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DTSTART;VALUE=DATE:20250911
DTEND;VALUE=DATE:20251019
DTSTAMP:20260509T113540
CREATED:20250903T144946Z
LAST-MODIFIED:20250908T194125Z
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SUMMARY:Tamar Zinn: Standing in the stream
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming exhibition of new paintings and drawings by Tamar Zinn titled\, Standing in the stream.  This is her eighth solo exhibition with the gallery. An artist reception will be held on September 11th from 6-8pm and an artist talk will take place Saturday\, October 4 at 4pm. \nZinn’s atmospheric abstractions emerge from an interest in capturing the transitory nature of the human experience.  She writes\, “The world we move through is perpetually shifting – light\, atmosphere\, and color can be felt and seen but they are not fixed.” The paintings offer a liminal\, in between space through which she aims to evoke sensations and elicit an emotive visual experience. While suggestive of the natural world\, her paintings are defined by their ambiguity. \n  \nShe works in two modes\, painting and drawing. For Zinn drawing is a dynamic\, visceral practice where energized movements are transformed into line and compositions develop rapidly. Painting is a slower more reflective experience where in gesture and color appear and disappear through layers of process. Gestural lines are present in both and connect to her experience of making.  She thinks of gesture as emerging from breath\, traveling through her arm and onto the surface. \nTamar Zinn is a New York based visual artist whose work reflects her deep engagement with the sensory experiences of the natural world. Over time\, her imagery has fluctuated between landscape\, geometric abstraction\, and nature-infused abstraction. She has exhibited her paintings and drawings in venues in the United States and Europe\, as well as periodically curating group exhibits. In 2023\, she was elected as a member of the American Abstract Artists. Her work has been placed in public and private collections\, including Citibank\, Fidelity\, IBM\, McKinsey\, MD Anderson Cancer Center\, and NYU-Langone Medical Center.
URL:https://artinamericaguide.com/event/tamar-zinn-standing-in-the-stream/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
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DTSTART;TZID=America/New_York:20250410T100000
DTEND;TZID=America/New_York:20250517T180000
DTSTAMP:20260509T113540
CREATED:20250327T200843Z
LAST-MODIFIED:20250331T180008Z
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SUMMARY:Zuriel Waters:  Jello Moon
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce Jello Moon\, an upcoming exhibition of new paintings by Zuriel Waters.  This will be his second solo exhibition with the gallery and will feature his unique shaped and sewn paintings.
URL:https://artinamericaguide.com/event/zuriel-waters-jello-moon/2025-04-10/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240509
DTEND;VALUE=DATE:20240616
DTSTAMP:20260509T113540
CREATED:20240501T182129Z
LAST-MODIFIED:20240501T182129Z
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SUMMARY:Steve Baris: Stations of Attention
DESCRIPTION:The series\, Stations of Attention\, is influenced by an intersection of my research into cognition and consciousness and my lifelong study of Buddhist philosophy. Certainly the most salient feature of consciousness and awareness is attention. These paintings entertain a diagrammatic visualization of attention as a highly fragmented and nonlinear operation\, yet one we falsely believe to be otherwise—not so different than when a film were to slow to fewer than eighteen frames per second\, revealing our perception of continuous movement as an illusion. – Steve Baris
URL:https://artinamericaguide.com/event/steve-baris-stations-of-attention/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240328T100000
DTEND;TZID=America/New_York:20240504T180000
DTSTAMP:20260509T113540
CREATED:20240328T142713Z
LAST-MODIFIED:20240328T142713Z
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SUMMARY:Peter Hoffer: Impressions de la Région Toulousaine
DESCRIPTION:Kathryn Markel Fine Arts is excited to announce an upcoming exhibition of paintings by Peter Hoffer\, Impressions de la Région Toulousaine\, ie. Impressions from the Region of Toulouse. It will be Hoffer’s fourth solo exhibition with the gallery and will take place at the gallery’s 529 West 20th Street location from March 28th to May 4th\, 2024. \n“When in a natural setting such as a forest\, we are sensitized to our surroundings in a manner that we don’t experience in any urban setting. The silence of a tree\, blade of grass\, or a moss-covered stone fills our periphery with a sense of familiarity and comfort.” – Peter Hoffer \nHoffer’s paintings are more relational than representational – he explores trees as protagonists. His approach to each painting is narrow\,  he singles out a tree and positions it at eye level. As a result\, he creates an uncertain vantage point of the tree’s dimension – either the viewer is close to it and it is small\, or further away and the tree happens to be massive. Regardless of the viewer’s perception\, a confrontation happens that humanizes the tree itself. In Hoffer’s words\, “the forest becomes a stage; the tree becomes an actor.” \nEach painting in the exhibition is coated with a layer of resin\, simultaneously distancing and immersing the viewer. Surfaces have been marked\, scratched\, cracked\, and seared\, much like the terrain itself. The surface layers of these works are dynamic\, balancing between the various states of the seasons. The random etching of the surface calls to task a questioning of materiality and value. The works fluctuate between rest and discontent. The preciousness of the objet d’art\, as well as the peripheral landscape represented\, is rediscovered like an artifact. The suggested neglect through time is salvaged\, preserved\, and displayed. The markings on the paintings\, inconsistencies in the resin surface\, and the unrefined finishing of the canvas structure allude to elements outside of the artist’s control. The result invokes a sense of abandon and a hint of a work in transition. As the paintings draw attention to areas of the landscape that can be considered “less than spectacular\,” they force the viewer to search for landmarks or meaning within the composition. \nPeter Hoffer lives and works in Montreal\, Canada\, and Paris\, France. He exhibits extensively throughout Canada\, the eastern United States\, and internationally. His work is placed in private collections worldwide  including the Musée des Beaux Arts in Montréal\, the Musée Du Québec in Québec City\, Bombardier\, Royal Bank of Canada\, and the corporate collections of Fidelity Investments USA\, Banque Nationale\, and Michelin Canada Inc.
