106 Green

Spring Fever

2010-04-05T08:43:00.000-07:00

Spring Fever

Organized by Nicole Russo and Ridley Howard

April 11- May 9

Opening: April 11, 5-8 PM

Gallery Hours are from 1-6 on Sundays.

Spring is the season of rejuvenation. Urges repressed through the long winter months roar to the surface, adding vigor and passion to otherwise ordinary lives. Spring sees bulky winter coats replaced with skirts and sleeveless shirts, handshakes replaced with kisses, and S.A.D. replaced by L’amour Fou. This show is a celebration of new found optimism, invigoration, and desire.

Ed Templeton

Installation:

Daniel Gordon. Paul Brainard. Andrew Guenther.

Daniel Gordon. Man in Grass. C-print. 20" x 24". 2007.

Paul Brainard. Untitled. Pencil on paper. 22" x 30". 2008.

Andrew Guenther. Not a Doctor, Blue. Acrylic and screenprint on canvas. 22" x 36.75". 2010.

Ed Templeton. Patrick Berran. Laurel Nakadate.

Ed Templeton. Suburbia Put Into Photographic Form.., C-print. 13.5" x 9". 1997/2006.

Patrick Berran. Untitled (RM5). Oil on board. 24.375" x 24". 2010.

Laurel Nakadate. Fever Dream with Rabbit. Video. 2009.

Michelle Hailey. Nicole Eisenman. James Herbert.

Michelle Hailey. In Her Studio. Oil, pencil and image transfer on canvas. 60" x 70". 2009.

Nicole Eisenman. I Love You. Enamel on paper. 26" x 34". 2008.

James Herbert. Two Swans. Acrylic on canvas. 9 ft x 10 ft. 2010.

Jennifer Coates. Fernando Renes. David Humphrey.

Jennifer Coates. Windbreak. Acrylic on canvas. 9.5" x 11.75". 2009.

Fernando Renes. Drawings. 6 framed drawings, each 16.875" x 18.375". 1998-2010.

David Humphrey. Flavors. Acrylic on canvas. 34.375" x 54". 2002-2009.

Tenants

2010-02-23T08:34:00.001-08:00

For Immediate Release:

106 Green presents:

Tenants. Curated by Vera Iliatova
March 7th – April 4th, 2010
Opening reception: March 7, 5-8pm.
Gallery Hours are from 1-6 pm on Sundays

…the plan should not have to do with an exploit or record, it would be neither a peak to scale nor an ocean floor to reach ... [it] would not be heroic, or spectacular; it would be something simple and discreet, difficult of course but not impossibly so, controlled from start to finish and conversely controlling every detail of the life of the man engaged upon it…

In his 1978 work “Life, A User’s Manual” George Perec creates a novel from a series of detached observations of a Parisian apartment block. As the novel unfolds, these observations that at first glance appear as infinite lists of disconnected information, create a jigsaw of rooms with their inhabitants caught in a moment of time. The descriptions of apartments with their eccentric tenants, lists of contents, and structural relationships are puzzled into a perceptibly beautiful complexity. Viewing becomes an activity where written structures are collected together to create a site of convergence.

Using Perec’s novel as a model, 106 Green (known as an exhibition space as well as working artists studios) temporarily houses work by Jonathan Ehrenberg, Rochelle Feinstein, Dana Frankfort, Jackie Gendel, Christopher K. Ho, Jennifer Hodges, Mikhail Iliatov, Julian Kreimer, Susan Lichtman, Justin Lieberman, Bobbie Oliver, Rachel Roske, Zak Smith, Craig Taylor, and Kevin Zucker. The objects put together in this space have connections either in genre, aesthetic modes, narrative impulses, or in the fact of being devised by artists who work in close conceptual proximity. The show becomes an enigmatic puzzle that invites interpretations and creates relationships between the artists, the space, and the viewer.

Installation Shots:

Entrance Gallery. Susan Lichtman. Jonathan Ehrenberg. Dana Frankfort.

Susan Lichtman. Open House. Oil on canvas. 24" x 18". 2008.

Jonathan Ehrenberg. Red Window (still from Seed). Framed digital print. 16" x 12". 2010.

Jonathan Ehrenberg. The Hollow (still from Seed). Framed digital print. 16" x 12". 2010.

Dana Frankfort. White Flowers. Oil on canvas. 20" x 16". 2006.

Craig Taylor, Justin Lieberman, Dana Frankfort.

