Christian Little’s acrylic paintings on wood panel examine a voyeur culture preoccupied with sex, drama and the lives of others. The works are simultaneously voyeuristic and participatory, erotic and sterile, stiff and fluid, analytic and absurd.
Little’s Exhibitionists paintings, which depict human “sculptures” on top of pedestals, reference shunga, Japanese erotic prints from the 18th Century. But while most shunga contain sexually explicit imagery, Little’s Exhibitionists create sexual innuendo subtly through abstraction and an elaborate combination of painting styles.
The "look at me" culture’s addiction to oversharing is intimated in the format of the paintings; their square shapes mimic Instagram posts and profile pics.
Little challenges the dimensional limitations of traditional painting with his use of trompe l’oeil and decorative painting techniques, using paint self-consciously to address painting’s history. Faux finishing techniques and simulated textures act as visual anchors, alluding to the material world as well as the virtual and imagined.
Christian Little lives and works in Kingston, NY. He earned his BFA ('05) and MFA ('15) in Painting/Drawing from SUNY New Paltz. He has exhibited at Dorsky Gallery Curatorial Projects in Long Island City and The Kingston Museum of Contemporary Art in Kingston, NY. Recent solo shows include The Silent Barn in Brooklyn, NY and The Hewn Arts Center in Jersey City, NJ.
Exhibitionists #5, Acrylic on panel, 36"x 36"
Exhibitionists #13 (Breakfast in Bed), acrylic on panel, 24" x 24"
Exhibitionists #3, Acrylic on panel, 36" x 36"
Exhibitionists #2, Acrylic on panel, 36" x 36"
Exhibitionists #10 (Spa), Acrylic on panel, 24" x 24"
Exhibitionists #10 (Tanning Bed), acrylic on panel, 24" x 24"
Safe Sex, acrylic on wood panel, 36" x 36"
Sextuple Dutch, acrylic on panel, 36" x 36"
Hard Feelings #5 (Towel Tango), acrylic and paper on panel, 12" x 12"
Since 2013 Malin Abrahamsson has been working on a series of "animation studies", which are intended to be viewed in groupings. Details from these works are often later incorporated into her digital animations, where they are combined with sound and video. In these studies Abrahamsson investigates space, form, color, and composition - the motifs that tie her multi-disciplinary art practice together.
Malin Abrahamsson lives and works in Brooklyn, NY. Her work has been exhibited in New York City and abroad, and she is the recipient of several grants and awards. Abrahamsson is currently working on a sculpture for a Percent for Art commission for the NYC Dept. of Culture with an expected completion in 2017. Other recent projects include Solar Cycle 24: 15 Nightly Public Animation Projections, presented by Chashama, Re:Construction Downtown Dogs, commissioned by Downtown Alliance, and an Arts for Transit Permanent Art Award commissioned by the MTA. Her digital animations have been screened at MoMA and PACE University. She received her BFA with an honorable mention from The School of Visual Arts in 1998.
Animation Study #9, mixed media on paper, 11" x 15"
Animation Study #43, acrylic and mixed media on paper, 11" x 15"
Animation Study# 37, acrylic and mixed media on paper, 11" x 15"
Ocean Property, acrylic and mixed media on canvas, 24" x 36" (diptych - each panel 24" x 18")
Animation Study #44, mixed media on paper, 11" x 15"
Kodakolor, mixed media and acrylic on canvas, 24" x 108" (triptych)
Under Construction, Acrylic and mixed media on canvas, 24" x 108" (triptych)
Animation Study #12, acrylic and mixed media on paper, 11" x 15"
Animation Study # 17, acrylic and mixed media on paper, 11" x 15"
Animation Study #36, acrylic and mixed media on paper, 11" x 15"
Animation Study # 13, acrylic and mixed media on paper, 11" x 15"
Animation Study #45, acrylic and mixed media on paper, 11" x 15"
"Somewhere between the forest and the mill...someone made a mistake. This wood was not meant to be a floor. This wood knew from its first days in the sun it was meant to travel, to ferry, to break waves and explore. We witness this wood's quiet, determined rejection of its assigned flatness. In this moment of rebellion and self-determination, finding oceans, and becoming seas, this wood is declaring itself what it was always meant to be..."
