Freight+Volume at Pulse NY 2013
May 10, 2013
Freight+Volume booth installation at Pulse New York 2013 (booth C-6)
View More
Peter Hutchinson Completes Thrown Rope Installation for ARTATLANTIC
May 9, 2013
"On Monday, May 6th, seminal land art artist Peter Hutchinson completed his largest Thrown Rope installation for ARTLANTIC, located in Atlantic City..."
View More
Huffington Post Reviews Richard Butler's "ahatfulofrain"
April 24, 2013
"As a painter, I am most impressed with Richard Butler's near minimalist approach to paint application..."
View More
Richard Butler's "ahatfulofrain" is one of the top 5 shows to hit in April by examiner.com
April 19, 2013
"Ahatfulofrain: If you look closely, the title of this show is meant to read “A hat full of rain.” Richard Butler’s latest series of paintings are portraits of the artist’s family and friends."
View More
Richard Butler - "His majesty of modesty" featured on theimagista.com
April 19, 2013
"Richard Butler, masterful painter and lead singer of the Psychedelic Furs, has a sense of humor and thoughtfulness not normally associated with stardom."
View More
"ahatfulofrain" by Richard Butler featured on According2G.com
April 19, 2013
"New York! Make sure you head over to Freight + Volume to check out a new collection of paintings entitled ahatfulofrain by Richard Butler. Yes, the same Richard Butler of the band Psychedelic Furs!"
View More
Peter Hutchinson featured on ARTINFO One-Line Reviews
April 12, 2013
"The delicate, diaristic, and fragmented poetry with which Peter Hutchinson adorns his photographic collages and assemblage pieces is more honest and intelligible than any artist statement could be..."
View More
Peter Hutchinson in Musée Magazine
March 21, 2013
"Born in England, Peter Hutchinson has lived in the United States for over half a century and has practiced art for nearly as long..."
View More
Peter Hutchinson on Examiner.com
March 14, 2013
"The Freight + Volume Gallery in Chelsea is currently presenting The Logic of the Mountains, an exhibition of collages, constructions, books, and film, by Peter Hutchinson completed over the past 50 years..."
View More
Peter Hutchinson in Art Lovers New York
March 11, 2013
Pictures from the opening of Peter Hutchinson: The Logic of Mountains
1963-2013: A 50-Year Survey of Constructions, Collages, Books and Film...
See the pictures here.
"What's the Story?" in Huffington Post
January 24, 2013
"If one had a thousand eyes - O the things we could see! Useful, they would be, when visiting "What's the Story", the current group show up at Freight + Volume with Cesare DeCredico, Black Lake, Peik Larsen and Max Razdow...."
View More
Michael Scoggins featured on the cover of New York Magazine
January 22, 2013
Michael Scoggins on the cover of New York Magazine, with article on the sadistic nature of high school.
View More
"What's the Story?" Opening night on ARTE FUSE
January 22, 2013
"Weeding out fact from fiction in media images or online information as explored in the latest group show at the opening for What’s the Story? AF came to view the works and dig around to find out what is indeed the story for the works shown by the following artists: Cesare DeCredico, Black Lake, Peik Larsen and Max Razdow..."
View More
Max Razdow in The L Magazine's Must-See Art Events
January 14, 2013
Max Razdow listed in the weekly Must-See Art Events in The L Magazine.
View More
Kent Dorn on Mapanare.us
January 8, 2013
"Kent Dorn is from South Carolina and his piece, Asylum (2011) was shown at Pulse Miami by Freight + Volume (New York City)..."
View More
Andrew Smenos featured on the Daily Beast's Daily Pic
December 26, 2012
"A sculpture and a painting by Brooklyner Andrew Smenos, shown together in a tight group show at Freight + Volume gallery in Chelsea in New York..."
View More
ARTINFO's Quick Review on "Do Something (Else) to It"
December 13, 2012
"Taking Jasper John's memo-to-self to keep doing something other than what is done, the three artists here engage in varying levels of transformation..."
View More
Michael Scoggins & Erik den Breejen in New American Paintings' Miami Highlights
December 12, 2012
Michael Scoggins & Erik den Breejen are in New American Paintings' Miami Highlights from Art Miami/Context and Untitled
View More
Erik den Breejen & Kristen Schiele on ARTINFO's Greatest Hits in Miami
December 12, 2012
Erik den Breejen and Kristen Schiele on ARTINFO's 50 Greatest Hits in Miami's Art Fair Extravaganza
View More
F+V in ARTINFO's feature on PULSE Miami
December 7, 2012
“'What I’ve always loved about PULSE,' says the fair’s director, Cornell DeWitt, 'is that it’s a deeply pleasant experience for looking at art.' Many of the dealers in attendance agreed, with Nick Lawrence of New York’s Freight + Volume praising the 'convivial atmosphere,' and the event pulled in an attendance of 5,000 on the first day..."
View More
Freight+Volume at Pulse Miami 2012
December 5, 2012
Freight+Volume booth installation at Pulse Miami 2012 (booth #D100)
View More
Freight+Volume at Pulse Miami 2012
December 5, 2012
Freight+Volume booth installation at Pulse Miami 2012 (booth #D100)
View More
Michael Scoggins at Art Miami/Context 2012
December 4, 2012
Michael Scoggins booth installation with Freight+Volume at Art Miami/Context 2012 (booth #D41)
View More
Erik den Breejen at UNTITLED in Miami
December 4, 2012
Erik den Breejen booth installation with DNA at UNTITLED 2012 (booth #A04)
View More
David Baskin at Miami Project 2012
December 4, 2012
David Baskin booth installation with DNA at Miami Project 2012 (booth #617)
View More
Empty Kingdom Reviews Mi Ju "Gaia"
October 20, 2012
2010 Top 100 artist Mi Ju is young and incredibly talented. Her large works of intricate, colorful art is deep and full of themes and symbols that suck you in.
View More
Christina von Messling of Studio Visit Goes to Mi Ju's Studio
October 20, 2012
Korean artist Mi Ju is interested in the way humanity interacts with nature, in a historical as well as an ecological sense.
View More
Max Razdow in the Elizabeth Foundation of the Arts Open Studios
October 18, 2012
Open Studios @ the Elizabeth Foundation of the Arts from Oct. 18-20.
View More
Kent Dorn featured on the cover of New American Paintings Issue #102 (West Issue)
October 10, 2012
"Within the next few weeks the West issue of New American Paintings, #102, will be received by subscribers and newsstands across the country..."
View More
NY Times Reviews "The Double Dirty Dozen (& Friends)"
September 6, 2012
"What would Freud say?"
View More
James Kalm at "The Double Dirty Dozen (& Friends)"
August 31, 2012
"James Kalm makes it into Chelsea to view this late summer group show..."
View More
Damian Stamer on "A Life, Still"
August 31, 2012
"I remember when the stale summer air would hang low in the fields near our house, hugging my childhood body..."
View More
"The Double Dirty Dozen (& Friends)" on WhiteHotMagazine.com
August 29, 2012
Photos of our opening for "The Double Dirty Dozen (& Friends)" posted by White Hot Magazine
View More
"The Double Dirty Dozen (& Friends)" in L Magazine
August 29, 2012
“Whatever you think of the art, it has to be applauded for taking risks," a friend told me recently. "The art in Chelsea is so safe." He was talking about Freight + Volume’s The Double Dirty Dozen (& Friends)...
View More
Nicole Wittenberg in Modern Painters
August 28, 2012
"These paintings of people, bedrooms, and ballrooms stand in sharp contrast to the speed of modernity..."
View More
Arte Fuse Reviews "The Double Dirty Dozen (& Friends)"
August 20, 2012
"Art is not for the faint of heart. Last August 16th, Arte Fuse dared to cross the front doors of Freight + Volume with the warming sign posted 'No One Under 18 Admitted'..."
View More
"The Double Dirty Dozen (& Friends)" in Huffington Post
August 20, 2012
"What happens when you invite 50 artists, described as "rabble-rousers" in the press release, to make art about sex — whether dirty, funny or just plain bizarre?"
View More
ARTINFO's One-Line Take on "The Double Dirty Dozen (& Friends)"
August 17, 2012
"This exploration of sexual fetishes by what the gallery calls an “unruly group” of artists purports to have its roots in Robert Aldrich’s 1967 war film “The Dirty Dozen” about outcast ex-cons assembled for a WWII-era suicide mission..."
View More
"The Double Dirty Dozen (& Friends)" featured in Art Lovers NY
August 17, 2012
"FILE UNDER: well they can try all they want, but they can’t take away – our super-collider of a bio-reproductive sex drive.
sex and the machine, NOT !!"
View More
"The Double Dirty Dozen (& Friends)" featured in Modern Painters
August 16, 2012
"Oh, sleepy Chelsea summer…what better time for a massively overstuffed group show in which all the work is about sex?"
View More
Panni Malekzadeh interviewed by The Morning News
July 27, 2012
Artist Panni Malekzadeh interprets her conservative Iranian upbringing into a fantasy world of longing and innocence.
View More
Max Razdow in THAT SINKING SENSE OF WONDER @ SOUTHFIRST
July 20, 2012
"Almost every artwork comes with questions. If not related to subject matter or meaning, then to maker or context. Great art, and art shows as it were, is about asking great questions. . ."
View More
Panni Malekzadeh on Trendland
July 19, 2012
"Panni Malekzadeh‘s beautiful portraits of contemporary women take us back to that magical time in our life when we realized we were completely in the midst of womanhood, yet still felt young and girly at heart..."
View More
Panni Malekzadeh & Kelly McCafferty show featured on the Examiner
July 12, 2012
"The Freight + Volume Gallery in Chelsea is currently presenting a two-part exhibition."
View More
Kristen Schiele on Mill Fine Art
June 28, 2012
"Showing work alongside Verne Stanford on June 29 will be mixed-media artist Kristen Schiele."
View More
Michael Scoggins featured on Artlog
June 21, 2012
"Children draw to express their feelings and fantasies. . ."
View More
Greg Miller featured in San Francisco Chronicle
June 20, 2012
"Consider the paintings of Greg Miller as the Pop Art homage to a codger's dusty man-cave - one that might be a candidate for "Hoarders: Buried Alive" or, better, a treasure trove of well-patinated collectibles."
View More
Nicole Wittenberg on Artforum Critic's Picks
June 6, 2012
"On the black-painted walls of “The Malingers,” Nicole Wittenberg’s debut solo exhibition in New York, thirteen canvases from the 2010 “Interior” series reiterate images of stagelike rooms."
View More
Max Razdow interviewed on Art Fag City
May 31, 2012
"Techniques of Artists investigates the interaction of people with various objects and spaces, which are both catalysts and obstacles to their intentions. I don’t really think of the figures in the works as artists per se, but find that they are striving for some sort of peculiar (but pointed) resolution via these seemingly nonsensical actions, which sometimes reminds me of myself and other art makers. . . "
View More
Black Lake digital release party "Flutter" tomorrow, Sunday May 20th, 6-9 PM @ F+V
May 20, 2012
Since 2009, Black Lake (comprised of Susan Jennings and Slink Moss) has collaborated to produce over a dozen multi-media art installations with performances including "Gray Rainbow" (2011), “Snow” (2011), "Bloom" (2011) "Seek" (2010) "Toasting the Trees" (2009). Their signature sound includes shimmery percussion from hand-made sculpture/instruments by Susan Jennings. Their upcoming release of new music will be accompanied by a multi-media art and music performance at Freight+Volume in NYC on May 20th. They will be joined by David Humphrey on bass and Jesse Gammage as Technical Director.
View More
David Kramer exhibit at F+V booth makes ARTINFO's picks from PULSE NY
May 5, 2012
"Kramer’s kitschy studio drawings brightened up the booth for this eclectic New York gallery. Only one of his large-scale paintings, illuminated by a single yellow fluorescent-light, made it to the fair, but it was strikingly different from the smaller studies for sale, which incorporate a sloshy rainbow of messy ink and slogans, touting tongue-and-cheek jokes about the American dream. "
View More
Freight + Volume at PULSE NY
May 3, 2012
F+V opens booth B-13 at PULSE NY!
The Metropolitan Pavilion, 125 W 18th st between 6th and 7th ave. Hours
12 - 8 Thursday, Friday, Saturday, and 12 - 5 Sunday.
