STOREFRONT

STOREFRONT (16 Wilson Avenue, Brooklyn) will present new works by MARY JUDGE.  This exhibition marks the first solo exhibition in New York of the artist's work in two years. The exhibition will feature new works on paper created through the artist's unique layering of powdered pigment and use of stencils.  Also on exhibition will be an 11' wall drawing.  An opening reception for the artist will be held Friday, January 28 from 6-9PM.  Storefront is open weekends 1-6PM or by appointment by calling 646-361-8512.  For more information visit www.storefrontbk.com

"Judge's work, balances the abstract and the material with a grace and depth that distinguishes it from recent trends in dematerialized post-structuralist work," writes Winifred Elysse Newman, "Her work engages the physicality of making and the ritualized images of myth without abandoning the intellectual work of post-war minimalism. Similar to Giorgio Morandi's obsession with the space between, her work concentrates on the physicality of making through repetitive gesture. Judge's mastery of technique is equally matched to the conceptual formulation of her approach.  Her work delves into the fundamental, and arguably, evolutionary inheritance of the artistic gesture as an expression of a social psyche."

Mary Judge's work is in the collections of The Fogg Museum Harvard University,Cambridge, MA; The British Museum, London, UK; The Victoria and Albert Museum, London, UK; The Philadelphia Museum of Art, PA; The Allen Memorial Museum of Art, Oberlin, OH; and The Corcoran Gallery of Art, Washington, DC, and a recently dedicated permanent sculpture for the Missouri Botanical Garden among others.  LEARN MORE ABOUT MARY JUDGE =>

Opening Reception: Friday, February 25, 6-9 PM

STOREFRONT (16 Wilson Avenue, Brooklyn) presents a new exhibition titled JUX: new painting by ANDY SPENCE + COLIN THOMSON. JUX is an exhibition that brings together, or juxtaposes, two seasoned New York painters in a lively exhibition to examine and consider their diverse treatment of subject, color, drawing, and editing. While both Andy Spence and Colin Thomson paint abstractly, their methods and results could not be more different. JUX encourages the viewer to participate in the conversation created between two very different approaches to painting.

Also on exhibit in the backroom at Storefront are new still-life paintings by Bushwick based artist Amy Lincoln.

An opening reception for the artists will be held Friday, February 25, from 6-9PM. Storefront is open weekends 1-6PM or by appointment by calling 646-361-8512.  For more information visit www.storefrontbk.com

 ANDY SPENCE is best known for his simplification of the subject and the relationship between abstraction and reference. Spence's fascination with commonplace design has served as a starting point for much of his work. Each painting has different visual dualities such as spatial illusions, tactility and balance. Upon completion, the original sources are transformed and sometimes completely forgotten. Color is the reinforcing structure. In this new group of paintings, Spence's structural format loosens, revealing his process.

Spence received his BFA from Tyler School of Art of Temple University in 1969 and his MFA from UC Santa Barbara in 1971. He has been teaching at Bennington College in VT since 1994. His work is in the collections of the Metropolitan Museum of Art, Whitney Museum of American Art, the Museum of Modern Art, Hirshhorn Museum and Sculpture Garden, Albright-Knox Art Gallery, Walker Art Center, San Diego Museum of Art, among others. Spence lives and works in New York City.  For more information on Andy Spence visit:  www.andrewspenceart.com

COLIN THOMSON derives his compositions from a mixture of graphics and indigenous patterns that recall the early pictographs of Adolph Gottlieb. His paintings are a playful yet focused investigation of the relationship between figure and ground, color and drawing. Thomson's narrative extends not only between his hieroglyphic figures but also includes the 'ground' in which they exist. Unlike his earlier works, which were thickly layered, these new works are 'fast.' Patches of raw canvas are left uncovered and the brush indicates sure drawing and a strong feeling for scale. Thomson, however, retains and expands upon his original subject, matter responding with a wry inventiveness to architectural plans, Islamic tiles, and skewed color registration.

