The Suburban, Oak Park, Illinois

January 22 – February 26, 2012

We are delighted to announce the group exhibition MINUS SPACE at The Suburban in Oak Park, Illinois. The exhibition features artists Mark Dagley, Gabriele Evertz and Gilbert Hsiao, and is conceived around the ideas of confounding pattern, spectral color, shaped supports, and divergent painting methods.

THE SUBURBAN
Founded in 1999, The Suburban is an independently run artist exhibition space. We give complete control to the artists in regards to what they choose to produce and exhibit. Thus it’s a pro artist and anti curator site. The Suburban is not driven by commercial interests. It is funded within the economy of our household. Its success is not grounded in sales, press or the conventional measures set forth by the international art apparatus, but by the individual criteria set forth by the artists and their exhibitions. In this, The Suburban is more closely aligned with the idea of studio practice than that of the site of distribution.

–Michelle Grabner & Brad Killam

Gabriele Evertz in her studio
Image courtesy of Peter Canale & Stocan Films

November 5 – December 17, 2011

MINUS SPACE is delighted to announce the exhibition Gabriele Evertz: Rapture. This is the Brooklyn-based color painter’s first solo exhibition with the gallery and it will feature a suite of new acrylic on canvas paintings conceived around the color gray.

Gabriele Evertz approaches painting as a humanist and color as a romantic. Evertz, who moved from Berlin to NYC at the age of 19, sees her work as bridging two opposing aesthetic traditions: a philosophical Northern European and a pragmatic American approach to painting. In contrast to other color painters who employ a theoretical or programmatic approach to color, she believes “color is a living thing, which gives us access to abstract ideas and concepts”.

Over the past two decades, Evertz has developed and continues to refine a purely experiential, highly saturated palette involving twelve colors. For her, the history of color organization became a tool that informs her systematic color structures. She also often uses black, white, and gray in her work, but prefers not to call them “neutrals”, which she feels is “inadequate to describe the experience of them”. Additionally, she views complementary colors within her system, such as blue and orange, not as antagonistic, but rather as “true chromatic partners”.

In recent years, Evertz has paid particular attention to the color gray, which she feels has been historically overlooked. “We need to refresh our eyes to it”, she states, “words fall short to describe it”. In her paintings on view at the gallery, gray is juxtaposed against subtle variations on the three primary colors (red, yellow, and blue), as well as part or all of her twelve-color system.

With a background in both painting and architecture, Evertz assigns structure to color in her work in the form of vertical stripes. The stripes span the entire height of her paintings from top to bottom, and commonly appear in varying widths as well, often within the same painting. She continually employs diagonal shifts placed between repeating sets of vertical lines, which she describes as “the origin of action in her work”. The result is an exuberant, ever-shifting color experience that elicits a sense of time in her paintings.

Throughout her career, Evertz’s investigation of color has only become increasingly more experimental, impassioned, and optimistic, emphasizing research over result. Summarizing the scope of her practice, she very concisely states, “in the absence of truth, there is art”.

Gabriele Evertz (b. 1945 Berlin, Germany) has exhibited her work in solo and group exhibitions internationally, including in Australia, Germany, Italy, and New Zealand. Her recent museum exhibitions include P.S.1 Contemporary Art Center/MoMA (NYC), Heckscher Museum (Huntington, NY), Hillwood Art Museum (Brookville, NY), Columbus Museum (Columbus, OH), Ulrich Museum (Wichita, KS), and Karl Ernst Osthaus Museum (Hagen, Germany).

Her work is included in many public collections worldwide, including The British Museum, Brooklyn Museum, Columbus Museum of Art, Harvard University Art Museum, Hunterdon Museum of Art, Karl Ernst Osthaus Museum, Metropolitan Museum of Art, Museum of Modern Art, New Jersey State Museum, Parrish Art Museum, Stiftung für Konstruktive und Konkrete Kunst Zurich, Ulrich Museum of Art, Wilhelm Mack Museum, and Whitney Museum of American Art, among others. Her work has been recently reviewed in publications, such as Artcritical, NY Arts Magazine, ArtSlant, and The Village Voice.

In addition to her painting practice, Evertz is an Associate Professor in the Department of Art at Hunter College, NYC. She is a key protagonist in the renowned Hunter Color School, alongside other color painters, including Vincent Longo, Doug Ohlson, Robert Swain, and Sanford Wurmfeld. Over the past ten years, she has also curated several critically-acclaimed artist retrospectives and surveys of abstract painting at Hunter College, including Visual Sensations: Robert Swain Paintings, 1967-2010; Presentational Painting III; Seeing Red: An International Exhibition of Nonobjective Painting (co-curated with Michael Fehr); Set in Steel: The Sculpture of Antoni Milkowski; and Mac Wells: Light into Being (co-curated with Robert Swain).