URL:https://artinamericaguide.com/event/peter-hoffer-impressions-de-la-region-toulousaine/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240328
DTEND;VALUE=DATE:20240505
DTSTAMP:20260509T113540
CREATED:20240322T142543Z
LAST-MODIFIED:20240322T142543Z
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SUMMARY:Drawing on Memory: Curated by Nancy Cohen
DESCRIPTION:Kathryn Markel Fine Arts is excited to announce an upcoming group exhibition curated by Nancy Cohen. Titled Drawing on Memory\, the exhibition features four artists – Alexandra Athanassiades\, James Esber\, Margie Neuhaus and Debra Priestly. The exhibition will run from March 28th – May 4th at the gallery’s 529 West 20th Street location\, and it will run concurrently to Cohen’s solo show at the gallery’s 10th Avenue location \nThe works in this exhibition are united by the subtle ways that memory played a role in the artists’ development of the conceptual underpinnings. Each artist has an expansive practice where drawing is an essential element\, allowing their ideas to travel across media. Its importance is apparent in each one’s larger body of work. \n  \nBorn and living in Athens\, Greece\, Alexandra Athanassiades’s work draws on the history of ancient Greek sculpture. The horse as a character and form has been present in her work for 40 years\, standing in for her personal family history while simultaneously referencing her interiority and independence. The tenderness of her bronze sculptures evidences the found materials of their original structures and belies the solidity of the material. More recently\, she has been responding to the 20 th century Greek poet C.P. Cavafy\, whose work has been said to “hold the historical and erotic in a single embrace.” Athanassiasdes’s drawings on top of printed book pages and installations could be described in a similar way. \nWhile Athanassiades’s influences reach far back in time\, James Esber mines a more recent and particularly American experience. His vibrant drawings and paintings both compel and repel us. It feels fitting that AI is among the sources used in deriving his unexpected juxtapositions. In contrast to the publicly accessible sources of his layered images are the relationships between the characters in his work\, many of which reference memories from his childhood and\, more recently\, his experience of being a parent. The images in the work are familiar\, yet somehow remain unnamable and indescribable. The lines between drawing and painting\, figuration and abstraction blur in Esber’s work\, where the line is electric and mutating forms are evident throughout. \nMargie Neuhaus’s subtly complex drawings and weavings share Esber’s connection to mark making and shape shifting. Neuhaus’s work explores continuity and change within a system\, as reflected in natural and manmade structures. She invents systems to create two- and three-dimensional structures that test the boundaries of the systems they establish. A source of the transformations and empty spaces in her work are the memories of her childhood in the Catskills\, where unused\, deteriorating hotels and tilting hay barns stood in contrast to new construction. There is a bare\, stripped-down quality in Neuhaus’s work\, which evokes a sense of contemplation that speaks to empty spaces and abandoned places. \nIn Neuhaus’s and Debra Priestly’s work\, the silences are as important as the actions. Priestly’s work has the most apparent connection to memory\, as its focus is a personal archive of family history\, ancestry\, and cultural preservation. Priestly exhibits a major diptych\, McCoy and Veora Priestly\, in which images of her parents softly emerge from an almost ghostly white space. Her poetic and restrained drawings are accompanied by three of Priestly’s newest sculptures—black clay figurative vessels that reveal a solidity and intimacy that also quietly and powerfully call the viewer to attention to notice the beautiful details and powerful metaphors.