Main gallery. Mikhail Iliatov. Kevin Zucker. Susan Lichtman.

Mikhail Iliatov. Neighbors. 2-channel audio. 34:12. 8" x 11" x 36". mixed media. 2010.

Kevin Zucker. Untitled (study for a missing-content painting). Acrylic, transfers on canvas. 41" x 30". 2006.

Susan Lichtman. Figures Beneath a Tulip. Gouache on panel. 7" x 5".2006.

Susan Lichtman. Light Tulip. Gouache on panel. 7" x 5". 2006.

Main gallery. Mikhail Iliatov. Kevin Zucker. Susan Lichtman. Christopher K. Ho. Craig Taylor.

Main gallery. Christopher K. Ho. Craig Taylor. Justin Lieberman. Jennifer Hodges.

Christopher K. Ho. Voltron Cullen Kubla Khan. Framed digital print. 13" x 10". 2010.

Craig Taylor. The Bit. Archival board and plaster polychrome. 42" x 12" x 6". 2010.

Justin Lieberman. Untitled. Mixed media various sizes. 2010.

Jennifer Hodges. Untitled. Acrylic on canvas. 24" x 11". 2008.

Main gallery. Jennifer Hodges. Rachel Roske.

Rachel Roske. For Ages or for Hours. Oil on canvases/fabric. 14"x19", 8"x19",9" x19".

Main gallery. Zak Smith. Julian Kreimer. Rochelle Feinstein.

Zak Smith. The operation you have chosen cannot be performed. Ink on paper. 24" x 19". 2008.

Main gallery. Julian Kreimer. Rochelle Feinstein. Bobbie Oliver. Jackie Gendel.

Julian Kreimer. Car Park. Oil on linen. 18" x 18". 2009.

Rochelle Feinstein. A Wonderful Place to Live. Laser print/oil on linen. 33" x 33". 1991.

Bobbie Oliver. Untitled. Acrylic on canvas. 27" x 23.5". 2007.

Jackie Gendel. Déjà vu. Oil on canvas over board. 26" x 24". 2009.

Everything In Moderation

2010-01-21T08:26:00.000-08:00

Everything in Moderation. Curated by Melissa Hopson
January 30th – February 28th, 2010
Opening: January 30th, 6-9pm.
Gallery Hours are from 1-6 on Sundays.

Enough of the conventional unconventional lazy art. Enough of the bombastic art-factory objects. Away from the artist-manager and artist-genius. Enough of the art institution template that plugs the artworks into allocated cells. The material search, hand – material connection, uncomfortable and counter-intuitive, new Romanticism and witty sense of humor – all create paths away from the numerous beaten tracks. One does not need to shout in order to make a statement.

106 Green is pleased to present Everything in Moderation, a show curated by Melissa Hopson. The exhibition features six young artists who work with oil painting, sculpture, digital print, and drawing and explore fragmentation and the mixing of mediums. They take the silent artistic materials, arrogant minimalist form, and ubiquitous readymade and self-centered narrative of “identity” out of their dead ends and give them character, agency, and personal meaning. Aware of the polarities of art-factory commercial product and ephemeral practice, these artists are interested in artistic object with all its unique and generic qualities. “Moderation” in this case is not escapism or lack of courage, but rather a desire to avoid pre-established strategies, to approach artistic practice as exploration and search. This principle allows for the fulfillment of art’s principal function – bringing into being something that has not existed previously rather than reiterating the existing world.

In her drawings, collages, and sculpture, Davina Semo returns the deeply human metaphysical element to abstraction, giving experiential meanings to the cold geometric form. The narrative, story-like titles she gives to her works become part of strategy. Eric Palgon turns painting “inside out” by putting the frame on the front of canvas and letting the images grow and spread. Painting thus ceases to be the “window into the world” and oscillates between sculpture and image. Sonja Engelhardt breaks down artistic objects into texture, line, proportion, material, and visual gestalt. Her sculpture mimics the white wall and engages with architectural space, while in her prints, the background and artistic mark switch places, producing subtle poetic work. Melissa Hopson, an artist interested in issues of cultural accumulation and archeology, creates abstract objects as complete as if they were functional things from another world. Her sculptures are artifacts dug from the future. Esther Kläs engages European and US modernism and minimalism by taking away their sleekness. Putting her sculptures on a pedestal, she elevates them to the status of animate characters, albeit sleeping and awaiting interaction with the viewer. In Nathan Gwynne’s work, culturally charged generational narratives and “cult” music re-emerge as distinct, formally engaging objects. The artist’s detached and blasphemous view turns The Kiss and Barry White LPs into sea buoys, or pairs a drum with a night table or police barricades.
Everything in Moderation presents a unique opportunity to see the works of an international group of young artists already exhibited in Europe and the US, and the recipients of various professional awards, who are at the start of their careers. For more information on the show, individual works, and artists, please contact Melissa Hopson at doderecho@gmail.com.