Evertz holds an MFA in Painting and a BA in Art History from Hunter College, New York, NY.

PRESS
Gallery Chronicle, by James Panero, The New Criterion, February 2012
Gabriele Evertz: Rapture at MINUS SPACE, by James Kalm, James Kalm Rough Cuts, December 12, 2011
Gabriele Evertz: Rapture at MINUS SPACE, by Robert C. Morgan, The Brooklyn Rail, December 2011-January 2012, p. 48
Gabriele Evertz: Rapture, Painters’ Table, December 10, 2011
Gabriele Evertz: Rapture at MINUS SPACE, by Peter Plagens, The Wall Street Journal, November 26-27, 2011, p. A22
Gabriele Evertz @ MINUS SPACE, by Mark Dagley, Abaton Book Company, November 20, 2011

SUPPORT
We would like to thank Andrew Wojtas and Peter Canale / Stocan Films for their generous assistance with the exhibition. MINUS SPACE’s programming is made possible by the generous support of The Golden Rule Foundation. We thank you!

MINUS SPACE (new location)
111 Front Street, Suite 226, Brooklyn, NY 11201
DUMBO | Between Washington + Adams
Hours: Wednesday-Saturday 12-6pm and by appointment

November 3-27, 2011

American Abstract Artists presents ABSTRACTION (Abstraction to the Power of Infinity), curated by Janet Kurnatowski. ABSTRACTION celebrates the perseverance of non-figurative and non-objective art, including the practitioners, pioneers and those currently working in the traditions of abstraction. This exhibition shows the recent work of 76 members of the American Abstract Artists (AAA), along with four guest exhibitors. The works exhibited span a variety of media including painting, sculpture, photography, installation, video, and digital computer art; vividly communicating with color, line, form and texture.

As one of the few artists’ organizations born of the Great Depression, the AAA was a pivotal force in the development and acceptance of abstract art in the US. The group’s continued vitality after 75 years is a testament to the power and reach of these non-objective art forms and points to an infinite future for abstraction…This exhibition is also a tribute to Will Barnet, an esteemed member of the AAA since 1954
and also the AAA’s first centenarian.

The artists included in the exhibition are:
Alice Adams, Steven Alexander*, Eve Aschheim, Martin Ball, Will Barnet, Dennis Beach*, Siri Berg, Emily Berger, Power Boothe, Susan Bonfils, Sharon Brant, Henry Brown, Marvin Brown, Kenneth Bushnell, James O. Clark, Mark Dagley, Matthew Deleget, Tom Doyle, Tom Evans, Gabriele Evertz, Kevin Finklea*, Heidi Glück, Vito Giacalone, John Goodyear, Gail Gregg, James Gross, Lynne Harlow, Mara Held, Daniel G. Hill, Charles Hinman, Gilbert Hsiao, Phillis Ideal, Julian Jackson, Roger Jorgensen, James Juszczyk, Cecily Kahn, Steve Karlik, Marthe Keller, Victor Kord, Irene Lawrence, Mon Levinson, James Little, Jane Logemann, Vincent Longo, Katinka Mann, Nancy Manter, Stephen Maine, Rossana Martinez, David MacKenzie, Creighton Michael, Manfred Mohr, Judith Murray, Sharyn O’Mara*, John Phillips, Corey Postiglione, Joan Webster Price, Raquel Rabinovich, Leo Rabkin, Ce Roser, Irene Rousseau, David Row, James Seawright, Edward Shalala, Babe Shapiro, Louis Silverstein, Robert Storr, Peter Stroud, Robert Swain, Richard Timperio, Clover Vail, Vera Vasek, Don Voisine, Merrill Wagner, Joan Waltemath, Stephen Westfall, Mark Williams, Jeanne Wilkinson, Thornton Willis, Kes Zapkus, Nola Zirin

Exhibition curator Janet Kurnatowsk is the owner and director of Janet Kurnatowski Gallery in Brooklyn, NY. Since opening its doors in 2004, the gallery has maintained a strong focus on showing abstract art from emerging talent as well as mid-career and established artists. Special thanks to The Golden Rule Foundation for making this exhibition possible.

Doug Ohlson, PU-011, 2004-2006
Acrylic on canvas
26 1/4 x 24 1/8 inches

August 6 – September 17, 2011

MINUS SPACE is pleased to present Pointing a Telescope at the Sun, a group exhibition highlighting abstract color painting by five highly-influential NYC-based artists: Gabriele Evertz, Vincent Longo, Doug Ohlson, Robert Swain, and Sanford Wurmfeld. The exhibition is dedicated to the memory of Doug Ohlson (1936-2010) who passed away last year at age 73.