Thomson received his BA from Lake Forest College in 1971 and his MFA from Yale University in 1977. He is the recipient of a National Endowment for the Arts Fellowship in 1991-92. His work is in the collections of the Grey Art Gallery, New York University; Albright-Knox Art Gallery, Weathersppon Art Gallery, and Centro Culturale, Arte Contemporaneo, Mexico City, among others. This fall, Thomson's paintings will be featured at the Wexford Art Center in Bunclody, Republic of Ireland. Thomson lives and works in New York City. For more information on Colin Thomson visit:  www.colinthomsonstudio.net

ALSO, ON EXHIBIT IN THE BACKROOM @ STOREFRONT:  AMY LINCOLN: new still life paintings.

AMY LINCOLN is a Brooklyn, New York-based artist who makes detailed, allegorical paintings of still lifes, portraits and interiors, often combining these genres into a single image. The objects and spaces in her paintings depict her personal surroundings, her home, her possessions, the view from her apartment. The imagery also creates an internal dialogue with the history of painting, particularly works by northern Renaissance artists like Hans Holbein, Jan Van Eyck, and Petrus Christus.

A Portland, Oregon native, Lincoln studied painting at the University of California Davis, Brandeis University, and the Tyler School of Art, where she earned her MFA. She moved to New York in 2006 upon receiving a Swing Space Residency from the Lower Manhattan Cultural Council.  Lincoln exhibits her work nationally and internationally, in cities such as New York, Tokyo, Philadelphia, Boston, and Portland, OR.   She is also active in the emerging gallery scene of Bushwick, where she helps run The Laundromat, an exhibition program, out of her apartment. For more information on Amy Lincoln visit:  www.amylincoln.com

STOREFRONT was started by Jason Andrew and Deborah Brown.  It is Bushwick’s leading gallery presenting both emerging young talent and established historically significant artists. Its exhibition program has been the featured in ARTNET MAGAZINE, THE CITYist, TIME OUT NEW YORK, NEW YORK MAGAZINE, NEW YORK PRESS, NEW YORK POST, THE NEW CRITERION, L MAGAZINE, THE BROOKLYN RAIL, THE NEW YORK TIMES, WNYC, and written about locally including BUSHWICKBK, GREENPOINT GAZETTE, WILLIAMSBURG GREENPOINT NEWS + ARTS.

HOURS:  Weekends 1:00-6:00PM or by appointment 646-361-8512.

DIRECTIONS: L train to Brooklyn, Morgan Avenue Stop. Walk four blocks on Morgan to Flushing Avenue. Cross Flushing Avenue to Wilson Avenue. The gallery is located between Noll and George Streets. Look for the sign that reads: PM TAXES.

GREG KWIATEK: new paintings

and in the backroom:

GROUNDWORK:
photography + landscape + materiality + terrain
Beth Ganz, Letha Wilson, and Rena Leinberger

 March 25-April 17

 Opening Reception: Friday, March 25, 6-9 PM

 STOREFRONT (16 Wilson Avenue, Brooklyn) is pleased to present new paintings by GREG KWIATEK. Also on exhibit in the backroom at Storefront will be a group exhibition titled GROUNDWORK: landscape, materiality, and terrain, featuring new work by Beth Ganz, Letha Wilson, and Rena Leinberger. An opening reception for the artists will be held Friday, March 25, from 6-9PM. Storefront is open weekends 1-6PM or by appointment by calling 646-361-8512.

For several years, GREG KWIATEK has been making paintings concerned with natural atmospheres.  “Atmosfera,” as the artist calls his new body of work, are paintings, modest in size, that represent his interest in the nocturnal condition.  Through a slow evolution, Kwiatek combines figuration, nuance, fantasia, and subjectivity into a quiet moment frozen in time.