URL:https://artinamericaguide.com/event/drawing-on-memory-curated-by-nancy-cohen/2024-03-28/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240215
DTEND;VALUE=DATE:20240324
DTSTAMP:20260509T113540
CREATED:20240213T193355Z
LAST-MODIFIED:20240213T193355Z
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SUMMARY:Deborah Dancy: And All is Always Now
DESCRIPTION:Kathryn Markel Fine Arts is delighted to announce an upcoming exhibition of recent paintings and photographs by Deborah Dancy. And All is Always Now will run from February 15 – March 23\, 2024 at the gallery’s 20th Street location. \nThe exhibition title borrows a line from T.S. Eliot’s “Burnt Norton\,” the first of his Four Quartets poems. At its heart he is wrestling with the stillness of the everyday\, the passage of time and melancholy. These touchstones of human fragility have entered the body of work exhibited here. The paintings and photographs are shaped by the residue of grief as they explore the sensory\, the temporal and how bewilderment\, fragility\, and ambiguity share something bittersweet. In the photographs the seemingly unnoteworthy found object becomes an offering. In the paintings\, something of the fleeting presence of light is captured in the fragment of painterly gesture. As Pico Iyer notes in his book Autumn Light\, loss offers a portal to finding beauty in impermanence and luminosity in loss. \nThis exhibition marks a new direction in the paintings of Deborah Dancy. The bold forms and strong palette of previous paintings have melted into a whirling space where nothing is solid. Horizontal brushstrokes of subtle color create a hazy landscape in which insubstantial shapes flicker and fade. Ambiguous gestures are also captured in Dancy’s recent photographs of faded flowers. Their wilted shapes\, blurry against an inky blackness\, also suggest the sense of vulnerability that reflects uncertain times. \nDeborah Dancy is the recipient of numerous awards including: A John Simon Guggenheim Fellowship\, Yaddo Fellow\, The American Antiquarian Society William Randolph Hearst Artist and Writers Creative Arts Fellowship\, The National Endowment of the Arts NEFA award. Her work is included in various collections including: The Museum of Fine Arts\, Houston\, The High Museum\, Atlanta\, The Kemper Museum of Contemporary Art\, Kansas City\, MO\, 21C Museum\, The Baltimore Museum\, The Museum of Fine Arts\, Boston\, The Birmingham Museum of Art\, The Hunter Museum\, The Detroit Institute of Art\, The Boston Museum of Fine\, The Montgomery Museum of Art\, The Spencer Museum of Art\, The Hunter Museum of Art\, Vanderbilt University\, Grinnell College\, Oberlin College Museum of Art\, Davidson Art Center\, Wesleyan University\, and The United States Embassy in Harare\, Zimbabwe.
URL:https://artinamericaguide.com/event/deborah-dancy-and-all-is-always-now/2024-02-15/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240104T100000
DTEND;TZID=America/New_York:20240210T180000
DTSTAMP:20260509T113540
CREATED:20240102T210419Z
LAST-MODIFIED:20240102T210419Z
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SUMMARY:An Observant Nature: Curated by Katie DeGroot
DESCRIPTION:Kathryn Markel Fine Arts is excited to announce an upcoming group exhibition curated by Katie DeGroot. Titled An Observant Nature\, the exhibition features five artists – Ron Milewicz\, Elizabeth Terhune\, Alan Bray\, Cary Hulbert\, and Emilie Clark. The exhibition will run from January 4th – February 10th\, 2024 at the gallery’s 529 W. 20th St. location.
URL:https://artinamericaguide.com/event/an-observant-nature-curated-by-katie-degroot/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240104T100000
DTEND;TZID=America/New_York:20240210T180000
DTSTAMP:20260509T113540
CREATED:20240102T210419Z
LAST-MODIFIED:20240102T210419Z
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SUMMARY:Parallel Practice: Work by Stanley Bielen and Conny Goelz-Schmitt
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to exhibit Parallel Practice\, an exhibition of paintings by Stanley Bielen and constructions by Conny Goelz-Schmitt. The exhibition will run from January 4th – February 10th at the gallery’s 179 10th Avenue location.  The two artists have radically different practices – one reanimates old\, used material\, and the other paints new from life.
URL:https://artinamericaguide.com/event/parallel-practice-work-by-stanley-bielen-and-conny-goelz-schmitt/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240104T100000
DTEND;TZID=America/New_York:20240210T180000
DTSTAMP:20260509T113540
CREATED:20240102T210419Z
LAST-MODIFIED:20240102T210419Z
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SUMMARY:Katie DeGroot: Resplendent
DESCRIPTION:Kathryn Markel Fine Arts is delighted to announce an upcoming exhibition of paintings by Katie DeGroot. “Resplendent” will run from January 4 – February 10\, 2024 with an opening reception January 6th from 3-6pm. The exhibition will be on display at the gallery’s 529 West 20th St. location -6W.
URL:https://artinamericaguide.com/event/katie-degroot-resplendent/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231026
DTEND;VALUE=DATE:20231203
DTSTAMP:20260509T113540
CREATED:20231023T162504Z
LAST-MODIFIED:20231108T182156Z
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SUMMARY:Alive and Frisky: Curated by Fran Shalom
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to announce an upcoming exhibition curated by Fran Shalom. The group exhibition will run concurrently with Shalom’s solo show\, Taking the Backward Step. Both exhibitions will be on view from October 26 – December 2\, 2023. \n  \nJJ Murphy\, a film author and art critic recently wrote: “There are two different approaches to curating a group show. One is to choose a theme and then find artwork that fits. The other strategy is to choose works and then attempt to discover a theme that will link the assembled pieces.” \n  \nShalom was inspired by Murphy’s second approach – “the artists were chosen more for their unique\, distinctive ways of art-making rather than for sharing a common theme. But there remains great commonality among their work\,” she says. \n  \nIn the realm of Zen Buddhism\, there is a koan (a type of non-conceptual riddle found in the Book of Serenity written in 1223) that speaks of being “alive and frisky.” It encourages us to embrace life with a sense of liveliness\, energy\, and a zest for experiencing the world as we encounter it. To be “alive and frisky” is to cultivate a deep awareness of the present moment and engage wholeheartedly with whatever we do. These four artists exemplify this in their process – whether through mark-making\, repetition\, found objects\, or language. \nMeg Atkinson’s paintings create a world that is distinctly both psychedelic and formal. She is influenced by comics\, medieval painting\, and hard-edged abstraction. She says\, “There is a pattern to what I do. First\, I make a discovery\, then I recreate it\, then I toss it aside. Once I get bored\, I start to mess around and take risks. It’s like solving a puzzle and that’s where the payoff is.” \n  \nFor Jim Blachly\, the discovery is much more literal. “I am continually searching for an intimate correspondence between the landscape and myself\, an attempt to record both a sense of time and an aspect of space\,” he says. “A desire to create a marker\, a memento of an experience of a particular place.”” This context is what makes his work feel like an experience rather than a landscape. \n  \nA Pierogi Gallery press release describes Sharon Horvath’s paintings\, stating that\, “they reveal her exuberant\, uncanny mind/landscapes that simultaneously suggest realities and invented worlds. A mindscape that includes bits and pieces from everything she comes in contact with. As she says\, the work deals with “the emotional language of objects.” \nAnd lastly\, Leslie Roberts writes: “I diagram ephemeral language into geometric color structures. Lists of words in my paintings reflect my life and the world. Paintings may chronicle a journey\, record intimate conversations\, document headlines\, or catalog names of streets. The lists are artifacts of twenty-first-century culture\, which I translate into highly visual forms.”