View More
Damian Stamer in Modern Painters
April 11, 2012
“If you were sending a letter to Matthias Weischer, and this letter was a painting, what would you want to say?” Damian Stamer, a 29-year-old painter from North Carolina, mused. We’d been standing in front of a completely blank canvas in his studio at the University of North Carolina, where he’s pursuing an MFA. It was January. Within three short months, he had to turn the canvas into one of the centerpieces of his first solo show in New York, opening at Freight + Volume on April 12."
View More
Ali Smith reviewed by LA Times
April 10, 2012
"With their rough edges, fractured compositions and unpredictable scale-shifts, the L.A. artist paints energetic pictures whose wild swipes and slashes are not expressive — in any way, shape or form. Rather than standing in as authentic emblems of inner turmoil or heartfelt emotions, the whiplash gestures in Smith’s paintings take on lives of their own."
View More
Ali Smith interviewed on Huffington Post's "Not Dead Yet: 10 Questions for Painters"
March 23, 2012
"Oil paint is incredibly versatile to me: it can take on so many different qualities; it can be sculptural, sensual, poetic, plastic. It can evoke so many varied reactions in people and it has a certain richness that you can't find in other materials. It parallels what I want to express about my life." – Ali Smith
View More
"Us Against Them" makes Doug McClemont's Top Ten Shows for March on Saatchi Online
March 15, 2012
View More
Nicole Wittenberg receives the John Koch Award from the Academy of Arts and Letters
March 10, 2012
In 1989 Dora Koch, the widow of Academy member John Koch (1908-1978), left the Academy a bequest to establish an award in art to be given from time to time to a young artist of figurative work.
"Us Against Them" listed on Modern Painters as a Chelsea show not to miss during Armory
March 10, 2012
Check out the article here
Nicole Wittenberg in the American Academy Invitational Exhibition of Visual Arts
March 8, 2012
Nicole Wittenberg is a participating artist in The American Academy of Arts and Letter's Invitational Exhibition of Visual Arts.
View More
Anthony Haden-Guest to host a benefit on February 15th
February 11, 2012
"Public Storage Blues"
$30
Hiro Ballroom at the Maritime Hotel
371 W 16th St New York, NY 10011
View More
"Pictures of Mie," an interview with MIE curators Nick Lawrence and Mie Iwatsuki on Art in America Magazine
February 9, 2012
"MIE: A Portrait by 35 Artists," on view through Feb. 25 at Freight + Volume gallery in Chelsea, is one of the more unusual group surveys of the new season, and casts a fresh light on the venerable theme of artist and model. The show includes a few star artists (Alex Katz, Robert Frank), many who have stirred recent critical interest (Ryan Schneider, Kurt Kauper, Andrew Guenther, David Humphrey), one pop-cult figure (Paul D. Miller, aka DJ Spooky) and several participants who, well-known abroad, are emerging in the West (Lin Yilin, Noritoshi Hirakawa, Qi Zhilong). Even more striking is the curatorial approach. The exhibition was co-organized by gallery owner Nick Lawrence with the portrait subject herself—Mie Iwatsuki, a Japanese-born model and independent curator who has lived in New York since 1999.
Check out the article here
MIE review in Yomi Time
February 3, 2012
この展覧会は35人の世界中から集まった巨匠や新進気鋭のアーティストたちが、それぞれバラエティーに富んだ表現方法で、共通のモデルを対象にポートレートを制作するという画期的な試みだ。全アーティストのモデルを務めた「MIE」（岩月美江さん）は、モデルとしての「第３の観点」から、フルカラーの展覧会カタログに、それぞれのアーティストとのポートレート・セッションでの体験を「モデルの声」として緻密な文章で記述している。
This exhibition is a groundbreaking attempt masters and emerging artists from around the world of 35 people, in a way that a wide variety of expression, respectively, to produce a portrait that target the common model. Served as a model of all the artists "MIE" (Mr. Mie Iwatsuki), from the model as a "third perspective", in full color exhibition catalog, the experience in portrait session with each artist " has been described in the text dense as the "Voice of the model.
Check out the article here
Beach Boys lyricist responds to Erik den Breejen's "Smile"
January 31, 2012
Perhaps no one was more excited by the long-awaited release of the Beach Boys’ unfinished 1966 album Smile than Erik den Breejen. Even before Smile came out late last year, the young painter (and lifelong Beach Boys fan) had set to work on a series of paintings that transformed the lyrics into brightly colored text-blocks, assembled into shapes of ocean waves and smiling lips.
Check out the article here
MIE selected as one of the top ten weekly shows in Art in America.
January 27, 2012
Having posed for some 10 paintings by Alex Katz, Mie Iwatsuki—a Japanese model and independent curator based in New York—collaborated with dealer Nick Lawrence to solicit portraits of her by an additional 34 artists, ranging from Robert Frank to DJ Spooky, from New York's David Humphrey to China's Lin Yilin and Korea's Min Hyung (who, in one of the show's most imaginative leaps, depicts Itwatsuki as a male Maasai warrior in Kenya).
Check out the article here
MIE featured on The Examiner.com
January 24, 2012
The Freight + Volume Gallery in Chelsea is currently featuring an exhibition titled Mie: A Portrait of 35 Artists curated by Nick Lawrence and Mie Iwatsuki. As the title suggests, the show is comprised of a series of portraits, by 35 rising contemporary artists, of Mie Iwatsuki who is regarded as a muse and model in contemporary art. The participating artists work in mediums such as painting, drawing, video, sculpture, and performance art.
Check out the article here
MIE featured on Bloomberg.com News
January 24, 2012
Japanese model Mie Iwatsuki has inspired painter Alex Katz, photographer Robert Frank and Nouriel Roubini, aka “Dr. Doom.”
On the artistic side, the results can be seen at Freight + Volume gallery in Chelsea, Manhattan. “Mie: A Portrait by 35 Artists” includes paintings, sculpture, drawings and video.
Check out the article here
Erik den Breejen's Smile reviewed by Charlie Finch on Artnet.com
January 7, 2012
Two decades ago I had dinner in Williamsburg, Va., with a business colleague and close friend of my father’s named Wilkinson, who had devoted much of his intellectual life to trying to solve the origins and purpose of Stonehenge...
Read the full article here
David Kramer featured in Roven Magazine
January 7, 2012
Roven is a new biannual critical magazine devoted to contemporary drawing, structured around numerous monographic and thematical texts, a portfolio by one emerging artist, some interviews, and a creative section of unpublished works.
Check out the magazine here
View More
Erik den Breejen's Smile reviewed in The New York Times
January 6, 2012
As painting lost prestige in the ’60s, a cult of Orpheus emerged to become a formidable influence on visual art. Since then artists from Laurie Anderson to Christian Marclay and beyond have been worshiping at the church of music, rock ’n’ roll in particular...
Read the full article here
Richard Butler featured in Wink Magazine #8: Is it Art?
December 29, 2011
See the full issue here
Butler feature and interview begins on p. 50.
Erik den Breejen's Smile featured on the James Kalm Report
December 21, 2011
"James Kalm never surfed in California, never drove a "Little Deuce Coupe" and never dated a surfer girl, but these images, created by Brian Wilson and the Beach Boys, provided a beautiful fantasy sound track for a big chunk of his adolescence. Eric den Breejen also came under the sway of this West Coast band, and has spent the last year or two making painting in homage to "Smile" Brian Wilson's legendary unreleased album. Using blocks of text and color shifts, the paintings exist somewhere between a song script and a blown up Pop Art cartoon. The works might be a manifestation of the idiom "one picture is worth a thousand words" or conversely "words are worth a thousand pictures", especially if the harmony is good."
See the video here
Erik den Breejen's Smile featured on artloversnewyork.com
December 21, 2011
Read the full article here
Profile on Erik den Breejen in The New Inquiry
December 16, 2011
"Pop music is a source of inspiration for den Breejen that is both primal and spiritual, though his relationship to the music he works from is ambiguous at times. Den Breejen, a musician in his own right (currently the lead singer of Big Game), uses musical experience as the subject of much of his painting, but the lyrics are the only element he appropriates. The colors, shapes, textures, and size are completely his own."
Read the full article here
Kristen Schiele's "Beyond the Rocks" reviewed on Whitehot Magazine
December 13, 2011
Read the full article here
View More
Owner/Director Nick Lawrence featured in The Midtown Gazette
November 30, 2011
Gallery owner Nick Lawrence came to Chelsea more than a decade ago. Previously, Lawrence had been curating galleries just outside of Boston and in Williamsburg, but Chelsea’s bustling art scene drew him to the city.
View More
Freight+Volume at Pulse Miami
November 30, 2011
Freight + Volume Gallery is excited to announce their participation in PULSE Contemporary Art Fair's Miami show. Located in Miami's Wynwood Arts District, the fair will run from Thursday, December 1st, and close Sunday, December 4th.
http://www.pulse-art.com/miami/index.htm
View More
Kristen Schiele's "Beyond the Rocks" reviewed in ArtSlant
November 11, 2011
"When we step into Schiele’s worlds, it is hard to tell if we’re walking into the static of a television screen, a warbled version of magazine adverts, or onto a pulsing dance floor. The use of collage in the smaller works, and a collage-like fusion effect in the large scale paintings, creates landscapes, some more literal than others, with the volume turned all the way up."
See the full article here
View More
Erik den Breejen's article "A Brief History of Smile" in Pork magazine
November 8, 2011
Read the article here
Max Razdow's "Future Myths of the Surface" @ Galerie Jan Dhaese, Ghent, Belgium
November 6, 2011
Max Razdow's second solo exhibition at Galerie Jan Dhaese, from 11/06/2011 to 12/18/2011
View More
Andrew Guenther in "Paper Chasers," Nudashank, Baltimore
November 1, 2011
November 5 - November 26
A group show of works on paper; click below for a full list of artists.
View More
Andrew Guenther in "Matthew Day Jackson and Guest Artists - Heel Gezellig", Grimm Gallery, Amsterdam
November 1, 2011
Matthew Day Jackson and guest artists - Heel Gezellig: Larry Bamburg, Adam Helms, Andrew Guenther, Erin Shirreff, Sarah E. Wood, Jonathan Marshall, Gretchen Bennett and Maarten Baas
6 OCT - 20 NOV 2011
View More
Mi Ju's paintings at Pulse LA featured on Vernissage.TV
October 19, 2011
http://vernissage.tv/blog/2011/10/03/pulse-los-angeles-art-fair/
Pulse Art Fair, too, has made it to Los Angeles. The fair has pitched its tent on the deck of a car park not far from Art Platform. The fair is dedicated solely to contemporary art. It is devided into two sections. The IMPULSE section presents galleries invited by a committee to present solo exhibitions of exhibitions of artist’s work created in the past two years. There are also large-scale installations, a video lounge, performance events, and talks. This video takes you an a tour on the opening evening on September 30, 2011.
Freight+Volume at Pulse LA!
Sept. 30th - Oct. 3rd, 2011
September 30, 2011
Freight + Volume Gallery is thrilled to announce their participation in PULSE Contemporary Art Fair's inaugural Los Angeles show. Held at the Event Deck at L.A. Live, the fair will open today, Friday, September 30th and close Monday, October 3rd.
http://www.pulse-art.com/losangeles/index.php
View More
Andrew Guenther's Opening Reception Pictures
by Nancy Smith
September 29, 2011
Pictures of Andrew Guenther's Talking to a Fish and Paraphernalia Opening Reception.
See the Pictures here
Andrew Guenther's "Talking to a Fish and Paraphernalia" on NY Art Beat
September 16, 2011
"As a multi-media artist Andrew Guenther defies quick categorization. To experience his art is to embrace a combination of experiences and visual sensations simultaneously: spiritually, physically, conceptually. He trips the light fantastic between a variety of media with ease, and his new exhibition "Talking To A Fish and Paraphernalia" @ F+V is no exception."
See the article here
Andrew Guenther's "Talking to a Fish and Paraphernalia" on Artloversnewyork.com
By Nancy Smith
September 15, 2011
“like the bodiless heads you see sometimes in circus sideshows, it is as though I have been surrounded by mirrors of hard, distorting glass. When they approach me they see only my surroundings, themselves, or figments of their imagination – indeed, everything and anything except me.” – RALPH ELLISON (Invisible Man).