Kwiatek was born in 1948 in Pittsburgh, PA, and currently lives and works in New York City. He received his BFA from Carnegie-Mellon University in Pittsburgh. Kwiatek lived and worked in Cologne, Germany, from 1985 to 1987. The Kunstraum-Munchen mounted a one-person exhibition of his work in 1985. He frequently exhibited throughout the 1990's at AC Project Room in New York. He was recently the subject of a one-person exhibition at the Korn Gallery at Drew University in Madison, New Jersey (2010), and Melville House Books in Brooklyn, New York (2010). His numerous group exhibitions include "Utopia Dystopia" at Storefront Gallery in Bushwick (2010); "Paul Bloodgood, Leonard Bullock, Greg Kwiatek" at David Zwirner, New York (2008); "Six Billion Perps Held Hostage!" at the Andy Warhol Museum, Pittsburgh (2007); and "Super Natural" at the Center Gallery at Fordam University in New York (2006). He has been the recipient of the Pollock-Krasner Award, the Adolph and Esther Gottlieb Foundation Grant, and the John Simon Guggenheim Memorial Fellowship. The artist has been a member of the Elizabeth Foundation for the Arts in New York since 2003. He will exhibit in "From the Pages Edge" at Moravian College in Bethlehem, PA; William Paterson University in Wayne, New Jersey; the Lake Champlain Maritime Museum in Vergennes, Vermont (2011); and "Leiko Ikemura, Greg Kwiatek" at Ulrike Jagla Ausstellung in Cologne, Germany (2011).  His numerous collectors include The Carnegie Museum of Art in Pittsburgh, Deborah Brown and Eric Ploumis (New York), Paul Bloodgood and Kelly Adams (New York), Anne Chu (New York), Alissa Friedman and Glenn Petry (New York), Rafael Jablonka, (Cologne), Aurel Scheibler (Berlin), Dirk Schroeder and Christine Rossini (Cologne), and David and Monica Zwirner (New York).

AND IN THE BACKROOM: 

GROUNDWORK: landscape, materiality, and terrain

featuring new work by Beth Ganz, Letha Wilson, and Rena Leinberger.

BETH GANZ graduated with honors from Pratt Institute, Brooklyn, NY with a B.F.A. in 1972. She has been a member of Manhattan Graphic Center since 1987 where she teaches classes in photogravure and other intaglio printmaking methods. Ganz has held solo exhibitions in New York and South Carolina and her prints have been included in many group shows in the United States as well as England, Europe, and India since 1989. In 2006, Ganz's solo show, Beth Ganz: New Work, was on display at

APF Gallery, New York, NY.  Ganz's work is also represented in public and private collections including the Tommy Hilfiger Collection; Hofstra Museum, Hempstead, NY; New York Historical Society, New York, NY; Library of Congress, Washington, DC; New York Public Library, New York, NY; and U.S. Department of State Art Bank.

Using photogravures of trees and shadows in both negative and positive, this new work reflects impressionistic and decorative representations of nature. The flux between the surface of the image and the photograph's illusory depth alludes to landscape painting's historical legacy of bringing inside the outside, of offering a window onto another world. The element of nostalgia imparted by the nineteenth century process of photogravure is at once maintained and disrupted by the play between negative and positive, surface and depth simultaneously encouraging and foiling escape into contrived worlds, much like traditional landscape painting.

LETHA WILSON is a mixed media artist who was born in Honolulu, raised in Colorado and currently lives in Brooklyn. She earned her BFA from Syracuse University, and an MFA from Hunter College in New York City. Letha's artwork has been shown at many venues including the Bronx Museum of the Arts, Socrates Sculpture Park, Exit Art, White Box, Frederieke Taylor Gallery and the Aldrich Museum of Contemporary Art. In 2009 Letha was a resident at the Santa Fe Art Institute, the Skowhegan School of Painting and Sculpture, and was nominated for the Louis Comfort Tiffany Biennial Award.