URL:https://artinamericaguide.com/event/alive-and-frisky-curated-by-fran-shalom/2023-10-26/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231026
DTEND;VALUE=DATE:20231203
DTSTAMP:20260509T113540
CREATED:20231023T162435Z
LAST-MODIFIED:20231108T182139Z
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SUMMARY:Fran Shalom: Taking the Backward Step
DESCRIPTION:Kathryn Markel Fine Arts is excited to announce an upcoming exhibition of new paintings by Fran Shalom.Taking the Backward Step is Shalom’s fourth solo show with the gallery\, and will be on view from October 26 – December 2\, 2023 at the 529 West 20th Street gallery. The show will run concurrently with a group exhibition that she curated\, titled Alive and Frisky. \n  \nDefined by her pared-down shapes\, hard-edge lines\, and vivid\, cartoon-like colors\, Fran Shalom weaves the formal aesthetics of abstraction with playful improvisation.  A simplified shape takes center stage in Shalom’s work\, nearly filling the picture plane\, and centered or resting on the bottom edge.  The shapes are anthropomorphisized by rounding the edges and her high-chroma palette activates the forms\, creating dynamic compositions and a lively dance between figure and ground.  With a few playful turns\, Shalom transforms abstract shapes into endearing characters in oddly colorful worlds. \nWhile Shalom engages viewers with her keen use of color\, form\, and wit she is careful to be deliberately non-representational\, eliminating any reference that is too leading. She deftly paints out or re-shapes recognizable elements\, leaving behind purely abstract\, energetic shapes. The initial tug of recognition draws the viewer in\, but it’s Shalom’s intention\, decisions and choices that intrigue. Viewers are left to navigate the surface\, making connections with the vibrant interplay of colors and forms.  Taking the Backward Step demonstrates the power of abstract art to evoke emotions and tell stories without the use of representation. \n“Taking the Backward Step” is a phrase by the Japanese Zen master Eihei Dogen\, and refers to the practice of turning inward to observe the nature of the mind.  It encourages one to let go of their usual ways of perceiving\, and to instead directly experience the present moment without judgement or attachment.  With the Zen teachings in mind\, Shalom translates her inquisitiveness and impartiality while painting.  “Sometimes I can get out of my own way and sometimes I fail.  When I can\, I improvise\, stay curious and playful\, and try not to prematurely judge the work.  It’s a fine balance and a continual challenge\,” she says.  “Intentionality in the moment is where I try to be.”-Fran Shalom \nShalom has exhibited across the US. including solo shows at the Hunterdon Museum in NJ and the Fogg Art Museum in Cambridge\, MA. Her work is included in public collections such as the Metropolitan Museum of Art\, the Brooklyn Museum\, the Rose Art Museum in MA and the Bibliotheque Nationale in Paris. She’s received many fellowships and grants\, including the Pollack Krasner Foundation Artist Grant\, the Mid-Atlantic Individual Artist Fellowship\,  the New Jersey Individual Artist Grant and residencies with Art Omi and The MacDowell Colony Fellowship. She earned an MFA in Painting at Montclair State University and an MFA in Photography at San Francisco Art Institute. She lives and works in NJ.
URL:https://artinamericaguide.com/event/fran-shalom-taking-the-backward-step/2023-10-26/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20230915T100000
DTEND;TZID=America/New_York:20231021T180000
DTSTAMP:20260509T113540
CREATED:20230908T213505Z
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SUMMARY:The Mermaid in the Hospital: curated by Maeve D'Arcy
DESCRIPTION:This exhibition brings together three artists who explore the in between: figuration and abstraction\, the physical and the intangible\, poetry and prose. The title is borrowed from a poem by Nuala Ní Dhomhnaill written in Irish and translated into English by Paul Muldoon. Translation is an art form full of interpretations. The process allows elements to be lost\, gained\, and filled in. Language can exist as an act of resistance and rebellion-especially languages stifled and violently suppressed by colonization. Ní Dhomhnaill’s poem encompasses the dualities explored in the artists’ work. The show celebrates the thin veil between versions of self and place\, real and imagined.