Participating Artists

Sonja Engelhardt. Born 1975 in Mönchengladbach, Germany. Studied in Düsseldorf Kunstakademie, received academic diploma from Academy of Media Arts in Cologne, Germany in 2006. Currently working on her MFA degree at the New York University. Lives and works in New York City.

Nathan Gwynne. Born 1979 in Santa Rosa, CA. Received BA degree from Stanford University, CA in 2001. Studied at Universität der Künste, Berlin, Germany. Graduated from Hunter College, NY in 2009 with MFA degree. Lives and works in Brooklyn, NY.

Melissa Hopson. Born 1981 in Muskogee, OK. Received academic diploma from Düsseldorf Kunstakademie in 2008. Lives and works in Brooklyn, NY.

Esther Kläs. Born 1981 in Mainz, Germany. Received academic diploma from the Düsseldorf Kunstakademie in 2007 under Georg Herold. Currently working on her MFA degree (2010) from Hunter College, NY. Lives and works in New York City.

Eric Palgon. Born 1982 in San Jose, CA. Received BA degree in Visual Arts from University of California, Los Angeles in 2004. Studied painting in Düsseldorf Kunstakademie. Graduated from Columbia University, NY in 2009 with MFA degree. Lives and works in New York City.

Davina Semo. Born 1981 in Washington, DC. Received BA degree in Visual Arts and Creative Writing from Brown University in 2003, and MFA degree from University of California, San Diego in 2006. Lives and works in Brooklyn, NY.

Installation Shots:

Lamp. Nathan Gwynne & Esther Kläs.

Davina Semo. Nathan Gwynn. Melissa Hopson.

Davina Semo. We Initiate Each Other Into Our Own Lack of Mystery.

Nathan Gwynne. This Ain't Rock 'n' Roll,This is Ecocide.

Melissa Hopson. untitled.

Eric Palgon. Melissa Hopson. Nathan Gwynne.

Eric Palgon. untitled.

Melissa Hopson. untitled.

Sonja Engelhardt. untitled.

Esther Kläs. Three Blind Mice.

Correspondences (Ex-Spy)

2009-11-14T14:17:00.000-08:00

Gallery 106 Green is pleased to present Correspondences (Ex-Spy), a solo exhibition of new works by Damien Crisp. The opening reception will take place on Sunday November 22, 4-7 pm.

Exhibition will run from November 22 – December 20, 2009. Gallery hours are on Sundays from 1 – 6 pm or by appointment. Please contact Mitchell Wright at 106green@gmail.com or 865-771-0666.

Correspondences (Ex-Spy) is a series of objects and remnants that tells the story of an artist that lived in the beginning of the 21^st Century.

The poet’s home is a cold place, always robbed, with only the smallest remnants of sincerity left, maybe it’s what they came to steal.

Somewhere between love letter and suicide note, Correspondences (Ex-Spy) tries to find whatever is left:

Looking in vain for the ideal poet. An image of the ideal poet. Archiving seconds of daily scenes. Stealing news headlines. Steal Walt Whitman's identity. Collect what I see. Steal snapshots. A state of infinite existential crisis. Keep the body missing. Mourn the loss of a narrator without too much thought.
I lost faith in communication, and now fall from grace to antagonize each day; day by day. A slow and quiet and subversive violence to..... - like the last stages of poetry just before it hits national television, a dead rose left on a window sill. My last memory.　
- Damien Crisp / 2009

Born in 1977 in the town of Cleveland, Tennessee, Crisp currently lives in works in Brooklyn, NY. He received his MFA in 2007 from the School of Visual Arts. Group exhibitions include Art Since the Summer of ’69, Dark Fair, Swiss Institute; Big Secret Cache, Angstrom Gallery, Los Angeles (curated by Kristin Calabrese); Road Show #3, Arthur Roger Project Space, New Orleans (organized by Dan Cameron).