Wilson uses images and materials from the natural landscape as a starting point for interpretation and confrontation. Her work creates relationships between architecture and nature, and the gallery space and the American wilderness.  In the photo-based sculptures the ability for a photograph to transport the viewer is both called upon, and questioned; sculptural intervention attempts to compensate for the photograph’s failure to encompass the physical site it represents. Landscape photography as a genre is approached with equal parts reverence and skepticism. In another body of work, site-specific installations juxtapose re-claimed wood and drywall material in innovative ways that respond to both interior and outdoors environments, and comment on the glut of material discarded in the contemporary art exhibition cycle.

RENA LEINBERGER has exhibited in solo shows at the Museum of Contemporary Art in Chicago, Gallery 400 at University of Illinois of Chicago, Zg Gallery, the Evanston Art Center and 1R Gallery; she has been included in group exhibitions at the Queens Museum of Art, Bronx Museum of the Arts and CUE Art Foundation in New York; the Urban Institute of Contemporary Art in Grand Rapids, the City of San Antonio International Center, among others. She has been selected for several awards, including a fellowship in the Bronx Museum's AIM Program, a grant from the Joan Mitchell Foundation, and a sponsored residency at the International Studio and Curatorial Program (ISCP) in New York.  She received her MFA from the School of the Art Institute of Chicago. Her work has been reviewed in publications including Sculpture Magazine, FiberArts, Chicago Tribune, the Chicago Reader, Bridge Magazine, mouthtomouth and the Brooklyn Rail.

Images and building materials taken from the related processes of construction and entropy form the basis of Rena Leinberger’s work. The sites and landscapes created by these removals and rebuildings are ordinary, ubiquitous, yet socially charged spaces.  She dislocates objects, structures and images of these environments and rebuilds them with shifts in materials determined through a reciprocal logic. Ordinary construction materials are allowed to stand in for elements of the image or other materials and objects. The substitutions are aesthetically slight – it looks about like what it is – and flimsier than the original. The reality they begin to project are simulations of the idea of reality, and often the simulations are also duplicated. The constructed idea, or abstracted constructed idea, is a confounding experience that produces an inquiry into notions of material failure, artifice, collapse, and the collapse of ideologies that accompany our architectures.

__________

STOREFRONT was started by Jason Andrew and Deborah Brown.  It is Bushwick’s leading gallery presenting both emerging young talent and established historically significant artists. Its exhibition program has been the featured in ARTNET MAGAZINE, THE CITYist, TIME OUT NEW YORK, NEW YORK MAGAZINE, NEW YORK PRESS, NEW YORK POST, THE NEW CRITERION, L MAGAZINE, THE BROOKLYN RAIL, THE NEW YORK TIMES, WNYC, and written about locally including BUSHWICKBK, GREENPOINT GAZETTE, WILLIAMSBURG GREENPOINT NEWS + ARTS.

HOURS:  Weekends 1:00-6:00PM or by appointment 646-361-8512.

DIRECTIONS: L train to Brooklyn, Morgan Avenue Stop. Walk four blocks on Morgan to Flushing Avenue. Cross Flushing Avenue to Wilson Avenue. The gallery is located between Noll and George Streets.

HERMINE FORD: paintings

and in the backroom:

"our horses feeding inside":

new sculpture by SUZANNE GOLDENBERG

STOREFRONT (16 Wilson Avenue, Brooklyn) is pleased to present new paintings by HERMINE FORD. A fully illustrated color catalogue of paintings from 1970 to the present will accompany the exhibition. Also on exhibit in the backroom at Storefront will be new sculpture by SUZANNE GOLDENBERG. An opening reception for the artists will be held Friday, April 22, from 6-9PM. Storefront is open weekends 1-6PM or by appointment by calling 646-361-8512.

HERMINE FORD makes paintings using visual material from a wide variety of natural and man-made sources including direct observation, topography, cartography, textiles, and mosaics. Ford was born in New York City in 1939. She grew up on East 23rd Street. Her childhood neighborhood went from East 23rd down 2nd Avenue to Houston Street and all points East. Her first extended stays away from the sidewalks of New York, to the ‘green world’ came at summer camp in New Jersey, provided by her local Settlement House. In the years since, she has spent long periods of time in rela­tively uninhabited spaces on the Atlantic seaboard, and also long visits to Rome. She lives and works in New York and Nova Scotia. A book featuring the collaboration between poet Kathleen Frasier and Ford was recently published by Granary Books.