URL:https://artinamericaguide.com/event/the-mermaid-in-the-hospital-curated-by-maeve-darcy/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20230915T100000
DTEND;TZID=America/New_York:20231021T180000
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SUMMARY:Maeve D'Arcy: Ogham
DESCRIPTION:…Ogham\, stitches\, sea caves\, moldy bread\, skee-ball\, mulch\, seaweed\, stained t-shirts\,\nhorseshoe crabs\, tokens\, rust\, alphabets\, love letters\, sediment\, antlers\, encounters\, knots\, the price of a stamp\, rosaries\, oceanography\, dirty martinis\, aprons\, hurricane names\, revolving doors\, gravel\, spellcheck\, quilts\, ant colonies\, contingencies\, The Wonder Wheel\, fungus\, time travel\, short stories\, roadkill\, Norse rituals\, train tickets\, dualities\, scaffolding\, scotch tape\, tails\, floods\, scallop shells\, fish puppets\, acronyms\, a hiccup\, a stain\, a bookmark…
URL:https://artinamericaguide.com/event/maeve-darcy-ogham/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20230622T100000
DTEND;TZID=America/New_York:20230728T170000
DTSTAMP:20260509T113540
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SUMMARY:Back From the Hike: curated by Stephen Pentak
DESCRIPTION:Back From the Hike is a celebration of the work of three painters who met in the Tyler School of Art graduate painting program in the late 1970s: Royce Howes\, Stephen Pentak\, and Richard Roth. The exhibition is a tribute to their enduring relationship. Though having stylistically divergent practices\, and living in different cities\, they have remained close intellectually and spiritually\, being each other’s critic and devotee\, for forty-seven years. They are now exhibiting together for the first time. \n  \nThe title of the exhibition derives from a camping trip the three artists embarked on as students. In honor of the three friends\, their professor\, David Pease*\, titled one of his artworks\, “Back from the Hike\,” a tip-of-the-hat to Ellsworth Kelly\, but also an acknowledgement of the return of Royce\, Stephen\, and Richard from the hike they took together to Old Rag Mountain in 1976.
URL:https://artinamericaguide.com/event/back-from-the-hike-curated-by-stephen-pentak/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230511T100000
DTEND;TZID=America/Halifax:20230617T180000
DTSTAMP:20260509T113540
CREATED:20230428T161417Z
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SUMMARY:"Rainbow Rococo" curated by Marilla Palmer
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming exhibition\, Rainbow Rococo\, curated by Marilla Palmer. The exhibit will run concurrent to her solo exhibition\, Orchids of the Anthropocene and showcases the work of seven artists\, Elisabeth Condon\, Barbara Friedman\, Lisa Hoke\, Steven Salzman\, Daniel Weiner\, Matthew Weinstein and Thomas Woodruff. \n  \nRainbow Rococo is the swirl of a seashell with the optimism of a prism in the sky. Rainbow Rococo catches\, holds and exploits moments of ecstasy but with doubt: can we be happy yet? The optimism may be a bit forced\, but the colors are spectacular. Rainbow Rococo is generous: it does more than it has to. Instagram will not fully reveal it. Rainbow Rococo is a clown at a funeral – how do we react? Dive in and enjoy. \n\nArtists are generally well equipped to handle alone-time but the pandemic brought isolation to new levels. “The virus’ invisibility strangely allows me to sometimes lose myself in the studio” Barbara Friedman said in a 2020 interview. When the lockdown began – isolated in his Hudson Valley barn studio\, Thomas Woodruff\, “started drawing dinosaurs. I was not entirely certain– it was compulsive behavior. It could be because I could project emotions onto them.” Faces emerged in Daniel Wiener’s work “perhaps I make them\, as Samuel Beckett writes\, ‘In another dark or in the same another devising it all for company.’’’  Returning to her Tampa studio Elisabeth Condon found “flows of color release hierarchies of gravity\, redefining our living\, breathing landscape.” \n\nElisabeth Condon has traveled extensively in China and “the imagery from scrolls\, textiles\, and decorative wallpaper conflate multiple time periods in a single surface. Aqueous pours and vintage patterns invade empty transitions\, compressing space even further to resemble collage…color and material reflect the location where each painting is made. Acrylic on linen forms a plastiglomerate\, and the overlay of décor and abstraction amplifies a mediated perception of nature.” \n\n Barbara Friedman tends to “start on a piece with a vague idea that keeps shifting as I paint. I’m always looking for the thing that will allay anxiety\, the thing that doesn’t need to be interpreted. I’m really interested in the idea of ‘letting go in stages.’ And yes\, more often lately\, I put one foot in front of the other through a progression of images. What’s interesting to me is that pathways of decision converge or diverge under no set pattern. I see painting motifs as having certain similarities or ‘family resemblances\,’ such that two might look alike or function alike yet there are always inconsistencies in function or appearance.” \n\n Lisa Hoke uses the  seductively bright colors of  commercial packaging with a tendency to swirling\, rococo-like compositions. But there’s an edge to this seeming cheerfulness. This is not a consumer’s utopia\, she’s conscious of what packaging does to our environment: “ideas of waste\, desire and over production into a hyper cacophony of image and pattern\, squeezing the air out of the internal space…Early in my art making life\, I realized I could use what I know and how I live as source material. For many decades now\, my work has operated in the area between discrete object and installation. My materials have always been the overlooked ephemera of our daily lives.” \n\nSteven Salzman’s work reflects his life of immersion in the New York art world and downtown club scene {Steven and Marilla were both regulars and met at the famous Pyramid  Club} He had decided to become a painter after seeing a retrospective of Abstract-Expressionism at the Whitney. “The urban landscape with its vista of rectangular shapes and subtle modulations of light and color in a space that was both deep and far away\, all neatly contained by the rectangle of the window frame.  