderaro: PRESENT
Thursdays, 1-4pm, and Saturdays, 12-3pm, in the P.S.1 Cafe

February 5-28, 2009
Opening Reception: Thursday, February 5, 6-8pm
Artist’s talk: Sunday, February 8, 11:30am
Open M-F, 10am-2pm, also directly following Sunday services, and by appointment.

The Philadelphia Cathedral
3723 Chestnut Street, Philadelphia, PA

Joseph’s Coat is a group of new large paintings intended for the Cathedral, to be installed unstretched and flowing. The project takes its title from the Biblical story of Jacob, who gave a fabulous multicolor tunic to Joseph, his youngest and most-favored son (Genesis, chapter 37). Witmer’s series does not attempt to follow or in any way illustrate the narrative of the tragic family story that ensues. Rather, he uses his early childhood memories of the story of the coat and the idea of a gift as beginning points for a new exploration of color.

Douglas Witmer, How Soon Is Now?, 2008

November 13 – December 7, 2008

Exhibition poster

October 19, 2008 – May 4, 2009

MINUS SPACE is delighted to announce our exhibition at P.S.1 Contemporary Art Center, an affiliate of The Museum of Modern Art in New York. P.S.1 is one of the oldest and largest non-profit arts centers in the United States solely devoted to contemporary art.

The exhibition is curated by artist, Brooklyn Rail publisher, and P.S.1. Curatorial Advisor Phong Bui, and includes the work of 54 artists from 14 countries. The exhibition marks MINUS SPACE’s 5th anniversary.

We greatly thank curator Phong Bui and the remarkable staff at P.S.1, the participating artists and their galleries, and our generous donors, whose financial support made this exhibition possible.

PARTICIPATING ARTISTS
Soledad Arias, Shinsuke Aso, Marcus Bering, Hartmut Böhm, Richard Bottwin, Sharon Brant, Michael Brennan, Henry Brown, Vicente Butron, Bibi Calderaro, Melanie Crader, Mark Dagley, Julian Dashper, Christopher Dean, Matthew Deleget, Lynne Eastaway, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Daniel Göttin, Julio Grinblatt, Billy Gruner, Terry Haggerty, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Simon Ingram, Inverted Topology, Kyle Jenkins, Mick Johnson, Steve Karlik, Sarah Keighery, Andrew Leslie, Daniel Levine, Sylvan Lionni, Lotte Lyon, Gerhard Mantz, Rossana Martinez, Juan Matos Capote, Douglas Melini, Manfred Mohr, Salvatore Panatteri, Dirk Rathke, Karen Schifano, Analia Segal, Edward Shalala, Tilman, Li-Trincere, Jan van der Ploeg, Don Voisine, Douglas Witmer & Michael Zahn

ONGOING PERFORMANCE
Bibi Calderaro: PRESENT
Thursdays, 1-4pm, and Saturdays, 12-3pm, in the P.S.1 Cafe

INTERVIEW
MINUS SPACE: The Art of Reduction, by Phong Bui
P.S.1 Newspaper, Fall/Winter 2008

PRESS
Drunkard’s Walk vs. PMU, Ethan Ham blog, December 18, 2008
MINUS SPACE at P.S.1 Contemporary Art Center / MoMA, Abstract Contemporary Art Blog, December 18, 2008
Top Ten 2008, by Jerry Saltz, Artnet Magazine, December 15, 2008 (MINUS SPACE is cited in #10)
The Year in Art: The Top Nine Shows (and One Event), by Jerry Saltz, New York Magazine, December 7, 2008 (MINUS SPACE is cited in #10)
Michael Brennan at 210 Gallery and P.S.1, by Paul Corio, November 16, 2008
Interview with Simon Ingram / MINUS SPACE exhibition at P.S.1, New York, Vernissage TV, November 10, 2008
MINUS SPACE, by Eva Lake, November 10, 2008
MINUS SPACE at P.S.1, The James Kalm Report, November 2, 2008
Update, Henri Art Magazine, November 1, 2008
Reductive Art at P.S.1, by Jon Meyer, October 25, 2008