A core concern shared among these five artists is their pioneering investigation of color and its transformative effect on the viewer. Their strategies with color range from the exhaustively systematic to the intuitively poetic to the radiantly visceral. The exhibition will feature one recent painting by each artist.

All five artists have also held decades-long associations with the renowned Art Department at Hunter College in New York City, one of the leading champions of color and abstraction – not to mention painting – among art schools in the United States. With more than 150 years of combined teaching experience at Hunter among them, these five artists have mentored countless generations of artists and have profoundly impacted the artistic discourse on the local, national, and international levels.

Gabriele Evertz (b. 1945 Berlin, Germany) has exhibited her work in solo and group exhibitions internationally. Her recent museum exhibitions include Columbus Museum, Heckscher Museum, Hillwood Art Museum, Karl Ernst Osthaus Museum, P.S.1 Contemporary Art Center/MoMA, Southwest Minnesota State University Art Museum, and Ulrich Museum. Her work is included in many public collections worldwide, including The British Museum, Brooklyn Museum, Columbus Museum of Art, Harvard University Art Museum, Hunterdon Museum of Art, Karl Ernst Osthaus Museum, Metropolitan Museum of Art, Museum of Modern Art, New Jersey State Museum, Parrish Art Museum, Stiftung für Konstruktive und Konkrete Kunst Zurich, Ulrich Museum of Art, Wilhelm Mack Museum, and Whitney Museum of American Art. In addition to her painting practice, Evertz has also curated several major exhibitions over the past ten years at Hunter College, including Visual Sensations: Robert Swain Paintings, 1967-2010; Presentational Painting III; and Seeing Red: An International Exhibition of Nonobjective Painting.

Vincent Longo (b. 1923 New York, NY) is a both a painter and groundbreaking printmaker. He has exhibited his work nationally and internationally since the 1950s. Retrospectives of his work have been held at The Corcoran Gallery of Art, Detroit Institute of Art, and Hunter College. Longo has received awards from the National Endowments for the Arts, Cooper Union, John Simon Guggenheim Memorial Foundation, and the Institute for International Education (Fulbright). His work is included in countless public collections worldwide, including The Brooklyn Museum, Corcoran Gallery of Art, Detroit Institute of Art, Fogg Museum, Guggenheim Museum, Library of Congress, Metropolitan Museum of Art, Museum of Fine Arts Boston, National Gallery of Art, New York Public Library, Philadelphia Museum of Art, Victoria and Albert Museum, Whitney Museum of American Art, and Yale University Art Gallery.

Doug Ohlson (b. 1936 Cherokee, Iowa; d. 2010 New York, NY) moved from the Midwest to New York City in 1961. Survey exhibitions of Ohlson’s work have been mounted at Bennington College, Hunter College, and Nell Gifford Stern Gallery. He has participated in countless museum exhibitions, including at Albright-Knox Art Gallery, Aldrich Museum of Contemporary Art, American Academy of Arts & Letters, The Brooklyn Museum, Dallas Museum of Art, Detroit Institute of Arts, Karl Ernst Osthaus Museum, Kunsthaus Zurich, Minneapolis Institute of Arts, Museum für Moderne Kunst Frankfurt, Museum of Modern Art, Philadelphia Museum of Art, Tate Gallery, and Whitney Museum of American Art. Ohlson has received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts, New York State Council on the Arts, and the City University of New York.

Robert Swain (b. 1940 Austin, TX) has exhibited his work nationally and internationally for more than 40 years. His work is represented in nearly 300 public and private collections, including the Metropolitan Museum of Art, Corcoran Gallery of Art, Walker Art Center, Albright-Knox Art Gallery, Milwaukee Art Museum, Denver Art Museum, Detroit Institute of Art, Everson Art Museum, Virginia Museum of Fine Arts, and Columbus Gallery of Fine Arts, among others. He has received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts, New York State Council on the Arts, College Art Association, and the City University of New York. Swain was the subject of a major 45-year survey exhibition at Hunter College Times Square Gallery in 2010.

Sanford Wurmfeld (b. 1942 Bronx, NY) has exhibited his work worldwide in solo and group exhibitions since the late 1960s. His immersive 360-degree painting Cyclorama has been recently exhibited at the Neuberger Museum of Art; Talbot Rice Gallery, University of Edinburgh, United Kingdom; Karl Ernst Osthaus Museum, Hagen, Germany; and Mucsarnok Kunsthalle, Budapest, Hungary. He has participated in many museum exhibitions, including at the American Academy of Art and Letters, Carnegie Museum of Art, Dayton Art Museum, Kunsthaus Zurich, Long Beach Museum of Art, Museum of Modern Art, Seattle Museum of Art, and Tate Gallery. Wurmfeld has received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts, City University of New York, and Dartmouth College. He has also lectured and published widely on the subject of color.