On the ground level\, the city’s grid of simple numbered streets and avenues became his geometric theme park.” Salzman’s use of sparkly constantly changing interference paint is both exuberant and highlights the ephemerality of his urban landscape. \n\nMatthew Weinstein is a painter whose work is informed by his pioneering work in 3D computer animation and developing visual technologies. Weinstein’s animistic approach to imagery is seen in paintings of living masks\, amorous skeletons\, and anthropomorphic fish. “By referencing pop culture as well as art history\, and by using traditional as well as cutting edge digital media\, each painting is a nodal point of the past\, the present\, and fantasies and nightmares about our futures.” \n\nFor Daniel Wiener “the brain is in the body as the mind is in the hand. And while the head is top dog\, its jabbering recedes into the background. As a sculptor I foreground the physical\, the tactile\, touch\, the realm of the hand. I’d thought of my wall pieces as abstracted\, reconfigured faces: the traces of other unseen familiars embodying all my friends. My tables are not sculptures of tables\, but have a dual identity as places to gather; to rest a book\, to share ideas\, raise glasses.In my eyes\, artworks can create a community\, sometimes very small and other times extensive.” \n\n When the lockdown began\, Thomas Woodruff started drawing dinosaurs. “Why on Earth?” my friends would ask. I was not entirely certain– it was compulsive behavior. It could be because I could project emotions onto them. Dinosaurs are almost always depicted as being fierce\, could I make them fey? Could they move from their diorama habitat to a grand opera stage? Do they sleep? Cry? Contemplate? Ponder in awe? If so\, would they just seem ridiculous? I was completely uninterested in the didactic genre of Natural History painting\, specifically “paleoart”\, nor was I intrigued by contemporary fantasy movies\, where the beasts had but one emotion: RAGE. I have a penchant for delving deeply into imagery that is seemingly rendered impotent\, or hackneyed\, or forgotten\, or in questionable taste. I have tried to bring pageantry to the quotidian.” \n\nThe exhibition will run from May 11\, 2023 – June 17\, 2023.
URL:https://artinamericaguide.com/event/rainbow-rococo-curated-by-marilla-palmer/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230511T100000
DTEND;TZID=America/Halifax:20230617T180000
DTSTAMP:20260509T113540
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SUMMARY:Marilla Palmer: Orchids of the Anthropocene
DESCRIPTION:Kathryn Markel Fine Arts is proud to present Orchids of the Anthropocene\, Marilla Palmer’s fourth solo exhibition with the gallery. \n  \nPalmer’s work is a celebration of the natural world and a reminder of the delicate balance between nature and human creation. “I want to turn everyone on to the absolute gorgeousness of the natural world around us. Art is my tool\,” says Palmer. The title of the exhibition refers to the Anthropocene era\, a term used to describe the current geological age – marked by significant human impact on the environment. She seeks to capture the sensitive equilibrium that we as humans must navigate\, spotlighting the beauty of nature in the midst of this complex relationship. \n  \nAs a teenager\, Palmer ran away to a Greek island and saw something “so beautiful and rare it was mind blowing and life changing.” A single\, wild orchid was growing on a hillside above a deserted beach.  Although small\, this moment changed her life and perspective\, especially once the Anthropocene era was officially named a few years later. The orchid symbolizes the scarcity of pristine moments amidst human-driven ecological destruction\, and underscores the pressing need for environmental action. \n  \nPalmer’s process begins in her garden\, cultivating the flowers that she’ll later capture in colorful watercolor depictions before they wither and fade.  She’ll then press the flowers under piles of books to further preserve their delicate beauty.  Finally\, the pressed petals and leaves are added to the watercolor and combined with silk\, sequins\, vintage millinery velvet\, and other manufactured materials cut and configured to look like natural elements. In Palmer’s work\, human kind and the natural world coexist beautifully. Orchids of the Anthropocene invites viewers to take a moment to reconnect with nature and appreciate its beauty. As Palmer says\, “Wildness is the preservation of the world. Go for a walk. Cultivate your gardens.” \n  \nMarilla Palmer lives and works in Brooklyn\, NY and has shown extensively throughout the United States. Her work has been exhibited at the Brooklyn Museum\, Brooklyn Academy of Music\, Carlsbad Museum and Art Center\, and MoMA PS1\, among other galleries and institutions. She received her B.F.A from the Philadelphia College of Art.
