DCKT Contemporary

DCKT Contemporary http://dcktcontemporary.com/ Contemporary Art Gallery, Lower East Side, New York City en Copyright 2008, DCKT Contemporary, Inc. Tue, 13 May 2008 20:31:02 -0400 Exhibition: Josh Azzarella <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'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>'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 Exhibition: Michael Velliquette <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>'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's edges create dramatic spatial relationships. An intuitive use of color supports the works' handmade aesthetic. The intricately crafted constructions are set in deep frames to heighten the works' 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'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 Exhibition: Isidro Blasco <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'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'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>'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>'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 façade of his apartment building, a local subway stop, his building'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>'s work is included in the collections of New York's Museum of Modern Art, Whitney Museum of American Art and The Queen's Museum of Art; Chicago's Museum of Contemporary Art; the Baltimore Museum of Art; Italy's Academia de Bellas Artes de Roma; and Spain's Colegio Oficial de Ingenieros de Caminos, and Museo de Arte Contemporáneo, 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 Exhibition: Zoe Crosher <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>'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'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 Exhibition: Lia Halloran <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>'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>'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 Exhibition: castaneda/reiman <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 4×8 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' 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 Exhibition: Aaron Krach <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'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's own sculptures comprised of commercially manufactured objects. The raw materials of Krach'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'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'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 Exhibition: Oliver Boberg <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 & 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 & 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>'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 Fürth, 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 & 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 Exhibition: Christina Ray <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>'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' 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's process of working collaboratively, which is an important element of her practice.</p></div> http://dcktcontemporary.com/exhibition/view/515 Exhibition: Ryan Humphrey <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>'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>'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 Exhibition: Exene Cervenka <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>'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>'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's come to know through her life experiences on the road.</p> <p>An icon of Los Angeles'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 Exhibition: Maria E. Pineres <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's Gallery, a new series of work by <span class="caps">MARIA</span> E. PIÑERES. With her signature medium of stitched needlepoint images, PIÑERES confronts media-saturated contemporary culture'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'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's and 50'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's Hollywood Babylon (1958) furthered the airing of Hollywood'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's Gallery, <span class="caps">MARIA</span> E. PIÑERES 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, PIÑERES 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' 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 PIÑERES' 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 Exhibition: Timothy Tompkins <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'Sullivan which advocated the belief that it is America'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>' 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'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'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>' 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 Exhibition: Isidro Blasco <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'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' dimensions and contents, sometimes including his family or neighbors. WC is a near life-size freestanding entry into his family'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>'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'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't help but imagine cinematic manifestations of impending disasters. Airplanes, tornadoes, and smoke permeate the city-scapes of his sculptures realizing the artist's post-9-11 fears. In connection with these disaster images, Blasco'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's. </p> <p>Concurrently with this exhibition, <span class="caps">BLASCO</span>'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'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'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 Exhibition: In My Empire Life is Sweet <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 Díaz, 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 Díaz both use everyday items in their art. For In My Empire Life is Sweet, Steinhilber'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 Díaz 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 Díaz' "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 Díaz is one of four recipients of the 2004 San Francisco Museum of Modern Art <span class="caps">SECA </span>award. Castrillo Díaz has exhibited throughout the Bay Area, including <span class="caps">SFMOMA</span>'s biennial <span class="caps">SECA </span>exhibition and Warped Space at the California College of Arts' 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 Díaz lives and works in San Francisco.</p> <p>Augusto Di Stefano was featured in Come Forward, the Dallas Museum of Art's recent exhibition of Texas artists. Di Stefano'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 Exhibition: Mario M. Muller <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>'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 45×68 inches to 26×40 inches. This exhibition marks the debut of <span class="caps">MULLER</span>'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>'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>'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 Exhibition: Welcome 2 the Jungle <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. Piñeres, Christina Ray, William Swanson, Tony de los Reyes, Timothy Tompkins</p> <p>To inaugurate <span class="caps">DCKT</span> Contemporary'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's Who Am I?, a work from a new series of babies' 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' recent solo debut at <span class="caps">DCKT</span> Contemporary was an ArtForum.com "Critic's Pick" in which her work was described as "resurrecting the Romantic tradition of the sublime landscape." Krans' 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'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'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 Exhibition: Not too Loose and Not Too Tight <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 & Ashley Olsen represent a manufactured world of blonde tips, fake tans, BeDazzler<sup>TM</sup>-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'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's ersatz reality. Tom Gallant's climbing rose constructed of cut porn defies the innocence of youth as well as the origin of it's craft. The subjects in watercolors by Tom Fabritius are taken directly from television and offer us an overview of the media'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's work with his use of iconic symbols of today's cultures mixed with traditional presentation, chronicling the existence of ethnic stereotypes. Davis/Langlois' 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'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® 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 Exhibition: Kim Krans <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>' 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>' 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 Exhibition: Zoe Crosher <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>'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>'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 Exhibition: David Lefkowitz <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>'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>'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's playtime clubhouses and cardboard shelters used by the homeless as well as offer a new possibility for Modernism'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 × 12', 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 Exhibition: Tony de los Reyes <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>' first New York solo exhibition The Strange Tale of Near & 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>' 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>' 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'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 Exhibition: William Swanson <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>'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>'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>'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 Exhibition: 1:100 <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'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'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'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' 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's depiction of an absurd way of using a curbside mailbox disrupts the solemnity of the James A Farley Station (8th Avenue between 32nd & 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'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 Exhibition: Hillevi Baar / Pamela Harris <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 Exhibition: Timothy Tompkins <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's Haystacks yet <span class="caps">TOMPKINS </span>brings a thoroughly contemporary approach to Monet'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'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>' 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>' 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 Exhibition: Maria E. Pineres <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. PIÑERES. In her current body of work, PIÑERES stitches images culled from snapshots of friends, celebrity portraits, shoes, and 70's erotica set against her re-creations of familiar textile patterns.</p> <p>Although using the technique of needlepoint, PIÑERES 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. PIÑERES' 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. PIÑERES has said of her inspiration: "I prefer the body type and photographic aesthetics of pin-ups from the 70'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 PIÑERES' work that relates them to each other. </p> <p>Most of PIÑERES 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's and 60'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 PIÑERES 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. PIÑERES 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 Exhibition: Isidro Blasco <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's photographs are investigations of his personal spaces, both home and professional. The artist'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's work is a new paradigm through which we view these remembered spaces. Blasco'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'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'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 Exhibition: Helen Altman <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>'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>'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>'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>'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>'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