PRESS
Weekend Update, by Walter Robinson, Artnet Magazine, October 24, 2011
The Reductive Expands: MINUS SPACE will move from 175 feet in Gowanus to a Dumbo loft, by Stephen Maine, Artcritical, September 12, 2011
Pointing a Telescope at the Sun at MINUS SPACE, NY Arts Magazine, Summer 2011
Eye to the Optical Sky, by Noah Dillon, ArtSlant, August 29, 2011
Pointing a Telescope at the Sun at MINUS SPACE, by Caleb de Jong, Thoughts That Cure Radically blog, August 24, 2011
Best in Show: “Pointing a Telescope at the Sun” at MINUS SPACE, by Robert Shuster, Village Voice, August 24, 2011
Gallery Picks: August 2011, SpruceStar Studio, August 3, 2011

SUPPORT
We would like to thank Michele Toohey and Andrew Wojtas for their generous assistance with 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!

MINUS SPACE
98 4th Street, Room 204 (Buzzer #28), Brooklyn, NY 11231
between Hoyt + Bond | Carroll Gardens / Gowanus
Hours: Fridays & Saturdays, 12-6pm, and by appointment
> directions

Gilbert Hsiao, Dual, 2007
Acrylic on panel
32 x 32 inches

May 21 – July 15, 2011

Participating Artists:
Alice Adams, Babe Shapiro, Ce Roser, Cecily Kahn, Charles Hinman, Clover Vail, Corey Postiglione, Creighton Michael, Daniel G. Hill, David Mackenzie, David Reed, David Row, Don Voisine, Dorothea Rockburne, Edward Shalala, Emily Berger, Gabriele Evertz, Gail Gregg, Gilbert Hsiao, Heidi Gluck, Henry Brown, Irene Lawrence, Irene Rousseau, James Gross, James Juszczyk, James O. Clark, James Seawright, Jane Logemann, Jeanne Wilkinson, Joan Waltemath, Joan Webster Price, John Goodyear, John Obuck, John Pai, John T. Phillips, Judith Murray, Julian Jackson, Katinka Mann, Kenneth Bushnell, Kes Zapkus, Leo Rabkin, Louis Silverstein, Lucio Pozzi, Lynne Harlow, Manfred Mohr, Mara Held, Mark Dagley, Mark Williams, Marthe Keller, Martin Ball, Mary Obering, Merrill Wagner, Mon Levinson, Nancy Manter, Nola Zirin, Peter Stroud, Phillis Ideal, Raquel Rabinovich, Richard Anuszkiewicz, Richard Pugliese, Richard Stone, Richard Timperio, Robert Swain, Sharon Brant, Siri Berg, Stephen Maine, Stephen Westfall, Steve Karlik, Susan Bonfils, Thornton Willis, Tom Doyle, Tom Evans, Vera Vasek, Victor Kord, Vincent Longo, Vito Giacalone, Will Barnet

Ever since I was a graduate student at Pratt Institute in Brooklyn in the mid-1990s, I’ve been thinking about another art school on the other side of the East River: Hunter College. Since at least the 1950s, Hunter has been and continues to be one of the leading champions of color and abstraction, not to mention painting, among art schools in the United States. Hunter remains a beacon in today’s post-everything art world.

Over the years, an incredible array of influential and celebrated abstract artists taught at Hunter — many of my closest artist friends and colleagues also studied there. This VIEWLIST exhibition is a thoroughly subjective homage to those faculty members and the program they built. Without question a core concern shared among all of these artists is color, with strategies ranging from the exhaustively systematic to the intuitively poetic.

Artists:
Michael Brennan, Gabriele Evertz, Ron Gorchov, Ralph Humphrey, Lyman Kipp, Vincent Longo, Emily Mason, Robert Motherwell, Doug Ohlson, Ray Parker, Ad Reinhardt, Tony Smith, Robert Swain, Mac Wells, and Sanford Wurmfeld.

Note: I also wanted include Julius Goldstein in this project, but was unable to locate any images of his work online.

VIEWLIST is our online project space where we invite artists and others to curate a visual essay of images. VIEWLIST exhibitions are experimental and usually thematic, and can include art works spanning various time periods, movements, and geographic locations. Exhibitions may also include ideas and images from disciplines outside of the visual arts. With VIEWLIST, we’ve created a venue that focuses exclusively on ideas, a kind of idealized curatorial space, where exhibition budgets, loans and acquisitions of art works, timelines, and all other logistics are set aside.

View of Robert Swain’s studio, NYC

October 23 – December 4, 2010

MINUS SPACE is honored to announce the solo exhibition Robert Swain: Primary Research.  This is the artist’s first solo exhibition with the gallery and it will focus on his life-long investigation into color sensation.