See more here
Andrew Guenther "Talking to a Fish and Paraphernalia" on Undo.net
September 13, 2011
"Talking to a Fish and Paraphernalia. The central motif in Guenther's installation is an aquarium with a "talking fish" - a microphone immersed in the water broadcasts any communication the fish may emit during the course of the show. In addition he presents a series of new mixed-media, papier-mache on canvas collages featuring his trademark "plate-face" women and hotdog men."
See the article here
Jay Critchley "Deep Bones" and Chad Person "A Hero Never Fails" mentioned in the New York Times
by Ken Johnson
September 8, 2011
"Two Cassandras in separate but complementary shows decry our addictions to oil, drugs and competition. Mr. Critchley has mummified, Egyptian-style, a whole ’70s-era sports car using plastic bags instead of fabric as wrapping. Mr. Person offers faux folk signs that say things like “Resign” and “Accept Less,” as well as a depressed-looking inflatable representing the cartoon character Underdog."
See the article here
Art and Old Cars: Jay Critchley's "Deep Bones" in Forbes.com
by Tamara Warren
August 30, 2011
For the performance installation “Deep Bones,” artist Jay Critchley removed the engine of an MG sports car, and wrapped it with recycled plastic shopping bags. The hollowed out shell of the MG is parked in a state of abandon. Plastic bags hang from the ceiling. It is a solemn funeral for the planet, with the relics of recycled bags and deconstructed car chassis setting the mood.
For the second part of the installation, Critchley shows video segments from his 1988 trip to abandoned, un-built nuclear power sites and facilities in middle America. It is projected above material goods covered in motor oil. The work is on display at Freight + Volume Gallery in Manhattan through Sept. 10.
It’s not Critchley’s first mummification of a car — in the 2008 piece “Final Passage” he made a Chevy Impala into a mummy out of muslin that was installed in an abandoned Jay Critchley, mausoleum in North Burial Ground, Providence, Rhode Island. In the early ‘80s, he began to experiment with a sand car series.
Best in Show: Jay Critchley "Deep Bones" and Chad Person "A Hero Never Fails" reviewed in The Village Voice
By Robert Shuster
August 24, 2011
"Goofball activism may be, for most, a fleeting phase of youth, but the dogged Jay Critchley has made a career out of donning odd headwear and presiding, preacher-like, over vaguely politicized rituals. Recalling his sand-encrusted cars from 30 years ago, which mocked our oil addiction, the artist has this time mummified a 1979 MG convertible—a process that involved the removal and wrapping of the automobile's "organs" and the recitation (by Critchley, wearing a leather helmet) of verses from the Egyptian Book of the Dead."
"Not to be outdone, Chad Person has designed a giant, inflatable Underdog—that canine superhero from the 1960s cartoon who always popped an energy pill for strength. Modernized, rebuking Jeff Koons kitsch, the figure slumps next to oversized meds and stares into a smartphone while, before him, a monitor reruns those long-ago rescues of Sweet Polly Purebred."
See the full review here
Jay Critchley "Deep Bones" and Chad Person "A Hero Never Fails" featured on Examiner.com
By Alison Martin
August 23, 2011
"The Freight + Volume Gallery in Chelsea is currently featuring a joint installation of works by artists Jay Critchley and Chad Person. Critchley’s two part installation Deep Bones features a sports car, in the main gallery area, with its parts removed and wrapped in hundreds of recycled plastic shopping bags, and placed back in the car. Right above the mummified car, there are more recycled plastic shopping bags covering the ceiling."
"Chad Person’s exhibition A Hero Never Fails revolves around themes of heroism, manifest destiny, and apathy. The primary attraction of Person’s exhibition is an inflatable balloon caricature of the 1950’s cartoon character “Underdog,” who is designed to project apathy as he sits slumped forward staring tiredly at his iPhone."
See the full article here
Max Razdow, in exhibition "Take-Out" reviewed in the New York Times
By Holland Cotter
August 18, 2011
"Bats, along with ravens, also turn up in Max Razdow’s intricate, Rodolphe Bresdin-like ink landscapes, each of which is accompanied by a spidery poem. And the spoiled-Romantic flavor of Mr. Razdow’s work is in sync with collaborative pieces by Grant Worth and Micki Pellerano: blurry Polaroid photographs, marked with cryptic symbols of fetid-looking still lifes, all very Black Sabbath. At one point in the past I encountered drawings by Mr. Pellerano at the Live With Animals gallery in Brooklyn, and they were so odd and strong that I’ve been looking forward to seeing more, though there aren’t any here."
See the full review here
Jay Critchley "Deep Bones" and Chad Person "A Hero Never Fails" reviewed in the New York Times
By Ken Johnson
August 18, 2011
"In art as in life, desperate times call for desperate measures. That may mean mummifying an old car Egyptian style using plastic bags instead of fabric, which Jay Critchley has done as a quasi-magical ritual in the Freight + Volume gallery. He has partly dismantled a ’70s-era MG sports car, carefully wrapped its viscera — seats, engine and other parts — in strands of crumpled plastic and put it back together."
"In the rear gallery Chad Person offers a complementary solution in the form of folksy signs jig sawed from wood or collaged from pieces of United States currency. They say things like “Resign” and “Accept Less.” A giant inflated representation of the cartoon character Underdog sits irresolutely in the gallery too, while video montages show him performing frantic acts of heroism fueled by energizing vitamin pills. Two Cassandras, Mr. Critchley and Mr. Person, deplore our addictions to oil, drugs and competition. Give them credit for trying."
See the full review here
Chad Person interview with Artlog.com
By Mayukh Sen
August 18, 2011
"Whether it’s Oprah or Working Girl, we’ve all been told that we can be success stories. Greed, determination, and an insatiable need to rise to the top are made to look romantic and saintly in the popular media. Gazing down pathetically at his iPhone, Chad Person’s inflatable Underdog, based on the 60s animated television show character, is the anthesis of such saintliness. The conceptual artist has taken this symbol of heroism and made him look tired and worn."
Read the full interview here
Matt Jones participates in Tampa Museum of Art exhibition "Syntax"
July 15, 2011
Exhibition Dates
July 9 - September 25, 2011
The Tampa Museum of Art is pleased to present Syntax, an exhibition that examines the current generation of artists' interest in text, symbolism, and means of information transference. Drawn from the Hadley Martin Fisher collection in Miami, this project is the first opportunity to experience the depth of this fascinating new collection of contemporary art. More than 30 artists are featured in this exhibition, including Fiona Banner, Natalie Djurberg, Tracey Emin, Olafur Eliasson, Robert Gober, Sean Landers, Christian Marclay, Seth Price and Jason Rhoades. Matt Jones piece "Every Expression Possible" will be apart of this collection.
Matt Jones
Every Expression Possible, 2011
Alcohol-based marker, Elmer’s glue, toner and paper on wood
Click link for more information
Matt Jones’s Multiverse reviewed in Art Critical
By Eric Sutphin
July 14, 2011
Matt Jones’ Multiverse was a generously dense exhibition with works covering the entire gallery space including two floor-to-ceiling wall installations. Jones takes a fairly simple set of materials and through a process of contemplation and punk rock slapdash creates iconic wall pieces and propped figures. There was a video work titled Every Expression Possible (2011) that featured a masked Jones acting out many different faces and expressions against the background of a Karma Charger. As in his paintings, Jones uses repetition here to evoke a meditative calm.
See the full article here
Oliver Dorfer Solo-Exhibition "The Red Chamber" at St.Peter an der Sperr/ Museum of the City of Wiener Neustadt
July 12, 2011
We are pleased to announce the new institutional exhibition of Oliver Dorfer.
The artist was invited by the Museum of the City of Wiener Neustadt for a solo-exhibition at the former church St.Peter an der Sperr. Oliver Dorfer created a series of 14 paintings in dimensions of 100cm x 100cm. The paintings are made in Dorfer's unique style of reverse glass painting and as the tile "The Red Chamber" already indicates, red is the dominant color.
Russell Tyler in "Mr. Killer and Lady Paranoia" at Polad-Hardouin reviewed in Le Monde
July 3-4, 2011 by Philippe Dagen
July 8, 2011
Under the singular title "Mr. Killer and Lady Paranoia" is a reunion of ten painters and drawers of all nationalities, all young, some still emerging. Their commonality? Boundless energy is in abundance in all the works together, as well as a taste for the wacky, extravagant, and absurd on paper and on canvas. Andrew Gilbert takes on a very personal and sacrilegious concept of the history of paintings - applying both to the Napoleonic legend and colonial conquest. Christophe Boursalt puts the human figure to torture, seconded by Guillame Bruere. American artist Russell Tyler himself has an obsession, werewolves, dressed in shorts and striped shirts of the best burlesque. But he is also a virtuoso of materials and strident colors. Raynald Driez also has an obsession, Manet's "L'Olympia". It offers two versions - one where the glorified woman kills Manet or the cat becomes angry. They are strongly drawn to one more than the other, and very persuasive. Driez's ink drawings and ceramic works are no less.
For the original review (in French) click here
View More
Migration reviewed by Idiom Magazine
by LAILA PEDRO
July 8, 2011
Migration, currently at Freight + Volume, is an intimate show with a broad title. The gallery defines the rapport between four artists as a nomadic quality that brings them to the “support and camaraderie of…large urban areas” like “New York (or London or Berlin).” And if this feels a bit too vague and general, the exhibition is minutely scaled and benefits from the attendant specificity; it doesn’t miss the mark, but it could go further.
The work is interesting less for its nomadic creators or themes – whose divergences often make cohesion difficult – than for its focus on the perceptual refractions of the physical, often-feminine and unstable body. This is especially true for the most compelling pieces on display, by Min Hyung and Eunah Kim.
See the full review here
Max Razdow participates in "Take-Out" at Andrew Edlin Gallery
July 7 – August 20, 201, Opening reception: Thursday, July 7th 6-8pm
July 1, 2011
Andrew Edlin Gallery is pleased to present TAKE-OUT, an exhibition of works by Lucky DeBellevue, Jeremy Everett, Rachel Howe, Max Razdow, Ben Schumacher, Ramon Vega, Lyndsy Welgos, Grant Worth and Micki Pellerano, curated by Scott Hug. These artists explore formal, conceptual and metaphorical ways of removing and reconsidering the relationships between the self, the real, the virtual and the other. As each new generation grows further removed and alienated from our natural environment, this exhibition offers a response to that estrangement and to the current, prevalent culture of consumption.
See the link for more information
Eunah Kim featured on Art Critical
by Jonathan Goodman
June 23, 2011
At the memorial service given on June 21st for Eunah Kim, I found a powerful upwelling of emotion in the talks and readings given in honor of her memory. I myself was not prepared for the deep feeling her short but exemplary life occasioned, but almost without my knowing it, she had reached me as a gifted person and sculptor. At once a practicing Buddhist (from 1998-2000 she was a nun novitiate at the Hwa Gye Sa Buddhist Temple), a devoted friend, and a committed artist, Eunah transformed her many roles into a unity that was compelling from the start and unforgettable for those who knew her. People at the service noted that Eunah passed in and out of their lives; sometimes there would be no contact for months at a time. But the joy she occasioned when she was in our presence only made us feel just how remarkable she was.
See the full article here
Russell Tyler participates in "Mr. Killer and Lady Paranoia, Act I" at Polad-Hardouin, Paris, June 30 - July 30, 2011
June 15, 2011
See the link for more information
Hye Rim Lee's "Strawberry Garden" will be presented at GLASSTRESS 2011
Project Conceived and Organized by Adriano Berengo. Curators: Lidewij Edelkoort, Peter Noever, Demetrio Paparoni, with the contribution of Bonnie Clearwater
June 4, 2011
GLASSTRESS 2011 Collateral Event
of the 54th International Art Exhibition
La Biennale di Venezia
RECEPTION: June 4
June 4- November 27, 2011
Opening in Venice on 4 June 2011 will be the second edition of Glasstress, the contemporary art exhibition in which important stars on the international scene match their talents with the use of glass. The exhibition will be held at Palazzo Cavalli Franchetti (seat of the Istituto Veneto di Scienze, Lettere ed Arti), the Berengo Centre for Contemporary Art and Glass and will include a special installation at the Wake Forest University, Casa Artom. Promoted by The Museum of Arts and Design (MAD) of New York, conceived and organized by Adriano Berengo and produced by Venice Projects, Glasstress 2011 is curated by an international cadre of renowned curators, Lidewij Edelkoort, Peter Noever and Demetrio Paparoni, with a contribution of Bonnie Clearwater.
