http://johnconnellypresents.com/ john connelly presents is a contemporary art gallery in chelsea, nyc en Copyright 2010, john connelly presents Wed, 17 Mar 2010 16:31:02 -0400 <div class="exhibition-subtitle">Omnivorous Interest</div> <div class="exhibition-dates">March 12 - April 10, 2010</div> <div class="exhibition-opening">Opens Friday, March 12, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1873"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/32/32590.jpeg" alt="Barking, 2010, Mixed media on canvas, 70 x 50 in., 177.8 x 127 cm " height="576" width="408" /></a> <p><p>Barking, 2010, Mixed media on canvas, 70 &#215; 50 in., 177.8 &#215; 127 cm</p></p> <br /> <div class="exhibition-description"><p>Haejin Yoon&#39;s (b. 1975, <span class="caps">S.K</span>orea) second solo exhibition in New York, and first solo exhibition at the gallery, will feature new paintings and sculpture that use amorphous figures and forms to suggest various metaphors for the creative process. Working with a combination of both abstraction and figuration, Yoon creates a mysterious recurring cast of characters that are intentionally ambiguous and read as neither human nor animal. The strange duality of the figures find a parallel in tenants of Psychophysics and Taoism and suggest an endless set of metaphorical divisions between the body and soul, dead and alive, male and female, happy and sad, young and old.</p> <p>In some works a pair of eyes or hint of limb ominously or playfully suggests the figure. In others the form is fully realized and enacts a comical or horrific snippet of narrative. The sometimes pained, ecstatic icons that reoccur in these works can at times appear architectural, monolithic or amorphous. Fabric is sometimes incorporated into the compositions and in concert with the artist&#39;s expressionist use of paint suggests varying states of metamorphosis, growth and decay. </p> <p>Yoon works quickly and intuitively, relying on a spontaneous relationship to the subject and medium. Her technique is automatic, and immediate and she uses her dripping, peeling, pasting, cutting and spraying to unite these works into a cohesive body. Her colorful paintings are both tactile and energetic and remind us that creation is born of many different kinds of emotional engagement with our own physicality.</p> <p>Currently living and working in New York, Yoon received both her <span class="caps">BFA </span>and <span class="caps">MFA </span>from Parsons School of Design. She has had previous solo exhibitions at <span class="caps">A.I.R</span> Gallery, Brooklyn and Insa Gallery, Seoul, Korea. Her exhibitions have been reviewed previously in the New York Times.</p> <p>For more information and images please contact the gallery at 212-337-9563 or e-mail info@johnconnellypresents.com</p></div> http://johnconnellypresents.com/exhibition/view/1873 <div class="exhibition-subtitle">New Works</div> <div class="exhibition-dates">February 19 - March 6, 2010</div> <div class="exhibition-opening">Opens Friday, February 19, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1872"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/31/31960.jpeg" alt="Seashell, 31 (Blue), 2009, Oil on linen, 50 x 44 in." height="450" width="370" /></a> <p><p>Seashell, 31 (Blue), 2009, Oil on linen, 50 &#215; 44 in.</p></p> <br /> <div class="exhibition-description"><p>Seven new paintings by Kim Fisher will be on view in New York City at John Connelly Presents (JCP) for a special exhibition of works originally commissioned by the Santa Barbara Contemporary Arts Forum. To create this new body of work, the artist, working with the curators of invertebrate zoology and malacology at the Santa Barbara Museum of Natural History, studied and researched the museum&#39;s renowned collection of exotic shells. Using her observations on the natural forms, textures, patterns, shapes and colors of shells, Fisher has created a beautiful and fascinating new series of paintings which reflect upon and dialogue with the artist&#39;s earlier exploration of gemology, fashion, abstraction and the lunar cycles. </p> <p>Kim Fisher received her <span class="caps">MFA </span>from Otis College of Art and Design in 1998, and her BA from the University of California in 1996, both in Los Angeles. She has had solo exhibitions at China Art Objects, Los Angeles; John Connelly Presents, New York; Shane Campbell, Chicago, and the Modern Institute, Glasgow. Fisher exhibits internationally and participated in the 2004 Whitney Biennial at The Whitney Museum of American Art and the 2004 California Biennial at the Orange County Museum of Art in Newport Beach, California. </p> <p>The artist is included in the new Phaidon publication Painting Abstraction: New Elements in Abstract Painting by Bob Nickas. Regarding the work Nickas writes "Consider [Fisher&#39;s] work as it hangs in the gallery: the painted surface, the color, the hard edge of the image, the straight edge of the stretcher, and the irregular folds of linen. Our gaze moves from the flatness of the wall to the contours of the draped material to the flatness of the painting&#39;s surface. Here, the entire painting is the object, but with heightened contrast. There is play between the smooth surface of color at the service of the image and its geometry, while the color on the linen folds may appear stained or to have bled. The lushness of the paint is juxtaposed with rough areas of unpainted linen. There is the hardness of the image and the softness of the material it&#39;s been painted on. Finally there is the structural integrity of the image and the fragility of the object on which it has been set to rest. Duality is ever-present in Fisher&#39;s work. It is elegant and awkward, formal and deformed, hard and soft, painted and unpainted, polished and raw, illusory and real." </p> <p>In his review of the book in The Nation, Barry Schwabsky writes: "In Painting Abstraction, Nickas presents a broad survey of recent efforts in the field, ranging from the works of veterans--some of them under recognized...--to some of the most promising young painters around, such as Kim Fisher...."</p></div> http://johnconnellypresents.com/exhibition/view/1872 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 14 - February 13, 2010</div> <div class="exhibition-opening">Opens Thursday, January 14, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1851"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/31/31038.jpeg" alt="Justin Samson, Reality of Life, 2009, 48 x 48 inches, Acrylic on canvas, spraypaint on wood" height="400" width="299" /></a> <p><p>Justin Samson, Reality of Life, 2009, 48 &#215; 48 inches, Acrylic on canvas, spraypaint on wood</p></p> <br /> <div class="exhibition-description"><p><span class="caps">FOR IMMEDIATE RELEASE</span>:</p> <p>John Connelly Presents is pleased to announce an exhibition of new works by</p> <p>Justin Samson<br /> Haejin Yoon</p> <p>Following his successful 2009 solo exhibition "Inside The Cosmic Motion Picture", Samson presents new paintings and sculpture that continue to use science, humanity and minimalism as an influence. Samson&#39;s works often use mundane materials such as wire, wood, plastic, spray paint and hot glue. Here, "Reality of Life", a painting of a single breast on canvas in acrylic is framed by a colorful nebula of painted chipboard and wood. Although Samson uses found images as source material for his collages and paintings the image of the breast is taken from life, using the same model that has appeared in other works by the artist. The nebula painting is created using the Hubble telescope&#39;s images as reference. The result is a beautiful balance between appropriation and interpretation using two very different types of images, both suggesting creation.</p> <p>Haejin Yoon creates lively paintings and sculptures that combine elements of abstraction and figuration. In Yoon&#39;s newest series she uses an ambiguous figure that is neither human nor animal. In each work the figure is ominously or playfully suggested by a pair of eyes or hint of limb. Fabric is sometimes incorporated into the compositions as well as an expressionist use of paint that can suggest varying states of metamorphosis, growth and decay. The sometimes pained, ecstatic icon reoccurring in these new works can at times appear either architectural, monolithic or amorphous. Yoon&#39;s<br /> colorful paintings are both tactile and energetic and remind us that creation is born of many different kinds of emotional engagement with our own physicality. Both artists will also exhibit new sculptural works that further illuminate the balance between the physical, theoretical and emotional states of creativity.</p> <p>For more information please contact the gallery: info@johnconnellypresents.com</p></div> http://johnconnellypresents.com/exhibition/view/1851 <div class="exhibition-subtitle">&quot;Virtual America&quot; and &quot;New Painting from L'Atelier Rouge&quot;</div> <div class="exhibition-dates">October 30 - December 12, 2009</div> <div class="exhibition-opening">Opens Friday, October 30, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1782"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/29/29347.jpeg" alt="" height="359" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">FOR IMMEDIATE RELEASE</span>:</p> <p>John Connelly Presents is pleased to announce</p> <p><span class="caps">MARCO BOGGIO SELLA</span><br /> "Virtual America" and "New Painting from L&#39;Atelier Rouge"<br /> October 30th - December 12th, 2009<br /> Opening: Friday, October 30th, 6-8 pm</p> <p>For his latest project Marco Boggio Sella has conceived of two new exhibitions, "Virtual America" and "New Painting from L&#39;Atelier Rouge", to be presenting simultaneously as the artist&#39;s third and fourth consecutive solo shows in New York. By presenting two solo shows at the same time Boggio Sella highlights the relative nature of the creative process while drawing attention to the serial relationship within his own bodies of work. Shown together as two interlacing but autonomous presentations, Boggio Sella&#39;s project creates a non-dialogue that has become the artist&#39;s trademark in exploring the nature of creativity. The result is a complex stratification of disconnected surprises rather than any logical consequentiality. </p> <p>In "Virtual America", Marco Boggio Sella recollects cultural clich&eacute;s and personal experiences to illuminate what holds together the contradictions assumable under the concept of America. The largest piece in the show is a collection of images printed on Dura-Lar, a synthetic material commonly used for its characteristic transparency. Stacks of 30 sheets (5&#215;10 feet in size) some printed some not, are secured to the wall of the gallery by leaning 14 feet-long,182 pound metal beams. Stacking Dura-Lar sheets result in a mirroring quality that conveys to the printed images a particularly immaterial feel. The structural absurdity of the installation is paired with the oddity of the represented images. A concert by American Idol winner David Cook during an All Star baseball game is staged in the middle of the stadium and enhanced by a special effects of cannons spitting big clouds of fire. The setting for the official picture of a meeting between former American president Bill Clinton and North Korean leader Kim Jong Il is decorated by a mural representing a giant wave. The strangeness of the two images creates a dialog specific in its absurdity, yet based on real facts. As in many cases today, the real outplays any fiction with surprising power</p> <p>Several sculptures from the "Virtual America" series continue in this vein . One is composed of a readymade of a hunting camouflage suit laid on a sculpture base modeled as a natural terrain. The base, reminiscent of a classical sculpture, provides a fictional context for the readymade, leaving room for a narrative interpretation. The suit becomes a strange icon of death while its foliage decoration opens a dialog on the natural/artificial with the sculpted ground upon which it is placed. An oversized sculpture of a cotton swab continues Boggio Sella&#39;s investigation into art historical vocabularies of scale (the size of the enlargement is somehow smaller than what would be typical of the Pop process) and turns a petite household item into an estranged object. Through the transformation it acquires a different relationship with the human body reminding one of other artifacts of common use such as a primordial weapon or a canoe paddle. </p> <p>Boggio Sella&#39;s other exhibition on view is from "L&#39;Atelier Rouge", an ongoing series of works inspired by Matisse&#39;s eponymous painting, where Boggio Sella reinterprets familiar images from art history, decoration, the history of photography, and uncopyrighted images used by designers and advertisers. A new group of six large paintings from this series are inspired by documentary photographs of the 1920&#39;s and are painted on a surface that is textured by a layer of pasta creating a secondary shadow image over the first. This technique creates an image inside an image, the former visible trough the color and the latter thanks to the interplay of the pasta and the extremely glossy quality of the surface. The emblematic use of Matisse&#39;s "L&#39;Atelier Rouge" is a reference to the artistic practice and at the same time a display of the creative "emergency" which is the subject of the painting. In Matisse&#39;s image only the paintings in the studio are rendered in full color; the studio itself, the creative environment, is completely painted in red. </p> <p>Marco Boggio Sella was born in Turin, Italy in 1972 and lives and works in New York. He has had solo exhibitions at Centre International d&#39;art et du paysage, Ile de Vassiviere, France; Galerie Analix, Geneva; Studio Guenzani, Milan; Galerie Cosmic, Paris and John Connelly Presents, New York. <br /> For more information and photographs please contact the gallery at 212-337-9563.</p></div> http://johnconnellypresents.com/exhibition/view/1782 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 10 - October 24, 2009</div> <div class="exhibition-opening">Opens Thursday, September 10, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1781"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/27/27521.jpeg" alt="" height="720" width="480" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce Scott Hug&#39;s second solo exhibition at the gallery, Million Dollar Spit in the Ocean. In this exhibition Hug continues his critical assessments of contemporary consumer culture through a process that dissects our obsessions with public opinion. These new works present us with a curious truth; we often rely on an abstract interpretation of data and surface images to construct our understanding of the world around us, forgoing personal experience.</p> <p>The works in this exhibition are based on pie charts derived from information provided by Gallup.com polls, a popular method for determining current nation-wide sentiments and opinions. </p> <p>Hug interprets these surveys in three different media. He has translated some of the found data into Color-aid pie charts applied directly over the center of pages from National Geographic magazine. Developed in 1948, Color-aid was initially designed as a backdrop for photographers, it was soon discovered by Josef Albers and has since then been a traditional media for modernist color theory. Hug&#39;s act of superimposing these charts over the often iconic images from National Geographic, underlines our distance from the "natural world" and the ubiquity of data once removed from its original context. His gesture seems to negate the image of "nature" as presented by the "adventure" periodical made for armchair explorers.</p> <p>Hug will also present four large-scale color field paintings shaded according to fashion forecast <span class="caps">AW09</span>/10 trends - casual, chic, classic. The result underscores that the contemporary business graphs have become an object of glamour that many adhere to, study, and follow with near-religious fervor, resembling mandalas and secret signs.</p> <p>In addition to these works Hug has combined 360 of his collage studies into an endlessly running computer program that randomizes the images into a shuffle - pausing for a moment here and there only to keep moving on, endlessly searching for the next contemporary moment.</p> <p>Hug&#39;s exhibition is illustrative of how our fascination with real-time interpretation of statistics has become more important than deep analysis - as soon as a survey is made it is already reduced to an aesthetic, only to be replaced by a new interpretation of data the next day. The obsession with abstract information is often more palatable than a discussion that addresses the original question, not just the answer. It&#39;s just business.</p> <p>Scott Hug received his <span class="caps">BFA </span>from the School of the Art Institute of Chicago and a Masters in communication design from Pratt Institute. Hug&#39;s work has been featured at John Connelly Presents, Deitch Projects, D&#39;Amelio Terras, Elizabeth Dee, and The Kitchen in New York. He has had solo shows of collaborative work made with artist Michael Magnan at John Connelly Presents and Hiromi Yoshii Gallery, Tokyo, Japan. His work has been reviewed in the New York Times and has appeared in the New Art Examiner and Zingmagazine. He was awarded a Rema Hort Mann grant in 2004.</p> <p>Please contact the gallery for additional information and images.