In 1969, Robert began developing his own color system, the centerpiece of which is a 30-part hue (color) circle.  When joined with the attributes of value (the lightness or darkness of a color) and saturation (the pureness of a color), his system grew exponentially over the following decades to now include 4,896 distinct parts.

Robert Swain: Primary Research will feature an array of material facets from his color inquiry, including a 30-part hue circle painting, original hand-painted and numbered color charts from the early 1970s, jars of premixed and color-calibrated acrylic paint from his exhaustive paint library, a suite of portfolios containing digital inkjet prints serving as color studies for potential paintings, a set of small brushstroke painting studies, as well as other related ephemera including color chips, mixing spoons, and more.  The exhibition will also include two paintings spanning 30 years: a grid painting entitled Untitled 801 (1978, acrylic on canvas, 48 x 48 inches) and a brushstroke painting entitled Untitled 9-25-8 x 13-25-7 x 23-25-6 x 27-25-6 (2010, acrylic on canvas, 36 x 36 inches).

Regarding the development of his color system, Robert states “I became interested in color in the early 1960s.  There wasn’t a great deal of written information about it, but I work intuitively.  I started to look at color and to make charts and experimental work trying to understand the phenomenology of color.  I don’t look at the work as being objective.  I simply look at it as a way of trying to get into the subject matter of color and to understand it through experience.  And all of this was done visually.  It wasn’t done mathematically.  It wasn’t done in some kind of progression.  It was simply done by painting color charts, looking at them, and deciding in that moment of looking if they were correct or not.”

About his increasing interest in color over the years, he continues, “One thing that fascinates me about color is that each individual color has its own connotation, which can be perceived as emotional or can affect you in some particular way.  One of the things I strive for is to try to bring out the uniqueness of color itself as an expressive force.  Color is involved with radiant energy.  It’s not passive, and in that sense, when you look at color, it’s actually transferring energy into your physical self.  One of the things you try to do is isolate some kind of vehicle, some kind of configuration that allows color to speak of itself and for itself.”

ROBERT SWAIN
Robert Swain is one of the most influential artists of his generation.  He was born in Austin, Texas, in 1940, and grew up in Arlington, Virginia.  During high school in the late 1950s, he spent his summers in Guatemala and Nicaragua working on the Pan-American Highway.  He attended The American University in Washington, DC, where he later received a BA in Fine Art in 1964.  During his undergraduate studies, he spent two years in Madrid, Spain, studying at the University of Madrid. In 1964, he moved to Provincetown, Massachusetts, and worked as a studio assistant to the American Modernist painter Karl Knaths.  Robert moved to NYC in 1965 where he permanently settled in Manhattan’s Tribeca neighborhood.

In 1966 Robert began his first color-based work followed a year later by his first work utilizing the grid.  He participated in his first group exhibition, Light and Line, organized by John Baldwin at the legendary Park Place Gallery in NYC in 1967.  That same year he met Minimalist sculptor Tony Smith who became his close friend and mentor for many years.  In 1969, Robert began to develop his own color system, a project that continues until today.

Robert has exhibited his work nationally and internationally for more than 40 years.  His paintings have been including in countless landmark exhibitions.  He participated in the seminal exhibition Art of the Real curated by Eugene Goossen at the Museum of Modern Art, NYC, in 1968.  The exhibition traveled for the next two years to the Grand Palais, Paris, France; Kunsthaus, Zurich, Switzerland; and The Tate Gallery, London, England.  Robert exhibited in The Structure of Color curated by Marcia Tucker at the Whitney Museum of American Art, NYC, in 1971.  In 1974, he mounted his first solo museum exhibition at The Everson Art Museum, Syracuse, New York.  In 1974, he participated in Color as Language curated by Kynaston McShine and organized by the International Council of the Museum of Modern Art, which traveled throughout Central and South America, including to the Museo de Arte Moderno, Bogota, Colombia; Museo de Arte Moderno de Sao Paulo, Brazil; Museo de Arte Moderno, Rio de Janeiro, Brazil; Museo de Bellas Artes, Caracas, Venezuela; and Museo de Arte Moderno, Mexico City, Mexico.  His work was also twice included in the Corcoran Biennial at The Corcoran Gallery of Art in Washington, DC (1969, 1998).

Robert’s work is represented in nearly 300 public and private collections, including the Metropolitan Museum of Art, Corcoran Gallery of Art, Walker Art Center, Albright-Knox Art Gallery, Milwaukee Art Museum, Denver Art Museum, Detroit Institute of Art, Everson Art Museum, Virginia Museum of Fine Arts, and Columbus Gallery of Fine Arts, among others.  He has completed major commissions for IBM, Johnson & Johnson, American Republic Insurance Company, Schering Laboratories, Harris Bank, Travenol Laboratories, Tupperware World Headquarters, and the University of Buffalo.  He has received awards from the John Simon Guggenheim Memorial Foundation, National Endowment for the Arts (1976, 1989), New York State Council on the Arts, and the City University of New York.