What's Bin Did and What's Bin Hid

2009-10-13T08:38:00.000-07:00

Gallery 106 Green presents 'What's Bin Did and What's Bin Hid' curated by Ryan Steadman. The opening reception will be on Sunday October 18th from 4 – 7pm, with an after party at The Diamond Bar, 43 Franklin Street, featuring music by DJ erin wtf.

Show will run from October 18th – November 15th, 2009. Gallery hours are on Sunday from 12-6pm or by appointment. Please contact Mitchell Wright at 106green@gmail or 865-771-0666.

Carl Ferrero, Noah Sheldon, Molly Smith, Brent Steen, Michael Zahn, Addie Juell, Roger White, Stacy Fisher, Carlos Jiménez Cahua, Brad Phillips, Josephine Halvorson, Brian Belott

Stripped-down essentialism will never go away and never go out of style. People will always want to get back to the “roots” of something, or “cut the b.s.” and get back to basics. In the folk revolution in London and America in the late 50’s and early 60’s, this attitude was central, at the fore—if only for a short while.

“What’s Bin Did and What’s Bin Hid,” the debut album by Donovan, marked the crest of the folk movement in the U.K. The songs, entirely consisting of acoustic guitar, mouth harp, and voice, are mainly modest interpretations of standards, with a few originals penned by Donovan in which he muses on such everyday trivialities as a car, a watch, and a puppet.

Such things are pregnant with meaning (who made them, how they were made, where they were made and of what materials). The artists in this show amplify the meanings of these types of everyday subjects though the creative act—often, by reducing the object to its essential form, or omitting information so as to leave the image open to interpretation. Some artists like Stacy Fisher and Molly Smith morph objects so that their traits are almost human-like… pushing the concept of an object’s “personality” and how it can connect with its owner. Artists like Michael Zahn and Roger White on the other hand, record everyday things in such a way as to open them up to the history of painted objects. Periods as varied as French Realism and Post-War Abstraction for instance, are illuminated via their relationships to the history of craft and design.

Whether the artists in the show are concerned with personal narrative or social narrative is somewhat irrelevant to this work: they are both intrinsic. Style is also immaterial to their approach—the varied level of realism, subject, or material does not deter from the fact that these artists aim to describe meaningful objects through the filter of their own perception, cognitively breaking down the object to its fundamental parts and rebuilding it as they see fit.

Installation Shots:

Title Wall by Stacy Fisher

Installation Shot

Stacy Fisher. Shelf Life. Fabric, foam, paint, wood and wire. Dimensions variable.

Molly Smith. Slice. Acrylic paint and cut paper. 7.75 x 7.75 inches.

Molly Smith. Flame. Acrylic paint and cut paper. 8.5 x 11 inches.

Carl James Fererro. Radiation 2. Acrylic and watercolor on paper, strings, pins. 30 x 40 inches.

Brian Belott. Untitled (Boombox). Paint on glass with gold frame. 13.5 x 17.5 inches.

Installation Shot

Brent Steen. True Story. Pencil on panel. 36 x 42 inches.

Brad Phillips. Painting Non-Doing. Watercolor on paper. 17 x 13.5 inches.

Addie Juell. Mom. Archival pigment prints on Hahnemuhle paper. 22 x 17 inches.

Installation Shot

Roger White. Untitled. Oil on canvas. 54 x 36 inches.

Josephine Halvorson. Fireplace (Soot). Oil on Linen. 19 x 22 inches.

Carl James Fererro. Waves and Radiation. Acrylic on paper, string, pins. 30 x 44 inches.

Michael Zahn. Bucketshop. Acrylic on wood. 60 x 30 x 40 inches.

Installation Shot

Brian Belott. Untitled (Lamp 1) and Untitled (Lamp 2). Pen on Paper. Each 15 x 12 inches.

Carlos Jiménez Cahua. Untitled #5 from Construction series. Archival inkjet print on Epson Luster Paper. 24 x 24 inches.

Brent Steen. Dark Darks, Light Lights. Pencil on panel. 24 x 30 inches.

Roger White. Untitled. Watercolor and colored pencil on paper. 11 x 8.5 inches.

Carlos Jiménez Cahua. Untitled #24 from Lima series. Archival inkjet print on Epson Luster paper.

35 x 44 inches.

Brad Phillips. Pseudonym Painting. Watercolor on paper. 21 x 16 inches.

Addie Juell. #062 Berlin. Archival pigment print on Hahnemuhle paper. 22 x 17 inches.