Click link for more information
In Conversation with Kaycee Olsen: Andrew Guenther
June 3, 2011
This month features a special edition to the In Conversation with Kaycee Olsen series, featuring Andrew Guenther. Watch here to find out why.
Kaycee Olsen is pleased to announce Andrew Guenther: Corn, Tobacco and Other Stories, the next exhibition in her gallery at 2685 South La Cienega Boulevard, Los Angeles. The exhibition features paintings, drawings, and photographs executed over the past year. This is Guenther's first one-person exhibition at Kaycee Olsen Gallery.
See the video here
Freight+Volume is pleased to announce Hye Rim Lee's participation in the 54th La Biennale di Venezia.
"Crystal Candy High Gloss Dolls" at "Future Pass-From Asia to the World." Curated by Victoria Lu, Renzo di Renzo, and Felix Schöber.
June 2, 2011
RECEPTION: June 2, 6-10 PM
June 4 - November 6, 2011
Abbazia di San Gregorio
Dorsoduro 172
30121 Venice, Italy
Click link for more information
Ali Smith reviewed in ARTIST ORGANIZED ART by Barbara Neulinger
May 31, 2011
See the full review here
Please join Gagosian Shop for the book signing and reading of: Anthony Haden-Guest In the Mean Time: The Other Ends of the World, 2010
Thursday, June 2, 2011 6 - 8 PM. Gagosian Shop, 988 Madison Avenue New York, NY 10075
May 26, 2011
Anthony Haden-Guest
In the Mean Time: The Other Ends of the World, 2010
8 x 8 inches (20.3 x 20.3 cm)
Published by Freight + Volume, NY
$20.00
New York legend and bon vivant Anthony Haden-Guest, author of The Last Party: Studio 54, Disco and the Culture of the Night and True Colors: The Real Life of the Art World, launches In the Mean Time: The Other Ends of the World, a book of Cartoons and Light Dark Verse, published by Freight & Volume.
Anthony Haden-Guest is a writer, reporter and cartoonist. He is also an occasional peformer and received a New York Emmy for writing and narrating a documentary about affluent Europeans in New York. He was born in Paris and lives in London and New York. He has covered war, crime and various social functions and disfunctions and continues to do so but now largely writes about the art world in newspapers, magazines and online. He still thinks he’ll get married some day. If he’s not careful.
For more information, see here
Erik den Breejen participates in Temporary Antumbra Zone at Janet Kurnatowski Gallery
Curated by Udora Hjahimik
May 24, 2011
June 3 - 26, 2011
The art world experienced a caesura in the 1960s when the paradigm of the artist, working in solitary fashion, was taken apart by the advent of collaborative art. Through collaboration, the definition of what art was, and how it could be produced, shifted. No longer was the cult of the artist, producing a singular vision understood to be the only viable artistic model. Instead, this now re-evaluated model began to generate questions about authenticity, authorship,audience and methodology. Such collaborative projects as those executed by Gilbert and George, Martin Kippenberger and Albert Oehlen, Jeanne Claude and Christo, and Marina Abramovic and Ulay were instrumental in the development of such major evolutions in conceptual art as Body Art, Systems Art, Earth Art, and Performance Art.
The artists in Temporary Antumbra Zone have come together, collaborating through the lenses of painting, photography, and mixed media sculpture to promote collaboration as an invaluable mode of artistic production.
See the link for more information
Matt Jones' Multiverse reviewed by Eric Sutphin, Beard & Brush
May 13, 2011
Matt Jones’ Multiverse (closed 5/7) was a generously dense exhibition with works covering the entire gallery space including two floor-to-ceiling wall installations. Jones takes a fairly simple set of materials and through a process of contemplation and punk rock slapdash creates iconic wall pieces and propped figures. There was a video work titled Every Expression Possible(2011) which featured a masked Jones acting out many different faces and expressions against the background of a Karma Charger. Like the paintings Jones uses repetition to evoke a meditative calm.
The work here is all about contradictions and that makes it all the more exciting. Contradictions abound. On one hand Jones looks to Buddhist practices and meditation as a source of energy in the creation of his work yet everywhere we look we see Wolverine masks and Black Flag logos (originally designed by Raymond Pettibon in the late 70’s) which conjure a kind of brash male ego enterprise (the rocker, the comic book character) The use of these two archetypal symbols feel earnest. It feels as though Jones has looked back at adolescence and rescued these symbols from infinity. He dusted off these two icons, colored over them and reverently slathered them with Elmer’s glue.
See the full review here
Andrew Guenther, "Corn, Tobacco, and Other Stories" at Kaycee Olsen Gallery, LA
May 21 - July 30, 2011
May 11, 2011
Kaycee Olsen is pleased to announce Andrew Guenther: Corn, Tobacco and Other Stories, the next exhibition in her gallery at 2685 South La Cienega Boulevard, Los Angeles. The exhibition features paintings, drawings, and photographs executed over the past year. This is Guenther's first one-person exhibition at Kaycee Olsen Gallery.
The subjects of the work include; tobacco plants, corn stalks, women with paper plate faces, a whale, hot dogs, Grecian urns, the folds of the canvas itself, a silver sail; symbols from Guenther's personal lexicon alluding to both familiar and foreign stories. The artist used fewer than three colors for each of most paintings for this exhibition. The nature of the paintings' ground is allowed to be it's own color as is the texture of each material.
For more information, please visit www.kayceeolsen.com
Matt Jones featured on PAPERMAG
Last Call Gallery Hop! Catch Matt Jones and Oliver Vernon's Shows Before They Close BY MONICA LOCASCIO
May 6, 2011
At Freight + Volume Matt Jones' "Multiverse" show is packed with work in which he explores themes varying from those anchored in science (space, time, parallel universes, the Big Bang Theory) to those decidedly more pop-culture (Wolverine, Henry Rollins and his graphic expression of anarchy, "karma chargers" from the video game Left 4 Dead 2 and Star Wars). Influenced by a childhood obsession with Ghostbusters and the "science" behind the devices they used to zap their pray, Jones has created a powerhouse of a show. Head over to the gallery at 530 W. 24th St. to get karmically charged and optically dazzled!
See the feature here.
Erik Den Breejen participates in exhibition "GOLD RECORDS," curated by Jon Lutz
May 13th - May 28th, ART BLOG ART BLOG, 508 W. 26th, 11th fl, NY NY
May 3, 2011
ART BLOG ART BLOG is extremely pleased to announce the opening of "Gold Records", curated by Jon Lutz of Daily Operation. This show is the first in a series of exhibitions ART BLOG ART BLOG will present at a temporary location in Chelsea, NY on the 11th floor of 508 West 26th St. An opening reception will be held on Friday, May 13th from 6-9 p.m. The exhibition runs through Saturday, May 28th. Open hours will be Wednesdays - Saturdays from 1-6 p.m. and by appointment.
“Gold Records” takes its lead from a selection of the artists whose works and interviews can be found on my former blog, The Old Gold. Though it manifests itself in very different ways, these artists have in common a type of retrospective interpretation of cultural developments from the 60ʼs on. Art history, television, consumer culture, pop music, design, news, and advertisements are integrated to the point where they are recognizable, but not ultimately decipherable. As a result, many of the works have a record-keeping aspect that is turned into a “record-recreation”. The sources are effectual placeholders for the time and circumstances of the original but the end result is a new, fragmented narrative with a definitive and original sound.
"Pink Confession," interview with Richard Butler
by Chris Becker, Houston Press Blog
April 20, 2011
British born, NYC-based painter Richard Butler is a Houstonian - he just doesn't know it yet. H-Town's vibrant, diverse and impossible-to-classify visual arts scene, as well as its plethora of experimental music makers, belies any preconceptions of conservatism those just passing through may carry with them like so much unnecessary baggage. At the risk of being pat, if we can agree that Houston's visual artists often combine formidable technique with genuine empathy for the truly weird, then Butler is certainly a kindred spirit.
Butler has a worldly eye for the surreal and the shocking, but there's tenderness in his works as well, especially in the portraits of his daughter. His paintings will resonate with those familiar with the work of painters David McGee or Kevin Peterson, two Houston-based artists each with a respective take on "realist" painting that is as seductive as it is disconcerting.
See the full interview here.
Anthony Haden-Guest's "In the Mean Time" book launch at The Clic Gallery
March 9, 2011
Click link for more information
Andrew Guenther featured on artcards.cc
by Carissa Pelleteri
March 8, 2011
Paper Plate people, hotdogs and drug paraphernalia. These are some of Andrew Guenther’s subject matter. Referenced from his own life and pop culture, his work is highly personal even though it may seem even the slightest bit anonymous. Guenther’s unique aesthetic sensibility combined with vibrant colored drawings and paintings, immediately grab the viewer. His silver gelatin photographs look like they could have been taken decades ago. His latest sculptures of fish and naked ladies accompanied by a photograph of the full moon seem pure and earthly.
Andrew Guenther is based in Brooklyn and was born and raised in Wheaton, Illinois. Andrew has exhibited widely both in the US and abroad, and curated an artist’s storefront space in Brooklyn for a few years called Arts Tropical. He is represented by Freight and Volume Gallery in New York.
See the full review here
Kent Dorn reviewed in Art Lies
by John Ewing
January 17, 2011
In Remains, Kent Dorn’s New York solo debut at Freight + Volume, the South Carolina-born artist returns to his rural roots or, rather, an idealized vision of “youth in the woods.” In the painting Down by the River, a group of teens skinny-dip at night under a full, butter-yellow moon. The gallery press release describes this image as a “slacker’s Dejeuner sur l’herbe,” referencing Edouard Manet’s controversial masterpiece. Indeed, like Manet, Dorn is an able chronicler of his time (its physicality and vibe), while pushing the envelope of what painting may depict, and how.
See the full review here
Anthony Haden-Guest's "In the Mean Time" covered by The Huffington Post
"An Artist's Book With Bite -- From the Mighty Pen of Anthony Haden-Guest" by Mark Wiener and Linda DiGusta
January 17, 2011
Far from the right wing diatribe, Anthony Haden-Guest's new book is a hilarious and terrifying ride in words and pictures through the times in which we live. "In The Mean Time" presents Haden-Guest's signature cartoons and drawings alongside passages in verse, which he explains is not poetry ("The difference is rather like the difference between cartoons and fine art, I think."), but storytelling in the tradition of the likes of Lewis Carroll, Edward Lear and Hilaire Belloc.
Published by Freight and Volume, the limited-edition book will also be available in a smaller edition including some original artwork. It was welcomed enthusiastically by an invited audience at a January 4th reading, with music - by the author and friends - at NYC's Gershwin Hotel.
See the full article here
Kent Dorn & Jennifer Sullivan reviewed in the New York Times
Kent Dorn, ‘Remains,’ and Jennifer Sullivan, ‘One-Week Walden’ by Ken Johnson
December 9, 2010
Many young artists these days seem to be haunted by the legacy of their parents’ — and now grandparents’ — hippie revolution. Some, like the group Assume Vivid Astro Focus, try to keep the tie-dyed euphoria of the ’60s alive. Others, like the painter Kent Dorn and the video performance artist Jennifer Sullivan, who are perfectly matched in this affecting show, obliquely and sadly reflect on the lingering memories of those bygone days.
See the full review here
Okay Mountain's Benefit Plate reviewed in Art Lies
Okay Mountain by Marie-Adele Moniot
November 13, 2010
For Benefit Plate, Okay Mountain’s New York solo debut, the Austin-based collective offers an homage to the high art and lowly failures of customization. Despite the displacement of some of its members to metropolises like Chicago and Los Angeles, the team still holds tight to its Central Texas tailgating roots. This loyalty is evident in Benefit Plate, which dissects the highly individualized subculture of customized cars and food trucks through the views of multiple players.
See the full review here
Okay Mountain's Benefit Plate reviewed in the New York Times
August 20, 2010
Jack Kerouac once said that if you own a rug, you have too much stuff. But for many middle-class Americans, too much is not enough. That is the subject of this amusing installation by Okay Mountain, a 10-person collective from Austin, Tex.