In addition to his artistic work, Robert has taught in the Department of Art at Hunter College since 1968, where he has influenced and mentored countless generations of artists.  For his teaching, he was awarded the Distinguished Teaching of Art Award from the College Art Association in 1998.

Robert is also currently the subject of a major 45-year survey exhibition entitled Visual Sensations: The Paintings of Robert Swain curated by Gabriele Evertz at Hunter College Times Square Gallery located at 450 W. 41^st Street, NYC.  The exhibition dates are October 7 – November 13, 2010.  The exhibition is accompanied by a catalog with texts by Gabriele Evertz, Professor of Art, Hunter College; William Agee, Professor of Art History, Hunter College; and artist and MINUS SPACE founder Matthew Deleget.

SUPPORT
MINUS SPACE extends a heartfelt thanks to artist Gabriele Evertz for her incredible assistance with this 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!

PRESS
Robert Swain: Hunter College Times Square Gallery & MINUS SPACE, by Stephen Maine, Art in America, February 2011
Robert Swain at Hunter College and MINUS SPACE, The Kalm Report, December 6, 2010
Gallery Chronicle: On “Visual Sensations: The Paintings of Robert Swain, 1967–2010” at the Hunter College Times Square Gallery, by James Panero, The New Criterion, November 2010

October 7 – November 13, 2010
Opening reception: Thursday, October 7, 6-8pm

Curated by Gabriele Evertz with the assistance of Teri Lehner, Jenny Liu, and Rachel Stokoe

Visual Sensations: The Paintings of Robert Swain: 1967 – 2010 is the first major New York survey of work by Hunter College Professor of Art Robert Swain. Swain has been a professor at Hunter College since 1968 and is one of the most significant color field painters of his generation. Over the last 45-years, his investigation into the effects and sensations of color in abstract painting has considerably impacted students, artists and color theorists alike. Swain’s work moves the viewer to not just see color, but also to think and experience it. As Swain states: “Color is a form of energy derived from the electromagnetic spectrum that stimulates our perceptual processes and is instrumental in conveying emotions.” This exhibition spans the entirety of the artist’s career and features more than fifty large-scale paintings—many of them mural size—in addition to architectural models, and video interviews.

While Swain’s work has been exhibited and collected widely, Visual Sensations is the artist’s first solo retrospective in New York and his first major exhibition in several years. Through this show, the range of vision, contribution and significance of this exceptional artist is fully revealed.

Joachim Pissarro, Bershad Professor of Art History and Director of the Galleries, notes: “The Neo-Impressionist resolution launched by Seurat and Signac 115 years ago has held a long lasting impact throughout the 20th Century. Robert Swain’s quivering and palpitating paintings embody the powerful reverberations of this chromatic revolution—in which color—color alone—acts as the principal protagonist in the pictorial arena. Swain’s large works test how we feel color can hold the pictorial stage on its own.”

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!

Gabriele Evertz, Contrast and Assimilation

April 13 – May 8, 2010

The Painting Center presents Continuing Color Abstraction curated by Rella Stuart-Hunt. This invitational exhibition includes Lisa Abbott-Canfield, Carla Aurich, Ellen Banks, Siri Berg, Audrey Bergensten, Doug Canfield, Beth Caspar, Sherri Cobb, Dan Crews, Gabriele Evertz, Halsey Hathaway, Changa Hwang, Joanne Klein, Charles Koegel, Charlotte Nicholson, Pierre Obando, Susan Post, Shawn Powell, Russell Roberts, James Vanderberg, Ken Weathersby and Jean Wolff.

Color abstraction has been a subject for painters for almost a century. The innovative masters of this genre in the early 20th century made a concerted decision to create space directly through the experience of canvas and paint as an object in itself.  By the sensual experience and further contemplation of their works, these artists opened up the possibilities in paint for visual meaning to take place in the eye/mind of the viewer.

These 22 painters continue to explore and discover ways of using color and paint on canvas. Though the earlier practitioners tended to live and paint during a time when life seemed to be moving at a slower pace, these artists, by their very choice to use paint on canvas as their medium, express themselves today in counterpoint to the barrage of fast-paced media constantly vying for ones attention. Their art may invite a quiet response or an intellectually and visually challenging one, or a balance between these two; but seen as a whole the exhibition Continuing Color Abstraction presents a visual conversation among artists who are deliberately creating a more or a less structured use of color and space.  It is to be hoped that individually and by juxtaposition, these paintings will elicit a slower paced response by the viewer.

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.