</p></div> http://johnconnellypresents.com/exhibition/view/1781 <div class="exhibition-subtitle">From Yarn to Yucca- A Continuation of the Dialogue Between Abstraction and Figuration</div> <div class="exhibition-dates">July 16 - August 21, 2009</div> <br/> <a href="/exhibition/view/1754"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/26/26670.jpeg" alt="Paulus Kapteyn, Untitled, 2009, Acrylic paint, watercolor, graphite, ink and chalk, 17 x 14 in., 43.2 x 35.6 cm" height="432" width="363" /></a> <p><p>Paulus Kapteyn, Untitled, 2009, Acrylic paint, watercolor, graphite, ink and chalk, 17 &#215; 14 in., 43.2 &#215; 35.6 cm</p></p> <br /> <div class="exhibition-description"><p>Marco Boggio Sella<br /> Gerald Davis<br /> Martha Friedman<br /> Tamar Halpern<br /> Justin Samson<br /> Eva Berendes<br /> Holly Coulis<br /> Paulus Kapteyn<br /> Grant Worth</p></div> http://johnconnellypresents.com/exhibition/view/1754 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">June 5 - July 10, 2009</div> <div class="exhibition-opening">Opens Friday, June 5, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1634"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/25/25444.jpeg" alt="Scott Hug, State of the Nation: 20% Satisfied, 80% Dissatisfied (Gallup.com Feb 2009), Arctic Wolf" height="500" width="350" /></a> <p><p>Scott Hug, State of the Nation: 20% Satisfied, 80% Dissatisfied (Gallup.com Feb 2009), Arctic Wolf</p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1634 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">June 5 - July 10, 2009</div> <br/> <a href="/exhibition/view/1710"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/25/25906.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1710 <div class="exhibition-subtitle">trade secrets</div> <div class="exhibition-dates">April 10 - May 16, 2009</div> <div class="exhibition-opening">Opens Friday, April 10, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1686"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/24/24571.jpeg" alt="Joy Drury Cox Cleopatra's Trade Secrets Trade Form graphite on paper 8.5 x 11 in. 2009 " height="576" width="435" /></a> <p><p>Joy Drury Cox<br /> Cleopatra&#39;s Trade Secrets Trade Form<br /> graphite on paper<br /> 8.5 &#215; 11 in.<br /> 2009</p></p> <br /> <div class="exhibition-description"><p>The premise of this exhibition is an exchange of "art objects" between the participants of Cleopatra&#39;s, a collaborative project and exhibition space located at 110 Meserole Avenue in Greenpoint, Brooklyn. Starting on April 10th, Cleopatra&#39;s founders Bridget Donahue, Bridget Finn, Kate McNamara and Erin Somerville will place four art objects, of their making, in the project space at John Connelly Presents. Each day an artist who has worked with Cleopatra&#39;s since it&#39;s inception in June 2008 will report to the Tunnel Room during gallery hours to install a new piece. In exchange for their object, the artist may take any one of the objects in the space on that given day. Daily trades will commence in the same order as the artist&#39;s initial participation with Cleopatra&#39;s. Only one exchange will take place each day.</p> <p>Please note: Visitors will have the fleeting opportunity to purchase any of the works on view. Funds collected will be pooled and shared equally among all participants.</p> <p>Over the course of the show, installation photographs and a logbook will provide daily documentation.</p> <p>Joy Drury Cox, Tyler Coburn, Ruslan Trusewych, Andres Laracuente, Sweeeet, Arnd Siebert, Sam Moyer, Petrova Giberson, Noah Sheldon, Christopher Fachini, Sahra Motalebi, Silk Flowers, Jeanette Mundt, Alison Walsh, Jackie Kim, Zak Kitnick, Charles Harlan, Denise Kupferschmidt, Josh Kline, Mike Shea, Free Danger, Josh Slater, Summer Kemick, Daniel Heidkamp, Brian Faucette, Andrew Guenther, James J. Williams <span class="caps">III,</span> Patrick Walsh, and John Connelly.</p> <p><span class="caps">WWW.CLEOPATRAS.US</span></p></div> http://johnconnellypresents.com/exhibition/view/1686 <div class="exhibition-subtitle">supper club</div> <div class="exhibition-dates">April 10 - May 16, 2009</div> <br/> <a href="/exhibition/view/1633"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/24/24695.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce an exhibition of new paintings by Michael Wetzel, titled "Supper Club". The artist&#39;s third solo exhibition at the gallery features opulent table settings, flowing champagne glasses, plentiful plates of edibles and otherworldly floral arrangements. In this new work, Wetzel specifically explores the visual elements that trigger our appetites for both food and art while continuing to reference the cultural codes and economic signifiers of taste and class found throughout the history of genre painting.</p> <p>The painting and representation of food can be traced back all the way to prehistoric cave painting like those in Lascaux, France. Hunger is a basic human condition, but what does the connection between food and visual art say about us as consuming and pleasure seeking beasts? The works in this exhibition are sumptuous paintings as a whole, and suggest another world and time. These are also contemporary images that underscore both the recent decadence of our culture, and our desire to validate our existence by surrounding ourselves with pleasing spectacles of wealth and abundance. The viewer is implicated by his own simple humanity, and encouraged to lose himself amongst the splashes, dribbles, and reflections of a reality that is very much our own, and yet for many always out of reach.</p> <p>Wetzel approaches the experience of looking at the subject of food through a systematic and rigorous approach to the structure of painting. He breaks down each work into an arrangement of two-dimensional planes and individual marks. A lobster becomes a concert of dashes caught in a net of interwoven colors. It is garnished with singular elements of steam, ice, and fire, altering the painting&#39;s elemental grid structure to create the illusion of time and space. In his paintings of pasta each spaghetti noodle becomes calligraphy, the sauce broad painting strokes, and the cheese, drips. It is our innate response to color and form that allows us to be seduced by the spectacle before our eyes.</p> <p>For more information and images please contact the gallery.</p></div> http://johnconnellypresents.com/exhibition/view/1633 <div class="exhibition-subtitle">The Varieties of Experience</div> <div class="exhibition-dates">March 3 - April 4, 2009</div> <br/> <a href="/exhibition/view/1632"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/23/23646.jpeg" alt="" height="297" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce an exhibition of new work by Los Angeles-based artist Mungo Thomson. Thomson pairs a distinctly West Coast conceptual sensibility with an interest in cosmology, mysticism, and reception. In Thomson&#39;s diverse art--ranging from films and sound works to publications, drawings, and photographic wall murals--simple processes of inversion and transformation are joined with an expansive sense of space and context. His project for the 2008 Whitney Biennial, for example, transformed the Museum&#39;s coat check into an enormous musical instrument that was "played" by the incidental participation of the public, the weather, and chance.</p> <p>b/w, a sound work on a white vinyl 12" LP, applies a principle drawn from marine audio research--where certain deep-sea recordings are inaudible until sped up 16x--to commercial nature relaxation records. One side of b/w speeds up whole albums of humpback whalesong 16x until they resemble birdsong; the other side slows down tracks from birdsong albums 16x until they resemble whalesong. The "birdsong" plays outside onto 27th Street, the "whalesong" plays inside the gallery.</p> <p>Thomson&#39;s 16mm film, The Varieties Of Experience, was made by using Nam Jun Paik&#39;s Zen For Film (1962-64) as a negative. Zen for Film consists of a length of clear 16mm film leader projecting a rectangle of pure white. Over time, the celluloid collects dust from the space of its exhibition; this dust is projected as brown and black smudges on the otherwise white image. Dust is largely composed of human cells, and in this way the audience of Paik&#39;s work has literally become embedded in it over several decades. Thomson worked with the <span class="caps">NJP </span>estate to procure a "dirty" copy of the film and to use it as a negative from which to make a new print. The new film is an inversion of the original: a black film with the dust printed as white specks and clouds--a moving starscape, where the stars are composed of dust (and people) instead of the other way around. </p> <p>Untitled (Margo Leavin Gallery, 1970-) is a new film that groups together a series of fading analog technologies: the business card Rolodex, stop-motion animation, and Super-16mm film. It features the Rolodexes of Margo Leavin Gallery, Thomson&#39;s Los Angeles art gallery. Since it opened in 1970 the gallery has accrued a massive, well-thumbed set of card files containing thousands of contacts, including artists, electricians, framers, collectors, customs officials, and so on. Now that the gallery has established a digital database these cards can be viewed as a historical archive of the wide systemic context oriented around the reception of artworks. These cards have been transposed to Super-16mm film, where each card gets at least one frame (Super-16mm film and Rolodex cards share a common aspect ratio); the result is a spinning card file that echoes the looping of the film through a projector. On film, the archive becomes a procession. Like The Varieties of Experience, Untitled (Margo Leavin Gallery, 1970-) is a kinetic, semi-abstract chronicle of a particular set of relationships, accumulated over decades, around and between audiences and artworks.</p> <p>Thomson&#39;s new drawing project, The Ellipses, is also an archive from a pre-digital moment. These drawings are made, in ink on polyethylene, using commercial drafting templates. These templates are made by a number of different manufacturers, in different styles and for different graphic applications. The shapes punched out of the templates represent every projection of the ellipse shape, on a spectrum of 5 to 85 degrees, between a line at one end and a circle at the other. Filled with black ink on a bright white surface, the negatives of these shapes form warping grids and patterns that take on a strong optical character. The drawings are both by and of the templates. As a group they form a graphic record of another disappearing technology. At the same time their abstraction is meant to be evocative of cosmological phenomena like the the phases of the moon and the elliptical rotation of the planets around the sun.</p> <p>Mungo Thomson was the subject of a solo Projects exhibition at the <span class="caps">UCLA</span> Hammer Museum in 2008. Other recent solo shows have taken place at the Kadist Art Foundation, Paris; and <span class="caps">GAM</span>eC, Bergamo, Italy. His work was included in the 2008 Whitney Biennial Exhibition at the Whitney Museum of American Art, New York; the Le Havre Biennial of Contemporary Art in Le Havre, France; The 8th Panama Biennial in Panama City, Panama; The Cinema Effect at the Hirshhorn Museum in Washington, <span class="caps">D.C.</span>; and The Possibility of an Island at the Museum of Contemporary Art North Miami, among others. In 2009 Thomson&#39;s work will be included in exhibitions at Kunsthalle Dusseldorf, Germany and at <span class="caps">S.M.A.K.,</span> Ghent, Belgium. His book Negative Space was published by <span class="caps">JRP</span>|RIngier in 2006. </p> <p>John Connelly Presents is located at 625 West 27th Street, New York, NY 10001. For more information and additional images please contact us at info@johnconnellypresents.com</p></div> http://johnconnellypresents.com/exhibition/view/1632 <div class="exhibition-subtitle">Inside the Cosmic Motion Picture Projector</div> <div class="exhibition-dates">January 16 - February 21, 2009</div> <div class="exhibition-opening">Opens Friday, January 16, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1599"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/22/22169.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce Justin Samson&#39;s second solo show at the gallery, "Inside the Cosmic Motion Picture Projector". This title refers to the human mind in relation to what we perceive as reality. The observer is the creator. Inspired by quantum theory and the recent global interest in the Large Hadron Collider built by <span class="caps">CERN </span>on the Franco-Swiss border near Geneva, Switzerland, Samson has created a body of work that explores the concepts of quantum mechanics. </p> <p>The sculptures in this exhibition are fictional components of the particle accelerator. Fabricated from found objects, arranged and manipulated through the use of copper paint and assemblage the sculptures are akin to props from a Sci-Fi film. The paintings, created using spray paint, acrylic, on canvas and chipboard, and sometimes embellished by light fixtures, draw from notions and representations of the afterlife, subatomic particles and Dark Matter. These works are influenced by modernists such as Helen Frankenthaler, Mark Rothko, Bart van der Leck and Ad Reinhardt and suggest Samson&#39;s wish is to return a stylistic minimalism to its mystical roots.</p> <p>Samson underlines that all matter in the universe is connected because all matter is really an energy wave. What we perceive as reality is in fact our brain&#39;s interpretation of the interference patterns of the waves. We objectify these patterns as reality. To apply quantum theory, the physical world must be divided into two parts. These parts are the observed system and the observing system. On a subatomic level, physicists create particles just by observing them. On the macrocosmic level the human mind creates the universe. Reality is projected by thought. The mind is a wave. It is connected to everything in the universe.</p></div> http://johnconnellypresents.com/exhibition/view/1599 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 16 - February 21, 2009</div> <div class="exhibition-opening">Opens Friday, January 16, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1619"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/22/22177.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Jeffrey Tranchell&#39;s work relies on use of accessible means of production such as common and domestic materials. These affordable and customary resources tend to have an innate quality of familiarity. In paintings as well as drawings and collages, mark making is often made using various household materials; used postal stamps, produce stickers, price tags, and coins. &nbsp;All are materials in arms reach.<br /> &nbsp;<br /> As a result these works are often adorned with records of dates, places and objects. An untitled coin rubbing, suggests a possible routine. Collages consist of the above-mentioned stickers affixed to magazine clippings from popular fashion publications. &nbsp;&nbsp;"Ruby Red," a near monochrome of "sunshine yellow," is painted on the raw canvas from the backside of an abandoned painting. Upon the washy color field are affixed two small labels mimicking the gesture of painting. &nbsp;<br /> &nbsp;<br /> These works are joined by "Kings County", a slide show of vacant apartments that exploits the aesthetics of a document. Appropriated images from rental listings are offered out of their original context so that viewers can construct new meaning from them beyond there intended function.</p> <p>Born in Owosso Michigan, Jeffrey Tranchell lives and works in Brooklyn, New York. He earned his <span class="caps">BFA </span>in 2005 at College for Creative Studies in Detroit, Michigan.&nbsp;</p></div> http://johnconnellypresents.com/exhibition/view/1619 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">December 16, 2008 - January 10, 2009</div> <br/> <a href="/exhibition/view/1598"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/21/21615.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p>kent henricksen, freeman and phelan, scott hug, joshua smith, mungo thomson, michael wetzel, marco boggio sella, kim fisher, avaf, patricia treib</p></div> http://johnconnellypresents.com/exhibition/view/1598 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 18 - December 6, 2008</div> <br/> <a href="/exhibition/view/1443"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/20/20310.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p>When looking at paintings from the past, especially those that deviate from the rigidity of Western perspective, one can begin to notice certain spatial inconsistencies. Take for example an image that presents two assertions of space, each valid and persuasive in its respective logic, yet together they are incompatible, absurd. Both assertions remain in flux, each competing with equal power, yet neither dominates nor subsides. The overlapping forms in a Ravenna mosaic, or the meeting of edges in a Morandi still life exemplify this perpetual shifting of relations. Such instances of spatial paradox expose the seams of an image and indicate the fault lines beneath its construction. <br /> The present group of paintings takes this uncertainty of spatial relationships and its force exerted on the body of the viewer as points of departure. The paintings draw from a concurrent group of works on paper, which originated as bound pages within a book. The book format lent itself to a repetition of "motifs," and set the conditions for the paintings to develop as variations on a theme. The themes are not ostensibly namable subjects, yet still make use of recurring components and operations. The works on paper are approached as both image and object. A painting may be <em>from</em> a previous drawing--the former taking the latter as a direct referent. Another painting may rather be <em>of</em> a prior drawing--the former depicting the latter as an object in space. Sometimes this shift occurs within the same painting. <br /> The paintings have at once a centrifugal and centripetal existence: several overemphasize and restate the certainty of their external delimitations, while conversely alluding to their possible status as a detail, an excerpt. The repetition and shifting of motifs across multiple paintings construct modes of framing, and place an image "into infinity." Each painting reconstitutes a fragment, by focusing in on a piece and organizing a new whole, but one that is noted for its dissimilarity and non-mimetic character. The operation of abstraction is here tied to a process of un-naming. The paintings seek to find an image of a sensation that is experienced before its cause can be determined, before a name seals its identity.