URL:https://artinamericaguide.com/event/marilla-palmer-orchids-of-the-anthropocene/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230330T100000
DTEND;TZID=America/Halifax:20230506T180000
DTSTAMP:20260509T113540
CREATED:20230322T155916Z
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SUMMARY:Sara MacCulloch: Summer
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to announce an exhibition of new paintings by Sara MacCulloch. This will be her fifth solo exhibition with the gallery. Titled Summer\, the exhibition consists of paintings made of views from cottages she rents with her daughter every year in Nova Scotia\, and works made from a week spent in Maine last June. \nSara MacCulloch’s painting practice exists in and out of the studio.  It involves the discipline of paying attention to her surroundings\, looking for moments that “spark a desire to paint it.”  MacCulloch records these moments with photographs\, which then translate to watercolors and oil paintings as a way to explore what she saw more deeply.  The work continues intuitively\, driven  “to communicate the quality of a moment\, something transient\, intangible- and turn it into something solid\,”  she explains.  The immediacy or slowness of a moment guides her decisions.  Though she adheres to the composition and elements of the photo\, much is eliminated.  What remains tells us what was essential\,  in the moment and to the painting.  MacCulloch paints with an equally minimal touch.  The elements are captured with as few strokes as possible.  It is evident that her brushes do not linger\, instead her strokes are certain\, fluid\, and rhythmic.  “I want the paint to be allowed to be paint” MacCulloch explains\, “I try to capture the character or the feel of it through as much or as little detail feels right to each subject. I often get there by trial and error. Sometimes that means wiping down all the work of a day and starting over.”  A day’s work has no correlation to the finishedness of a painting.  Finishing a painting is contingent on it feeling right\, and that feeling comes about differently each time she paints. \nMacCulloch’s travels to Maine were spent in the family home of Eliot and Fairfield Porter at the invitation of their niece\, Anina Fuller.  “As I explored that landscape\, I kept seeing what they saw\, the light\, the spruce trees …  flowers on a table\, views through old paned windows… I can see echoes of them in some of my paintings of there\,” she says. She approached each painting without planning – allowing her surroundings to inform the size\, duration\, and even the support of each painting\, whether\, paper\, canvas\, board or linen. The exhibition consists of the oil paintings from that time and reflects the temporal loop of what a summer day feels like\, and how fleeting that feeling is.  Sara MacCulloch would like to express her gratitude to Anina Fuller- who generously shared her family home with Sara and 11 other artists on Great Spruce Head Island. \nSara earned her BFA from Nova Scotia College of Art and Design. She exhibits extensively throughout Canada in Halifax\, Toronto\, and Edmonton. Her work is in the collections of the Nova Scotia and Canada Council Art Banks\, the Gotsland Kunstmuseum in Gotsland\, Sweden\, and various public and private collections. MacCulloch is the recipient of numerous awards and grants including four individual grants from the Nova Scotia Department of Tourism and Culture and a Research and Creation Grant from the Canada Council for the Arts. She lives and works in Toronto\, Canada.
URL:https://artinamericaguide.com/event/sara-macculloch-summer/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230216T100000
DTEND;TZID=America/Halifax:20230325T180000
DTSTAMP:20260509T113540
CREATED:20230204T001814Z
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SUMMARY:Living Arrangements: A Group Exhibition
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce “Living Arrangements”\, a group exhibition of 20 artists who work in a wide variety of media and styles.  They are united by one theme – the simple\, universal image of the flower.  This exhibition serves as a foretaste of the optimism of Spring but also\, and primarily\, is a fascinating study in how one simple motif can become the impetus for such a wide variety of art. \n  \nThroughout art history\, the flower has symbolized so much – the inevitability of change\, of death as well as life\, decay as well as beauty. Flowers have represented innocence or vanity\, home life and hospitality\, or the consoling presence of nature in grief. And too\, the artists in this exhibition continue to use the floral motif in wildly different ways. \n  \nFor some artists\, the flower image is just the excuse for a painting\, and or deep looking. For others it’s an anthropomorphized personality with agency of its own. It can be a result of decorative patterning or a representation of domesticity. Several artists see it as the expression of a fertile natural world\, for others it’s the expression of an endangered one. \n  \nStephanie Anderson’s (www.stephanieandersonart.com) beautiful watercolor depicts imaginary birds and lizards interacting in an impossibly lush floral environment. Surreal nature thrives in her imaginary world. Julia Blume (www.julia-blume-art.com) breaks down the false human/nature dichotomy by creating wall sculptures of floral growth and fertility from man-made materials of plastic and acrylic. Avital Burg (www.avitalburg.com) paints objects of daily life. In this painting the messy profusion of a floral bouquet is the excuse to play with an impasto\, energetic painted surface. \n  \nTiffany Calvert (ww.tiffanycalvert.com) uses artificial intelligence to create the classic historical floral painting and then combines this printed image with hand painted oil flowers to emphasize the tension between the hand and the pixel.  JoAnne Carson (www.joannecarson.com) paints imaginary gardens based on the exuberance of her real one. As she says\, “These invented worlds are portals into a universe of alternative biology.” Jared Deery (www.jareddeery.com) creates stories\, in which his flower characters connect and disconnect in various ways\, all within an atmosphere of decorative beauty.  