Ford graduated from Antioch College (’62) spending one year as an undergradu­ate at Yale School of Art and Architecture. In 1977 she received a CAPS Grant from New York State Council on the Arts. and has been a Visiting Artist/Lecturer at Rhode Island School of Design, School of Art Institute of Chicago, New York Studio School, Bennington College, and The American Academy in Rome among others. Ford was Artist in Residence at Mount Royal College of Art at Maryland Institute College of Art, Baltimore, from 1986-2010.

Solo exhibitions include: Artists Space ('76); Barbara Toll Gallery, NYC ('81, '86); Bertha Walker Gallery, Provincetown, MA ('92); Grant Selwyn Gallery, NYC ('97, '99); Goya Girl, Baltimore, MD ('03); Sigma Gallery, NYC ('97); Norte Maar, Brooklyn ('09); Storefront, ('11).

Among many group shows: “American Painting: The Eighties” curated by Barbara Rose, Grey Art Gallery, New York University, NY (‘79); “Abstract Painting: The 90’s,” curated by Barbara Rose, Andre Emmerich Gallery, NYC (’91); “Three Artists,” curated by Mary Heilmann, Apex Art, NYC (‘95); “Strokes,” curated by Elizabeth Murray, Exit Art, NYC (‘99); Invitational at American Academy of Arts and Letters, Purchase Award (‘00); “Material and Culture,” curated by Mary Heilmann, Bronx River Art Center, Bronx (‘05); “Hermine Ford and John Newman”, curated by Jason Andrew, Plattsburgh State Art Museum, Plattsburgh, NY (‘07); “Something About Mary,” Orange County Museum of Art, CA (’07); “Works on Paper from 1940 to Present,” ACME Fine Art, Boston, MA (’08); “Old Dogs, New Tricks: Recent work by R. M. Fisher, Hermine Ford, John Newman”, KS Art, NYC (‘09); “Works on Paper”, Danese Gallery, NYC (‘10); “That Is Then. This is Now,” curated by Irving Sandler and Robert Storr, Cue Art Foundation, NYC (‘10).

Selected Public Collections: Arkansas Arts Center, Little Rock, AK; Corcoran Gallery of Art, Washington, DC; Gihon Foundation, Sante Fe, NM; Hood Museum at Dartmouth College, Hanover, NH; Metropolitan Museum of Art, New York, NY; The New School for Social Research, New York, NY; Yale University Art Gallery, New Haven, CT.

Additionally, an exhibition of drawings by Hermine Ford will open at STEVEN AMEDEE (41 N. Moore Street, NYC), on April 28, 6-9PM and will continue through May 31.

To learn more about Hermine Ford please visit: www.hermineford.com

"our horses feeding inside": new sculpture by SUZANNE GOLDENBERG

SUZANNE GOLDENBERG is a mixed media artist working in a variety of media including drawing, collage, textiles, video and sculpture. Through an improvisational process, she transforms found and scavenged materials, often what might be considered detritus and of no apparent value, into unexpected sculptural compositions that bear traces of the emotional, the architectural and the comic, but are ultimately non-literal. In these sculptures, the materials retain their histories as the waste by-product of our consumer society, but through a sensitivity to their other possible lives, Goldenberg transforms them into rich materials forming precarious structures poised between growth and collapse.

Ms. Goldenberg received a B.A. in Film from McGill University and an MFA from the Maryland Institute College of Art. She attended the Aljira Emerge Program, NJ and has received residencies from LMCC’s Swing Space program; Rotunda Gallery/BCAT Residency; and Chashama, NYC. She is a recipient of The Gottlieb Foundation Grant. Her work has been exhibited internationally, most recently at CANADA Gallery, PS 122, and Art in General all in New York City. She teaches art and gardening in NYC public schools and community gardens, while making and showing work abroad and at alternative spaces in NY.