2009-09-01T19:39:00.000-07:00

Gallery 106 Green presents Whitey on the Moon, curated by Kanishka Raja. The opening reception will be on Sunday September 13th from 4-7. Show will run from September 13th - October 11th. Hours are Sundays only from 12 - 6 or by appointment.

Whitey On The Moon

By way of commemorating the 40th anniversary of the moon landing in some sideways fashion, Whitey On the Moon will showcase work documenting various aspects and impressions of said satellite, made by artists who have been there. Field recordings essentially, made by intrepid explorers of dimensions extending both outward and inward.

How did they get there? What were they doing for this long? We don’t know. Perhaps, to avoid unspeakable earthbound horrors, they escaped. Perhaps, to serve diabolical experimental impulses, they were secretly rendered. No matter: here for the first time, they render back.

The exhibition, naturally, is replete with images and impressions of abandoned and vandalized sites, languid and mysterious surfaces that hint at unspecified landscapes, weird creatures -- neither organic nor inorganic -- borne of botched genetic experiments, odd reclamations of junk invaded by patterns that hover between absurd and abstract, vast cosmos built from scraps of domesticity, shards of confessional aesthetics and all manner of flimflam simultaneously nostalgic and futuristic.

Whitey On The Moon takes its title from a Gil Scott-Heron song from 1970. Written in the wake of America’s triumphant lunar escapade, the song points up the contradictory social conditions that allowed for glaring economic inequities to persist “on the ground” while massive resources and energies were simultaneously being spent toward a program based as much on chest thumping cold war jingoism as on genuine scientific experiment.

Contemporary perceptions of the moon landing on the other hand, tend to be marked by a different kind of disjunction: one that acknowledges that lunar expeditions (and space travel in general) stopped being, at some point, about the future and instead became about the past. The kind of exploratory optimism that perceived space travel to always encompass some notion of a fantastic future appears hopelessly recherché in the current historical moment.

Appropriately, the work in the show addresses this incongruity from a variety of positions and materials. Clearly, none of it is either directly about the moon or about GS-H’s proto-rap broadside. They carry nonetheless, some essence of our relationship to both these elements. Meditations on memory, each object in Whitey On the Moon is evidence of an artist parsing with uncommon keenness and sensitivity, their relationship to materials of the past, real or perceived, collective or personal, recorded or imaginary.

Anonymous

Paolo Arao

Per Billgren

Robert Bordo

Tom Burckhardt

Tim Davis

R.M. Fischer

Yamini Nayar

Sheila Pepe

Shawn Thorton

James J. Williams III

Kanishka Raja, curator

Installation Shots

Title Wall

Tim Davis. Virgin Mary (King of Cyan). C-Print. 40 x 50.5 inches.

Yamini Nayar, Tom Buckhardt, Robert Bordo, R.M. Fischer

Yamini Nayar. By A Thread. C-Print. 30 x 40 inches.

Tom Burckhardt. Pagan Love. Pen and acrylic on bookcover. 10 x 8 inches.

Robert Bordo. Little Big Baby. Oil on canvas. 12 x 14 inches.

R.M. Fischer. RMF-3256. Vinyl, fabric, felt, thread, polyester fiberfill and brass. 79 x 38 x 31 inches.

Installation View.

Paolo Arao. Rapture. Charcoal on paper. 22 x 30 inches.

Shawn Thorton. Lobotomy Of The Ghost Mechanics. Scarab Timetable.
from the series: Cartographers of the Pineal Eye. Oil on Panel. 11 x 11 inches.

Rober Bordo. Buddy. Oil on Linen. 32 x 40 inches.

Yamini Nayar. from top: Study 3, Study 1. architectural drawing on photograph. both 10.5 x 13.5 inches.

James J. Williams III. Like A Bird's Cross Eyes, We Pick Up Steam. Mixed media. 75 x 24 x 42 inches.

Per Bilgren. Untitled. C-print. 16 x 20 inches.

Sheila Pepe. Mixed materials. Dimensions vary.

Installation View.

Anonymous. Untitled. Acrylic on canvas. 24 x 28 inches.

Paolo Arao. Study for Welcome, Glory. Graphite on Paper. 6 x 9 inches.

Tom Burckhardt. Haddidou. Collage and ink on bookpage. 11 x 16 inches.

Shawn Thornton. Black Pyramid Meditation. from the series: Cartographers of the Pineal Eye.