GALLERY CREDITS
Hartmut Böhm courtesy of Bartha Contemporary, London, UK
Richard Bottwin courtesy of Pentimenti Gallery, Philadelphia, PA; Metaphor Contemporary Art, Brooklyn, NY
Sharon Brant courtesy of Elizabeth Moore Fine Art, New York, NY
Melanie Crader courtesy of Gallery Sonja Roesch, Houston, TX
Mark Dagley courtesy of Abaton Garage, Jersey City, NJ
Julian Dashper courtesy of Esso Gallery, New York, NY
Matthew Deleget courtesy of Gallery Sonja Roesch, Houston, TX
Gabriele Evertz courtesy of Ober Gallery, Kent, CT
Daniel Feingold courtesy of Gabinete de Arte Raquel Arnaud, Sao Paolo, Brazil
Kevin Finklea courtesy of Margaret Thatcher Projects, New York, NY; Pentimenti Gallery, Philadelphia, PA
Daniel Göttin courtesy of Hebel_121, Basel, Switzerland
Julio Grinblatt courtesy of Ruth Benzacar Galeria de Arte, Buenos Aires, Argentina; Galeria Baro-Cruz, Sao Paulo, Brazil; Laura Marsiaj Arte Contemporanea, Rio de Janeiro, Brazil
Terry Haggerty courtesy of Andreas Grimm Gallery, New York, NY
Lynne Harlow courtesy of Cade Tompkins Editions, Providence, RI
Gilbert Hsiao courtesy of Gallery Sonja Roesch, Houston, TX
Andrew Huston courtesy of Elizabeth Moore Fine Art, New York, NY
Simon Ingram courtesy of Gow Langsford Gallery, Auckland, New Zealand
Mick Johnson courtesy of Gallery Sonja Roesch, Houston, TX
Steve Karlik courtesy of Anita Schwartz Galeria de Arte, Rio de Janeiro, Brazil
Andrew Leslie courtesy of Annandale Galleries, Sydney, Australia; John Buckley Gallery, Melbourne, Australia
Sylvan Lionni courtesy of Freight + Volume, New York, NY
Lotte Lyon courtesy of Aoyama Meguro, Tokyo, Japan
Rossana Martinez courtesy of Gallery Sonja Roesch, Houston, TX
Manfred Mohr courtesy of Bitforms Gallery, New York, NY
Dirk Rathke courtesy of Gallery Sonja Roesch, Houston, TX
Analia Segal courtesy of DPM Gallery, Miami, FL; Guayaquil, Ecuador
Tilman courtesy of CCNOA center for contemporary non-objective art, Brussels, Belgium
Jan van der Ploeg courtesy of Aschenbach & Hofland Galleries, Amsterdam, The Netherlands
Don Voisine courtesy of Abaton Garage, Jersey City, NJ; McKenzie Fine Art, New York, NY
Michael Zahn courtesy of Eleven Rivington, New York, NY

ADDITIONAL CREDITS
Poster & Flash Animation: Level Design Studio

New York City and Providence-based artist Lynne Harlow presents BEAT, which translates an earlier work, Lena’s Beat, from an intimate wall piece to a large-scale installation and performance. BEAT combines specific, yet inherently unrelated elements: color and music. The shared space and resulting energy are the focus of the work. The performance will take place on Saturday, December 8, from 4-6pm, and will consist of two hours of solo drumming by various volunteer musicians. BEAT is a collaborative work that was completed by the participation of the drummers and all those who attended.

Lynne Harlow (b. 1968 Attleboro, MA) has exhibited her work nationally and internationally. Recent exhibitions include Sideshow Gallery, Smack Mellon Gallery (Brooklyn); New York University, White Box, International Print Center (NYC); Sydney Non Objective (Sydney); and Kunsternes Hus (Oslo). Harlow was a visiting artist at the Chinati Foundation (Marfa, TX) in 2002 and elected member of American Abstract Artists in 2006. Her work has been reviewed in The New York Times and Artnet Magazine, among others. She holds an MFA from Hunter College (NYC) and a BA from Framingham State College (MA).

TEXTS
Small Differences Make All the Difference, by Lynne Harlow
Interview with Lynne Harlow, by Matthew Deleget

A group exhibition surveying reductive strategies by artists living in and around New York City. Each artist will present a single work, as well as an open letter to the artist community affiliated with Sydney Non Objective.

Participating Artists:
Soledad Arias, Richard Bottwin, Sharon Brant, Michael Brennan, Bibi Calderaro, Mark Dagley, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Julio Grinblatt, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Steve Karlik, Daniel Levine, Sylvan Lionni, Rossana Martinez, Juan Matos Capote, Manfred Mohr, Karen Schifano, Analia Segal, Edward Shalala, Robert Swain, Li-Trincere, Don Voisine, Douglas Witmer & Michael Zahn

CATALOG
> SNO 30

SUPPORT
Escape from New York is a sponsored project of the New York Foundation for the Arts.  Funding has been generously provided by The Golden Rule Foundation.

Letters

Soledad Arias > view letter

Richard Bottwin > view letter

Sharon Brant > view letter

Michael Brennan > view letter

Bibi Calderaro > view letter

Mark Dagley > view letter

Gabriele Evertz > view letter

Daniel Feingold > view letter

Kevin Finklea > view letter

Linda Francis > view letter

Zipora Fried > view letter

Julio Grinblatt > view letter

Lynne Harlow > view letter

Gilbert Hsiao > view letter

Andrew Huston > view letter

Steve Karlik > view letter

Daniel Levine > view letter

Sylvan Lionni > view letter

Rossana Martinez > view letter

Juan Matos Capote > view letter

Manfred Mohr > view letter

Karen Schifano > view letter

Analia Segal > view letter

Edward Shalala > view letter

Robert Swain > view letter

Li-Trincere  > view letter

Don Voisine > view letter

Douglas Witmer > view letter part 1 / letter part 2

Michael Zahn > view letter

Inspired by a line from American objectivist poet Lorine Niedecker, the new album is primarily instrumental, a mix of electronic and acoustic, rather downbeat/mellow, perhaps meditative.

March 1 — April 12, 2007

Features MINUS SPACE artist Douglas Witmer.