David McQueen is a sculptor/ installation artist/ poet who lives and works in Brooklyn, NY. He received an MFA in sculpture from Virginia Commonwealth University and a BA from Oberlin College. He is 2011 NYFA Fellow in sculpture. His work has been exhibited at Socrates Sculpture Park, Wayfarers, The Delaware Center for Contemporary Art, The Bronx Museum of Art, The Dumbo Arts Center and Kim Foster Gallery.
Monica Banks’ sculptures of miniature porcelain figures depict organic forms on the threshold between life and death or replicas of the deceased. Her “domestic monuments” to suffering and lifeless creatures suggest narratives addressing the mass graves of major disaster sites, both natural and man-made, in which human forms are numerous and anonymous.
Banks’ figures are presented on porcelain cakes and cake stands, which serve as tributes to the “victims” and stem from her empathy for her subjects. The cakes also explore themes of consumption, ephemerality and craft, as well as gender roles in the home. Broken dishes recall Julian Schnabel’s plate paintings of the 1980’s, but in contrast to his grandiose presentations, Banks’ assemblages of tiny “abject pottery” serve as humble artifacts of domesticity, archeological remnants of family, food and love.
Monica Banks lives and works in East Hampton, NY. Her work is held in the permanent collections of the Parrish Art Museum, The Islip Art Museum, The Museum of Contemporary Art at U Mass, Amherst, and The Catherine Konner Sculpture Park. She has exhibited at White Box, the Center for Architecture in NYC, The Carriage House at the Islip Art Museum, the Heckscher Art Museum, among other venues. She created “ Faces: Times Square,” a block-long sculpture which stood in Times Square from 1996-2009, for which she won an award from the NYC Public Design Commission. Her permanent public works are located in the Bronx, Binghamton NY, and Charlotte NC. She has been exhibiting sculpture and creating site-specific installations since 1989.
Anthem, porcelain, 6.5" x 7.5" x 7.25"
Hymn, porcelain, 10.1" x 5.75" x 5.5"
Ode, porcelain, 9.75" x 7" x 7"
Celebration, porcelain, 8" x 7.75" x 7.75"
Ceremony, porcelain, 9.5" x 7" x 7"
Communion, 1 1.5" x 7.25" x 7.25"
Eminence, porcelain and fine silver, 8" x 3.6" x 3.6"
Exaltation, porcelain, 9.25" x 7.2" x 7.2"
Daina Mattis creates large works on paper with the undulating pressure of thousands of vertical and horizontal graphite lines. Discernible as tally marks, the vibrating lines echo the x and y axis of the picture plane, allowing her to juxtapose overlapping representations of distinct objects. The hatched precision of each mark defines a force of visibility, yet the subtle palette is akin to the color and concept of "battleship grey", a neutral tone typically used by warships to reduce visibility.
For Mattis, the activity of drawing relies on repetition and pattern; it is slow, habitual, calculated and multi-sensory. In her work, time is materialized into line, and process becomes visible.
Daina Mattis (b. 1984, Los Angeles, CA) is a Brooklyn based visual artist. She is the youngest of four children born to Lithuanian immigrants. Her experience of growing up in a bilingual, culturally rich home in Los Angeles has influenced her work and exploration of visual language.
Daina Mattis, Bell Curve, graphite on paper, 50" x 72"
Daina Mattis, Sap, graphite on paper, 75" x 22" (framed)
Daina Mattis, Relax, graphite on paper, 88.25" x 50.5"
Daina Mattis, Pussy Whipped, graphite on paper, 61.25" x 42.5"
Daina Mattis, Nostalgia, graphite on paper, 78.5" x 50.5"
Daina Mattis, Gotcha, graphite on paper, 27" x 46.5"
Daina Mattis, Capital, graphite on paper, 117" x 50"
Since 2005 Steve Miller has been examining the Oxygen/ CO2 exchange of the Amazon region in his Health of the Planet (HOP) series. Miller traveled to Brazil to work with local hospitals where he took X-rays of indigenous plants and animals. Science and technology have always factored in Miller’s art, technology being “the language of our times” and the means through which we all communicate. Like a scientist, Miller investigates and explores in his artistic practice. The paintings in the Health of the Planet series examine relationships between organic forms and technical ones, the macro and the micro, photography and painting, representation and abstraction.
