Transmogrification show

This is a last minute pop up show I curated with Panos Papamichael in Long Island City.  It was the first time meeting Panos but we hit it off really well and put together an amazing show.  The show was at 2320 Jackson Avenue, Long Island City from June 21st – July 16th 2017

Here’s a review of the show by Lauren Amalia Redding.

Transmogrification show reviewed by Lauren Amalia Redding

You can see all the work in the show at:





Tell them stories show

This is a show I’ve been wanting to put together for a long time with my friend Marshall Jones and we finally made it a reality.  The idea of the show was to bring fine arts, illustration and comic book art together into one place to blur the boundaries between these different mediums.  Here are some pictures from the show..



Check out the entire Tell them stories gallery at:

There is also an amazing panel discussion about these different mediums moderated by Dorian Vallejo with Tony DiMauro  (Illustration), John Jacobsmeyer and Peter Drake (Fine Arts) and Gus Storms (Comic book arts).

Upcoming shows

These are some of my upcoming shows later this year:

Group Show

September 7th – October 5th, 2014
Opening ReceptionSunday, September 7th, 6-9pm



Mark Miller Gallery
92 Orchard St, 
New York, NY 10002
click here for more information


Group Show
October 8th – November 9th, 2014
Opening ReceptionWednesday, October 8th, 6-9pm
 The metal box and pipes, oil on mylar, 6 x 12 inches, 2014 WEB
Mark Miller Gallery
92 Orchard St, 
New York, NY 10002
click here for more information
Group Show  curated by Marshall Jones and Tun Myaing
October 10th – November 10th, 2014
Opening ReceptionFriday, October 10th, 6-10pm
Inline image 3
Art Foundry 
310 E 23rd Street, 12F (buzzer 96) 
New York, NY 10010
click here for more information



For immediate release:

Media inquiries:  Tun Myaing (917)378-3700


Art Foundry
is proud to present 
Living Things

September 21 – October 12, 2012
Opening reception September 21, 6 – 9 pm

“But after a time allowed for it to swim,

“Instead of proving human when it neared

“and someone else additional to him,

“as a great buck it powerfully appeared.”

-Robert Frost


  We are creatures built for encounters.  Some of our favorite past times revolve around meeting new people, talking to them, passing a judgment, and, if we are lucky, understanding them a little.  This is who we are – frequently judgmental, occasionally insightful, hopelessly social, and hopefully, empathetic.  These are traits we living beings picked up from our encounters with fellow living beings.

Once in a while, however, this peculiar chance presents itself to us: to encounter not a person, but an object.  Not to simply see and acknowledge it, but to meet it; not to simply consider it, but to empathize with it; not to see it through our eyes, but to see ourselves through its eyes.  This moment is almost always fleeting, indecipherable, and indescribable; we feel it for a moment – and often walk away with a cautious shrug, unable to tell anyone precisely what we felt.  What we felt, however, was a kind of encounter – an encounter with a nonliving being, a greeting from the universe, a momentary conversation with Everything Else.  The Living Things Exhibit has one aim – to make the conversation longer.

Our penchant for using objects as metaphors is well documented.  Dutch still life is replete with depictions of spoiled fruit, bones, half-empty glasses, and human skulls – objects that represent our fears, our mortality, and us.  The work of a few newer artists (such as Antonio Lopez Garcia) expands on that idea.  An object is no longer a symbol.  The sense of time and decay tells us the story of the object; our story, merely one of many, takes a back seat to the stories of Everything Else.  Changed and molded by time, the object lives a non-life, emphatically still and indifferently different.

We too are objects.  The human body – our first birthday gift, a collection of mechanical and electric machinery, is among the most familiar and least understood objects.  Intricate and capricious, it has its own rules that we are not privy to.  It grows and withers, it becomes hungry, it lusts after other bodies, it gives away our deepest secrets.  Sometimes it is treated as a tool, traded for pleasure and, in its workings, it remains an object – an object that frustrates, fascinates, and inspires.  Only in death does the body reveal what it truly is – a thing, an object, a story of Everything Else.  The living world of animals and botany all live to tell this tale, a union of universal conversation.  This connection of the living world and the world of things has inspired many artists throughout centuries – to this day.

The artists exhibited in Living Things continue and expand on this tradition, bringing their unique contemporary vision of the bizarre and eloquent world of the insentient.  Acknowledging and celebrating the materiality of their work the artists of Living Things talk to the viewer with the voice of Everything Else.