</p> <p>Patricia Treib received an <span class="caps">MFA </span>from Columbia University in 2006. Her works have recently been exhibited at Andrew Kreps Gallery, John Connelly Presents and Guild &amp; Greyshkul in New York, Fred Snitzer Gallery in Miami, and Sutton Lane in Paris. This is the artist&#39;s first solo exhibition in New York following a project debut in our Tunnel Room in 2007. Treib lives and works in New York.</p></div> http://johnconnellypresents.com/exhibition/view/1443 <div class="exhibition-subtitle">An Erotics</div> <div class="exhibition-dates">September 5 - October 11, 2008</div> <br/> <a href="/exhibition/view/1446"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/20/20472.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce the opening of An Erotics, a solo exhibition in the Tunnel Room of works by Molly Zuckerman-Hartung. Consisting of a selection of abstract paintings on canvas, this exhibition impresses on the viewer a deep romanticism for painting. There are strikingly visible appropriations of historical hallmarks in Zuckerman&#39;s stylistic technique. An essential element of her body of work thus far is a calculated jest with the idea of the importance of an artist&#39;s visible style. In fact Zuckerman-Hartung pursues categorically different, sometimes opposed, paths of painting at the same time. Without any true context outside of themselves, her paintings shoulder the weight of art history, especially abstraction.</p> <p><em>RK: Many contemporary painters rely on a singular and immediately identifiable style. You avoid this. Why?</em> </p> <p><em>MZ: Style is the way you hold your cigarette or pronounce your r&#39;s. Style emerges out of a myriad of decisions rather like an odor emanating from a pile of clothing.</em></p> <p><em>I read Derrida before I read Plato, so even notions of linearity and one-way-ness in history are somewhat malleable to me. A way to contextualize myself and my actions. I was searching for language. Painting offers a long, rich tradition of meaningful language. As Nietzsche has written, the danger is if we use that history to the detriment of life. To me, life comes first.</em></p> <p>Molly Zuckerman-Hartung (b. 1975) received her <span class="caps">MFA </span>in Painting and Drawing from the School of the Art Institute of Chicago in 2007. She recently had a solo show at Rowley Kennerk in Chicago. This will be her first solo show in New York City.</p></div> http://johnconnellypresents.com/exhibition/view/1446 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 5 - October 11, 2008</div> <br/> <a href="/exhibition/view/1442"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/18/18714.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p>Jeronimo Elespe&#39;s paintings in this exhibition, all oil on aluminum panel, continue his investigation into the relationship between the physical qualities of painting and the nature of images and memory. &nbsp; Elespe works in a small-scale format (ranging in size from 4 &#215; 4 " to 10 &#215; 15 "), creating from memory paintings of friends and family members; domestic details and interiors; architectural and urban landscapes. &nbsp;Elespe will sometimes work on an individual painting over the course of months or even years allowing each painting time to veer intuitively in a direction that is either more representational or more abstract. &nbsp;The result is a dreamlike fissure of haunting and ambiguous images built on many (physical and metaphysical) layers and surfaces. &nbsp; While solidly autobiographical and contemporary, Elespe&#39;s paintings retain a historical connection to the work of Spanish artists such as Goya and Velazquez and reflect an obsession with detail and surface found in Medieval and early Renaissance paintings.</p> <p>Jeronimo Elespe was born in Madrid, Spain in 1975 where he currently lives and works. &nbsp;He received an <span class="caps">MFA </span>in Painting from Yale University in 2001. &nbsp;This will be his fourth solo exhibition in New York.</p></div> http://johnconnellypresents.com/exhibition/view/1442 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">June 26 - August 29, 2008</div> <br/> <a href="/exhibition/view/1447"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/20/20465.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1447 <div class="exhibition-subtitle">rashawn griffin, amanda ross-ho, justin samson, joshua smith</div> <div class="exhibition-dates">June 26 - August 29, 2008</div> <br/> <a href="/exhibition/view/1327"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/17/17306.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce the group exhibition <em><span class="caps">A.T.</span> Complex</em>, opening June 26, 2008, 6 - 8pm. <em><span class="caps">A.T.</span> Complex</em> includes recent work by artists Rashawn Griffin, Amanda Ross-Ho, Justin Samson, and Joshua Smith, in an exhibition defined by the intrinsic role of the artist&#39;s muse, studio and living space in their artwork. Found among the artwork in this exhibition are various interweaving narratives, involving the use of personal objects, domesticated animals, studio detritus, and other personal obsessions. Using a <em>bricolage</em> sensibility these artists mine their lives and living spaces and make use of these figures, objects and spaces as tools for expression and investigation. This exhibition consists of many simple gestures that nevertheless actively engage particular moments of the human experience. The "T" in the title stands in for <em>tellurian</em>, underlining the uniquely earthly and human qualities under investigation by these artists. <em>Complex</em>, is used in two senses, to both suggest the complexity of el ements involved in an artist&#39;s practice, and a reconfigured notion of the Jungian psychological state of being bound obsessively to these objects, spaces, and people.<br /> This exhibition was curated by Frederick Janka.</p> <p><strong>In the tunnel room</strong>: recent photographs by Xaviera Simmons. Simmons uses a bold and graphic color palette in this selection of self-portraits, juxtaposing the roles of a non-fixed and multiple Identity within a changing landscape. Her photographs are suggestive of narrative and as such her figures play a central role in the composition with the landscape serving as suggested "backdrops" and contextualizing locals.</p> <p>Simmons received a <span class="caps">BFA </span>from Bard College, and participated in the 2005 Whitney Museum Independent Study Program, and 2007 Lower Manhattan Cultural Council&#39;s Workspace Residency. She was recently awarded the prestigious 2008 David C. Driskell Prize by the High Museum of Art in Atlanta and is currently working on an "In the Public Realm" commissioned pr oject for The Public Art Fund, at several locations in the Bronx.</p> <p>For additional information and images please contact the gallery.</p></div> http://johnconnellypresents.com/exhibition/view/1327 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 15 - June 21, 2008</div> <br/> <a href="/exhibition/view/1412"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/20/20484.jpeg" alt="" height="303" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p>In Elad Lassry&#39;s untitled super 16mm film, New York City Ballet dancers Megan LeCrone and Ask La Cour perform the last minute of the seminal choreography by George Balanchine for the pas de deux from Agon (1957). The dancers are filmed from a pre-determined positioning of the camera based upon Doris Humphrey&#39;s diagram from her 1958 book "The Art of Making Dances" in which she breaks the dance stage into potential relative strength points. In referencing the foundation of Structuralist film, histories of dance on film, and the tension between neo classicism and modernism, the artist asks the audience to revisit cultural production from the perspective of a collaboration that has never happened.<br /> Israeli-born, Los Angeles-based artist Elad Lassry received a <span class="caps">BFA </span>in both Film and Studio Art from the California Institute of the Arts in 2003, and received an <span class="caps">MFA </span>in Studio Art from the University of Southern&#8232;California in 2007. His first solo exhibition was at Cherry and Martin in Los Angeles in 2007. His work is included in public collections such as the Whitney Museum of American Art, the Los Angeles County Museum of Art and The Israel Museum. This fall he will participate in the 2008 California Biennial.</p></div> http://johnconnellypresents.com/exhibition/view/1412 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 15 - June 21, 2008</div> <br/> <a href="/exhibition/view/1302"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/16/16344.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>For her second solo show in New York, Kim Fisher will present eight new large-scale abstract paintings inspired by the phases - the waxing and waning - of the moon. Fisher&#39;s paintings begin as collage studies that incorporate a diverse range of printed paper elements. These studies are then translated into layered, complex, and sometimes photorealistic oil paintings made through rigorous systems of paint application. Her practice is highly formal, her use of subject matter and technique are both innovative and remarkably unexpected.<br /> Kim Fisher received her <span class="caps">MFA </span>from Otis College of Art and Design in 1998, and her <span class="caps">BFA </span>from the University of California in 1996, both in Los Angeles. She has had solo exhibitions at China Art Objects, Los Angeles; John Connelly Presents, New York; Shane Campbell, Chicago, and the Modern Institute, Glasgow. Fisher exhibits internationally and participated in the 2004 Whitney Biennial at The Whitney Museum of American Art and the 2004 California Biennial at the Orange County Museum of Art in Newport Beach, California.</p> <p>Please contact the gallery for additional information and images.</p></div> http://johnconnellypresents.com/exhibition/view/1302 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 4 - May 10, 2008</div> <br/> <a href="/exhibition/view/1366"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/15/15297.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1366 <div class="exhibition-subtitle">Where He Was Going</div> <div class="exhibition-dates">April 4 - May 10, 2008</div> <br/> <a href="/exhibition/view/1160"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/15/15286.jpeg" alt="" height="302" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce our second solo exhibition with Canadian artist and filmmaker Scott Treleaven. Treleaven will exhibit a new series of works on paper that incorporate watercolor, ink, and collage, in addition to color and silver gelatin prints, Chiyogami paper sculptures, and an immersive dual channel video installation.</p> <p>The &#39;threshold&#39; experience is at the heart of this exhibition, the moment of transition and in between. Treleaven illustrates varied moments of contact between two worlds or states of being - when the world above stares at the world below and vice versa. For many cultures adolescence is the nascent period between childhood and adulthood, a state that is often praised for its mystical attributes; these changelings are sometimes able to become the medium of contact, a bridge, between the worlds of the living and deceased. In this liminal moment, often one of mirroring, it is revealed that opposing states are much more alike then one might have imagined.</p> <p>Scott Treleaven works with collage, drawing, sculpture, film and photography to create compositions of figures in dark tableaux that bridge the spiritual, the uncanny and the allegorical. Strongly influenced by cinematic tropes, his collages and sculptures are connected through recurring characters, noir mise-en-scene and subculture motifs. Treleaven first achieved recognition in 2002 with his short film, The Salivation Army, which was screened at the Museum of Modern Art, New York in 2006 and at numerous venues internationally. Based on his experiences publishing an underground magazine of the same name, the film fleshed out one of the artist&#39;s core obsessions: that the language employed by occult and symbolist traditions still remains the most accurate way of describing and dignifying the human condition. He has most recently collaborated on projects with artists AA Bronson, GB Jones, Genesis P-Orridge, and writer Dennis Cooper. He currently lives and works in Paris.</p> <p>In the Tunnel Room: Nao Tsuda, Kogi</p> <p>For additional information and images please contact the gallery</p></div> http://johnconnellypresents.com/exhibition/view/1160 <div class="exhibition-subtitle">Opening: Saturday, February 23 6 - 8 pm</div> <div class="exhibition-dates">February 23 - March 29, 2008</div> <br/> <a href="/exhibition/view/1159"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/14/14402.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p>assume vivid astro focus, Tamy Ben-Tor, Marco Boggio-Sella, Tom Burr, Brian Clifton, Peter Coffin, Anne Collier, Donnie &amp; Travis, Jeronimo Elespe, Dana Frankfort, Jonah Freeman, Sam Gordon, Wade Guyton, Tamar Halpern, Kent Henricksen, Matthew Higgs, Scott Hug, Daniel Lefcourt, Legion, Justin Lowe, Keith Mayerson, Kenric McDowell, Dave McKenzie, Sean Paul, Michael Phelan, Alexandre Singh, Patricia Treib, Justin Samson, Nolan Simon, Joshua Smith, Meredyth Sparks, <span class="caps">A.L.</span> Steiner, Dannielle Tegeder, Sara VanDerBeek, Michael Wetzel, and Grant Worth</p> <p>A New High In Getting Low (NYC) is an expanded version of an exhibition that was first shown at Artnews Projects in Berlin in October 2007. All the artists in both exhibitions are <span class="caps">NYC </span>based and there is no singular theme except for the criteria of living andworking in New York post 9/11. Most of the works share a dark subtext that could be construed as something related to the paranoia, denial and mania that has absorbed the city for the last six years. There have been many dramatic shifts in New York (and the New York art world) since the fall of 2001, and many of these artworks can be read as a reaction to these changes. </p> <p>The choice of the title "A New High In Getting Low" (itself a corrupted version of the name of one of the artworks in the show) references not only an ongoing dialog between the polarities of high and low art, but also the cultural and social highs and lows that find a convenient metaphor in popular drug culture. The terminology can also opportunely be applied to the current American political and economic realities. For example, the current international perception of the United States has arguably reached an all-time low, the value of the dollar abroad continues to fall and the instability in the national economy has almost daily reverberations worldwide. This exhibition in many ways offers a glimpse into a contemporary cultural climate feeling the after effects of unprecedented dramatic political and economic shifts in America.</p> <p>For more information and images please contact the gallery at 212-337-9563 or e-mail info@johnconnellypresents.com</p></div> http://johnconnellypresents.com/exhibition/view/1159 <div class="exhibition-subtitle">School for Young Shamans</div> <div class="exhibition-dates">January 10 - February 16, 2008</div> <br/> <a href="/exhibition/view/1283"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/13/13056.jpeg" alt="" height="301" width="450" /></a> <p></p> <br /> <div class="exhibition-description"><p>Featuring a collaboration with <span class="caps">TERENCE KOH </span><br /> and works by nine young shamans: </p> <p><span class="caps">CHRISTOPHE CHEMIN</span><br /> <span class="caps">MICHAEL DUDECK</span><br /> <span class="caps">SCOTT HUG</span><br /> <span class="caps">ITEM IDEM</span><br /> <span class="caps">SANDS MURRAY</span>-WASSINK<br /> <span class="caps">NAUFUS RAMIREZ</span>-FIGUEROA<br /> <span class="caps">SCOTT TRELEAVEN</span><br /> <span class="caps">J.X. WILLIAMS</span><br /> and a surprise guest</p> <p>With a portrait by <span class="caps">BRUCE LABRUCE </span><br /> and original score by <span class="caps">ANDREW ZEALLEY</span></p> <p>AA <span class="caps">BRONSON</span>&#39;S <span class="caps">SCHOOL FOR YOUNG SHAMANS</span></p> <p>AA Bronson&#39;s new exhibition returns to his collaborative roots. </p> <p>Two collaborations, both with Terence Koh, consist of a double toilet cubicle joined by a glory hole: one is a miniature, a three-dimensional drawing; the other is an architectural installation that invites the performative. </p> <p>The installation "AA Bronson&#39;s School for Young Shamans" is also performative in nature. Incorporating works by nine younger artists and a musical score by composer Andrew Zealley, the installation includes performance, video, sculpture, sound, photography and drawing. The central object in the installation, a soothsayer&#39;s tent made in collaboration with Scott Treleaven (Paris), will act as the site for a performance by "Performance Artist/Witch Doctor" Michael Dudeck (Winnipeg) during the opening event. Other artists in the installation include Christophe Chemin (Berlin), Scott Hug (New York), Sands Murray-Wassink (Amsterdam), Naufus Figueroa (Guatemala), Item Idem (Tokyo), and <span class="caps">J.X.