Goldenberg lives and works in New York City.

Dunkle Wolke

an exhibition curated by William Powhida

June 3-26

Opening Reception: Friday, June 3, 6-9PM

From I See a Darkness, Bonny ‘Prince’ Billy

well you’re my friend
(it’s what you told me)
and can you see
(what’s inside of me)
many times
we’ve been out drinking
and many times
we’ve shared our thoughts
but did you ever, ever notice
the kind of thoughts I got
well you know I have a love
a love for everyone I know
and you know I have a drive
to live I won’t let go
but can you see its opposition
comes a-rising up sometimes
that it’s dreadful and position
comes blacking in my mind

and that I see a darkness
and that I see a darkness
and that I see a darkness
and that I see a darkness
and did you know how much I love you
is a hope that somehow you you
can save me from this darkness

__________

The artists in Dunkle Wolke are people I consider to be friends, or at least people I’ve shared a drink and a discussion about art with. They are artists who also have some experience with darkness in all its forms from the purely formal to the emotional weight of loneliness. They talk about darkness as a condition of their environment, history, politics, a color, or personal relationships that often takes on the form of what Bjoern Meyer-Ebrecht describes as an ‘ominous shape’. For me, the ominous shape is an expression of anxiety about the production of art and a search for meaning in an often chaotic world where historical narratives break down into reality without the authority of history and moral intention. Through the process of putting reality into a narrative, we attempt give it meaning making it a contentious site to be written and unwritten giving rise to a tension between form and language.

These tensions between reality and history, language and form are present in the works of the artists, all of whom I think about when I consider art’s relationship to the authority of history and its certainty of intention, which I do not share. Bill Abdale’s series of large-scale charcoal drawings examine the surfaces of the books he has read including Dosteyevsky’s meditation on morality “Crime and Punishment”. Through the process of reproduction, Bill traces what has been lost, scarred, and destroyed through use and interpretation. Ellie Ga’s performance, “Catalog of the Lost”, seeks to rediscover what has been presumed to be lost to history by exploring the fate of an arctic expedition. Her photographs in the show, “Fissures” are beautiful documents of her own 5 month arctic expedition, which was as much as an inward exploration as it was of the environment her ship became literally frozen in. David McBride’s dark paintings of grottos and sunsets contrast starkly with his own abstract forms, painstakingly rendered with subtle corruptions of color and registration. The tensions between the precision of his CMK process and touch create an anxious state that is mirrored in the curious relationship between representation and abstraction in his paintings. They share an uneasy co-existence that also marks Bjoern Meyer-Ebrechts sculptures and re-assembled books. The relationship between Modernist theory, represented by soft cover textbooks, and their abstract supports is uncertain, undermining the authority of both. This textual cityscape is also paired with black hard-cover books Bjoern has reshaped into angular, winged forms that imply another kind of horizon in space, echoing the tension between flatness and depth in all the artists’ pictoral space. Jenny Vogel’s video of a slowly spinning meteorite perhaps encapsulates these tensions, as the alien form threatens to invade the world, scrapping against the surface of the screen. It may also be the ultimate ominous shape, a truly free-floating darkness that rises up in opposition.

All of the works are equivocal representations of time, distance, and space with unfixed beginnings and end points that remain ominously close to darkness and the ambiguity of vision. They question our certainty about history, but they don’t give in to chaos. They are rescued by beauty, maybe even love without sentimentality, a love for process and possibility that art can provide some meaning and relief to the anxiety of living. Even I have to believe that sometimes.