Oil on panel. 11 x 11 inches.

Sheila Pepe. Untitled. Ink on paper. 30 x 22 inches.

Tom Burkhardt. Nations At War. Pencil and acrylic on bookcover. 15 x 10.5 inches.

2009-08-12T08:32:00.000-07:00

106 is currently working on the fall schedule. We will be back in September. More to come soon...

Opening and after party

2009-05-17T17:23:00.001-07:00

Nellie Bridge

Brad Kahlhamer and Parlor Grand

After the Goldrush Installed

2009-05-17T13:53:00.000-07:00

Tom Sanford, Gina Magid and Jim Lee

Gina Magid, Neil Young, Jim Lee

Tom Sanford. After the Goldrush poster. Oil & fake gold on paper.

Gina Magid. Soaring Hawk with Chains. Oil paint, metal beads on wood.

Jim Lee. Untitled (Rust White and Blue).

Nellie Bridge, Jim Lee and Justin Craun

Justin Craun. Party. Oil on canvas.

Jim Lee. Untitled (the Morning Comes). Acrylic, flashe and foamcore on cardboard.

Nellie Bridge. Oyster Bed. Watercolors and poem.

Nellie's Poem:

Oyster Bed

I closed my eyes because I was sick of the world

and opened them

and it hurt to see

the frame of a mirror

so closed them again

and wished to become a barnacle sticking onto the back of a pickup truck heading out.

Or if it delivered oysters

I could have been stuck to one of the broken shells in the bed.

We turned sideways and there was a one-dimensional darkness

and I was on the grass in another place.

The first things I notice are many streaks in the sky. The birds are very hot. So hot that

their bodies and breath leave misty trails everywhere they just were. A flock of

swallows over a pond can create a patch of fog.

What if there was nothing to take care of, for example, your teeth.

We had dreams of stimulation in the Authentic Living City.

Aaron Spangler, Sculpture Park, Woodcut.

Adrian Meraz. Night Spell: Cliff Agent. Wood, cardboard and string.

Anke Weyer and Adrian Meraz

Mamie Holst, Alisha Kerlin, Holly Coulis and Anke Weyer

Holly Coulis. Sky. Oil on canvas.

Alisha Kerlin. Where the Local Cats Go to Worship. 4 polaroids.

Alisha Kerlin, detail.

Mamie Holst. Landscape Before Dying (Toward Exiting #3). Acyrylic on canvas.

Gina Magid and Brad Kahlhamer

Brad Kahlhamer. Kelsey. Watercolor on paper.

Gina Magid. Soaring Hawk. Oil paint, pastel on board.

After the Goldrush

2009-05-06T07:20:00.000-07:00

106 Green will open its inaugural exhibition, After the Gold Rush, on May 16^th. The opening reception will be from 5-8 pm.

Originally inspired by an apocalyptic screenplay by artist and actor Dean Stockwell, After the Gold Rush, Neil Young’s third solo effort, is an epic record encompassing love, loss, social critique, and a tragic American landscape. Most of the album was recorded in Young’s make-shift basement studio during the spring of 1970, in the late days of the Vietnam war and the dawn of a decade of economic tumult. The songs shift in theme and musical genre, and depict visions from the medieval to the extraterrestrial in service of what appears to be an apocalyptic end, but with a hint of redemptive optimism. The album was met with lukewarm reviews. Rolling Stone then dismissed as ‘dull’ what it now calls a ‘masterpiece’.

While none of the work in this exhibition is based on Mr. Young’s music, perhaps it reflects something of its spirit. With varying strategies and media, the artists offer meditations ranging from the interpersonal to the epic; most capturing a north American angst that is both interwoven with the past and undeniably contemporary. Much of the work depicts a sort of cosmic spirituality where urban, rural, interior, and technological landscapes merge; and at its core offers a challenge and possible alternatives (however small) to the excesses of the Bush era boom.

Artists:

Nellie Bridge Jim Lee

Holly Coulis Gina Magid

Justin Craun Adrian Meraz

Mamie Holst Aaron Spangler

Brad Kahlhamer Anke Weyer

Alisha Kerlin

* with hand painted exhibition poster by Tom Sanford

Opening followed by after party at Coco66 with a performance by Brad Kahlhamer's Parlor Grand. Coco66 is located at 66 Greenpoint Avenue.

2009-04-19T17:09:00.001-07:00

Coming Soon.