The centerpiece is an elaborately customized barbecue trailer, a little house on fancy-rimmed tires stocked with everything a backyard chef could want: a grill, electric stovetop burners, pots and pans, audio speakers, two flat-screen televisions, a toilet, a basketball hoop and other sports paraphernalia, mounted steer horns and much more. The gallery walls are partly paneled in unfinished wood fencing, enhancing the suburban ambience, while two cartoon-style paintings, “Puke 1” and “Puke 2,” in which pea-soup-colored vomit floods backgrounds painted to resemble red-and-white picnic tablecloths, allegorize the bulimic binge and purge of mindless consumerism.
See the review here
Okay Mountain's Benefit Plate featured in the Village Voice "Best In Show".
August 11, 2010
See link here
Trudy Benson's exhibition "Space Jam" reviewed by Artinfo.com
May 13, 2010
The economy’s dead, our environment is on the verge of collapse, and responsible citizens everywhere are struggling to conserve in order to survive. Which is exactly why Trudy Benson’s luridly maximalist new show, “Space Jam,” is such a visceral, flippant punch to the gut. Large canvases explode a faux-naif wonderland — part Philip Guston, part sloppy ‘zine comic — using enough paint to cover a very large house. Reproductions of these images don’t do justice to the sheer amount of pigment that Benson has loaded on here: slathered is really the only appropriate verb.
Read the full review here
Trudy Benson's exhibition "Space Jam" reviewed by ArtSlant.com
"Material Girl" by Emily Nathan
May 12, 2010
Space Jam is recent Pratt graduate Trudy Benson’s first solo exhibition; her large-scale “paintings”—though “paint” is perhaps a more apt description of what they are—occupy their space on the wall aggressively, physically. They are bold and bright, comprised of strokes and smears, dollops and gobs, scumbles, even. Considering that they are the products of a contemporary culture that touts, inspires, and is often comprised of the eye-roll, the esoteric allusion, the ironic appropriation, Benson’s works are refreshingly concrete, genuine. Their ontological status as works of paint on canvas is bound-up in and brazenly inseparable from its physical, material manifestation as such.
Read the full review here
Andrew Guenther's exhibition Recent Works on Paper is reviewed on www.drawingcenter.org
April 15, 2010
Andrew Guenther’s most recent show, simply titled Recent Works on Paper, at Freight + Volume is easy to miss. Tucked into the gallery’s back corner, the show can appear to look like a private office, but persevere—it’s worthy of discovery. Included are eight small drawings and paintings, and most interestingly, a small table and folding chair, a mug of pens, a white noise machine, and a chained copy of the artist’s Hot Dog in a Banana Costume.
See the full review here
Heartbreak Hotel reviewed on Leaves of Glass
August 14, 2009
Despite the extreme latitude of the medium, style, and approach of works in “Heartbreak Hotel,” this summer group show at Freight + Volume including 21 artists offers a galvanizing conversation on whether—despite solidity of identity—“together we are alone, alone we are together.” In this reverb and progression, implicit sadness resounds in this show’s metaphorical array. So many “walk a lonely street.” Ultimately, “Heartbreak Hotel” asks about regeneration and renewal. How appropriate, as we continue to deal with the fallout of the credit crisis, crazies at health care forums, draining effects of fighting two wars simultaneously, revelations of torture, continuing bailouts of corporate giants, and unacceptable levels of unemployment, underemployment, and general despair. None of this has been good for artists or the art market. In this show, Freight + Volume has provided a refuge for these artists—guests as well as gallery regulars—to participate in this rich dialogue across media. Importantly, they’ve been given an opportunity to regroup, rethink, and recreate their identities in a kind of “half-way house.”
See the full review here
Kim Dorland's "Super! Natural!" reviewed by the New York Times
by Roberta Smith
June 19, 2009
In the landscapes in Kim Dorland's second New York gallery show, both painting and nature are defiled, but bright, electric color keeps things from getting too ugly. Like many painters today, Mr. Dorland operates in the gap between legible imagery and paint's luscious, even oppressive materiality. His exaggeration of the medium has precedents in the work of artists as diverse as Eugene Leroy, Leon Kossoff and Joe Zucker.
See the full review here.
Kim Dorland's "Super! Natural!" reviewed on artnet
by Aaron Rosen
June 17, 2009
Face it, real country folk are as likely to toss a beer can into a ravine as they are to contemplate its natural beauty. And think that pine trees are pretty but could be improved with some initials carved into the bark.
This anti-romantic view of nature is the stuff of Canadian artist Kim Dorland’s new paintings at Freight + Volume on West 24th Street in New York’s Chelsea art district. Dubbed "Super! Natural!," the show presents landscapes done with an almost radioactive palette. Indeed, the riot of colors not only makes the eyes swim, but the sheer weight of oil paint applied to the canvases produces a heady, slightly woozy experience.
See the full review here.
Kim Dorland interviewed in Beautiful Decay
June 8, 2009
Kim Dorland is a Toronto based painter who examines the psychic, nostalgic spaces of his upbringing in Canada through sumptuous impasto layers. At once playfully calling attention to their own physicality, as well as the nostalgia of Dorland’s personal narratives, the paintings are at once visceral and expansive. Beautiful/Decay recently interviewed Kim about his artistic inspirations, painting technique and more.
See the interview here
Nick Lawrence reviewed in the LA Times
by David Pagel
April 10, 2009
Nick Lawrence’s paintings at Angstrom Gallery fall into two groups: small square canvases from 1997 and larger, generally rectangular ones from 2009. This split highlights the differences between the two bodies of work and reveals the core of Lawrence’s art: burrowing into life’s loamy underbelly, where plants, animals and minerals thrive and die in a cycle ugly and beautiful.
See the rest of the review here
Jim Lee's "Paranoid" reviewed in the Brooklyn Rail
by Craig Olson
April 4, 2009
Any experienced coyote knows the only reasonable response to a trap is to dig it up, turn it over, and defecate on it. It’s an offering to the trapper’s pride, a piss stain on assumptions of rational authority. By confusing the roles of predator and prey, the coyote keeps things interesting, reminding us we’re not the only beings with a sense of humor. Jim Lee’s recent exhibition presents a similar situation. However, where the artist’s work sits in relation to the aforementioned archetypes is unclear. Surely, deciding whether it’s trap or trick (or painting with or without a capital P) seems decidedly foolish. It’s the slippages in between that count.
See the full review here
Oliver Dorfer's "thepulpproject/..." reviewed on artinfo.com
by Robert Ayers
January 15, 2009
This is a first New York outing for the young Austrian Dorfer, and the works he is showing come from his ongoing “pulpproject” series, so named for his source material drawn from the pages of comic books and other cheap publications. Subjecting them to collaged and Photoshopped mutation, Dorfer then paints them on the reverse side of large sheets of Plexiglas. The remarkable results, super-smooth and more than six feet square in the full-scale pieces, meld the appearances of Pop art, shop windows, and medieval woodcuts. It makes for an unsettling mix.
See the review here
Andrew Guenther's "Looking for Culture Part III" reviewed in the New Yorker
January 5, 2009
The artist devilishly flattens hierarchies of high and low, art and stuff, presenting his paintings and drawings alongside a miscellany of bric-a-brac on shelves—a cross between Carol Bove and Dave Miko. At times, the show feels breezy, as when a tattered pair of paint-splashed sandals dangles from a ledge near Guenther’s stylized seascape of soaring gulls. Over all, though, a macabre mood prevails, like that of a vanitas still-life. A sign reading “Go to Hell” and a pair of blood-red Ray-Bans share space with a painting of the cigar-smoking ghost of Monet. Through Jan. 10. (Freight + Volume, 542 W. 24th St. 212-989-8700.)
Read the full article here
Andrew Guenther's "Looking for Culture Part III" reviewed on whitehot magazine
by Dan Tarnowski
January 1, 2009
The personal, obscure, and sometimes macabre, work in Andrew Guenther’s Looking For Culture Part III: Back to My Old Ways is charged with an uplifting and peculiar energy.
The exhibit, going on at Freight and Volume in Chelsea through January 10, presents a survey of Guenther’s old and new paintings, as well as a treasure trove of found objects, sculptures, photographs, and assemblages.
Guenther’s unique aesthetic sensibility immediately grabs the viewer. The vibrant oranges, pinks, and greens of his expressive paintings mingle with his colorful knick-knacks. These include such curiosities as used lotto tickets, a framed greeting card screenprinted by the artist, sticks of charcoal, a pack of cigarettes, playing cards, and a paper-mache sculpture of someone having sex with what looks to be a tortoise.
Paintings, wooden shelves, and accessories become one to create an overall artistic experience. The visual atmosphere is reminiscent of a thrift shop, but things are delicately harmonious rather than mismatched. Perhaps a surf shop would be a more accurate comparison, as coconuts, seashells, and sunglasses all appear in Guenther‘s visual tapestry.
Read the full article here.
Kim Dorland and Freight + Volume are featured on artfagcity
December 6, 2008
I wish Pulse Miami looked a little bit more like its New York incarnation because it would likely be a lot less cheesy. I suppose this is overkill but I visited the fair three times this week to be thorough, and each time I went I became more bothered by the quality of work. To the fair’s credit however, their building design and exhibition layout is so good it initially makes the work appear better than it really is. This is a noticeable improvement over last year; thankfully the ghastly tent ghettoizing a few lucky dealers has been scrapped.
While Pulse easily takes the second place position within the contemporary fairs here, they are still a far weaker than NADA. Certainly, you’d never see FTC Gallery’s dime a dozen stripy resin paintings by Markus Linnenbrink at the New Art Dealers Association, nor Margaret Thatcher Project’s similarly contrived paintings by Robert Sagerman. This is work that belongs at Red Dot, not Pulse.
Not to state the obvious, but the problem with the number of mediocre to outright bad booths in the fair, is that even the stronger galleries begin to look a little tacky. Torch gallery’s Yves Klein-esque Plexiglas table of pink pigment, by the hilariously named Judd Klein simply doesn’t need to be there. Meanwhile, Angles Gallery has a great Kevin Appel painting, Freight and Volume a moving Kim Dorland landscape, and Kinz + Tillou Fine Art — an unusual pick for us — a strong, if slightly limited series of Brian Dettmer altered books. All take some time to spot due to the surrounding visual noise.
Read the rest of the article here.
Sylvan Lionni gives an Artist's Talk in conjunction with the exhibition "Before the Flood"
November 5, 2008
Join us for an artist's talk at Freight + Volume with Sylvan Lionni in conjunction with the exhibition "Before the Flood," from 6 - 8 pm.
Michael Scoggins' solo exhibition Sic Semper Tyrannis at The Contemporary Art Center of Virginia, VA, opens October 16 and runs through December 30, 2008.
October 16, 2008
Michael Scoggins meticulously creates giant sheets of notebook and graph paper, complete with binder holes and ragged edges, to emulate the larger-than-life world that children experience. Onto these surfaces he scrawls musings that vacillate between childhood innocence and adult worldliness, with a baffling sincerity. Ironic, humorous, meaningful and socially critical, these large scale works on paper utilize the perspective of a child to address fears, politics, crushes, and mass-media messages that face us all.
Click here for more information.
Nick Lawrence's solo exhibition "Notes from Underground: 1982 - 2007, A 25 Year Survey" at Pierre Menard Gallery, MA, opens and runs through November 7, 2008
September 26, 2008
See gallery here
Sylvan Lionni will be included in the exhibition Minus Space at P.S.1 Contemporary Art Center, NY opens October 18, 2008 and runs through January 19, 2009.
September 25, 2008
As part of the Fall 2008 International and National Projects, P.S.1 has invited Minus Space, a collective based in Brooklyn, New York, to present an exhibition of “reductive art”: art characterized by minimalism and abstraction in its use of monochromatic color, geometry, and pattern. As a movement concentrating on abstraction, Minus Space bucks the trend toward figuration that took hold in the 1990s. For P.S.1, Minus Space has brought together 54 artists working internationally, ranging from Australia to Brazil to New York City, for a dense and playful show in the Café.