Steve Miller has an extensive international exhibition history including participation in museum shows at the Brooklyn Museum, the New Museum, the Bronx Museum of the Arts in New York, The National Academy of the Sciences in Washington, DC, the Aldrich Museum, the Albright-Knox Art Gallery, the Rose Museum and the Broad Art Museum in Michigan. In 2017 Glitterati will publish a 160 page monograph of his work of the last twenty years.
Swearing Softly, inkjet, pigment dispersion, silk screen on canvas, 62.25" x 40.25"
Your Version, My Version, inkjet, enamel and silk screen on canvas, 36.5" x 22"
Cidade Baixa, inkjet, pigment dispersion, silk screen on canvas, 65" x 40.5"
Banana Bonanza, inkjet, pigment dispersion and silk screen on canvas, 64.5" x 40"
Mown into a Softness, inkjet, pigment dispersion and silk screen on canvas, 22" x 26"
Seed Culture, inkjet, pigment dispersion, silk screen on canvas, 27" x 22"
Conditions of the Flow, inkjet, pigment dispersion, silk screen on canvas, 40" x 64"
Before it was finished, inkjet, pigment dispersion, silk screen on canvas, 24.25" x 18"
Purely Local Conditions, inkjet, silkscreen, pigment dispersion on canvas, 26.25" x 22"
Rapidly Propagating, inkjet, pigment dispersion, silk screen on canvas, 26.5" x 21.75"
Health of the Planet #575, carbon ink jet, enamel & silk screen, 30”x24”, framed in white
Soften the Effect, inkjet, pigment dispersion, silk screen on canvas, 60" x 80"
Surrounded, inkjet and silkscreen on canvas, 10" x 8"
Alexis Martino’s photographs read easily as film stills. Working with young adult “collaborators”, she creates narrative tension between past occurrences and future ones, reality and fiction, horror and delight. Her storytelling often reveals a sense of unease, longing or anticipation. The works comprise a collective coming of age story gone rogue.
Martino lives and works in Shelter Island, NY.
Steven Kinder's works on paper, created between 2013 and 2016, explore his fascination with dynamic tension and movement found in nature. Tornadoes, tidal pools, sunbursts, black holes, combustion, organic symmetry and fractals are among the sources of these deeply saturated and mostly large-scale works. Kinder’s drawings/ paintings - there are elements of both mediums in each work - employ raw pigment, acrylic, pencil and crayon to express the radiant vitality of the natural forces that inspire him.
In his series, the burden, Kinder explores the survival systems and symbols of the homeless. Invisibility, fear, abandonment, levels of despair and street survival are brought to light by recurring motifs such as a woman's hunched body, a cross, a cup, a cardboard sign and a stained glass window. Taken individually, each has its own powerful resonance, but together they suggest a dialogue about transcendence, pain, systems of commodity and exchange, institutional abandonment, and redemption.
Steven Kinder is a multi-media artist who lives and works in NYC. He attended Cooper Union, and has been making paintings, sculpture, works on paper and “tarps" for over 40 years.
Untitled (B3-15), oil, pastel and conte crayon on rag paper, 40 1/2" x 78"
Stthe burden (Woman #1), 2016, Acrylic and pigment on rag paper, 76" x 50"
the burden (Purple Window #1), 2016, Inkjet on Canson Rag Photographique paper, 84" x 44", Edition 1/3, Printed at Cone Editions Press
the burden (Blue Cross #1), 2016, Inkjet on Canson Rag Photographique paper, 84" x 44", Edition 1/1, Printed at Cone editions Press
the burden (Green Window #1), 2016, Inkjet on Canson Rag Photographique paper, 84" x 44", Edition 1/3, printed at Cone Editions Press
the burden (Pink Cross #1), 2016, Inkjet on Canson Rag Photographique Paper, 84" x 44", Edition 1/1, Printed at Cone Editions Press
the burden (Yellow Cross #1), 2016, Inkjet on Canson Rag Photographique paper, 84" x 44", Edition 1/1 Printed at Cone Editions Press
Beginning with scraps of paper and found imagery, Bill Armstrong creates colorful collages which he then photographs with the focus ring on his camera lens set at "infinity". The resultant images are a hybrid of media (collage and photography) that conflate original and found imagery, while questioning the boundary between representation and abstraction.