-William Powhida

* itinerant ones *

an exhibition curated by Jules de Balincourt

July 1-17

Opening Reception: Friday, July 1, 6-9PM

^ Late Summer Blues ^

an exhibition curated by Sara Reisman + Ian Daniel

featuring the work of

Salvatore Arancio, Anthony Goicolea, Pablo Helguera,

Mary Mattingly, Francesco Simeti,

and Letha Wilson

July 22-August 7, 2011

Opening Reception: Friday, July 22, 6-9PM

BUSHWICK, BROOKLYN – Storefront (16 Wilson Avenue, Brooklyn) is pleased to announce the next installment of it’s ambitious summer three week exhibition schedule featuring guest curator Sara Reisman and Ian Daniel titled ^ Late Summer Blues ^. The exhibition brings together the work of Salvatore Arancio, Anthony Goicolea, Pablo Helguera, Mary Mattingly, Francesco Simeti, and Letha Wilson. The exhibition opens with a reception, Friday, July 22, 6-9PM and will be on view July 22 through August 7.  For more information contact Jason Andrew, 646-361-8512 or visit www.storefrontbk.com

Late Summer Blues is an exhibition of collage-based works in video, photography, and sculpture that reflects on our collective impulse to reconfigure and manipulate the landscape - both urban and rural - as a means of escape from the compression of summer in the city. Coupled with the desire to find respite from the concrete hardscapes that permeate our vision and movement, Late Summer Blues also suggests an imminent inversion of desire. As the middle of summer passes, a premature sense of nostalgia for the end of summer as an end of freedom comes into focus. How do we spend the last days of summer?

Each of the artists in the exhibition - Salvatore Arancio, Anthony Goicolea, Pablo Helguera, Mary Mattingly, Francesco Simeti, and Letha Wilson - offer us with views of summer that involve conceptual and formal manipulations as a means of re-orienting the viewer's understanding of place, time, and the atmosphere we occupy.

~ THINGS WERE PERFECT ~

newwork by COOPER HOLOWESKI

and KEVIN REGAN

WORK FROM THE 90s

August 12 -28, 2011

Opening Reception: Friday, August 12, 6-9PM

BUSHWICK, BROOKLYN – Storefront (16 Wilson Avenue, Brooklyn) takes a break from it’s summer of guest curated exhibitions to feature two of Bushwick’s most promising artists: Cooper Holweski + Kevin Regan. The exhibition features new work in mixed media by Holoweski with vintage works in collage from the 1990s by Regan. Opening reception for the artists will be Friday, August 12, 6-9PM and will be on view through August 28.  For more information contact Jason Andrew, 646-361-8512 or visit www.storefrontbk.com

COOPER HOLOWESKI was born in 1981 in Detroit, Michigan. His ongoing obsessions with art and technological progress began with his discovery of the “copy” function on his father’s fax machine at age seven. After receiving a BA in political science and BFA in printmaking from the University of Michigan he worked as a translator in Santiago, Chile and moved between Chile, Argentina, and Brazil for a year. In 2009 he completed an MFA from the Rhode Island School of Design and participated in the Skowhegan School of Painting and Sculpture. He enjoys riding his bicycle and reading. To learn more about Holoweski visit www.thisisprogress.net

Things Were Perfect: Our grandfathers worked in factories so that our parents could be engineers and we could be executives; all with homes in the suburbs to shelter our cars and boats and children.

“Things Were Perfect” is a series of mixed-media works on paper about the dream of a middle-class utopia.  The promise of Fordism was not simply that of a livable wage, but also one of social engineering that extended beyond the factory and into the home.  These domestic landscapes combine traditional painting and drawing techniques with computer-aided 3D modeling to create an atmosphere that is both opulent and stark.  With subject matter including Herman Miller furniture, vinyl-sided houses, and the Ford Elmont Station Wagon, these pieces carry a sincere nostalgia for the capitalist utopia of the 20^th century and understanding that it never really existed. -COOPER HOLOWESKI

KEVIN REGAN grew up in South Florida. He went to school at University of Florida and earned a MFA from School of Visual Arts. Regan runs the gallery in Bushwick called Famous Accountants with fellow artist Ellen Letcher. There's so much more he’d like to say about himself. If you're interested you should buy him a drink some time… As one of the pioneering artists of Bushwick, this special exhibition at Storefront features five works in collage made by the artist in 1996. Inspired by personal events they are representative of the artist’s humor.