</span> Williams (East <span class="caps">L.A.</span>). A portrait of Christophe Chemin by Bruce LaBruce (Toronto) completes the installation. The installation is intentionally cross-generational and spans 40 years of artists.</p> <p>AA&#39;s earliest works, photographic self-portraits from 1969, are also tucked into the show, together with recent self-portraits. A photographic self-portrait commissioned by the Royal Museum of Mariemont in Brussels is a still life, within which the artist can be found. And a new edition of convex mirrors, studded with crystals, mimic a 16th century Tibetan mirror, the divination mirror of the State Oracle of Tibet.</p> <p>For the last fifteen years, AA Bronson&#39;s work has addressed themes of trauma and mourning, sex and death, spirit and transformation. "Anna and Mark, February 3, 2001" is a bill-board-sized photographic portrait of the artists&#39; spouse, Mark Jan Krayenhoff van de Leur, with his daughter Anna, taken 10 days after her premature birth. Like the "School for Young Shamans" it points the way to renewal and new life in the face of loss.<br /> AA Bronson worked and lived as one of the three artists of General Idea from 1969 through 1994. Since then, he has worked under his own name, with exhibitions at the Vienna Secession (2000), the Chicago Museum of Contemporary Art (2001), the <span class="caps">MIT</span> List Visual Arts Center (2002), and the Power Plant, Toronto (2003). He was included in the Montreal Biennial (2000), and the Whitney Biennial (2002), as well as the Venice Biennale (1980), the Sydney Biennale (1983), the Sao Paulo Biennale (1998), and Documenta (1982). He has received many awards, most recently the Skowhegan Medal in Media Arts (2006). He was appointed a Senior Critic at the Yale School of Art in 2006, and has been the Director of Printed Matter, Inc. since 2004.</p></div> http://johnconnellypresents.com/exhibition/view/1283 <div class="exhibition-subtitle">Art Basel | Miami Beach, December 6 - 9 Art Positions</div> <div class="exhibition-dates">December 6 - December 9, 2007</div> <br/> <a href="/exhibition/view/1255"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/11/11778.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1255 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 29, 2007 - January 5, 2008</div> <br/> <a href="/exhibition/view/1258"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/11/11869.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1258 <div class="exhibition-subtitle">If By Whiskey</div> <div class="exhibition-dates">November 29, 2007 - January 5, 2008</div> <br/> <a href="/exhibition/view/1000"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/11/11744.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents (JCP) is proud to announce Joshua Smith&#39;s solo exhibition If By Whiskey. <br /> <br /> The title of the exhibition is a rarely used figure of speech, the name of a logical fallacy specific to political discourse. It is an agreement to two conflicting arguments, specifically it is a response to a question designed to cater to the questioner&#39;s unknown stance on the given issue. Using euphemisms to support and dysphemisms to oppose different aspects of the topic, an "If By Whiskey" argument inherently negates itself. The term is contextualized as one enters Smith&#39;s exhibition with a quote taken from its purported origins, a speech given in 1952 by former Mississippi legislator, Judge Noah "Soggy" Sweat. In his infamous speech Judge "Soggy" vehemently agrees with both the Pro and Con camps of a debate regarding a proposed ban on Whiskey. He ends his speech with a hardy, "This is my stand. I will not retreat from it. I will not compromise."<br /> <br /> Fallacies are of considerable interest to Smiths work. His investigation of, and fascination with them is rooted in an adamance that subjectivity must be at the forefront of critical discourse. With this in mind he actively engages in creating, in his own words "overtly romantic work, loaded with sentimentality, and optimism." The politician&#39;s fallacy is a manipulation intended to distract and confuse his constituents. It is not dissimilar from the notion that a utilitarian and political art is an impossibility - with the notion that art has been reduced to a continual reshuffling of vocabulary.<br /> <br /> Works in this exhibition include personal artifacts, painting, photography and sculpture. The sculptural works presented by Smith, such as a rack of heirloom jewelry, freestanding bed frame or a large circle of folding chairs are often found, gifted or appropriated objects that honor the na&iuml;ve yet human tradition of struggling against time and our natural impulse to use objects to preserve memories and moments. His paintings are both conceptual and personal, and here include a string of dealership flags, the General Motors (GM) insignia, and three large gestural abstractions that, coupled with the sculptural work and a single enigmatic Polaroid of a young woman, address issues of intimate and emotional space on both the public and private level.</p> <p>Joshua Smith was born in Houston, Texas and received a <span class="caps">BFA </span>in 2005 from The College for Creative Studies, Detroit <span class="caps">MI. </span> He had a solo project exhibition in The Tunnel Room at John Connelly Presents in February 2007 and his works have been shown recently at The Object is the Mirror, Layr Wuestenhagen, Vienna (curated by Max Henry); A New High in Getting Low, Art News Projects, Berlin (curated by John Connelly), Deaf 2, Galerie Frank Elbaz, Paris (curated by Peter Coffin); and Attic, Anton Kern Gallery Annex, New York, NY (curated by Erin Somerville). Smith lives and works in Brooklyn, <span class="caps">NY.</span></p> <p> <br /> In the <span class="caps">JCP</span> Tunnel Room:<br /> <br /> Brian Clifton-Nolan Simon, two artists with polar studio practices, have come together as a collaborative force for this exhibition. Clifton approaches the architecture of the gallery itself by engaging the "ideal" space of exhibition and transforming the gallery&#39;s slatted century-old wood floors to a crisp expanse of freshly poured concrete. On top of this, discarded objects have been arranged by Simon in an effort to re-embody a presence of Clifton who he claims is an artist who evades being present in his artwork. The two artists have collaborated on a joint "press release" that is presented as an integral element of the exhibition and a bi-product of their unexpected collaboration.</p> <p>Brian Clifton was born in Waterford, MI and received a <span class="caps">BFA </span>in 2004 from The College for Creative Studies, Detroit <span class="caps">MI. </span> He is 2007 recipient of the Rema Hort Mann Foundation Grant. Nolan Simon was born and educated in Detroit, <span class="caps">MI. </span> His work was recently exhibited at the Sculpture Center, Long Island City, NY as part of "In Practice: Special Project Series". Both artists live and work in Brooklyn, <span class="caps">NY.</span></p></div> http://johnconnellypresents.com/exhibition/view/1000 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 11 - November 21, 2007</div> <div class="exhibition-opening">Opens Thursday, October 11, 1:00 PM - 1:00 PM</div> <br/> <a href="/exhibition/view/1137"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/11/11534.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce the exhibition Horses, a new series of drawings by California artist Frank Selby, in the <span class="caps">JCP</span><br /> Tunnel Room. Drawn from press photography, film stills, and mental images, Selby&#39;s work explores the indexical mark as a sign of absence and failure. The artist&#39;s detailed, horrific renderings of land and cityscapes, strewn with dead bodies, refer to past conflicts yet evade real representation, and even the trauma of conflict seems to exist outside of the picture space. These inferred subjects have failed to survive and the artist&#39;s images fail to be accurate - his larger works are created and assembled in grids that do not line up perfectly - a suggestion that ours is a complicated relationship with the ways that conflict and violence are represented. In addition to Selby&#39;s beautiful and sublimely flawed draftsmanship, these works essentially rest upon his idea of "negative" values, those of absence, failure, mistake, absurdity and futility.</p> <p>Selby has had exhibitions in Los Angeles, the Netherlands and London.<br /> Selected exhibitions include: Victoria Miro Gallery, London, 2004;<br /> Transition Gallery, London, 2003; Gallery 825, <span class="caps">L.A.,</span> 2000; and <span class="caps">ASA</span><br /> Gallery, Albuquerque, Netherlands, 2000. He is represented by Museum<br /> 52 in London where he will have a solo exhibition in 2008.</p></div> http://johnconnellypresents.com/exhibition/view/1137 <div class="exhibition-subtitle">Too Much, Too Little, Too Late</div> <div class="exhibition-dates">October 11 - November 21, 2007</div> <br/> <a href="/exhibition/view/959"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/10/10186.jpeg" alt="" height="267" width="400" /></a> <p></p> <br /> <div class="exhibition-description"><p><span class="caps">FOR IMMEDIATE RELEASE</span><br /> </p> <p>John Connelly Presents is proud to announce Scott Hug&#39;s solo exhibition Too Much, Too Little, Too Late. Hug has been a prominent figure of the New York art scene for nearly a decade as an artist, curator, graphic designer, and publisher of the innovative and highly acclaimed magazine <span class="caps">K48.</span> Following his noteworthy solo exhibition at Locust Projects in Miami in December 2006, Hug will unveil a new body of paintings, sculpture, video and text-based work that continues his incursions on media, pop culture and politics. Using imagery appropriated from popular journalism such as Time magazine and the The New York Post, Hug dissects our national obsession with celebrity "news" to suggest that there is a covert hypocritical morality to the nation&#39;s media that seeks to distract us from more pressing social and political concerns.</p> <p>Included in the exhibition are ten brightly hued silk-screened headshots of various celebrities mined from the Post&#39;s Page Six gossip columns. Images of media obsessions such as Lindsay Lohan, Leonardo DiCaprio and Janet Jackson are coupled with self-help inspired captions such as "Get Well Soon", "Day of Rest" and "Exact Demands". In a related series - Hug&#39;s largest works to date -a metaphoric black hole has been created at the center of each canvas through the artist&#39;s process of layering front page images of media "disasters", such as Anna Nicole Smith and Hurricane Charley, until the content literally implodes. These works together with Hug&#39;s new video "Spin Control" - a never-ending spiraling color wheel familiar to Macintosh users as a symbol of processing data - suggests an impending and ambiguous collapse or apocalypse.<br /> <br /> Also in the exhibition is a free-standing self-portrait of the artist as his Simpsons avatar. The promotional push for the recent feature length version of the long running animated sit-com The Simpsons included an opportunity for anyone to submit a photo of yourself that would be used to create an archetypal Simpson character in your likeness. The resulting life-size cardboard cutout of Hug clearly communicates the way we are seduced and manipulated by consumer culture and borrows a quote from recently struggling newscaster Katie Couric that reads: "I have days when I&#39;m like, My God, what did I do?"<br /> <br /> Scott Hug received his <span class="caps">BFA </span>from the School of the Art Institute of Chicago and a Masters in communication design from Pratt Institute. Hug&#39;s work has been featured at John Connelly Presents, Deitch Projects, D&#39;Amelio Terras, Elizabeth Dee, and The Kitchen in New York. He has had solo shows of collaborative work made with artist Michael Magnan at John Connelly Presents and Hiromi Yoshii Gallery, Tokyo, Japan. His work has been reviewed in the New York Times and has appeared in the New Art Examiner and Zingmagazine. He was awarded a Rema Hort Mann grant in 2004. <br /> <br /> <br /> Coinciding with the opening of the exhibition will be the launch of the new publication <span class="caps">TOO MUCH TOO LITTLE TOO LATE</span>: <span class="caps">POLAROIDS</span> 2002-2007 By <span class="caps">SCOTT HUG.</span></p></div> http://johnconnellypresents.com/exhibition/view/959 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 22 - October 6, 2007</div> <br/> <a href="/exhibition/view/1373"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/15/15738.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1373 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 6 - September 21, 2007</div> <br/> <a href="/exhibition/view/1372"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/15/15732.jpeg" alt="" height="299" width="450" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1372 <div class="exhibition-subtitle">divine deviltries</div> <div class="exhibition-dates">September 6 - October 6, 2007</div> <br/> <a href="/exhibition/view/958"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/9/9773.jpeg" alt="" height="267" width="400" /></a> <p></p> <br /> <div class="exhibition-description"><p>Excerpted from:</p> <p>Kent Henricksen In Conversation with Bob Nickas from the forthcoming publication Kent Henricksen: A Season of Delight, published by The Bookmakers Ed., Torino, 2007.</p> <p>BN: There are many sources for the imagery in your work, from the art historical to the vernacular, and they are often thrown into opposition with or played against one another. You also time travel -- from the distant to the recent past -- in the same piece. Can you talk about your sources and how you intermingle them?</p> <p>KH: The figures and landscapes that I employ in my new work are appropriated from random sources, such as historical volumes, old newspapers, children&#39;s books, or even French prints from the time of the Musketeers. The Mexican artist Jose Guadalupe Posada, Albrect Durer, Mercer Mayer, and Max Ernst are some of the artists I constantly refer to. I keep an archive of these images that I use as a type of memory bank of past events, which I continually build upon and cull from in creating my own histories and narratives. As much as I combine imagery from opposing eras, I also try to create a broader dialogue by focusing on the interplay between both high and low culture. I&#39;m interested in constructing a discourse or new history by taking bits and pieces to create an enduring narrative or non-history. I think of it as a form of memory recollection or memory re-arrangement. In the same way that a person collects or keeps random experiences as memory, and mixes them up in their mind, I take random images and mix and re-arrange them on a single canvas. It&#39;s more of a caricature or a hyper reality. On their own, the images are insignificant or relatively trivial, but combined with others a paradigm is formed.</p> <p>BN: That term "fabricated histories" linked to what you&#39;re referring to as "memory recollection" leads inevitably to the idea of recovered memory syndrome. This is always associated with painful experiences that are repressed -- and this can be for many years -- experiences that are often related to sexual abuse. Of course, there have been instances of individuals recovering memories of events that never actually happened. Many of the overtly disturbing images in your work can be read as psycho-sexual: the servitude, bondage, whipping, and lynchings associated with slavery. These are of course the only acceptable ways for a white Master to engage in "sexual" relations with the black man. But there is what we might call a psycho-sexual undertow with the seemingly benign imagery as well.</p> <p>KH: I do think that there is a psycho-sexual undertow in my imagery that is reflected through these fetishistic, otherworldly-like vignettes. However, for me these stories represent more of a sense of yearning and desire than they do strict memory recollections. The narratives allude to the ethical and moral boundaries of pleasure and the parallels between gratification and pain. Everyone has differing thresholds and needs to satisfy; some like tying people up in their basements while wearing their mother&#39;s clothing, others find satisfaction in having sexual relations with animals. My earlier work on the toile fabric most strongly depicts these conflicts between domination/submission and command/obedience. The idea of dominating objects of desire, which have historically been women, boys, and slaves, becomes jumbled into psychotic delusions, where sheep dominate young boys and women wearing masks control each other.</p> <p>BN: Women wearing masks. Your Victorian dominatrix ladies make me wonder how important humor is to you, even if it is of a fairly black variety.</p> <p>KH: Humor does play a major role in my work and is a tool that I utilize in the storytelling. There is an absurdist quality attached to my imagery, as boys become cloaked as hooded executioners or young girls dance and play with ghosts while they themselves are bound. At first glance these scenarios appear to be completely inappropriate and preposterous, but upon further scrutiny they can allude to psychological games and/or individual power struggles. For me, it`s important for people to understand the sense of irony or black humor in my work as they translate these stories for themselves.