A common theme of Armstrong’s Infinity series is the photographic depiction of the idea of the spirit – something which is unable to be seen. Drawing from a variety of belief systems around the globe, the artist’s groupings reference sources ranging from Western ideas of the celestial or heavenly and common notions of ghosts and apparitions, to African concepts of “evil spirits” and Eastern mandalas and Buddha.
Bill Armstrong is a New York based fine art photographer who has been shooting in color for over thirty years. His “Mandala” series was featured in a two-person exhibition at the Philadelphia Museum of Art in 2008, and he had a mid-career retrospective at the Southeast Museum of Photography in Daytona Beach in 2010. Armstrong’s work is in many museum collections including the Victoria & Albert Museum, Philadelphia Museum of Art, Brooklyn Museum, Houston Museum of Fine Arts, Santa Barbara Museum of Art, and the Bibliothèque National de France. He has presented work in numerous museum exhibitions including the Smithsonian Institution, Washington, DC; Hayward Gallery, London; Musee de l’Elysee, Lausanne; Centro Internazionale di Fotografia, Milan; and FOAM, Amsterdam. One of Armstrong’s images was chosen for the cover of Lyle Rexer’s Aperture book “The Edge of Vision: The Rise of Abstraction in Photography.” His work appears in “Face: The New Photographic Portrait” by William Ewing and “Exploring Color Photography” by Robert Hirsch, among other books. He has also been published in numerous periodicals including “The New Yorker,” “The New York Times,” “Harper’s,” “House and Garden,” and “Eyemazing.”
After Francis Frith, archival pigment print, 30" x 40", edition 5 (other sizes available)
Buddha 704, C-Print, 36" x 30", Edition 5
Mandala #428, 30" x 30", Edition 5
Mandala 467, C-Print, 30" x 30", Edition 5
Seascape 1, archival pigment print, 16" x 22", edition 10
Seascape 2, archival pigment print, 16" x 22", edition 10
Film Noir 1507
Film Noir 1501
Film Noir 1512
Film Noir 1509
Mandala 468, C-Print, 30" x 30", Edition 5
Film Noir 1511
Buddha 711, C-print, 24" x 20", Edition 10
Buddha 712, C-Print, 24" x 20", Edition 10
Glenn Fischer describes his repurposing of discarded and outdated print material as an act of “rescue". As printed media becomes less relevant and is no longer the most effective means for communicating news, entertainment or educational content, Fischer re-introduces print and its value in the digital age. Old textbooks, album covers and magazines, as well as books from the 50's and 60’s, provide the source material for his geometric abstract collages. Fischer cuts and pastes manually - there is no digital element to his work - so that characters, text and illustrations are extracted from their original context and rearranged, acquiring new meaning from juxtaposition. The results are playful non-linear narratives that are simultaneously nostalgic and contemporary.
Glenn Fischer received a BA in Art from Armstrong Atlantic State University and an MA from New York University. He has exhibited at Denise Bibro Fine Art, Pentimenti Gallery, and Elisa Contemporary Art. Fischer’s work was cataloged in the anthology, "Cutting Edges: Contemporary Collage" by the Berlin publisher, Gestalten. His work was included in the AIM Biennial at The Bronx Museum of the Arts in 2015.