Artists include Soledad Arias, Shinsuke Aso, Marcus Bering, Hartmut Böhm, Richard Bottwin, Sharon Brant, Michael Brennan, Henry Brown, Vicente Butron, Bibi Calderaro, Melanie Crader, Mark Dagley, Julian Dashper, Christopher Dean, Matthew Deleget, Lynne Eastaway, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Daniel Göttin, Julio Grinblatt, Billy Gruner, Terry Haggerty, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Simon Ingram, Inverted Topology, Kyle Jenkins, Mick Johnson, Steve Karlik, Sarah Keighery, Andrew Leslie, Daniel Levine, Sylvan Lionni, Lotte Lyon, Gerhard Mantz, Rossana Martinez, Juan Matos Capote, Douglas Melini, Manfred Mohr, Salvatore Panatteri, Dirk Rathke, Karen Schifano, Analia Segal, Edward Shalala, Tilman, Li-Trincere, Jan van der Ploeg, Don Voisine, Douglas Witmer, and Michael Zahn.
For more information, see the link here.
Jim Lee's solo exhibition Pioneer Stock at Recitation Gallery, University of Delaware, DE opens tonight and runs through October 1, 2008.
September 8, 2008
Ophrah Shemesh's "I AND THOU" is reviewed in Art in America
August 31, 2008
Nora Griffin reviews Tensegrity at Klaus von Nichtssagend Gallery featuring Jim Lee in artcritical.com
August 16, 2008
Klaus von Nichtssagend Gallery’s storefront entrance on Williamsburg’s Union Avenue bears minimal signs of a commercial gallery space, seamlessly blending in with the neighborhood’s perpetual state of transformation. As such it is an appropriate setting to view the work of five artists who each in their own manner transform the “non-art” materials of urban refuse and raw construction to create restrained and complex abstractions.
See the review here
Ingrid Chu reviews Accident Blackspot curated by Jim Lee and Rob Nadeau in Time Out NY.
August 8, 2008
Agreement Room, Chris Hanson and Hendrika Sonnenberg’s video loop of hockey fights, provides the perfect metaphor for the group show curated by Jim Lee and Rob Nadeau, which features 17 works duking it out for attention in this diminutive Chelsea space.
Dominating the entryway is Daniel Seiple’s huge signboard, reading: love thy neighbor, which comes with a rich backstory: Apparently a farmer in rural Pennsylvania dumped chicken poop on the property of the local preacher—who then went after the farmer’s landlord by planting a placard in his front yard with a message telling him, in effect, what to do with the droppings. The object in the gallery is the landlord’s reply, appropriated here by Seiple to update Robert Smithson’s “non-site” series (whereby the earthwork pioneer would bring rocks and soil collected from other places into the gallery).
Wendy White, Tamara Zahaykevich and Ivin Ballen offer self-contained paintings-cum-sculptures that highlight the ongoing tussle between the ready-made and the handmade art object. But it is Rob Erickson’s diminutive, blink-and-you-miss-them Xerox wall transfers of photos of street cultures (e.g. skater punks) that are the true gems. Scattered throughout the gallery, these pieces remind us how art can create contemplative and imaginative spaces beyond the limits of real estate.
By and large, the organizers successfully utilize the well-worn group-exhibition format without crashing and burning. “Accident Blackspot,” which refers to the roadside designation for crash scenes in Britain, proves how this approach can still offer exciting results, even if, as it’s become increasingly clear this summer, other shows haven’t proved so lucky.
See the review here.
Pepe Mar is included in the group exhibition Refraction, opening August 1 - September 6, at Loop, Berlin.
August 1, 2008
loop-- raum für aktuelle kunst is proud to present its new group show, entitled "Refraction." Featuring works by gallery artists Andreas Koch, Karsten Konrad, and Andreas Schimanski, loop will also showcase Pepe Mar, Alexandra Schlund and Alexander Wagner.
The term “refraction" refers to the process of bending of light when passing from one medium to another. Karsten Konrad's perfectly epitomize this “bending of perception,where the raw source-material of found objects and furniture is still immediately recognizable even as it is consciously deconstructed and re-shaped into stylized forms. Pepe Mar also utilizes found materials in his work, but their sources are insignificant to their vivid, prismatic colors that create these anthropomorphic forms. Whereas Konrad's sculptures adopt geometric and architectural lines, Mar revels in an anarchist joys in chaos and expression. Although Alexandra Schlund works more figuratively with line and Alexander Wagner examines it empirically, the color surfaces of both of their works are blurred and broken by the power of the geometric line. Only a few, fixed points—a window, a point, or a horizon line—permit the viewer to fleetingly orient himself in the painted landscape before plunging into a flurry of color. By dissolving the usual yardstick of time and arranging and re-arranging space, Andreas Koch's video work fully explores the way that the brain classifies, receives, and refracts image information. However, Andreas Schimanski approaches the term word by word. Fine, hard lines and intensive color fields coalesce, only to break apart. But through these lines, color fields, cutouts and details, there is play, spontaneity, and infinitive imaginative possibilities.
For more information, click here.
George Ducker reviews Cover Version curated by Timothy Hull in the LA Times online.
July 1, 2008
Q: What does the cover of a book tell you about the book itself?
A: Nothing / Everything.
Can an uninitiated reader know anything more about the contents of James Joyce's Ulysses simply from seeing that iconic, large-lettered cover? Do J.D. Salinger's white-white paperback editions offer any guidance? The little enigmatic rainbow at the top corner certainly doesn't help.
These kinds of things were on my mind as I visited the opening reception for "Cover Version," a bookishly-themed group show at Culver City's Taylor De Cordoba gallery. The premise was simple: artists had been asked to redesign the covers of their favorite books. The end result was offerings from over twenty New York and Los Angeles based artists that ranged from the literal to the oblique.
See the rest of the review here.
Timothy Hull is curating the group exhibition Cover Version opening June 28 running through August 9, at Taylor de Cordoba, Los Angeles, CA.
June 25, 2008
Taylor De Cordoba is pleased to present Cover Version, a group exhibition curated by NY-based artist Timothy Hull. Hull has asked approximately twenty artists from around the country to create their own version of the cover of their favorite book. The only parameters are that the piece must be average book size and include the title and author in the composition. Scott Hug, Mathew Cerletty, Kadar Brock, Jennifer Sullivan, Ryan Callis and Frohawk Two Feathers are among the participating artists. The exhibition will run from June 28 – August 9. The gallery will host an opening reception on Saturday June 28 from 6-9PM.
For more information, see the link here.
Jim Lee is included in the group exhibition Tensegrity opening June 20 - July 20, at Klaus von Nichtassagend, Brooklyn, NY.
June 22, 2008
For more information, see the link here.
Michael Killeen reviews Erik den Breejen's exhibition Throwaway Lines Often Ring True in The Bloomberg News.
June 12, 2008
Erik den Breejen's first solo show at Freight and Volume gallery shows the artist enmeshed in rock 'n' roll and painterly movements.
Lyrics from rock songs are seen amid swaths of vibrant green, orange and yellow. Words, rendered in script, block lettering or individually highlighted, recede into or come up through clouds of color. Broad brushstrokes cut a path through a patch of words just as you were deciphering them.
The Who's "Can You See the Real Me'' punches its way through the paint as does a chunk of "All the Young Dudes,'' written by David Bowie for Mott the Hoople.
Reading the paintings kicks in your internal soundtrack as you recognize the music. If not, the words, some evocative, some throwaway, stand or fall on their own. It is a pleasant, hazy mix of layered text and paint. One is curious how lyrics from den Breejen's own band, Acid Crayon, might leaven the homage and cut deeper.
See the review here.
Timothy Hull will be included in the group exhibition The Dulcet Climb of the Bedchamber curated by Nicholas Weist opening June 13- August 2, at Goff + Rosentha
May 17, 2008
See the link here for more information
James Kalm reviews Kim Dorland's North exhibition in The Brooklyn Rail.
May 1, 2008
I can still remember the exact moment, the exact brush stroke. I rounded a corner and fixed my eyes on “Marschland (Dangast),” a 1907 painting by Erich Heckel. I was visiting the small, secluded Brücke Museum in the Grunewald in what was still at the time West Berlin. The landscape, measuring about two by three feet, is a panorama with a couple of massed trees and a scarlet and vermilion path that angles off to the horizon. Situated in the lower-right corner is a clunky slab of striated paint which, due to its broad mass, is out of character with the rest of the surface. Because of its insistent presence (and not so much that it represented anything beyond itself), it seemed to command the rest of the picture plane. I’d seen a lot of paintings go from thick to thin by Rembrandt, Courbet and Van Gogh, but I fixed on this clump of pigment as something different, an odd mutation in my thinking about physical matter and the sticky subject of paint’s ability to change perception. When I first came to New York during the heyday of Neo-Expressionism, the question of paint as a vehicle for developing spatial illusion versus paint as a significant substance with alchemical properties embodying its own unique set of forces was a significant factor in the debate that attracted international attention to the “new” painting.
North, the New York debut by Canadian artist Kim Dorland, emphatically declares that “chunky painting” is still a viable direction for practitioners not afraid to get their hands dirty. I’ve been following Dorland’s work for years, since stumbling across it at the room of the Toronto gallery Jamie Angell during a SCOPE New York Art Fair. It wasn’t that I liked the work so much (though, as mentioned above, I’m a fan of “gooby paint”), but that I found its acidic fluorescent orange and red underpainting, clunky, quotidian subject matter, and slacker urgency—somehow evoking your favorite garage band with all the bad production values and strip mall expediency—kept resurfacing in my memory. With each subsequent encounter the works grew in scale, and the subject matter veered from a somewhat kitschy focus on deer in forests (what was the deer image craze anyway?) to a dreary rendition of kids sauntering through the unpaved back alleys of sub-suburbs, cruising among the parked pickups, RVs and camping trailers.
Alberta, identified as the site of these pictures, is known as the breadbasket of Canada. I imagine vast plains and overwhelming skies with widely scattered hamlets, a few thousand families clustered around a local railroad hub, phosphate mine or lumber mill. There’s a palpable tinge of desperation in the wandering figures central to many of the compositions in North, as if these skate punks are aimlessly trudging in search of some action, some mischief, some beer, some joints or some sex that might deaden the pain of their tedious, irrelevant existence. In “Alley # 4” and “Shortcut,” both from 2007, we see departing youngsters rendered as blocky squibs of paint walking through anonymous back streets. The figures are surrounded by haloes of hot underpaint, a kind of illuminated shade, as if they’re in the focus of some electric force-field that designates them as “slacker saints” or conveyers of a vibrant life
See the review here
Stephanie Buhmann reviews Jim Lee's exhibition "Altamont" in Sculpture Magazine
April 23, 2008
See the article here
Pepe Mar's solo exhibition "Raw Sewage" opens Saturday, April 12, 7-10pm at David Castillo Gallery, Miami, FL
April 5, 2008
See more here
Ion Birch will be participating in the Benefit for Vanina Holasek. Monday, April 7, 6 - 9 pm
April 4, 2008
Timothy Hull and Jim Lee will participate in the BAMart Silent Auction, April 3 - 13, 2008
March 15, 2008
See the auction here
Marlene Mocquet solo exhibition opens at L'Ecole Municipale des Beaux-Arts - Galerie Edouard Manet Genneviliers Paris, FR. March 13 - April 19, 2008.
March 13, 2008
David Cohen reviews Ophrah Shemesh's "I and Thou" exhibition in The New York Sun
March 13, 2008
Sylvan Lionni in the group exhibition "Synesthetics" curated by Felice Grodin at Locust Projects, Miami, FL. March 8 - April 26, 2008
March 8, 2008
Locust Projects presents Synesthetics, a group exhibition curated by local architect and artist Felice Grodin. Grodin has assembled five artists from all over the world and the US including Lawrence Blough from New York, Monica Tiulescu from Washington, Sylvan Lionni from England, Marcia Lyons from New Zealand and Samantha Salzinger from Miami. Each artist combines notions inherent in the practices of art and architecture, in an experimental exhibition that includes site- specific installation, sculpture, painting, photography and video to create five very different and exciting works. Synesthetics opens in conjunction with the Wynwood Art District walk on Saturday, March 8, 7-11pm and is on view until April 26, 2008. A panel discussion featuring five experienced architects, artists and collectors will be moderated by collector and businessman Dennis Scholl, and will be held on Thursday, April 17th at 7pm. Seating is limited.