<br /> <br /> BN: The piece you had in "The Gold Standard" [ at <span class="caps">PS1</span> Contemporary Art Center, <span class="caps">NY,</span> Oct. 22, 2006 - Jan, 8, 2007] was the first time you incorporated text, and with this particular image --a native man being torn apart by wild dogs as white men stand idly by -- the text amplified an already disturbing scene. It read: "Here in the road was lying a dead body, mangled and scalped, which the dogs were eating." What&#39;s the literary source you&#39;re quoting from? And are you planning other text pieces? I suppose what I&#39;m really wondering is, you have a very large cast of characters, they "perform" all sorts of banal and bestial acts, and can continue to do so in infinite and perverse combinations, so where do you go from here?<br /> KH: Both the text and image for this particular piece are appropriated from an issue of American Heritage from the late &#39;50s, a magazine that typically explores American history through it&#39;s heroes, scoundrels, and popular culture. As with this piece, I&#39;ve also integrated text into several other works and have either written the lines myself or gathered them from historical sources, such as passages borrowed from the diary of a girl living in Nazi, Germany, or other literary sources such as Alfred Jarry&#39;s "Ubu Roi." A lot of the imagery and texts are violent and deal with cultural conflicts, in many cases between Native Americans and early settlers. I think of it as a Theatre of Cruelty where separate images and texts can be combined to create a new certainty, a new vision between an actual event and a general mental volatility that surrounds us.</p> <p>For full interview please go to http://www.johnconnellypresents.com/press/view/733</p> <p>Kent Henricksen has had solo exhibitions with Hiromi Yoshii, Tokyo; Galleria Glance, Torino; c/o - Atle Gerhardsen, Berlin; and Mario Diacano, Boston. His works have been exhibited in The Gold Standard (2006) and Greater New York (2005) at PS 1 Museum of Contemporary Art, NY; <span class="caps">ARS</span> 06, Museum of Contemporary Art <span class="caps">KIASMA,</span> Helsinki, Finland and Crafty, curated by Lisa Tung, Sandra and David Bakalar Gallery, Massachusetts College of Art, Boston, <span class="caps">MA. </span> Upcoming projects include Pricked: Extreme Embroidery, at the Museum of Art and Design, New York, NY and &#39;Art in the Parks Celebrating 40 Years: 1967-2007&#39; where Henricksen will be premiering a new bronze sculpture in Seward Park, corner of East Broadway and Essex in lower Manhattan, from October 1st 2007 to January 5th 2008.</p> <p>This will be the artist&#39;s second solo exhibition in New York at John Connelly Presents.</p> <p>For more information and photographs please contact the gallery.</p></div> http://johnconnellypresents.com/exhibition/view/958 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">July 12 - August 24, 2007</div> <br/> <a href="/exhibition/view/952"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8519.jpeg" alt="michael zahn in and out (not up and down), 2007 acrylic on canvas four panels" height="261" width="350" /></a> <p><p>michael zahn<br /> in and out (not up and down), 2007<br /> acrylic on canvas<br /> four panels</p></p> <br /> <div class="exhibition-description"><p>Augusto Arbizo<br /> Tauba Auerbach<br /> Jeff Elrod<br /> Kim Fisher<br /> Dana Frankfort<br /> Daniel Hesidence<br /> Alex Kwartler<br /> Carrie Moyer<br /> Elizabeth Neel<br /> Raha Raissnia<br /> Wendy White<br /> Michael Zahn</p> <p>Late Liberties - on view from July 12 through August 24, 2007 - presents an inclusive survey of recent abstract painting, works on paper, and sculpture by a dozen of artists - including seven women painters - from New York, Los Angeles, and San Francisco. Works in this thematic exhibition include soft and hard-edge paintings, gestural and `expressionistic&#39; abstractions, as well as shaped and chromatically engaged `painted&#39; sculpture. Late Liberties is organized by artist and curator Augusto Arbizo in collaboration with John Connelly.</p> <p>For a young artist to be making work at this moment in what could be called an abstract or non-representational manner, be it vaguely gestural, lyrical, or geometric in mode, is consciously or not, a highly personal and political act. With few exceptions, the history of the last 15 years has largely shunned modes of abstraction. Much maligned and critiqued - and often used as strategy for conceptually based work - it has been largely banished to the sidelines by an art world enthralled by photography, installation, animation and romantic figuration.</p> <p>But modes are cyclical and thus a younger generation of artists has found that the more outmoded the approach, the more dangerous - and exciting - a territory it becomes. It is a loaded terrain that offers fissures and openings for freedom and personal manifestation - from the seemingly clinical and sedate to the unabashedly seductive. The works in this exhibition range from computer derived to text and design based to nature inspired, running the gamut from geometric compositions to loosely brushed fields of color. Disparate ideas concerning technology, fashion, art theory, wildlife and science, and pop culture, among others, inform the work. Furthermore, a commitment to the refined and handpainted becomes obvious, whether painstakingly cut, stenciled and `constructed&#39; or intuitively brushed and dripped. All the artists will be creating new work specifically for this exhibition and each one will be given his / her own wall. Looking at abstraction today makes it clear that it is a completely different exercise than it was for earlier generations. Ezra Pound&#39;s famously quoted mandate to `make it new&#39; apparently still fits the bill, but for today&#39;s artists it is a risky, perilous and rousing proposition - offering Late Liberties.</p> <p>John Connelly Presents is located at 625 West 27th Street, <span class="caps">NY,</span> NY 10001. Please contact the gallery at 212-337-9563 for more information and additional images.</p></div> http://johnconnellypresents.com/exhibition/view/952 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 3 - June 30, 2007</div> <br/> <a href="/exhibition/view/1374"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/15/15735.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1374 <div class="exhibition-subtitle">a very anxious feeling</div> <div class="exhibition-dates">May 3 - June 30, 2007</div> <div class="exhibition-opening">Opens Thursday, May 3, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/910"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/7/7841.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>assume vivid astro focus&#39;s exhibition use the architecture of the gallery to create a dialogue between three distinct environments featuring an installation of 3-D wallpaper, a dark subterranean corridor of music and flashing neon sculptures, and a cordoned multi-disciplinary room that will feature an ongoing series of music-related performances.</p> <p>In the main gallery an installation of text-based wallpaper consisting of grids of four-letter words - <span class="caps">BUSH, IRAQ, SPIT, HOMO, DYKE, ANAL, IRAN, AMEN, PRAY, EVIL, LOVE, EDEN, HOPE... </span>- alludes to the iconic design of Robert Indiana&#39;s <span class="caps">LOVE </span>emblem from the 60&#39;s and General Idea&#39;s <span class="caps">AIDS </span>insignia from the late 80&#39;s. "Four-letter words" tend to have a special status in the English language and in most cases reflect the more crude, sexual subset of the lexicon. The virus-like dispersion of these terms throughout the walls of the gallery and their political tenor suggest how the public policies and decisions made by our governments indiscriminately contaminate and shape our private lives and futures. By inviting the viewer to don a special mask with custom 3-D glasses to view the wallpaper, the artists also encourage the viewer&#39;s participation in activating the work from a two-dimensional static experience into a three-dimensional event that is both sculptural and temporal.</p> <p>The gallery&#39;s basement space, which is usually reserved for storage of artwork and tools, is transformed into a long dark corridor illuminated by a sequence of five animated abstract neon sculptures. The sculptures syncopate and flash along to a custom soundtrack featuring music by PolaroidHomoPhoto (an anonymous duo that looped a fragment of the song Zombi by French musician Sebastien Tellier). Furthering the multi-dimensional experience of the wallpaper installation upstairs, avaf&#39;s corridor of light and sound combines the aural and visual into a visceral occurrence meant to stimulate both the mind and the body. The space itself - marginal, dark and intimate- reflects upon avaf&#39;s interest in the multilayering of both structure and image and the generation of new platforms, vistas and vanishing points through architectural tools such as barricades and stairways.</p> <p>In the <span class="caps">JCP </span>project room avaf has transplanted an installation from their 2006 solo show, absorb viral attack fantasy at Hiromi Yoshii, Tokyo comprised of wallpaper, sculptures, video, neons, and balloons. Here, the group continues to explore the fertile confluence between art, architecture, performance and entertainment by presenting an ongoing series of performances and events including Barr, Tobias Bernstrup, Julie Atlas Muz, Loconuts, Ann Magnuson, Japanther, Good Good and Frankie Martin (full schedule to be announced). However, the entrance to the project room has been sealed shut and the only given access to both the performances and installation is peering through portholes fitted with sheaths and wigs.</p> <p>For the duration of the exhibition avaf has also invited UK artist Giles Round to take over the gallery&#39;s Tunnel Room (known for it&#39;s arched public display window that looks onto the former Tunnel nightclub). Round works in a variety of media including painting, sculpture, installation and video. He will present a new video installation addressing issues of public space, theatricality, reflection and formal/spatial orientation.</p></div> http://johnconnellypresents.com/exhibition/view/910 <div class="exhibition-subtitle">Zivildienst (ungliech) Kunstprojekt</div> <div class="exhibition-dates">March 23 - April 21, 2007</div> <div class="exhibition-opening">Opens Friday, March 23, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/903"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/7/7652.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce a solo exhibition of new work by Canadian artist Althea Thauberger. In the past Thauberger has collaborated closely with various social communities to create performance based video and photographic works. Her work usually involves an extended period of research and development where the artist strives to reveal socio-political constructions imbedded within the broad dynamics of a given group consciousness. Essential to Thauberger&#39;s process is an element of shared responsibility, collaboration and dialogue where the participants in each project contribute a measure of personal subjectiveness to the final product. She has worked together with teenage actresses to write a modern operetta about a drowned pet dog; <span class="caps">U.S. </span>military wives to commission original autobiographical musical compositions; and a troupe of Canadian tree-planters to enact and film an epic allegory about death, consciousness and re-birth. Among many other references her works engage in a kind of Brechtian discourse around radical absurdity and breaks with escapist representation, group psychology and the distribution of authority and leadership.</p> <p> Thauberger&#39;s latest project was produced in collaboration with eight young German men during a yearlong artist residency at the Kuenstlerhaus Bethanien in Berlin. All of the men, ages 18 - 22, are participating in Zivildienst - a program created by the government in the 1950&#39;s to allow those that "conscientiously object to carrying a weapon" the ability to fulfill their military service obligation through social work. Typically, these young men provide labor in hospitals, nursing homes, kindergartens or other social programs - significantly supplementing the government&#39;s social welfare system. Thauberger made an official agreement with the Zivildienst authority to allow these young civil servants to "serve" in the context of an art project. Over the course of 3 1/2 months Thauberger worked closely with the Zivis, engaging in improvisational exercises and holding bi-weekly meetings to discuss issues such as the Zivildienst system and military service, national identity, work ethics and personal/autobiographical concerns. The realization of the project was a performance the young men created through a series of stylized postures or vignettes where the archetypal metaphors of an "alienated" community are depicted within a large architectural set made of scaffolding.</p> <p>On view at the gallery will be a series of color portraits of the Zivis (as they chose to be portrayed) accompanied by fictional autobiographies they wrote as one of Thauberger&#39;s exercises, a large group portrait of the young men "boxed in" by the pictures parameters (designed for the cover of a catalog documenting the project) and a black &amp; white image of the empty set. Projected In a separate room will be an 18-minute video of the Zivis performing the series of postures they choreographed to portray a narrative arc of isolation, despair, idealism, co-operation, betrayal and endurance, using themselves as the protagonists.</p> <p>Curator Binna Choi writes about the critical reading of the Zivildienst project in an essay on Thauberger&#39;s work published on the occasion of "Alone Again (In the Likeness of Life)," a solo exhibition organized by <span class="caps">BAK</span>: basis voor actuele kunst, Utrecht, The Netherlands, January 14 - February 25, 2007:</p> <p>"The outcome of this process can be seen in two ways. The fictional biographies written by the participants appear alongside individual portraits, depicting the slippage between imagination and real life. In this way, the youths&#39; forced "social service" appears to be transformed into a kind of engagement. This engagement, however, does not serve to clarify identity but rather discloses the uncertainty and pain associated with social life, where one is neither completely alone nor completely together. This fragility or vulnerability is manifested in a choreographic and collaborative performance, which mimics individual and collective gestures. Recorded in pious black and- white film, the performance is orchestrated in slow and grand gestures in the midst of an imposing architectural setting of construction scaffolding. The constant interchange between the performers&#39; physical movements--which are malleable and at the same time robust--gradually reveals the disparate aspects of living in a community where all different individuals&#39; desires and conditions intersect and collide. Conflict, unfamiliarity, trauma, negotiation, discipline, deviation, and the threat of betrayal are all part of this "web of singularities." They are far removed from the mode of "helping people in an equal and democratic process to make society better" so often found both in the sector of "social service" and in many community-based projects. What the performance engraves in our minds is the inherent difficulties of dealing with individual posturing and collective demands."</p> <p>Thauberger earned an <span class="caps">MFA </span>in studio art at the University of Victoria in 2002, and a <span class="caps">BFA </span>in photography at Concordia University in 2000. Her recent solo exhibitions include Berkeley Art Museum and White Columns in New York, and <span class="caps">BAK, </span>basis voor akuele kunst in Utrecht, Netherlands, and the Kuenstlerhaus Bethanien in Berlin. She has also recently participated in numerous group exhibitions in museums and galleries in North America, Europe and Asia. Thauberger lives and works in Vancouver and Berlin.</p></div> http://johnconnellypresents.com/exhibition/view/903 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 23 - April 21, 2007</div> <br/> <a href="/exhibition/view/1371"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/15/15728.jpeg" alt="" height="300" width="450" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1371 <div class="exhibition-subtitle">New Paintings</div> <div class="exhibition-dates">February 16 - March 17, 2007</div> <div class="exhibition-opening">Opens Friday, February 16, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/947"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8219.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce an exhibition of new paintings by Michael Wetzel. In the past Wetzel has focused his attention on signifiers and icons of the American class system. Previous subjects have included mysterious adolescent cliques, warring country club members and airtight bourgeois interiors. In one recent body of work, Wetzel refashioned the fabric patterns used by first ladies Jackie Kennedy and Nancy Reagan to decorate the White House into metaphors for our current divided (blue state/red state) political landscape. The concept of the "interior" and in particular of the interior of empire is expanded in this new exhibition to include landscape and the conquest, capture and commodification of the foreign or exotic. Rather than oblique references to the White House or the new world Georgian manor house we now have dark turbulent paintings of the eruption of Mount Vesuvius and the burning of Rome. Vesuvius, 2006, for instance, uses as a reference the concept of the English "Grand Tour" which at the height of Great Britain&#39;s period of colonization and imperialism chose Italy (itself a former world dominator) as a pleasure ground for its tourists.