Hi-resolution jpegs of the selected works and artists bios are available upon request:

For further information on the Art Foundry, please visit:

Art Foundry 310 E 23rd Street, # 12F (buzzer 96), New York, NY 10010

T: (917) 378-3700


Article on Huffington Post:

The Drawing Room: Artists and Their Sketchbooks Occupy a New York Gallery   

Article on ArteFuse:

The Drawing Room at the Milavec Hakimi Gallery

James Adelman

Untitled, charcoal, 9 x 6″
Untitled, charcoal, 12 x 9″

Jean-Pierre Arboleda

Ranatec, mixed media on paper, 11.5 x 7.5″, 2012

Matthew Conner

Crocodile Halberdier, pencil on paper, 11 x 7″, 2011

Cara DeAngelis

Ascension III, pencil on paper, 16 x 20″, 2011
Resurrection II, pencil on paper, 16 x 20″, 2011
Resurrection III, pencil, tar and asphalt on paper, 14 x 17″, 2012

Bonnie DeWitt

Trunko, pencil and gouache on paper, 11 x 14″, 2012

Michelle Doll  

Current, charcoal on mylar, 40 x 50″, 2012

Christian Fagerlund

Untitled F-30, charcoal/graphite on paper, 4.5 x 7.25″, 2012

Steve Foster

Leaders of men, graphite on paper, 11 x 14, 2012
Leaders of men 2, graphite on paper, 11 x 14″, 2012

Robert Fundis

Untitled 1, charcoal, pencil, ink and joint compound on panel, 16 x 16″, 2012
Claudia 2, mixed media drawing on paper, 22 x 30″, 2011

Ian Gaudreau

Nose, pencil and mixed media, 28×40″, 2005

Maria Kreyn

Embrace, After Carriere, graphite on paper, 32.5 x 32.5″, 2011
Messengers in Red, various conte & graphite on paper, 34 x 26″, 2011

Jason Maas

Mounted Patrol, charcoal on paper, 38 x 30″, 2012
Cavalry, charcoal on paper, 30 x 38, 2012

Michael Meadors

Punch, acrylic, graphite and stabilo on Strathmore 500 bristol, 7.5 x 5.5″, 2011

Cory Morgenstein

Untitled, ballpoint pen, 9 x 12″, 2012
Untitled, ballpoint pen, 9 x 12″, 2012
Untitled, ballpoint pen, 2 x 11″, 2012

Grayson Ronk

After it’s all over, pencil on paper, 14 x 10.5″, 2011
Because I can’t write you a love song, pencil on paper, 5 x 5″, 2011
Mark, pencil on paper, 6 x 8.5″, 2011
Self, pencil on paper, 6 x 8″, 2011

Misha Rosnach

Saturday, pencil on paper, 11 x 14″, 2012

Glenn Palmer Smith (coming soon)

Sergi Opined, I think we are near land, graphite on paper, 53 x 41″, 2011

Vithya Truong

Chair 2, graphite on paper, 10 x 9.25, 2007

Melanie Vote

Ruins in refuge, graphite on paper, 17 x 10″, 2010
Head as home, graphite on paper, 20 x 24, 2010
Back pack, graphite on paper, 20 x 24″, 2010

Tyler Vouros

Aragog, charcoal and water on paper, 55 x 80, 2012
Kronos, charcoal and water on paper, 51 x 90″, 2011
Leviathan, charcoal and water on paper, 55 x 80″, 2012

Daniel Esquivia Zapata

Chucho & Soledad, graphite on mylar and pieces of paper, 66 x 66″, 2011


Dina Brodsky

Karl Koett

Guno Joe Park

David Pettibone

Nic Rad

LINE press release

For Immediate Release                                                                                    


@ the cell

338 W. 23rd Street (btwn 8th & 9th), New York, NY 10011

Thursday,  April 5, 2012 – April 25, 2012

Opening reception: April 5, 6PM – 9PM

Curated by Dina Brodsky, Karl Koett and Tun Myaing, LINE features drawings from some of the most talented and intriguing artists in New York City on view at

the cell from April 5 – April 25, 2012.

       Perhaps more so than any other form of art, drawing reveals the pure intent of the artist. Drawing does not allow for multiple revisions; it is for the artist what improvisation is for the actor. The raw talent, the creative spirit of the artist is tangible in the drawing. Thus LINE allows you a rare glimpse into the private universe of the artist, with all the intricacies of structure and elegance of creative motion revealed. Using a diversity of approaches, the artists reveal themselves as they are: inventive, sublime, thoughtful, playful, absurd – stripped of artifice and pretense.

Ranging from the inarticulate to the sharply defined in their unbroken linearity, these masterful renderings will draw you in, engage you, entrance you with the unique promise of meeting some of the most interesting and talented artists of today mind to mind.  It is our sincere hope that the viewer will leave aesthetically engaged, but also with a sense of connection; that particular solace offered only by the well-crafted thoughts of an articulate mind.