The Greek translation of Synesthesia translates to ’together + perception’ or “joined sensation”. It has been described as a neurological occurrence that mixes and matches the different senses so that perceptual experience and information are one. Borrowing from this occurrence, this exhibition explores the notion of blending phenomenon in both a rigorous and visceral way. Unlike the endless linking of hypertext or excessive piling of imagery and data often associated with “the age of information,” the work exhibited will consist of studied and specific subject matter both in concept and execution.
For more information, see the link
Joseph Hart is included in the group exhibition The Boys Are Back in Town at Romo Gallery, Atlanta, GA. February 22 - April 12, 2008.
February 22, 2008
Edith Newhall reviews Jim Lee's "Nature Morte" exhibition in Philadelphia Inquirer
February 22, 2008
Been to the Gershman Y lately? If so, you may have noticed that its Open Lens Gallery has been temporarily transformed into University of the Arts exhibition space, the result of an arrangement between the Gershman and the university, which owns the building, that has both entities alternating programming in the lobby from now on.
What you can't help noticing is that there are no photographs on the walls, as there are when the space is the Open Lens; instead, there are paintings, or, more properly, painted constructions, in places you would never expect to find them.
I walked past Jim Lee's unassuming floor piece, a tentlike construction of battleship gray-painted canvas over a wood armature, without even seeing it, probably thinking it was something a janitor had left behind. When I suddenly recognized it as an artwork, it came into focus as a surprisingly sophisticated piece, with a cut slit for an opening that reminded me of Lucio Fontana's "slash" paintings of the late 1950s.
See the full review here.
Freight + Volume is pleased to announce Timothy Hull's inclusion in the Artist Pension Trust.
January 28, 2008
Timothy Hull is included in the group exhibition Brevity's Rainbow at Cinders Gallery, Brooklyn, February 8 - 17th, 2008. Opening reception Friday, February 8,
January 26, 2008
See more here
Jim Lee's solo exhibition "Nature Morte" opens at University of the Arts, Philadelphia, PA, Friday, Feb. 1, 5-8pm through Feb. 19, 2008
January 26, 2008
Accident Black Spot co-curated by Jim Lee opens Friday, January 18, 6pm at Markus Winter Gallery, Berlin.
January 18, 2008
Laurina Paperina's solo exhibition opens at Siemens_artLab - Galerie Ernst Hilger Thursday, January 24, 2008, 6:30 pm.
January 16, 2008
View website here
CHANGECASE curated by Steven Stewart and Yasha Wallin opens Saturday,January 12 running through February 10, 2008. Pictures of the work and opening on Artlovers
January 11, 2008
See more here
Freight + Volume is pleased to announce its participation in Pulse, NY, March 27 - 30, 2008.
January 6, 2008
New issue of Freight + Volume Magazine available now featuring Ion Birch, Erik den Breejen, Joseph Hart and Laurina Paperina.
January 1, 2008
Pepe Mar included in the publication, Miami Contemporary Artists by Paul Clemence and Julie Davidow.
December 15, 2007
Buy book here
Sarah Dotts discusses the work of James Everett Stanley in the Jan/Feb issue of NY Arts Magazine.
December 14, 2007
Nicholas Hayes discusses James Everett Stanley's exhibition at Bucket Rider Gallery on Saatchi Online.
December 14, 2007
Timothy Hull is included in the group exhibition Brief Encounters at Caren Golden Fine Art, New York, December 4 - 21, 2007. Opening reception December 13, 6 -
December 11, 2007
View exhibition here
Michael Scoggins is included in the group exhibitions Line, Form and Color and Show Me the Munny at Diana Lowenstein Fine Art, Miami, FL, December 8, 2007
December 5, 2007
James Everett Stanley is included in the Campari sponsored exhibition Highlights of Distinctive Messengers LA and NY, Miami, FL, Dec. 6-9, 2007.
December 4, 2007
See more here
Freight + Volume is pleased to participate in Pulse Miami, December 5 - 9, 2007.
December 4, 2007
Pepe Mar in the "THE EXPANDED PAINTING SHOW" curated by Nina Arias & Paco Barragn presented by M*A*S*H Miami, December 1-10, 2007
December 1, 2007
See more here
Charles Dee Mitchell reviews Jim Lee's exhibition "Altamont" in the December issue of Art in America
November 24, 2007
James Everett Stanley solo exhibition opens November 30 - December 22, 2007 at Bucket Rider Gallery, Chicago.
November 10, 2007
Timothy Hull featured on Vernissage TV for his exhibition The Swarm of Possible Meanings Surrounding the Ancient Pyramids
November 6, 2007
See more here
Ion Birch in traveling exhibition "Nothing Moments" opening Oct. 13 @ MOCA at the Pacific Design Center and Steven Turner Contemporary
October 15, 2007
See more here
Freight + Volume is pleased to participate in PULSE London, October 11 - 14, 2007.
October 11, 2007
Jim Lee in the exhibition "Finding Form" at the Atlanta Contemporary Art Center through December 22, 2007
October 8, 2007
Laurina Paperina is included in FROM&TO curated by Valerio Dehe Denis Isaia at Kunst Merano arte Merano, October 6th, 2007 - January 6
October 6, 2007
See more here
Laurina Paperina is included in Inner Child: Good and Evil in the Garden of Memories at the Hunterdon Museum of Art, NJ, October 3rd, 2007 - Ja
October 2, 2007
Joseph Hart is in the group exhibtion "In Full Cry" curated by Matt Leines and Taylor McKimens at New Image Art Gallery, LA opening Sept. 29 - Oct. 28, 2007
September 29, 2007
View exhibition details here
Timothy Hull is included in the group exhibition "Divine Find" curated by Lauren Ross at Stonefox Artspace opening Sept. 18 - Nov. 6, 2007
September 14, 2007
See more here
Timothy Hull and James Everett Stanley are included in the exhibition "Painted Faces," The Mask in Contemporary Art, Kinkead Contemporary, LA.
September 10, 2007
See more here
Pepe Mar in the exhibition "All is Well that Begins Well and Has No End" curated by Jan Van Woensel, Ernesto Burgos, and Jonah Groeneboer @ 80 Washington Square
September 2, 2007
See more here
Roberta Smith reviews Marlene Mocquet: Recent Paintings in today's New York Times.
August 10, 2007
MARLèNE MOCQUET: RECENT PAINTINGS This young French painter presents small, vaporous, psychologically charged canvases -- occupied by hapless, mostly hybrid beings -- that might be called illustrational, not the least for the way their titles narrate very specific events. But the paint handling is deft and dazzlingly varied and the color sense exciting. Like Indian miniatures, these Symbolist-Surrealism cartoons reward close viewing. Freight & Volume, 542 West 24th Street, Chelsea, (212) 989-8700, volumegallery.com, closes Friday. (Smith)
See more here
James Everett Stanley will be included in the upcoming exhibition Distinctive Messengers at the House of Campari, NY curated by Simon Watson Craig Hensala of Sc
August 6, 2007
Sylvan Lionni will be included in the upcoming exhibition Minimalism and Applied at DaimlerChrysler Contemporary, Berlin. September 21 - January 7, 2008
August 3, 2007
See more here
Sylvan Lionni featured in the essay "What's This Shit Called Love" by Michael Zahn on NYFA.org.
August 1, 2007
See more here
Michael Scoggins solo exhibition at D3PROJECTS, Los Angeles, in partnership with ADLER & Co. GALLERY of San Francisco runs through August 31, 200
July 25, 2007
See exhibition here
Michael Scoggins is featured in New American Paintings this month, edition No. 70.
July 18, 2007
Alan Artner reviews Peter Allen Hoffmann's solo exhibition at Thomas Robertello Gallery in the Chicago Tribune
July 13, 2007
See review here.
Michael Scoggins is included in the group exhibition "Messages Abroad" at Galerie Chez Valentin, Paris, France, through July 28
July 8, 2007
See more here
Peter Allen Hoffmann solo exhibition, "Given," on view through August 4 at Thomas Robertello Gallery, Chicago, IL
July 5, 2007
See more here
Pepe Mar Cooper Union Summer Residency Program 2007 exhibition opens July 10, 6 - 8 pm and runs through July 13 at The Foundation Building 7 East
June 28, 2007
James Everett Stanley is included in the group exhibition curated by Simon Watson and Craig Hensala All in Together Now opening Saturday, June 30
June 22, 2007
Tom Ellis' solo exhibition "Klever Strasse" runs through July 21, 2007, at MOT International , London, UK
June 18, 2007
see more here
Craig Olson reviews Jim Lee Altamont in the June issue of The Brooklyn Rail.
June 9, 2007
Read article here
Michael Harvey reviews Laurina Paperina ro(t)fl in the June/July issue of Art In America.
June 1, 2007
Timothy Hull's exhibition Life Is Real Only Then When I Am reviewed in the LA Weekly.
May 26, 2007
Read review here
Joseph Hart's solo exhibition Beautiful Balance at Galerie Vidal Saint - Phalle, Paris, France opens May 24 - July 7, 2007.
May 16, 2007
Timothy Hull solo exhibition Life is Real Only Then When I Am at Taylor de Cordoba, Los Angeles, CA opens May 26 - June 23, 2007.
April 30, 2007
Through a wide range of media, Hull explores the dynamics of the cult of personality, the plausibility of esoteric knowledge, notions of orientalism, charismatic icons, diagrams and mysticism.
Visit exhibition here
Chris Gilmour solo exhibition Disposable at Perugi Artecontemporanea Padova, Italy opens May 26, 2007.
April 25, 2007
View exhibition here
Erik den Breejen will recite the lyrics to the entire double album of Pink Floyd's The Wall at F+V this Saturday, April 28 @ 6pm.
April 23, 2007
Alice Neel documentary directed by Andrew Neel premiers Friday, April 20, 7:15 pm at Cinema Village.
April 17, 2007
More information on the film here
Tom Ellis is featured in the Newer Than Ever, Issue #5 of Useless Magazine.
April 16, 2007
Laurina Paperina is included in the exhibition Conversations with Takashi Murakami, Carolina Silva, John Isaacs, Neil Farber, Guillermo Martn Bermejo, Vicky Us,
April 15, 2007
Michael Scoggins solo exhibition at Diana Lowenstein, Miami, FL opens Friday, April 14, 2007.
April 14, 2007
Joseph Hart is included in the group exhibition All in Together Now opening Saturday, April 7, at Receiver Gallery, San Francisco, CA.
April 6, 2007
View more photos from exhibition Here
Timothy Hull's exhibition Until I Know the Pattern opens Friday, April 6, 7 - 9 pm, at Bucheon Gallery, San Francisco, CA.
April 5, 2007
David Humphrey reviews Brendan Cass' Europa exhibition in this month's Art In America.
April 3, 2007
James Everett Stanley solo exhibition at Kinkead Contemporary, Culver City, CA opens April 21, 2007.
March 22, 2007
See more here
Ion Birch interview in Slash Magazine.
March 21, 2007
Pepe Mar show at Braunstein Quay Gallery opens Saturday, March 15 through April 14, 2007.
March 15, 2007
In celebration of the California College of the Arts' (CCA) one-hundredth anniversary, Braunstein/Quay Gallery presents a group show of alumni organized by guest curator Mary Snowden, the Chair of Painting and Drawing at CCA. The five artists chosen for this exhibition are among her most recent, memorable, and talented students.
See more here
Freight + Volume featured in Art Review Digital.
February 28, 2007
Brendan Cass's solo exhibition opens March 31, 2007 at Lars Bohman Gallery, Stockholm, Sweden. Exhibition runs through May, 2007.
February 20, 2007
See exhibition here
Joseph Hart will be featured in the exhibition Here and Elsewhere at The Bronx Museum opening April 1 - July 29, 2007.
February 15, 2007
Here and Elsewhere features a range of work by 36 artists from throughout the metropolitan area, all of whom have participated in the most recent incarnation of Artist in the Marketplace (AIM) at The Bronx Museum of the Arts, one of the most celebrated and competitive programs for emerging artists in the country. The title alludes to both the global reach of the program, now in its 27th year, and to the fluidity of art practices in today’s global life.
View More
Jim Lee solo exhibition, Moro Bottom, at Rosenberg Gallery, Hofstra University opens. On view until February 28, 2007.
February 7, 2007
Alejandra Villasmil reviews Pepe Mar: Hunga Bunga in this month's Arte al Dia. Read it here.