I Could Swear It Was You, paper collage on wood panel, 30" x 30"
You and You, paper collage on wood panel, 30" x 30"
For The Good Times, paper collage on wood panel, 36" x 36"
King of the Road, paper collage on panel, 24" x 24"
Happy Once Again, paper collage on wood panel, 30" x 30"
Thinking it Over, paper collage on wood panel, 24" x 24"
Yesterday's Son, paper collage on wood panel, 30" x 30"
Whirlaway, paper collage on wood panel, 30” x 40”
Take Me Along, paper collage on wood panel, 16” x 16”
The Happy Wanderer, paper collage on wood panel, 24" x 24"
Yuliya Lanina is a Russian- born American multimedia artist who lives and works in Austin, TX. She aspires to transform the traditional medium of painting into a multi-dimensional and interactive experience for the viewer. Employing surreal imagery to elicit feelings of uneasiness and empathy, Lanina paints and collages bizarre characters that come to life through mechanization, animation, and music. These fantastical creatures are by definition otherworldly, yet they often feel personal and familiar. Greek mythology, with its half-human and half-animal demigods, informs her work, as do Russian fairy tales. Fantastic beings deeply rooted in paganism, mysticism, and symbolism populate her often illogical narratives.
Christa Maiwald earned an M.F.A. from the School of the Art Institute of Chicago in 1973 and moved to New York shortly thereafter, establishing herself as a video artist with solo exhibitions at the Whitney Museum of American Art, Anthology Film Archives, Holly Solomon Gallery and Franklin Furnace, among others. In 1979 Maiwald was included in the Whitney Biennial.
After a detour into screenwriting, she resumed her career as a fine artist with paintings, sculpture, installations, and since 2000, embroidery and photography. Recent bodies of work include “Cake Performances”, in which she feeds gallery attendees freshly baked confections, while exhibiting photographs of the cakes taken outdoors in natural settings. Her embroideries, mostly narrative portraits, juxtapose the dainty, feminine “craft” of sewing with politically charged and often difficult subject matter. Dictators and heads of state, for example, who have become notorious for their brutality, are rendered in bright hues on little girl’s party dresses.
Maiwald works in conceptually integrated series that explore human interactions and relationships. Each iteration of a particular theme reinforces the repetitive nature of that human behavior, and more often than not, it is bad behavior being referenced. Using wordplay and verbal puns, Maiwald spotlights social injustice and human folly. She sews obsessively by hand, documenting the transgressions of public figures, celebrities and ordinary people who are flawed, vulnerable and human.
Maiwald had a solo exhibition at Guild Hall in East Hampton, NY in 2013. Her embroideries and photographs have been shown internationally, including at the Museum of Arts and Design in New York City, Galerie Houg in Lyon, France, the Parrish Art Museum, the Heckscher Museum of Art, and the Florence Lynch Gallery. Her work, “The Cake and I”, is held in the permanent collection of the Parrish Art Museum.
Cara Enteles’ paintings explore the impossibility of symmetry, order and exactness in nature. Drawing from Shakespeare’s line in Hamlet, “art holds a mirror up to nature”, she seeks to illustrate the dichotomy between organic, natural growth and the human gardener's attempt to control it. An avid gardener herself, Enteles splits her time between New York City and the Catskills, where access to the surrounding wilderness informs her work.
Enteles has long addressed environmental issues that plague our natural world: oil spills, colony collapse disorder, and fracking are some examples. Her paintings allude to circumstances in which human activity threatens nature, yet the work is neither sententious nor moralistic. In fact, the casual observer will find a collection of beautiful paintings of plants and animals, albeit with an unusual sheen in the surrounding water or an emphasis on “alternative pollinators” should the honey bees become extinct.
Because she paints on industrial supports, aluminum panels or layers of plexiglas often bolted to the wall, Enteles’ works contain an inherent tension between the organic subject matter depicted and the materials with which they are constructed. Birds, butterflies, bees and flowers set against a backdrop of reflective material literally hold a mirror to nature, while gold-toned plexiglas backings on her pollination paintings evoke pollen. The transparency that plexiglas affords provides a means for three-dimensional representation - Enteles paints on both sides of the plexiglas - further reinforcing the realistic and imperative nature of her concerns.
Enteles received her BFA from Parsons School of Design. She exhibits internationally and her work is held in private and public collections including Pricewaterhouse Coopers, Microsoft and WilmerHale. She has exhibited at Wave Hill, The HVCCA and The Islip Art Museum.