Featuring Art by:
Jean Pierre Arboleda, Bonnie DeWitt, Dina Brodsky, Matthew Conner,

 Cara DeAngelis, Nancy Ke Fang, Robert Fundis, Caitlin Hurd,

Karl Koett, Maria Kreyn, Michael Meadors, Guno Joe Park, David Pettibone,

Nic Rad, Misha Rosnach, Vithya Truong, Melanie Vote, Tyler Vouros

and Daniel Esquivia Zapta

With a special performance by the Art Liars


the cell, A Twenty First Century Salon™

to mine the mind, pierce the heart, and awaken the soul…


Jean Pierre Arboleda

Jean Pierre Arboleda, "Rana Satarina", 20 x 22", color pencil on paper, 2008

Bonnie DeWitt (coming soon)

Matthew Conner

Matthew Conner, "The Bergfolk Militia of Bornholm Repelling the British Fleet, 11 x 14", pencil on paper, 2011
Matthew Conner, "Vulpino-Simian War No.7", 11 x 14", pencil on paper, 2011

Cara DeAngelis

Cara DeAngelis, "Ascension 1", 14 x 17", pencil on paper, 2011
Cara DeAngelis, "Ascension II", 16 x 20", pencil tar and asphalt on paper, 2011

Nancy Ke Fang

Nancy Ke Fang, "After Chaos Among the Peaches, the Great Sage Steals the Pills In the Revolt Against Heaven, the Gods Capture the Demons", 34 x 18.5", ink on paper, 2010

Robert Claude Fundis

Robert Claude Fundis, "Claudia 1", 29 x 41", mixed media drawing, 2011
Robert Claude Fundis, "Corrosion", 72 x 48", charcoal, graphite, ink, rust, nails, joint compound on two panels, 2011

 Caitlin Hurd

Caitlin Hurd, "Kyle", 8 x 10", pencil on paper, 2006
Caitlin Hurd, "Chloe", 8 x 10", pencil on paper, 2006

Karl Koett

Karl Koett, "Soap", 4.5 x 6.5", mixed media, 2009

Maria Kreyn

Maria Kreyn, "Twins", 30 x 30, graphite on paper, $4,200

 Michael Meadors

Michael Meadors, “Daughters”, 21 x 15″, mixed media, 2012

Misha Rosnach

Misha Rosnach, "Slumber", 11 x 14", pencil on paper, 2011

Vithya Truong

Vithya Truong, "Faucet", 17 x 19", charcoal on acrylic ground paper, 17 x 19"
Vithya Truong, "Landscape 2", 3 x 5", charcoal on paper, 2008
Vithya Truong, "Landscape 1", 3 x 5", charcoal on paper, 2008

Melanie Vote

Melanie Vote, "Destroyer" 11 x 13", oil on paper, 2011

Tyler Vouros

Tyler Vouros, "Kronos", 55 x 90", charcoal and water on paper, 2011
Tyler Vouros, "Leviathan", 55 x 80", charcoal and water on paper, 2012

Daniel Esquivia Zapata

Daniel Esquivia-Zapata, "Gerardo", 30 x 40", black pastel, black and white conte and gesso on mylar, 2011


Dina Brodsky

Dina Brodsky, 8.5 x 12", mixed media, 2011-2012
Dina Brodsky, 8.5 x 12", mixed media, 2011-2012

Karl Koett

Karl Koett, 5 x 8", mixed media, 2011-2012
Karl Koett, 5 x 8", mixed media, 2011-2012

Guno Joe Park

Guno Joe Park, Various sizes, mixed media, 2011-2012
Guno Joe Park, Various sizes, mixed media, 2011-2012

 David Pettibone 

David Pettibone, Various sizes, mixed media, 2010-2012

Nic Rad

Nic Rad, Various sizes, Infinite mediums, 2001-2012

SALVAGED review by Frederick Lembeck

Salvaged is a show curated by Dina Brodsky and I (November 8 – December 22, 2011).  Below is a review of the show by Frederick Lembeck.

They say that artists see the future ahead of the rest of us.  What does it mean then that the new show at Island Weiss Gallery is named “Salvaged?”  The dollar is collapsing, the euro is collapsing even faster, Wall Street is under occupation and Washington is helpless to save us.  Salvaged may be the word they’ll use to describe what’s left of our civilization when they finally get it all worked out.

That much said, “Salvaged” is a superb show, illustrating very well the excellent work currently coming out of The New York Academy of Art down in Tribeca.  It’s stuff you’d actually consider hanging on your own wall.   (When was the last time you saw that in a Manhattan gallery?)  The whole show is rich with the kind of old master craftsmanship that’s so sadly absent from much of what’s hanging nowadays.