</p> <p>While decrepit cities like Venice and Rome were revived and converted into meccas of tourism by a Victorian appetite for the lost world of the ancients, an entire genre of parlor painting was being created to capture and bring home evidence of the empire&#39;s expanded frontiers. A contemporary series of monkey (macaque) paintings by Wetzel find their genesis in a parlor genre of Dutch origin, practiced by Gillis Claesz de Hondecoeter for one, that found its way into the English and French Empires. These works crammed as much exotic flora and fauna as possible into a precursor of the photographic postcard. Here the monkey&#39;s look out at us and serve as a sudden and expectant mirror between the civilized and the savage, the origin of Darwinian theory and the attendant religious discomfort of its implications. There is an intricacy in the layered manner that Wetzel molds his forms with pigment and light. The color is almost woven in its application, a reminder of the woven surface of linen and wall hangings, a lesser and more decorative form of parlor art. This challenges the pretensions of `painting&#39; reminding us of the vanity of collectables while simultaneously critiquing the imbedded function of accumulating wealth.</p> <p>In Quo Vadis <span class="caps">II,</span> 2006 we see a nightscape of classical Rome burning. It is important to note that the reference to this image of a burning Roman cityscape is a model of the ancient city (much like the recently renovated one of New York at the Queens Museum) made by Italo Gismondi between 1935 and 1971 located at the Museum of Roman Civilization on Capitoline Hill. We best know the story of Nero burning Rome as the ultimate in misguided governmental stewardship. But Rome was burned and resurrected many times, had many moments of glory and was viewed by several papacies as the center of western culture. There was and always will be many forms of "Rome" as myriad Hollywood movies have tried to capture. Likewise Italian culture has been disseminated and distilled into many forms that barely resemble the original. Cuisine is a perfect example, and Wetzel slyly paints a few pasta dishes into the exhibition to suggest the portrayal of native foods as a reliable arbiter of a culture&#39;s essence, is in reality a wan dilution of something that is an endangered cultural species.</p></div> http://johnconnellypresents.com/exhibition/view/947 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 16 - March 17, 2007</div> <br/> <a href="/exhibition/view/1375"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/15/15739.jpeg" alt="" height="450" width="300" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1375 <div class="exhibition-subtitle">The Long Goodbye</div> <div class="exhibition-dates">January 12 - February 10, 2007</div> <div class="exhibition-opening">Opens Friday, January 12, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/948"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8226.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>He was in that familiar state - not that the occasion mattered too seriously to him - of incoherent ideas spreading outward without a center, so characteristic of the present, and whose strange arithmetic adds up to a random proliferation of numbers without forming a unit. Finally he dreamed up only impracticable rooms, revolving rooms, kaleidoscopic interiors, adjustable scenery for the soul, and his ideas grew steadily more devoid of content.<br /> - Robert Musil, The Man Without Qualities </p> <p>I was chopping down a palm tree <br /> When a friend dropped by to ask <br /> If I would feel less lonely <br /> If he helped me swing the axe. <br /> I said: No, it&#39;s not a case of being lonely <br /> We have here, <br /> I&#39;ve been working on this palm tree <br /> For eighty seven years <br /> He said: Go get lost! <br /> And walked towards his Cadillac. <br /> I chopped down the palm tree <br /> And it landed on his back.<br /> -Neil Young, The Last Trip To Tulsa</p> <p>How does one define the contemporary landscape? What is the optimal position to perceive where we are? Standing in Arcadian vistas with a digital camera? Is it in a car driving by a strip mall at 70 mph? Or looking down the atriums of the skyscrapers in Asian mega cities? Is it from the picture window of a two-week-old mansion in a Middle American gated community? From the rubble of Beirut or New Orleans? Perhaps it is in front of a screen gliding through Google earth? Or maybe from a spy satellite? Is it even a strictly material position? Do we have several imaginary landscapes superimposed on each other? Layers of mediascape in seemingly infinite varieties--String Theory personified?</p> <p>The Long Goodbye, Jonah Freeman and Michael Phelan&#39;s second solo collaborative exhibition, continues the artists&#39; concern with the &#39;contemporary landscape&#39; and America&#39;s absorption and perversion of both Occidental and Eastern historical modes and models. The exhibition includes mundane and disparate icons of consumerism such as disposable aluminum foil, synthetic carpet padding and ready-made glass display systems. Also included is a rambling testimonial on personal and financial failure found on the internet after googling the fortune cookie proverb "the two hardest things in life are success and failure." Freeman/Phelan present these seemingly everyday/ ordinary objects with an eye towards both art history and the legacy of Middle America `life-styling&#39; within a postmodern aestheticized landscape. Their appropriations and re-contextualizations create objects that typically blend seamlessly into the field of the commercial contemporary landscape and blur the distinction between high and low while continuously questioning the viewer&#39;s definition and expectation of what one may consider traditional Fine Art. </p> <p>Freeman/Phelan&#39;s interest in appropriating domestic architectural/ functional signifiers that are both alluring and practical can be seen in their series of &#39;totems&#39; or &#39;monuments&#39; comprised of glass, chrome and acrylic gels. The sculptures, made from display systems that have been reconfigured into dysfunctional quasi-monumental structures are stacked on compact concrete slabs and reflect a nod to the evolution of the minimalist vernacular (Sol Lewitt, Donald Judd). The gels that decorate them, gleaned from web sites geared towards home decoration, superimpose a fantasy upon the objects with themes like stained glass, ice crystals and precious rock. The titles such as Eastern Plain (roaming narrator), Prodigy (roundtable) and On golf (honey oakwood), borrow a style of language used in the description of lifestyle consumer goods, a style that attempts to take banal objects out of the mundane and into the realm of illusion. </p> <p>The large unique photographs in the series Reynolds Wrap Quality Aluminum Foil are made from scans of crumpled aluminum foil. These complex abstractions convey both a vastness and emptiness that reflect upon the condition of everyday goods like molded plastic containers, foil wrappers, cardboard boxes and aluminum cans - utilitarian products that make up the many varieties of empty vessels that carry our content. They are trappings of our cultural landscape with no meaning or use value apart from that which they hold - things meant to be immediately discarded - the bi-products of progress and convenience. By photographing and presenting this emblem of consumerism Freeman/Phelan also posit a play on a number of art-historical models - ie: the privileging and commodification of painting over other artistic mediums; the impact and power of seriality and repetition such as Warhol&#39;s series of Shadow paintings; and the innovation and precedent of experimental and conceptual photography in the 1970&#39;s such as James Welling&#39;s crumpled photos of fabric and foil. (Unlike Welling however, Freeman/Phelan are using the advanced technology (scanner, computer) as opposed to film - to capture and document a contemporary landscape.)<br /> <br /> The walls in The Long Goodbye are painted in progressively darkening shades of gray. Inspired by a technique often used in institutional black &amp; white photography exhibitions to accentuate the contrast of the pictures, Freeman/Phelan appropriate this strategy to point toward the use of the architecture of the exhibition space as a theatrical device that assists seemingly autonomous pictorial objects. Each shade of gray is presented/ positioned as a work in itself and titled after the name of the actual &#39;style&#39; of paint such as "Ice Age", "Silver Queen", "Platinum Plate", "Diamond Heights", "Cast in Stone", "Dark Shadows" and "Carbon Copy". As the viewer passes through the exhibition he reaches a room, painted in the darkest shade of gray that is lit only by a single white neon sign that reads "goodbye". The light from the sign is cast upon the only object in the room, a black &amp; white pigment print of an upside down palm tree - a reference to the City of Los Angeles&#39;s recent decision to systematically replace all palm trees in public spaces with ones that are coniferous. Chinatown, a spatialized loop of the sound of running water taken from the introduction of the Can song Sing Swan Song, fills the room and borrows from a recent tradition of marketing sound as a relaxation device. In these products isolated sounds of nature (i.e. water, wind, birds) are used for insomnia and other psychological ailments becoming a bastardized variation of eastern spirituality that idealizes and recontextualises nature to sooth the woes of the modern world. The title is taken from the Roman Polanski detective movie about political corruption surrounding water management and land use in Los Angeles. <br /> <br /> Punctuating the exhibition is I know I&#39;m not a loser, but based on results, how can I not be??, a young man&#39;s confessional found on the internet after googling &#39;the two hardest things in life are success and failure&#39; - an adage received in a fortune cookie by one of the artists. The text begins with the following caveat:</p> <p>I really don&#39;t have anyone I can talk to in real life about this. My family and friends don&#39;t understand, don&#39;t know the truth and/or both. A couple of years ago, I would have called myself and probably been called by all who knew me - a very successful and happy person. I had set out and met or exceeded most of my life goals. I had a great, supportive and beautiful wife and a wonderful son. I had built a thriving internet company that more than paid our bills and I was living my dream life in Hawaii. Plus we had had 100K in assets in the bank. I was only 28. This was in the summer of 2004. That was the peak. When we moved to Hawaii it was the culmination of 5 years of building my business, paying our debts down and planning for the future. We made it and we were set for life. Or so it seemed. Then we/I began to fuck up, repeatedly until we arrive at near total failure which is where I am now...</p> <p>In many ways this testimony relates to the conceptual undercurrents running throughout The Long Goodbye ie: the american dream and the success and failures of histories (art, architecture, personal) and the way we systematically destroy, rebuild, redesign, reinvent all in the hope of fulfillment. </p> <p>Jonah Freeman&#39;s recent exhibitions include Busan Biennale, 2006 Curated by Manu Park, Busan, South Korea. Intouchable (l&#39;Id&eacute;al transparence) Curated by Fran&ccedil;ois Piron &amp; Guillaume D&eacute;sanges, Centre National d&#39;Art Contemporain - Villa Arson, Nice, France and Fountains D&#39;Amelio Terras, New York City. His upcoming exhibitions include Grow Your Own curated by Peter Coffin, Le Palais de Toyko, Paris, France and a solo exhibition at Centre Pour L&#39;image Contemporaine, Geneva, Switzerland. </p> <p>Michael Phelan&#39;s recent exhibitions include Fountains, D&#39; Amilio Terras, <span class="caps">NY,</span> Bring the War Home, Elizabeth Dee, NY and <span class="caps">QED, LA, </span>and &#39;View 11&#39;, curated by Amy Smith-Stewart, Mary Boone, <span class="caps">NY.</span> Upcoming solo exhibitions include Shane Campbell Gallery, Oak Park, <span class="caps">IL, </span>and Changing Role Gallery, Naples, Italy; upcoming group exhibitions include &#39;Just Kick It Till It Breaks&#39;, The Kitchen, NY and &#39;The Triumph of Paining: Abstract America&#39;, The Saatchi Gallery, London.</p> <p>For more information and photographs please contact the gallery at 212-337-9563 or info@johnconnellypresents.com.</p></div> http://johnconnellypresents.com/exhibition/view/948 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 30, 2006 - January 6, 2007</div> <div class="exhibition-opening">Opens Thursday, November 30, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/949"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8240.jpeg" alt="" height="272" width="432" /></a> <p></p> <br /> <div class="exhibition-description"><p>"The protocols of taste involve a curious attitude toward judgment; judgment becomes a kind of noncalculated, innate response to the work, almost a resonance with it. Normal standards of judgment about the meaning of what one sees before one&#39;s eyes are negated, and in particular the referential ties between the work and the world - especially the social world - are broken"</p> <p>- Martha Rosler, "Lookers, Buyers, Dealers, and Makers: Thoughts on Audience"; Art After Modernism: Rethinking Representation</p> <p>"So theatricality is an umbrella term, under which one could place both kinetic and light-art, as well as environmental and tableau sculpture, along with more explicit performance art, such as "happenings&#39;....But, because theatricality has become a polemical term in the criticism of modern sculpture....we should try to unpack the notion of theatricality. For it is too dense and too confusing. It is rife with internal contradiction, with conflicting intentions and motives. The question is not whether certain artists have wanted to seize the space of the stage or exploit the dramatic time projected by real motion; the question is why they would have wanted to seize or use those things, and to what aesthetic ends?"</p> <p>- Rosalind E. Krauss, "Mechanical Ballets: light, motion, theater"; Passages in Modern Sculpture</p> <p>"Every age has required of its art that it should be clear, and to call a representation unclear has always implied a criticism. But the word has a different sense in the sixteenth century from the one it had later. For classic art, all beauty meant exhaustive revelation of the form; in baroque art, absolute clearness is obscured even where a perfect rendering of facts is aimed at. The pictorial appearance no longer coincides with the maximum of objective clearness, but evades it."</p> <p>- Heinrich W&ouml;lfflin, "Clearness and Unclearness (Absolute and Relative Clearness)"; Principles of Art History: The Problem of the Development of Style in Later Art</p> <p>"Anyone who sees and paints a sky green and fields blue ought to be sterilized."</p> <p>- Adolf Hitler</p></div> http://johnconnellypresents.com/exhibition/view/949 <div class="exhibition-subtitle">1 Million Photos, 1 Euro Each (minimum order)</div> <div class="exhibition-dates">November 30, 2006 - January 6, 2007</div> <br/> <a href="/exhibition/view/964"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8402.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Capital: abstract entity that consensus reality has agreed shall be the Ultimate Power, charged with determining each human&#39;s worth and destiny, as well as decreeing where, how, and under what circumstances, if any, imagination, emotion, curiosity, creativity, critical thinking, and the exploration of consciousness A) exist at all; or B) have value if acknowledged to exist; and C) who will have access to them in those moments when they officially exist with value; and D) under what guidelines and restrictions approved practitioners will be able to indulge imagination, creativity, curiosity, et al, and toward what ends.<br /> -Dr. Laurie Weeks, I Went to Find Some Kunst and All I Got Was This Lousy Kapital <br /> In the space between capital- filthy lucre, piles of cash, call it what you will--and the Object, lies the relationship between Maker of Thing and Consumer of Thing. Though this relationship is largely invisible because it vibrates at a wavelength no longer detectable by the modern, well-trained human sensorium, it&#39;s nonetheless fraught, seething, and thermonuclear in its power precisely by virtue of remaining unconscious and unacknowledged. <span class="caps">A.L.</span> Steiner&#39;s 1 Million Photos, 1 Euro Each (minimum order) is being offered at John Connelly Presents, an installation delineating the collection of 1,000,000 photographic objects. Items are purchased, traded, displayed, shared, valued, and exploited; artists act as fabricators, collectors as heirs. In order to redefine this relationship beyond purchasing power, Steiner frames the absurd impulses of both photography and consumerism as a contractual commitment, offering an evolving life-long installation &amp; interpersonal relationship at a cost of only &#128;1,000,000. An archive of 1,000,000 photos will be offered piecemeal throughout the lifetime of the artist and collector in order to define the act of storytelling via the capitalist relationship. Defining the role of the collector as a privileged position, the artist offers dialogue, evolution and the availability of a continuous, pulsating photographic record- in totality- until the end comes. Look at the works as aesthetic and also as a record that bleeds beyond image, well into the weight of history. Do all things possess actuality, existence and essence in both life and death? Perhaps nowhere than In the relationship between Maker and Consumer--with all its chaotic longings, losses, petty thieveries, paranoia, inappropriate crushes, gratuitous double-crossings, stalkings, gossip, and just generalized pandemonium (resulting from confusion about the Nature of Reality and perhaps an unfortunate choice of shoes)--can we more clearly see the entire tragedy of the Human Condition being played out. In real time.1 We all have good intentions, but with strings attached.