January 19, 2007
Chris Gilmour featured on the cover of this month's Arte Magazine.
January 17, 2007
See more here link
Jamie Shovlin will participate in the upcoming exhibition Elephant Cemetery, opening Thursday, January 18, 6:00 - 8:00 pm at Artists Space.
January 16, 2007
Read more link
Brendan Cass will particpate in the inagaural exhibition of Galleri Loyal's new space in Stockholm, Sweden, opening Friday, January 19.
January 15, 2007
Brendan Cass studio visit on artlovers.com | Brian Belott studio visit on artlovers.com
January 8, 2007
Brian Belott Video
Brendan Cass Video
Michael Scoggins' solo exhibition "Now With Kung-Fu Grip" opens January 12, 2007 @ Pinnacle Gallery, Savannah, GA
January 7, 2007
SAVANNAH, Ga. — The Savannah College of Art and Design presents "Michael Scoggins: Now with Kung Fu Grip," on display Jan. 1–31 at Pinnacle Gallery, 320 E. Liberty St. The exhibition is free and open to the public. Gallery hours are Monday–Friday, 9 a.m.–5:30 p.m., Saturday, 10 a.m.–5 p.m., and Sunday, 1–4 p.m.
Click Here
FIAC 2006: Nick Lawrence interviewed on Artivi at FIAC 2006 - Paris
December 30, 2006
See the video here
Nick Lawrence interviewed in Chelsea Now
December 22, 2006
Tom Ellis' installaton Je ne regrette rien at Pulse, Miami reviewed on Artnet.com
December 14, 2006
More on Miami
Pepe Mar's exhibition My Mirrors currently on view through January 31, 2007 at David Castillo Gallery, Miami
December 5, 2006
David Castillo Gallery is proud to present the solo exhibition of Pepe Mar, My Mirrors. Mar has created an installation incorporating many of the elements & themes recognized as part of his self-standing three-dimensional collage figures. While the three-dimensional figures still take center stage for the artist, the installation offers several innovations on the sensibilities of consumer cultural criticism, using not only new media but also new modes of installing collage, altering viewer perceptions of his work till now.
see the link for more information
Timothy Marvel Hull interviewed in the December issue of Tokion
December 1, 2006
See the interview here
Freight + Volume will be participating in The NY Art Book Fair www.nyartbookfair.com, Friday, November 17 - Sunday, November 19, 2006
November 1, 2006
Freight + Volume will be participating in Pulse, Miami www.pulse-art.com, Thursday, December 7 - Sunday December 10, 2006
October 25, 2006
Michael Wilson reviews Lustfaust: A Folk Anthology 1976-1981 in Artforum. Read it here.
September 29, 2006
After I inserted the seventy-two-track sampler CD that was issued to accompany the recent exhibition "Lustfaust: A Folk Anthology 1976-1981" at Freight Volume into my computer, the program that identifies music choices from a master database informed me that "Multiple matches were found online for this CD" and asked me to choose the correct title from the following list: Real Men of Genius--Budweiser Beer; Fcd201--Focus Production Music; The High Calling Volume Two--Howard Butt, Jr.; Kos--111 Dangerous--Kosinus Music. It was quite obvious that the disc was none of these, but neither was it quite what its publishers claimed. Purportedly the cacophonous outpourings of an experimental noise band formed by a bunch of disgruntled West Berlin session musicians in the late 1970s, the determinedly lo-fi recording--which vaguely echoes the likes of Can, Popol Vuh, and, of course, Faust--initially appeared to be the product of an obscure, defunct collective almost too cultish to be for real. Further investigation revealed that, sure enough, the "enormously influential" Lustfaust collective only exists in artist Jamie Shovlin's imagination.
See the full review here
Pepe Mar featured in The Miami Herald.
September 28, 2006
Freight + Volume is pleased to participate in the following upcoming fairs: Year 06, London, UK, October 12 - 15, 2006 FIAC, Paris, FR, Ocob
September 19, 2006
Ken Johnson reviews Pepe Mar: Hunga Bunga in today's New York Times. Read it here.
August 11, 2006
Pepe Mar constructs delightful, funny and scary child-size monsters in three dimensions out of glue and scraps of paper cut from all kinds of found printed material. The one- and two-footed figures have snarling faces with big, staring eyes lifted from fashion photographs and other sources, and carnivorous animal mouths or swollen human lips and dirty teeth derived from photographic images.
See the full review here
Roberta Smith reviews Lustfaust: A Folk Anthology 1976-1981 in today's New York Times.
July 21, 2006
Lustfaust, a little-known German noise band from the 1970's, never existed, but you'd never know it from the New York debut of Jamie Shovlin, a British artist who is pushing trompe l'oeil Conceptualism in new directions. Mr. Shovlin has assiduously reconstructed Lustfaust's history from scratch. His handiwork, conducted in collaboration with Mike Harte and Murray Ward, who are real musicians, includes a CD sampling 72 songs, an elaborate Web site (with links) and even an entry in Wikipedia that sternly warns, ''This section cites no sources or references.''
See full the review here
The gallery is pleased to announce the addition of Steven Stewart and Yasha Wallin as co-directors.
July 15, 2006
Andrew Neel + Elizabeth Neel's exhibition "Event" reviewed in this month's ArtNews.
April 28, 2006
Click here for more information
The current issue of Draft Magazine featuring Asuka Ohsawa on the cover, debuted last night in London at a launch party thrown at Paul Smith.
April 7, 2006
See here for more information
Doug Fishbone will be doing his U.S. debut live performance (which is a cross between Spalding Gray and Jon Stewart) at Joe's Pub on May 9.
April 1, 2006
Times like these need songs like these... Originally put together for Brecht's centenary in 1998, Mr. Wau-Wa is dedicated to performing the songs of Bertolt Brecht as set by his collaborators Kurt Weill, Hanns Eisler and Paul Dessau, as well as some contemporary settings by David Hidalgo - classics and unknowns played in a way that brings the 1930's ringing into the 21st century. Inspired by an old photo of Brecht with some circus friends, Mr. Wau-Wa is Gina Leishman, vocals, accordion, pump organ; Rinde Eckert, vocals, accordion, pump organ; Doug Wieselman, reeds, guitars, vocals; Marcus Rojas, tuba; Kenny Wollesen, drums
Queens-born, London-based Conceptual Artist Doug Fishbone, is best known for his installations in D.U.M.B.O., Brooklyn, Trafalgar Square, London and Poland, Ecuador and Costa Rica - using enormous quantities of bananas – at times as many as 40,000 of them - which he piles up in public places and then gives away free of charge, as well as his self-portrait sculpture made out of gyro meat. Tonight marks the US debut of his performance piece/slide lecture "You Call This Living?", based on his award-winning videos blending filthy stand-up comedy, Powerpoint presentations, the family slide show, tv news broadcasts and the dreaded academic lecture. Fishbone wallows in the grey area of copyright violation, sampling images stolen from the web to reflect some of the more problematic aspects of modern American society – greed, perversity, violence, obscenity, obesity, and, above all, indifference. His performances, a cross between Spalding Gray, Jon Stewart and a complete and utter lunatic, revel in the bizarre, off-putting, but undeniably compelling absurdities of our age. "Recent Goldsmiths graduate Doug Fishbone is the best thing to come out of that venerable YBA breeding ground since, well, the YBAs...his videos are what you'd get if you gave Woody Allen a bag of chronic and a better therapist" - Arena magazine
For more information, see here
A review of Ludwig Schwarz's solo show is included in the current issue of Art Papers.
April 1, 2006
We're pleased to announce the debut of Lustfaust.com, which coincides with the Beck's Futures contemporary art prize exhibition, London
March 30, 2006
See more here
Thanks to Art Review magazine who named us as one of the thirty most interesting galleries in Chelsea.
March 8, 2006
If you're out and about at the various fairs this weekend, please stop by our booth at the Pulse fair.
March 7, 2006
A review of Andrew Neel + Elizabeth Neel's current exhibition is included in this week's New Yorker magazine.
January 30, 2006
Find picture here
We're pleased to announce that the work of Jamie Shovlin will be featured in "Art Now: In Search of Perfect Harmony " at the Tate Britain opening February 6, 20
January 29, 2006
For more information, see the link here
View More
Fashion designer and collector Jean-Charles de Castelbajac is featured with Michael Scoggins' "I Met This Girl"
January 28, 2006
Freight + Volume is pleased to announce its participation in ArtLA, Los Angeles Art Fair for Contemporary Art
January 25, 2006
Matthew Higgs names Peter Gallo as the "Most Significant Emerging Artist of 2005" in this month's Frieze magazine.
January 15, 2006
In an art world crowded with eager graduates, Peter Gallo’s New York début was refreshing. Gallo (born 1959) had two solo exhibitions in New York in 2005. I organized the first one in May at White Columns; the second opened at the new Chelsea gallery Freight + Volume in November. Gallo’s mercurial and deceptively slight art – which juxtaposes a melancholic world-view akin to that of Joy Division with the dysfunctional aesthetics reminiscent of, say, Forrest Bess or Ree Morton – is littered with literary, art-historical, political and musical references. It’s reassuringly hard to pin down.
- Matthew Higgs
See the full article here
Imperfect Articles has produced a limited edition t-shirt by Asuka Ohsawa.
January 12, 2006
Buy yours here.
Asuka Ohsawa's exhibition, "On the Street Where We Live" is reviewed by Ken Johnson in today's New York Times.
December 23, 2005
On the Street Where We Live
Freight + Volume
542 West 24th Street
Through Jan. 4
Art that snares your attention with a cute and playful appearance and then reveals a dark side is a familiar Japanese export, and the Los Angeles-based Asuka Ohsawa is new and adept practitioner of the genre. Painting with gouache on paper, Ms. Ohsawa favors an extremely exacting technique and a style resembling children's book illustration. With its black outlines, restrained color and flattened perspectives, her work also mimics traditional Japanese painting and printmaking.
Ms. Ohsawa populates street and backyard scenes with dozens of characters possessing the bodies of human children and heads of pigs, rabbits, cats, ducks, monkeys and wolves. A bit of study reveals that the apparently juvenile surface thinly masks allegories of consumerism, terrorism, surveillance and war. In ''Neighborhood Watch'' a wolf spies on a group of pigs in a backyard who have captured and tied up another wolf and are using wolf dummies for bow-and-arrow target practice.
In the street scene called ''On the Street Where We Live,'' a triptych nine feet wide, a monkey riding an elephant scatters bonbons to pedestrians who scurry to gather them up while many other characters pursue food, drink and sex. Busily populated as it is, it is easy to almost miss the small rabbit in the midst of all the commotion staring at a little black bomb with a lit fuse at her feet.
KEN JOHNSON
See the original review here
New York magazine named Freight + Volume 2005's "Best New Gallery" in Chelsea
December 12, 2005
Best New Chelsea Gallery
Freight & Volume
Ground-floor newbies in Chelsea are growing rare, at least if you’re not counting galleries opening their fourth branches—so the arrival of former LFL partner Nick Lawrence’s Freight & Volume last fall was a pleasant surprise. His first show (paintings and videos by Ludwig Schwartz) was open for all of one evening, but the schedule quickly settled into a more conventional rhythm (look for monthlong stints by Asuka Ohsawa and the team of Andrew and Elizabeth Neel this winter).
See the original article here
"Scruffy but Smart" by Jerry Saltz reproduced in artnet magazine
October 25, 2005
See the article here.
Jerry Saltz calls the gallery and Ludwig Schwarz's one-night exhibition "Scruffy But Smart" in this week's Village Voice.
October 17, 2005
"Scruffy but Smart"
by Jerry Saltz
A lot of new galleries are setting up shop in the belly of the beast of Chelsea. Rents aren't cheap but the crowds are there. Some of these places are opening big and glitzy and look like they're ready to vie with the big boys (e.g., Bortolami Dayan at 510 West 25th Street). Some are barely opening at all.
That's the story with Freight + Volume, a mini-space on the main drag of West 24th Street, which opened with the jobbed-out paintings and tricked-out videos of Texan Ludwig Schwartz, before closing the very next day so contractors could finish what they started. It is a scruffy show with a lot of heart and smarts, even if it is a little familiar in its funkiness. Still, in only one night, Freight + Volume, as well as Schwartz, whets the appetite. If all goes well the gallery reopens this week.
See the review here.
View More