The most impressive detail work is the painterliness of Dina Brodsky’s enchanting miniatures.  You sense at once this woman must have a whole can full of brushes with only one bristle each. This kind of concern with precision is out of fashion nowadays, and yet it’s as engaging today as ever.  Most notable is her Farewell 5 Pointz, a minutely exact rendering of throwaway, nickel-deposit empties, apparently just a pile of cans until you remember that the theme of the show is Salvaged.  Also, as if to remind us that the pigeons will survive come what may, her Union Square offers an enchanting collection of miniature pigeon portraits (symbols of self), done in oil on Mylar on Plexiglas.  The word miniature is no exaggeration – most of the pigeon portraits are a mere 2” x 2”, far from huge, and yet every one is a model of precision.

Dina Brodsky, Farewell 5 Pointz, 2011, oil on Mylar on Plexiglas, 6 x 11 inches

The Salvaged theme is found throughout the show.  The catalog speaks of it as salvaging evidence of life after life is ended, but real art always speaks on many levels at once, including the salvaging of society itself.  One can scarcely believe that serious artists are or could ever be divorced from the reality afflicting the society around them.  Heidi Elbers sensual self-portrait in a red negligee, for example, Wishing I Could Wrap Them in Fur isn’t about erotica but instead features the artist’s legs wrapped in bandages.  Could the metaphor be more obvious?  The official reason was a passing injury that Ms. Elbers actually experienced, but thematically the idea of depicting what remains after the damage is done comes through clearly.  This thematic coherence speaks of a well-curated show.

Michelle Doll, whose portraits have long been a pleasure, was wisely included in the show, but her recent pieces like Stole and Zephyr have a darkness of hue and lighting that one doesn’t remember in her earlier, more optimistic work.  Likewise Peter Drake’s Shell Shock Study, exactly what it sounds like, a portrait of contemporary man if ever there was one, frazzled, electrified, more skull than face.  Ours is a time of gathering darkness and the artists sense it.

Michelle Doll, Zepher, oil on Mylar mounted on Plexiglas, 2011, 15 ½ x 17 ½ inches

Heidi Elbers, Wishing I Could Wrap Them in Fur, 2011, oil on paper, 18 x 24 inches

Maya Brodsky’s (Dina’s little sister) Mendelsohn Family Reunion seems so innocent until one realizes it’s a group portrait of dead people.  Likewise Mischa Rosnach’s St. Francis Saving the Eggplant, in which the Saint’s anguished face makes it plain that there’s plenty more to that eggplant than just an eggplant, and Brian Drury’s evocative but unpeopled paintings of an empty New York City.  The artists see the future ahead of the rest of us, and what they’re see is a salvaging.  Salvaging after what?  Which of us wants to try to guess?  Maybe we should be stockpiling canned goods.

Maya Brodsky, Mendelsohn Family Reunion, 2011 oil on panel, 11 x 14 inches

Tun Myaing, one of the curators of the show, also contributes some fine, enigmatic oils of machinery, and two portraits of The Rat King, although they appear to be more a study of the Rat King’s remains than a portrait of the Rat King himself.  Myaing paints a stark picture of the future but metaphorically it’s incisive.  If the Rat King himself isn’t going to make it, who will?  Bonnie DeWitt’s Horse Massacre, in turn, is every bit as jarring as it sounds.  But when you see the horses as symbols for all of us living in these last hours before the collapse, you realize the blood on the canvas is ours, not the horses’.

Tun Myaing, Rat King 1, 2011, oil on Mylar mounted on Plexiglas, 5 x 8 inches

Tun Myaing, Boiler 1, 2011, oil on Mylar mounted on Plexiglas, 5 x 8 inches

Also intriguing is Jean-Pierre Roy’s Brokenspectre, a mountain whose sides have collapsed to reveal a building inside.  At the base and peak both there are doors, and horses trying to find their way to the top in spite of the collapse. A few have done so. Most have not. How like us humans.

In the same vein, Karl Koett’s paintings of sea shells.  Not the marine life within, but the shell that remains after the marine creature’s life has ended.  Likewise Melanie Vote’s Excavation and Discovery, pictures of statues, but broken not whole.  John Wellington, in turn, offers two strong paintings of undisguised ruins populated with unsmiling faces. Cheerless, but forceful and clear.

“Salvaged” is on display at the Island Weiss Gallery, 201 E. 69th Street, one of those cozy, ultra-quiet penthouse galleries, until December 22.  It’s a cutting-edge show, timely as few recent exhibitions have been.   But also painful.  It’s a picture of what’s coming, done well, and and it’s beautifully truthful but as unsettling as the future itself.

Jean-Pierre Roy, Brokenspectre, 2010, oil on canvas, 38 x 38 inches (Courtesty of Rare Gallery)