Tuesday, April 21, 2009, 6-8pm

Wine bar and hors d’oeuvres

Gary Snyder Project Space
250 West 26th Street
4th floor, between 7th & 8th Ave.
New York, NY 10001

for inquiries please call 646 325 4581

Tickets
$25 NOS Donor
$50 NOS Patron
$100 NOS Benefactor, includes
or more acknowledgment in 2009 catalogue

Raffle
Win a DAN WALSH work
Tickets: 1 for $30, 2 for $50, 5 for $100
All other works for sale $500 and under

Artists:
Andisheh Avini, Tanya Barr, John Beech, Marina Berio, Richard Bottwin, Sharon Brant, Michael Brennan, Eric Brown, Angela Cumberbirch, Mark Dagley, Christoph Dahlhausen, Stephen Dean, Matthew Deleget, Anne Deleporte, Gabriele Evertz, Manuela Filiaci, Kevin Finklea, Linda Francis, Douglas Gordon, Daniel Göttin, Nora Griffin, Gilbert Hsiao, Andrew Huston, Steve Karlik, Tania Kitchell, Karl Klingbiel, Lluis Lleo, Rossana Martinez, Norman Mooney, Matt Mullican, Scott Ogden, Salvatore Panatteri, Jan van der Ploeg, Andreas Reiter Raabe, Judy Rifka, Gary Rough, Jackie Saccoccio, Karen Schifano, Kate Shepherd, Motoe Shiratori, Jason Silva, Melissa Staiger, Tilman, Li-Trincere, Ian Tyson, Don Voisine, Jan Maarten Voskuil, Dan Walsh, Rob Wynne, Michael Zahn & Harry Zernicke

* List in formation

Special thanks to Susan Madden, John Melick and Gary Snyder for their assistance.

If you are unable to attend and would like to make a fully tax deductible contribution,
please make check payable to Non-Objectif Sud send to:

Non-Objectif Sud
560 Lorimer Street, Brooklyn, NY 11211, USA

Non-Objectif Sud is a non-for-profit 501(c) (3), all financial contibutions are tax deductible
to the fullest extent of the law.

Gabriele Evertz, Four Blues + Green, 2008
Acrylic on canvas, 36 x 36 inches

March 27 – April 26, 2009

Berlin-New York
FOUR PAINTERS / FOUR POSITIONS
Organized by Gabriele Evertz and Galerie Parterre Berlin
Full color brochure catalog in English and German with an essay by Matthias Bleyl

Metaphor Contemporary Art presents the exhibition COLOR EXCHANGE: BERLIN / NEW YORK featuring the work of four painters; Gabriele Evertz, Julian Jackson, Susanne Jung and Gabriele Schade-Hasenberg. This exhibition was organized by Gabriele Evertz and Galerie Parterre in Berlin, where it was on view in Berlin January 28 – March 1, 2009. The exhibition is accompanied by a full color brochure catalog in English and German with an essay by the eminent Berlin contemporary color theorist and art historian, Dr. Matthias Bleyl, published by Galerie Parterre, Berlin. The exhibition was supported in part by the Berlin Senate Cultural Affairs Department.

These four painters, two from Berlin, two from New York, stake out unique positions on the nature of color’s impact on our psyche, extending the bounderies of the objective laws of color behavior in order to make for surprising and subjective experiences. As Gabriele Evertz states in her curatorial statement; “This phenomenological approach insists on the primacy of the viewer’s dynamic experience. [each artist is] concerned with a systematic investigation of color phenomena based on scientific inquiry and perceptual observation. What unites all four artists is their adherence to color as the sole content in painting, which allows for pictorial elements to be organized according to sensations… much in the manner of Albers, Reinhardt, and Rothko. Upon reflection, sympathetic insights can turn into perceptive revelations.” As Dr. Matthias Bleyl states in his catalog notes; “both New Yorkers [Evertz, Jackson], despite their individual styles, tend towards a polychromatic palette, whereas both Berliners [ Jung, Schade-Hasenberg], tend towards a restrained, almost monochromatic color scheme.”

Gabriele Evertz was born in Berlin, Germany and received her early education there. After settling in the US she studied at Pratt Institute and then Hunter College where she received a Master’s Degree in Painting in 1990. Currently, Gabriele Evertz presents her work at P.S.1 / MoMA with the group Minus Space. Also in 2008, her paintings were on view at Metaphor Contemporary Art, the Painting Center, and the Sideshow Gallery, all in New York, and at the Ulrich Museum in Wichita, Kansas. Gabriele Evertz is member of the American Abstract Artists. Her work can be found in numerous private and public collections and museums in the US and abroad. Gabriele Evertz received awards from the DAAD and the Foundation for the Arts. She participated in panel discussions, as visiting critic, and as external examiner in the Netherlands. She has organized exhibitions and writes on color problems in painting. She is an Associate Professor of Art at Hunter College, City University of New York.
Gabriele Evertz lives and works in New York. She will be exhibiting new works from 2008.