<br /> 1 Dr. Weeks, Bloodbath in a Dewdrop</p></div> http://johnconnellypresents.com/exhibition/view/964 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 20 - November 22, 2006</div> <div class="exhibition-opening">Opens Friday, October 20, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/950"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8246.jpeg" alt="" height="333" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce an exhibition of new paintings and drawings by Kaye Donachie. In the past, Donachie has focused her attention on two flash point images in the history of 20th century counter-culture; hippie communes and political radicals of the 1960&#39;s where previous subjects have included actors Mark Frechette and Daria Halprin (who starred in Michelangelo Antonioni&#39;s 1970 film Zabriskie Point) and members of the Charles Manson family; and Monte Verit&agrave;, an area in Ascona, Switzerland that was home to a group of dissidents and nonconformists between the turn of the century and the Second World War.<br /> Many of the images in this current exhibition continue to reference Monte Verit&agrave;, a commune of artists, writers, vegetarians, pacifists, nudists, Freemasons, feminists, Theosophists and bohemians who settled in the hills above Lago Maggiore in 1900. It was there that a veritable &#39;return to nature&#39; in the form of a countermovement was established as an alternative to the rapid industrialisation in Europe at the close of the 19th century. Between 1900 and 1940 Monte Verit&agrave; became a cultivation ground for unconventional art and lifestyles. Emphasis was on life reform and new religious and spiritual values through a symbiosis with nature, freedom of expression, sexual liberation and an emphasis on vegetarian and macrobiotic diets. </p> <p>The golden age of Monte Verit&agrave; can be divided into several movements: the anarchists (Erich M&uuml;hsam, Gustav Landauer, Raphael Friedeberg, the psychotherapist Otto Gross) were succeeded by the vegetarian movement (the feminist and pianist Ida Hofmann, Henri Oedenkoven, the brothers Karl and Gusto Gr&auml;ser), which was then followed primarily by Dadaists and Expressionists of every persuasion. Similar to the Londoner Bloomsbury group or the Worpswede group in northern Germany - and later also the Bauhaus movement in Dessau - artists of every ilk gathered on Monte Verit&agrave; to draw inspiration from the emanation of a parallel world.</p> <p>Prominent bohemian characters from Monte Verit&agrave; such as Hermann Hesse, Otto Gross, Hugo Ball, Rudolf von Laban, Emmy Hennings and Franziska zu Reventlow became a source of inspiration for Donachie&#39;s current show. The sensual purple portrait of Franziska zu Reventlow depicted in "Then Between Lust and Tragedy I Know Not What" (a title taken from the one of her diary entries - all other painting titles in the exhibition are taken from Herman Hesse&#39;s poetry) was an aristocrat who considered herself a painter and artist. She was morally and sexually rebellious. In Franziska&#39;s mind art and rebellion went hand-in-hand, and her fame derived largely from her erotic freedom and promotion of women&#39;s liberation. She had a touch of fragility and pathos symbolized by her fondness of performing and for the carnival. In her autobiographical novels she wrote of herself as a `martyr for freedom&#39; and a `gladiator of the new time.&#39; She recommended revealing ones body to others, to talk about sex and to free oneself from shame and guilt. Her views became ensconced within the cult of Monte Verit&agrave;.</p> <p>Donachie&#39;s approach to her subject matter has always cunningly used a combination of found imagery and artistic elucidation. This strategy continues in "And The Bridge is Love" where images seem ambiguously caught in a dark utopian vortex that suggests parallels and historical/international connections between two of the most important counter-cultural movements of the last century. For instance, in "How Heavy The Days" Otto Gross&#39;s and Mark Frechette&#39;s likenesses morph into a stirring portrait of a young man whose countenance embodies both the hope and disappointment of two separate yet connected generations in search of an idyll. </p> <p>Kaye Donachie was born in Glasgow in 1970 and received an MA in painting from the Royal College of Art in 1997. She has had three solo exhibition in London at Maureen Paley and one at Peres Projects in Los Angeles. Her work was exhibited at Artist&#39;s Space in New York in 2004. She was recently included in "Tate Triennial 2006: New British Art" at the Tate Museum, London and "Ideal Worlds: New Romanticism in Contemporary Art" at the Schirn Kunsthalle in Frankfurt, Germany. Donachie currently lives and works in London.</p></div> http://johnconnellypresents.com/exhibition/view/950 <div class="exhibition-subtitle">1986</div> <div class="exhibition-dates">September 7 - October 14, 2006</div> <div class="exhibition-opening">Opens Thursday, September 7, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/951"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8252.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce an exhibition of new drawings by Gerald Davis. This exhibition, titled 1986, is part of an ongoing autobiographical drawing and painting project begun by the artist in 2001. Throughout this series, Davis has created images made from memory of pivotal events that often focus on subjects of a foreboding, mysterious and/or sexual nature. Davis&#39; previous subjects have included a student&#39;s illicit thoughts regarding his teacher, embarrassing pre-date anxieties, fetishized sexual games, strange and disconcerting tattoos, tragic schoolboy crushes, brutal hazing rituals and licentious gang initiations. <br /> Davis&#39; exploration of the dark, mysterious and disturbing continues with the eleven drawings on view at <span class="caps">JCP </span>in the exhibition 1986. Focusing on a pivotal year in the artist&#39;s childhood/adolescence, Davis&#39;s new body of work depicts specific cultural references that reflect the anxieties and fears of an impressionable youth coming of age in the late Cold War era. Davis&#39;s trademark, keen draughtsman ship and attention to poignant cultural details, can be seen in "Watching &#39;Testament&#39;", a lush black &amp; white pencil drawing of a young boy in front of a television watching the eponymous film about a nuclear Armageddon in America. As the boy, with gaping mouth, watches a scene between a mother and her dying child, hobgoblins of destruction rise from the boy&#39;s Vuarnet t-shirt logo and swirl about his spine and head. Davis&#39;s choice of subject matter and his acute attention to detail reflect not only the anxieties of an era where the nightmare of instant obliteration by nuclear bomb was a continued reality but reflect how mass media and cultural symbols become indelible icons of our fears and desires.<br /> Davis&#39; interest in the impressionable realities of life&#39;s polarities such as sex and death and mass culture&#39;s co-dependent enabling strategies is also reflected in the diptych "ET and Grandma" and the work "The Rumor". Rendered in crimson colored pencil "ET and Grandma" shows the artist&#39;s grandmother in a hospital room on her death-bed, her abject stillness as she lies curled in a fetal position is counter balanced by the animated alien in the work&#39;s companion piece where ET levitates a diverse group of objects for a rapt audience of youngsters. The light entertainment and diversion that the fictitious movie character offers contrasts with the real pain and struggle experienced by the artist&#39;s dying relative and suggests a leveling of the disconnection one is expected to experience between reality and fiction. In "The Rumor", we see the belly, groin and thighs of a robed man as he prepares to insert his semi-flaccid penis into the aluminum hose of an old Electrolux. In these works, death, sex and entertainment become a confused amalgam of both pageantry and tragedy where everyday reality is fused with both the fantastic and the pathetically mundane. <br /> Gerald Davis was born in 1974 in Pittsburgh and received a <span class="caps">BFA </span>from the Pennsylvania State University in 1997 and an <span class="caps">MFA </span>from the Art Institute of Chicago in 1999. This will be the Los Angeles based artist&#39;s first solo exhibition in New York. <br /> Paintings by Gerald Davis will be on view concurrently at Salon 94. The catalog "Gerald Davis: Drawings, 2002 - 2006" was produced to accompany this exhibition and will be available for purchase at the gallery.</p> <p>For more information and photographs please contact the gallery at 212-337-9563.</p></div> http://johnconnellypresents.com/exhibition/view/951 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">August 4 - August 30, 2006</div> <br/> <a href="/exhibition/view/956"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8363.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Troop 48:<br /> Suzanne Ackerman, Carl D`Alvia, assume vivid astro focus, Dan Attoe, Ben Beaudoin, Hisham Bharoocha, Olaf Breuning, Jared Buckhiester, Chris Caccamise, Peter Coffin,<br /> Ryan Compton, Ann Craven, Joanna Ebenstein, Franklin Evans, Brendan Fowler,<br /> J. Foxx/Edgar Um Bucholtz, Max Goldfarb, Andrew Guenther, John Hogan, Rachel Howe, Matthew Day Jackson, Terence Koh, Oliver Lutz, LoVid, Noah Lyon, Michael Magnan, Ashley Macomber, Dominic McGill, Deborah Mesa-Pelly, Billy Miller, Mirror Mirror, Kenneth Mroczek, Mary J. Nicholson, Shay Nowick, <span class="caps">PFFR,</span> Phiiliip, Jon Rappleye, Theo A. Rosenblum, Borna Sammak, Justin Samson, Bill Saylor, Adam Shecter, Christian Siekmeier, A. L. Steiner, Tracy Stewart, Jim Tozzi, Scott Treleaven, Shoplifter, Michael Wetzel, Grant Worth, Jeremy Yoder<br /> Kubmaster: Scott Hug</p> <p>Artist/Curator/Publisher Scott Hug is proud to lead you into the woods for another exciting adventure with <span class="caps">K48, </span>the magazine he has organized and published since 2000. For this outing, Troop <span class="caps">K48, </span>consisting of artists who have been affiliated with <span class="caps">K48 </span>throughout the years, will take you on an artistic hike through the breathtaking scenery and boundless beauty of the natural world. </p> <p>The exhibition plans to explore both the stereotypes and realities of our relationship to the environment, how nature is sometimes used as a marketing campaign and how we have cultured nature to suit our own needs. In the installation, nature and the art it has inspired has been visually fenced in, either to keep you out or to keep it in. The 48+ contributors in Kamp 48 have been working from their own ideas of nature to create a campsite where mass media&#39;s manipulation of nature is fully explored. Featured works take cues from horror movies, abduction stories, troop leaders gone wild, alien abductions and the army-like transformation of boys to men under the stern direction of the Boy Scouts of America.</p> <p>Unique pieces have been created especially for the exhibition which was first exhibited in The Zine Unbound: Kults, Werewolves, and Sarcastic Hippies at The Yerba Buena Center for the Arts, in San Francisco, in the fall of 2005. Among many contributions editor Hug has teamed up with assume vivid astro focus to create assume vivid astro turf, Dominic McGill has customized the tent with stories from mass media, Theo A. Rosenblum has made a campfire complete with smores and a roasting pig and Justin Samson has created an alien, ready to take you away... be prepared!</p></div> http://johnconnellypresents.com/exhibition/view/956 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">July 28 - July 30, 2006</div> <br/> <a href="/exhibition/view/957"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8367.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>Flex Your Textiles<br /> Is a coming out.</p> <p>With both historically humble and ornate, masterful style, we are re-<br /> invigorating textile traditions and creating our own.</p> <p>What is your process?<br /> What are your techniques?</p> <p>How do you map your desire in sequins?<br /> What do you do with your menstrual blood, ropes, cast-off fabric,<br /> dyes, napkins, and felt when you are alone?<br /> What rhythms do you create with your crochet?<br /> Whose ghost is being evoked?<br /> What ancient weaving tradition is having a revival in your kitchen <br /> studio?</p> <p>Flex Your Textiles happened for the first time in a vacant apartment in Williamsburg in the Spring of 2006. This weekend exhibit at John Connelly Presents is the second offering put forth by Travis Boyer and Ginger Brooks Takahashi.</p> <p>Flex Your Textiles includes the work of the following artists:</p> <p>Antony, Matteah Baim, Jay Batlle, Bianca Beck, Chris Bogia, Susie Brandt, Erica Browne, Sascha Braunig, Nancy Brooks Brody, AK Burns, Ann Burton, Michael Capotosto, Donnie Felix Cervantes, Lea Cetera, Lynne Chan, Chicks on Speed, Leidy Churchman, Diana Dart, Jocelyn Davis, Davina Drummond, Keltie Ferris, Discoteca Flaming Star, Rhis Davies Gaetano, Liz Glynn, K8 Hardy, Ryan Harman, Arlo Hoffman, Onya Hogan Finlay, Donna Huanca, Einat Imber, Katie King, Lisa Kirk, Paul Kopkau, Samara Kupferberg, Michael Magnan, Clar Mapes, Mores McWreath, Hazel Meyer, James Morrison, Ulrike Mueller, Will Munro, Jeanine Oleson, Aurora Pellizzi, Shelia Pepe, Michael Powers, Pat Reese, Jamie Rocklage, Emily Roysdon, Matt Savitsky, Sarah Saltzman, Saviour Scraps, Shabd Simon-Alexander, Jen Smith, Kant Smith, Shinique Smith, The Third Leg, Abby Walton, Kristine Woods, Yemen Wed, Andrea Zittel.</p></div> http://johnconnellypresents.com/exhibition/view/957 <div class="exhibition-subtitle">mil siluetas</div> <div class="exhibition-dates">June 27 - July 26, 2006</div> <br/> <a href="/exhibition/view/955"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8353.jpeg" alt="Selvage Sphere, 2006 textile dye on silk, with embroidery thread 44.5 x 68.6 cm" height="320" width="500" /></a> <p><p>Selvage Sphere, 2006<br /> textile dye on silk, with embroidery thread<br /> 44.5 &#215; 68.6 cm</p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce the debut solo exhibition of New York based artists Donnie &amp; Travis. Working in collaboration, Donnie &amp; Travis create photo based figurative works on silk that are embellished with textile dyes and silk &amp; cashmere embroidery. Donnie &amp; Travis&#39;s subjects are usually solitary or paired figures situated in pastoral or metaphysical landscapes. They gaze directly at us, hide behind tangled shrouds or interact with ambiguous geometric structures. Using the process of cyanotype, Donnie &amp;Travis embed their subjects in a pictorial reality that begins and ends with a reflection on the body and it&#39;s physical indexes. By the time Donnie &amp;Travis&#39;s subjects inhabit their framework, they have gone through three generations of mechanical reproduction. Already approaching drawing through this physical degeneration, the figures are then suffused with hand-made elements, washes of textile color and elaborately embroidered details. Embroidery is what holds the image to the canvases, as everything else becomes liquid dyes, skin, blood and vapor. Donnie &amp;Travis&#39;s work investigates a unique territory within their polar processes of the mechanical and the handmade, creating an amalgam of mediums that treads a beautifully distorted line between portraiture and allegory.</p></div> http://johnconnellypresents.com/exhibition/view/955 <div class="exhibition-subtitle">dreams and nightmares of the african astronauts</div> <div class="exhibition-dates">May 12 - June 17, 2006</div> <br/> <a href="/exhibition/view/961"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8373.jpeg" alt="" height="396" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents (JCP) is pleased to announce a solo exhibition of new painting, installation and video by Marco Boggio Sella. For this exhibition, the artist&#39;s second solo show in New York, Boggio Sella traveled to Burkina Faso, West Africa bringing with him images and textbooks on the subject of Astronomy. These materials included among other images of the sun and stars, photographs of the 1969 American moon landing (an event that is often referred to as mankind&#39;s greatest technological achievement of all time). For a population living in one of the most impoverished and remote areas on earth, seeing these pictures (most for the first time) and entertaining the astonishing idea of man&#39;s abilities to travel to the moon led to a series of interviews and commissions/collaborations with the artist. <br /> The results are presented in a salon fashion that integrates a new series of paintings made by Boggio Sella in New York with sculpture, batiks and bogolans (mudcloth), created by local artisans in Africa. These custom made fabric pieces and sculptures are hybrids that retain the shapes and style of traditional "African" art while depicting new iconographies inspired by Boggio Sella&#39;s introduction of ideas and fantasies of moon landings and space exploration. The moon is, of course, the second biggest and most visible object in the sky (next to the sun) and has therefore become a universal symbol to all religions and cultures fraught with provincial, religious, nationalistic and personal associations. Boggio Sella carefully funnels the emotions and poetics of this powerful symbol into a series of works that suggest a universal need for inspiration, exploration and (re)discovery.