THE JOE BONHAM PROJECT
organized by guest curator JAMES PANERO

OPENING RECEPTION:

Thursday, September 1, 6-9PM

An exhibition commemorating the 10th Anniversary of 9/11 featuring portraits of injured United States and Allied service personnel by members of the International Society of War Artists and the Society of Illustrators.

Exhibition continues through September 18

STOREFRONT

16 Wilson Avenue

BUSHWICK

9/11 did not end on 9/11. For American soldiers, 9/11 has been a decade-long day. As of this summer, over 44,000 troops have been wounded in conflicts following the attacks of September 11. Over 1,300 of them have undergone partial or full amputations. “The Joe Bonham Project” represents the efforts of wartime illustrators to document their rehabilitation. Formed in early 2011 by Michael D. Fay, the Project takes its name from the central character in Johnny Got His Gun, Dalton Trumbo’s 1938 novel of a World War I soldier unable to communicate with the outside world due to the extent of his wounds. Through portraiture, artists from both military and civilian life now work to ensure that today’s soldiers do not become tomorrow’s Joe Bonhams. I am pleased to connect these artists with New York's most vital artistic neighborhood and proud to present their work, for the first time, as our city marks the tenth anniversary of 9/11.

-James Panero, curator's statement

BUSHWICK, BROOKLYN -- Storefront (16 Wilson Avenue, Brooklyn) is pleased to announce the final installment of its ambitious summer exhibition schedule featuring THE JOE BONHAM PROJECT, an exhibition organized by guest curator James Panero. On the Tenth Anniversary of 9/11, the exhibition brings together the work of wartime illustrators to feature portraits of injured United States and Allied service personnel by members of the International Society of War Artists and the Society of Illustrators. These works are documentary, accurate, and gripping, yet treat the sacrifice and causalities of war with sensitivity.

Artists featured in Panero's selection include: Lance Corporal Robert Bates, USMC; Peter Buotte; CWO2 Michael D. Fay, USMC (retired); Jeffrey Fisher; Roman Genn; Bill Harris; Richard Johnson; Amber Martin and Victor Juhasz.

The show opens with a reception, Thursday, September 1, 6-9PM and will be on view through September 18.  For more information, contact Jason Andrew at 646-361-8512.

THE JOE BONHAM PROJECT represents the efforts of wartime illustrators to document the struggles of U.S. service personnel undergoing rehabilitation after traumatic front-line injury. Formed in early 2011 by Michael D. Fay, the Project takes its name from the central character in Johnny Got His Gun, Dalton Trumbo's 1938 novel of a World War I soldier unable to communicate with the outside world due to the extent of his wounds. Scheduled to coincide with the tenth anniversary of the attacks of September 11, the exhibition will mark the silent sacrifices of American soldiers in the ensuing decade-long conflict.

JAMES PANERO is the Managing Editor of The New Criterion, where he serves as the magazine's gallery critic, and a contributor to a number of publications, including The Wall Street Journal, City Journal, New York magazine, The New York Times Book Review, Forbes, Art & Antiques, Philanthropy, and the New York Daily News. His widely read criticism, collected on the weblog www.supremefiction.com, has won praise from artists and collectors, especially for his coverage of the outer boroughs of New York and its alternative art scenes. "The Joe Bonham Project" is his first curated exhibition.

HAYWIRE:

an exhibition exploring the idea of the off-kilter, the psychedelic, and the zany lurking below the surface of everyday reality. Featuring the work of Leslie Alexander, Maria Calandra, Elisabeth Condon, dNASAb, Francesco Longenecker, and Mary Jones.

and in the back room

DRAWN:

new works by Elizabeth Berdann, Holly Coulis, Cynthia Hartling, and Kate Teale.

The show opens with a reception on Friday, September 30 from 7-10PM and will be on view through October 23.  Storefront is open weekends from 1-6PM and by appointment. For more information, contact Jason Andrew at 646-361-8512 or visit www.storefrontbk.com