THE DRAWING ROOM

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

SKETCH BOOKS

Dina Brodsky

Karl Koett

Guno Joe Park

David Pettibone

Nic Rad

My new paintings in progress

I’ve been working on these bad boys for a while but they’ve been on hold for about 3 months now because I’ve been very busy putting together shows.  Enjoy!

6 x 12 Oil on mylar
6 x 12" Oil on mylar
6 x 19" Oil on mylar
6 x 19" Oil on mylar

LINE press release

For Immediate Release                                                                                    

LINE

@ 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

http://artliars.tumblr.com/

——————————————————–

the cell, A Twenty First Century Salon™

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

LINE GALLERY

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

SKETCH BOOKS

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

My Paintings

I’m currently working on 10 new small paintings which are part of the Long Island City 5Pointz series.  The Metal Dome of Ahmad is the newest finished piece I have so far.

"Metal Dome of Ahmed", 5.5 x 8.5 inches, oil on mylar, 2011

Here is a shot of my studio and the works in progress.

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)

Salvaged Gallery

SALVAGED

A spark of fire emerges from the friction of two sticks: a fleeting flash of life, quickly subsumed by immutable physical law: heat, death, cold. In the ephemeral moments of life, a spark is a spontaneous moment imbued with the power of fire – its potential can ignite, set aflame, and consume.

Humans and all of their creations, like the spark, come into existence only to fade, guided to silence by the forces of nature. Spirit is the hope that there is some part of every human that can persist beyond the laws of physics, some part that can’t be unraveled, broken down, or dragged into the void. Spirit is the dimension we have invented: the indestructibility that protects us from the assumed finality of inevitable physical death. It is our most potent means to avoid dissolution by the external and internal forces of the world.

In the end, we dissolve into the immaterial, however spirit calls us back into life, like a flame rekindled from sticks. The act of remembering is humankind’s unique power, it empowers a temporary deity within us. Remembering renders the power to salvage, to save from the wreckage that which is of timeless value.

Before we die, we create a pact with the living, to salvage us from complete death by recalling us from the immaterial void. This contract exists between humankind and all things men and women love: feelings, places, memories, and people.

An artist is specifically trained in the art of salvage, to stave off the forces of entropy, to rescue from loss that which nature mandates to disappear – An artist salvages memories, sparks, time.

A salvage, once performed, is a promise kept. In bearing witness to it, we are reminded and assured that our own memories will be recalled, that our spirits will be kept safe. A salvage ensures that after our passing, our names will continue to be spoken, and so in some sense, that we will persist.

This show honors the artist’s commitment to salvage as well as the things she salvages. The show invites viewers to witness an artist’s act of salvage, to consider the acts of salvage committed, and to become committed in their own lives to perform similar acts…for the unique ability to salvage is innate in us all.

 

Julie E. Brady, "Linger", 7 x 8 inches, oil on mylar, 2011
Julie E. Brady, "Impermanence", 7 x 8 inches, oil on mylar, 2011
Dina Brodsky,"After Vermeer", 6 x 6 inches, oil on mylar mounted on plexiglas, 2011
Dina Brodsky, "Union Square", center panel - 6 x 10 inches, side panels - 2 x 2 inches, oil on mylar mounted on plexiglas, 2011
Dina Brodsky, "Farewell fivepiontz", 4 x 6 inches, oil on mylar mounted on plexiglas, 2011
Maya Brodsky, "Dusya with Little Boy", 8 x 10 inches, oil on panel, 2011
Maya Brodsky, "Mendelsohn family reunion", 11 x 14 inches, oil on panel, 2011
Bonnie DeWitt, "Horse Massacre", 32 x 40 inches, gouache on paper, 2010
Bonnie DeWitt, "Medea", 11 x 14 inches, gouache on paper, 2009
Michelle Doll, "Chi", 26 x 25 inches, oil on mylar mounted on plexiglas, 2011
Michelle Doll, "Zephyr", 15.5 x 17 inches, oil on mylar mounted on plexiglas, 2011
Michelle Doll, "Stole", 15.75 x 18.75 inches, oil on mylar mounted on plexiglas, 2011
Peter Drake, "Shell Shock Study", 14 x 14 inches, acrylic on canvas mounted on panel, 2011
Bryan Drury, "Franklin Street", 12 x 16 inches, oil on board, 2006
Bryan Drury, "Navy Yard", 11 x 14 inches, oil on board, 2008
Bryan Drury, "Lincoln Tunnel Overpass, 12 x 16 inches, oil on board, 2006
Heidi Elbers, "Wishing I could wrap them in fur", 18 x 24 inches, oil on paper, 2011
Karl Koett, "Shells 1", 9 x 12 inches, oil on linen, 2009
Karl Koett, "Shells 2", 9 x 12 inches, oil on linen, 2009
Tun Myaing, "Boiler 1", 5.5 x 8.5 inches, oil on mylar mounted on plexiglas, 2011
Tun Myaing, "Boiler 2", 5.5 x 8.5 inches, oil on mylar mounted on plexiglas, 2011
Tun Myaing, "The Rat King 1", 5.5 x 8.5 inches, oil on mylar mounted on plexiglas, 2011
Tun Myaing, "The Rat King 2", 5.5 x 8.5 inches, oil on mylar mounted on plexiglas, 2011
Misha Rosnach, "I painted this when I was 30", 22 x 28 inches, oil on canvas, 2011
Misha Rosnach, "St. Francis Saving the Eggplant", 14 x 18 inches, oil on canvas mounted on board, 2011
Jean-Pierre Roy, "Brokenspectre", 38 x 38 inches, oil on canvas, 2010
Melanie Vote, "Discovery", 10 x 12 inches, oil on panel, 2008
Melanie Vote, "Excavation", 8 x 12 inches, oil on panel, 2008
Mitra Walter, "Heartbreaker", 6 x 8 inches, oil and paper on panel, 2011
Mitra Walter, "Janus 2", 3 x 7 inch triptych, oil and paper on panel, 2010
John Wellington, "L'Amour Ou La Mort", 28 x 48 inches, oil on aluminum, 2010
John Wellington, "Dangerous", 48 x 68 inches, oil on aluminum, 2010