<br /> Also on view are indigenous artifacts and objects obtained by Boggio Sella from shamans in the village&#39;s markets and presented here in a ceremonial series of vitrines. The majority of these objects are tools for fortification, protection, meditation and psychological/physical sustenance. They are for the most part spiritual, healing objects meant to guard one on the journey of day-to-day life and something that could potentially be essential to a long and grueling trip (whether physical or metaphysical). Among these indigenous artifacts and objects, Boggio Sella has placed his own hand-fashioned objects out of organic materials such as earth, clay and hemp.<br /> From an art historical perspective, Boggio Sella&#39;s work can be seen as an exploration of the art historical implications of the avant-garde&#39;s origins in conceptual ideas of primitivism. From a formalist point of view, the initial influence of primitivism seen in late 19th century and early 20th century works by Gaugin, Picabia and Picasso can be seen as a "back to basics" approach to making art following the excesses of Romanticism and Impressionism. Following this line of thought one could view the progression of early-mid 20th century modernism into postmodernism as a degeneration of artistic engagement with formal and spatial issues such as color, line and shape. Through his collaboration with local artisans and the documentation and exchange of cultural ideas regarding discovery, economy and exploration, Boggio Sella has created a dense body of work that examines not only the origins of the modernist avant-garde but the responsibilities and challenges of making interesting "new" art in a contemporary world where one is so saturated with technological stimuli and imagery that the idea of an original or basic image veers towards the impossible or the exotic.<br /> Marco Boggio Sella was born in Turin, Italy in 1972. He has had solo exhibitions at Galerie Analix, Geneva; Studio Guenzani, Milan; Galerie Cosmic, Paris and John Connelly Presents, New York.</p></div> http://johnconnellypresents.com/exhibition/view/961 <div class="exhibition-subtitle">wotcha</div> <div class="exhibition-dates">April 1 - May 6, 2006</div> <br/> <a href="/exhibition/view/962"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8391.jpeg" alt="" height="360" width="459" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce a solo exhibition of new sculpture and video by Ara Peterson. </p> <p>The hybrid experimentalism of Ara Peterson&#39;s past projects has featured large-scale environments incorporating painting, video, sculptural and performative elements. In these previous installations, fluid dynamics, kinetic energy and a boundless set of impressions were created as the spectator was saturated with layers of evolving imagery. Building on his previous work and collaborations, elements of Peterson&#39;s complex process are stripped down in this new exhibition and presented in stark relief, revealing the interplay between his powerful static shapes and moving forms. </p> <p>The pieces in Peterson&#39;s new exhibition are designed precisely to generate optical feedback within the mind of the viewer. Physical manipulations are used to mechanically cut shapes into streams, translating interwoven patterns by adding or eliminating the element of time. This purely generative approach produces geometric facets through which dimensions are simultaneously pulled from space and multiplied beyond recognition. The result is a vocabulary of autonomously self-organizing visual morphologies positioning the perceptions as the prime aesthetic function in the reception of these intriguing new works. </p> <p>In addition to Peterson&#39;s abstract monochromatic sculptural works, John Connelly Presents is pleased to debut Peterson&#39;s new video, "Needle Eye", with a custom soundtrack by Sonic Boom.</p> <p>Ara Peterson was born in 1973 in Boston, <span class="caps">MA.</span> He graduated with a degree in Film/Video/Animation from the Rhode Island School of Design in 1997. Peterson&#39;s most recent solo exhibition was in 2005 at Ratio 3 Gallery in San Francisco. His work can currently be seen in New York City as part of Creative Time&#39;s "The 59th Minute: Video Art on the <span class="caps">NBC</span> Astrovision by Panasonic" March 7 - June 5, 2006 and his video "UV - Energy Fields" will be screened at <span class="caps">P.S.</span> 1 Museum, Long Island City this spring as part of "Into Me/ Out of me", curated by Klaus Biesenbach. His work has also recently been shown at the Liverpool Biennale, Liverpool, England (2004), Albright-Knox Art Gallery, Buffalo, NY (2005) and The Deste Foundation Centre for Contemporary Art, Athens, Greece (2006).</p> <p>Peterson was one of the founding members of the seminal collective Forcefield, who were included in the 2002 Biennial Exhibition at the Whitney Museum of American Art, New York. He continues to work collaboratively with former member Jim Drain producing exhibitions at the Biennale D&#39;Arte contemporain De Lyon (2003), The Moore Space, Miami (2004) and Deitch Projects, New York (2005).</p> <p>Peterson currently lives and works in Providence, <span class="caps">RI.</span></p></div> http://johnconnellypresents.com/exhibition/view/962 <div class="exhibition-subtitle">the best kind of friends are like iron sharpening iron</div> <div class="exhibition-dates">February 18 - March 25, 2006</div> <br/> <a href="/exhibition/view/963"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/8/8396.jpeg" alt="" height="352" width="500" /></a> <p></p> <br /> <div class="exhibition-description"><p>John Connelly Presents is pleased to announce Canadian artist and filmmaker Scott Treleaven&#39;s first solo exhibition in New York City. Following successful solo shows in Los Angeles, Chicago and Washington <span class="caps">DC,</span> Treleaven will be unveiling his most complex project to date featuring collage, sculpture, large-scale black &amp; white photographs, and an eagerly anticipated new film.<br /> <br /> In Treleaven&#39;s collages, made from photocopies and Japanese chiyogami paper, compositions of young men in cultish groupings or solitary postures are punctuated with bursts of pastoral decoration and color. Congregating, resting or brandishing knives, Treleaven&#39;s subjects are intertwined with secular and religious iconographies such as coronations and sacrifices. These tableaus of redemption and exaltation coupled with the floral, animal and skeletal motifs in Treleaven&#39;s work suggest a neo-romantic connection to nature and ceremony as indexes of powerful transformative experiences such as violence, death, dissemination and euphoria. </p> <p>In his collages, Treleaven uses photocopies of his own black &amp; white portraits as a nod to the language of photography as it appears in street fliers and handmade zines. In this new body of work, the artist has chosen to include the photographs themselves - atmospheric portraits of friends, thieves, and mystics standing sentry and wreathed in shadows. Accompanying sculptures, constructed from dog and goat skulls, allude to rituals and altars used by the youths inhabiting both the collages and photos. The show will also include a beautiful, new short film that extends Treleaven&#39;s mythologies even further. Shot on Super 8 in the grey back alleys of Zurich, real life denizens of this realm enact an allegory that is by turns tender and disturbing, evoking Jarman, Genet and Burroughs.<br /> <br /> Having already achieved cult status in underground circles, Treleaven&#39;s award-winning short film The Salivation Army (2002) caught the attention of the Village Voice in 2003 and was screened in the official Art Basel film program in 2004. Based on his experiences publishing a densely collaged punk/occult zine of the same name, the film fleshed out the artist&#39;s core obsessions: that a dark, anthropological current unites a number of contemporary youth subcultures; that the latter-day punks and mystics in his photographs and films represent an obsolete (or simply sleeping) warrior class; and that occult and symbolist language still remains the most accurate way of describing and dignifying the human condition.<br /> </p> <p>Scott Treleaven was born in Toronto, Canada and graduated from the Ontario College of Art &amp; Design in 1996. He has recently had successful solo exhibitions at Marc Selwyn Fine Art, Los Angeles, Kavi Gupta Gallery, Chicago, Conner Contemporary, Washington, as well as a number of group shows throughout the <span class="caps">US, </span>including `Log Cabin&#39; at Artists Space, New York. Concurrent with this exhibition, Printed Matter Inc. will be launching a limited edition book containing Treleaven&#39;s early collages, zines and writings entitled The Salivation Army Black Book.</p></div> http://johnconnellypresents.com/exhibition/view/963 <div class="exhibition-subtitle">assume vivid astro focus, Hug &amp; Magnan, Freeman/Phelan, Nick Lowe, Justin Samson and Michael Wetzel</div> <div class="exhibition-dates">January 12 - February 11, 2006</div> <br/> <a href="/exhibition/view/1370"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/15/15709.jpeg" alt="" height="338" width="450" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1370 <div class="exhibition-subtitle">true magicians, holy ghosts</div> <div class="exhibition-dates">November 19 - December 17, 2005</div> <br/> <a href="/exhibition/view/1376"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/15/15740.jpeg" alt="" height="336" width="450" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1376 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 19 - December 17, 2005</div> <br/> <a href="/exhibition/view/1377"><img border="0" src="http://johnconnellypresents.com/static/dyn-images/15/15742.jpeg" alt="" height="336" width="450" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1377 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">October 1 - November 12, 2005</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1378 <div class="exhibition-subtitle">a project by Lisa Kirk</div> <div class="exhibition-dates">August 19 - September 24, 2005</div> <br/> <br /> <div class="exhibition-description"><p>Bonds of Love is an exhibition curated by Lisa Kirk and created specifically for John Connelly Presents. Kirk&#39;s project includes work by Laura Anderson Barbata, Fiona Banner, Anne Collier, Camille Norment, Tara Mateik, Josephine Meckseper, Marilyn Minter, Aleksandra Mir, Kati Heck, Laura Parnes, Maria E. Pi&ntilde;eres, Goody-B.Wiseman, and Sherry Wong and catalogue and texts by Lia Gangitano, Chris Kraus, Shelley Marlow and Lisa Jaye Young.</p></div> http://johnconnellypresents.com/exhibition/view/1379 <div class="exhibition-subtitle">Patrick Hill, Monica Majoli, Noah Sheldon</div> <div class="exhibition-dates">June 28 - August 5, 2005</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1380 <div class="exhibition-subtitle">98-05 selected videos</div> <div class="exhibition-dates">May 13 - June 18, 2005</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1382 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 13 - June 18, 2005</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1381 <div class="exhibition-subtitle">new york, new york, new york, new york</div> <div class="exhibition-dates">April 1 - May 7, 2005</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1383 <div class="exhibition-subtitle">green riders</div> <div class="exhibition-dates">February 18 - March 26, 2005</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1384 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">February 18 - March 26, 2005</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1385 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 7 - February 12, 2005</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1386 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 13 - December 18, 2004</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1387 <div class="exhibition-subtitle">warm wishes</div> <div class="exhibition-dates">October 1 - November 6, 2004</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1388 <div class="exhibition-subtitle">Group show featuring Jarrod Beck, Jeff Davis, Gerald Davis, Kaye Donachie, Kent Henricksen, John Kleckner</div> <div class="exhibition-dates">August 23 - September 25, 2004</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1389 <div class="exhibition-subtitle">boys gone wild</div> <div class="exhibition-dates">June 29 - July 30, 2004</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1390 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">May 13 - June 19, 2004</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1392 <div class="exhibition-subtitle">from this earthly world, you'll soon depart</div> <div class="exhibition-dates">April 8 - May 8, 2004</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1393 <div class="exhibition-subtitle">exhausted blood and imitation salt</div> <div class="exhibition-dates">February 20 - March 27, 2004</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1394 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 16 - February 14, 2004</div> <br/> <br /> <div class="exhibition-description"><p>group exhibition featuring<br /> assume vivid astro focus, Dan Attoe, Marco Boggio Sella, Matthew Brannon, Hisham Akira Bharoocha, Jeff Davis, Amie Dicke, Kent Henricksen, Laurie Hogin, Violet Hopkins, John Kleckner, Nick Lowe, Tucker Nichols, Michael Phelan, Justin Samson, <span class="caps">A.L.</span> Steiner, Rob Thom, Michael Wetzel, Grant Worth, Nicolau Vergueiro</p></div> http://johnconnellypresents.com/exhibition/view/1395 <div class="exhibition-subtitle">the giving tree</div> <div class="exhibition-dates">November 7 - December 13, 2003</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1396 <div class="exhibition-subtitle">blame canada</div> <div class="exhibition-dates">September 25 - November 1, 2003</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1397 <div class="exhibition-subtitle">group show</div> <div class="exhibition-dates">July 19 - September 13, 2003</div> <br/> <br /> <div class="exhibition-description"><p>Bill Adams, assume vivid astro focus, asianpunkboy, Dan Attoe, Hernan Bas, Paul Brainard, Olaf Breuning, AA Bronson, Marco Boggio Sella, Mathew Cerletty, Jeff Davis, Jules De Balincourt, Tony Feher, Adrian Garcia Gomez, James Gobel, Sam Gordon, Billy Grant, Scott Grodesky, Joe Grillo, Everest Hall, Christophe Hamaide Pierson, Jan Hammer, Erik Hanson, Thomas Hellstrom, Christian Holstad, Arnoud Holleman, Scott Hug, David Humphrey, Alex Katz, Matt Keegan, <span class="caps">R.W.</span> Kitchen, Kentaro Kobuke, Sean Landers, Matt Leines, Justin Lieberman, Tim Lokiec, Nick Lowe, Michael Magnan, Nick Mauss, Dan McCarthy, Sean Mellyn, Paul <span class="caps">P.,</span> Philippe Perrot, Phiiliip, Richard Phillips, David Rathman, Pieter Schoolwerth, Spencer Sweeney, Rob Thom, David West, Michael Wetzel, <span class="caps">T.J.</span> Wilcox</p> <p>(traveled to Hiromi Yoshii Gallery, Tokyo, Japan, October 11 - November 15, 2003 with Matt Leines, Glen Ligon, Keegan McHargue, Justin Samson, and David Shrigley)</p></div> http://johnconnellypresents.com/exhibition/view/1398 <div class="exhibition-subtitle">have a nice forever!</div> <div class="exhibition-dates">June 3 - July 8, 2003</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1399 <div class="exhibition-subtitle">group show curated by Nancy Chaikin</div> <div class="exhibition-dates">April 15 - May 20, 2003</div> <br/> <br /> <div class="exhibition-description"><p>Kristin Beinner<br /> Lucky DeBellevue<br /> Kim Fisher<br /> Tony Just<br /> Rob Pruitt<br /> Mary Weatherford</p></div> http://johnconnellypresents.com/exhibition/view/1400 <div class="exhibition-subtitle">Matthew Brannon, Wade Guyton, Mungo Thomson</div> <div class="exhibition-dates">February 28 - April 5, 2003</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1401 <div class="exhibition-subtitle">curated by scott hug</div> <div class="exhibition-dates">December 3, 2002 - January 19, 2003</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1402 <div class="exhibition-subtitle">Heige J. Kim, Gerard Maynard, John Tremblay</div> <div class="exhibition-dates">October 18 - November 16, 2002</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1403 <div class="exhibition-subtitle">title upon request</div> <div class="exhibition-dates">April 6 - May 5, 2002</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1404 <div class="exhibition-subtitle">sissel kardel, kelly walker, assume vivid astro focus</div> <div class="exhibition-dates">November 9 - December 8, 2001</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1405 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 17 - March 17, 2010</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1709 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 17 - March 17, 2010</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1708 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 17 - March 17, 2010</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1707 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 17 - March 17, 2010</div> <br/> <br /> <div class="exhibition-description"></div> http://johnconnellypresents.com/exhibition/view/1706