Julian Jackson was born in Richmond, Virginia, USA. He studied painting, printmaking, photography, and performance at Mass. College of Art, Boston, MA and Virginia Commonwealth University, Richmond, VA. He is a member and secretary of the American Abstract Artists. Julian Jackson has been awarded fellowships from the MacDowell Colony, the Millay Colony, Virginia Center for Creative Arts, Soaring Gardens and most recently was a visiting artist at the Oberpfaelzer Kuenstlerhaus in Schwandorf, Germany. His works can be found in numerous private and public collections and museums in the US and abroad. His paintings have been widely exhibited nationally and internationally. Most recent exhibitions include the solo exhibitions Watching Fire, in 2009 at Galerie Kaysser in Munich, Germany and in 2007 The Elements at Kathryl Markel Fine Arts, New York City, and A Warmth in Winter at Gallery Kaysser, Munich and again at Tease Art in Berlin with Galerie Kaysser in 2008. His work was included in Kuf/Mold at the Istanbul Biennial, Istanbul, Turkey and in 2008 at Jan Kolle Gallery, Ghent, Belgium. Julian Jackson lives and works in Brooklyn, New York. He will be exhibiting works from the Speed of Light series circa 2000.

Susanne Jung was born in Prien / Chiemsee, Germany. She studied at the UdK, Berlin with Kuno Gonschior and Frank Badur, and having received a NICA grant, at Hunter College, CUNY in New York City. In 2000, she graduated with a Master’s Degree in Painting and was the recipient of the UdK President’s Graduate Student Award. The following year she was granted a scholarship from the foundation Kulturfond, Berlin. Susanne Jung’s paintings are shown in national and international exhibitions. In 2008 her works were on view at the Goethe Institut, San Francisco and at the Verein fuer aktuelle Kunst, Oberhausen. She presented her works in an extensive solo show at the Gallery Weisser Elefant, Berlin, as well as at the Stiftung-Kuenstlerhaus, Munich. Further,in 2008, she participated in group shows at the pp projects, Hamburg, the foundation Starke, Berlin and at the KunstHaus in Potsdam. Susanne Jung lives and works in Berlin. She will be exhibiting new works from 2008.

Gabriele Schade-Hasenberg was born in Gelsenkirchen, Germany. She studied Chemistry and Pharmaceutics and is an autodidactic painter. Her paintings have been shown in national and international exhibitions. In 1999, she participated in the exhibition Die Farbe hat mich (Rot) at the Karl Ernst-Osthaus Museum, Hagen, followed by solo shows at Gallery Renate Schröder, Cologne in 2001 and 2002. Also in 2002, her work was on view at the Muecsarnok Artspace, Budapest, Hungary in colour – a life of its own. The most important exhibitions include, in 2003, participations at the Mies van der Rohe-Haus, Berlin and Seeing Red: An International Exhibition of Nonobjective Painting, at the Hunter College/Times Square Gallery in New York City. She was invited to show her work in the exhibition Die Farbe hat mich II (nicht nur Rot) at the Karl Ernst-Osthaus Museum in 2004. Her work is included in numerous private and public collections, among others the Karl Ernst-Osthaus Museum, Hagen and the museum of the city of Lüdenscheid. Gabriele Schade-Hasenberg lives and works in Berlin. She will be exhibiting recent works from 2004-2007.

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

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

Gabriele Evertz, Four Reds and Iceblues
Acrylic on canvas, 108 x 144 inches

May 2 — June 1, 2008

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

Installation view with Gabriele Evertz’s Motion Parallax, 1998 (on right)

July 6 — September 30, 2007

Curated by Joe Houston, a group show featuring MINUS SPACE artist Gabriele Evertz.

Gilbert Hsiao, Encounter, 2006
Sprayed acrylic on wood panel, 42 x 42 inches

Gabriele Evertz, Motion Parallax, 1998
Acrylic on canvas, 72 x 72 inches

March 8 — April 14, 2007

Curated by Robert C. Morgan, exhibition includes Bridget Riley, Richard Anuszkiewicz, Julian Stanczak, Victor Vasarely, Josef Albers, Sandford Wurmfeld, Robert Swain, Gabriele Evertz, Rakuko Natio, Gilbert Hsiao, Soon Ja Han, Jon Groom, Beverly Fishman, Ryszard Wasko, and Michelle Hinebrook.  Curated by Robert C. Morgan.  A catalog will accompany the exhibition.  There will also be an artists talk on March 9 at 6pm, Pratt Manhattan, Room 213 with Jan Groom, Soonja Han, Ryszard Wasko, and Sanford Wurmfeld.