Loren Eiferman (www.loreneifermanart.com) obsessively creates sculptures by connecting hundreds of pieces of found wood.  The image for this wall sculpture comes from the painting of a flower in the mysterious 15th century Voynich Manuscript. \n  \nLizzie Gill (www.lizziegill.com) uses the abstracted floral image to create scenes of domesticity.  Her muted palette combined with the use of image transfer place her environments in a nostalgic past.  For Eric Hibit (www.erichibit.com) the flower becomes the starting point for dense mark-making in multiple layers to emphasize the sensuality of the painted surface.  The image\, always based on nature\, is a riot of color\, pattern\, and pleasure. Anna Lise Jensen’s (www.spaceallover.org) collage practice uses papers of different textures and patterns to create a monster of growth – a mysterious hybrid fungus-like plant\, primly upright in a decorative vase. \n  \nCalder Kamin’s (www.calderkamin.com) practice of making amazing hybrid flower/animals from plastic junk\, supports her mission of expanding projects involving creative reuse throughout her community. Tess Michalik (www.tessmichalik.com) bases her very sensual\, lyrical paintings on the patterns of 17th and 18th century textile design in the service of a sensual ornamentation. Anne Muntges\, (www.annemuntges.com) has an obsessive drawing practice that encompasses everything in her life\, including domestic flower arrangements. Her still life sculpture combines solidity with linearity in a weird reality. \n  \nDaniel Murphy (www.danielmurphy.studio) captures the essence of flower with the most minimal means – a seemingly simple sculpture of pigmented paper and brass in an elegant flourish. For Tucker Nichols (www.tuckernichols.com\,) as well as being the springboard for an inventive use of color and pattern\, the flower heals. Throughout the pandemic he donated hundreds of small flower paintings to anyone who was sick. \nFor Denise Regan\, (www.markelfinearts.com/artists/75-denise-regan/works/) decorative floral patterning provides a backdrop to aggressive flower arrangements that seem to leap out of her painting in a childlike frenzy. \n  \nAurora Robson’s (www.aurorarobson.com) large scale site specific abstract sculptures made out of plastic debris\, serve to highlight the importance of intercepting the plastic waste stream. Petal-like shapes suggest natural growth and vitality through the use of a material that will never be recycled back to nature. \n  \nMary Jo Vath (www.maryjovath.com) paints the objects around her. As a result of deep looking and deep painting\, her floral arrangements acquire an almost mystical heft\, and surreal presence. T Kelly Wilson also paints the flower from observation\, but his loose\, highly considered gestural strokes capture an essence of color and movement as opposed to a realistic depiction. And last\, but not least\, Lauren Whearty (www.laurenwhearty.com) paints familiar daily objects in a breezy\, painterly fashion\, placing them in combinations that create implied narratives and surprising connections.
URL:https://artinamericaguide.com/event/living-arrangements-a-group-exhibition/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
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DTSTART;TZID=America/Halifax:20230105T100000
DTEND;TZID=America/Halifax:20230211T180000
DTSTAMP:20260509T113540
CREATED:20230113T193302Z
LAST-MODIFIED:20230113T193302Z
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SUMMARY:Betty and Veronica: Curated by Joanne Freeman
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to announce a group exhibition curated by Joanne Freeman. Betty and Veronica features work by four abstract artists – Sarah Hinckley\, Victor Kord\, Margo Margolis\, and Karen Schifano. It will run concurrently with Freeman’s solo exhibition\, New York Conversation\, from January 5th – February 11th. \nDuring the 1960’s and 70’s abstract artists were questioning the relationship of painting to sculpture and the boundaries set between two and three dimensional space. The ongoing exploration of space pushed painting towards object-hood and created a hyperawareness of the painting’s physical structure\, shape and edge. Emphasis placed on frames and edges implied both boundaries and infinity and led artists towards further experimentation with process and structure. Mirroring qualities found in the more graphic mediums of film\, photography and comics\, abstract painters were disrupting the status quo of linear narrative as they considered multiple sides and angles to enter a picture plane. \n Betty and Veronica was a comic strip that ran in mid-century America. The series featuring two opposing female characters\, metaphorically suggests the ongoing overlap of high low culture. In the search for visual abstract language\, artists in their studios have continuously balanced subjective influence and spontaneous process with precedence and outside stimulus. The accomplished painters; Sarah Hinckley Victor Kord\, Margo Margolis and Karen Schifano have built their work on historical precedence\, but within that framework they speak of being alive in our time. In reverence to their predecessors\, their work both charges and endures.
URL:https://artinamericaguide.com/event/betty-and-veronica-curated-by-joanne-freeman/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230105T100000
DTEND;TZID=America/Halifax:20230211T180000
DTSTAMP:20260509T113540
CREATED:20230110T232239Z
LAST-MODIFIED:20230110T232239Z
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SUMMARY:Joanne Freeman: New York Conversation
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to announce New York Conversation\, an upcoming exhibition of new work by Joanne Freeman. New York Conversation is Freeman’s third solo exhibition with the gallery. The show will be accompanied by a group show curated by Freeman titled Betty and Veronica. They will run concurrently from January 5th – February 11th\, 2023. \n“New York Conversation references my studio process\, and metaphorically describes the random thoughts\, snippets of conversation\, lyrics and memories that ebb and flow over the course of a painting. Visual signs\, nostalgia and the emotional residue of color\, guide my aesthetic choices\,” Freeman says. While intuitive\, Freeman’s stencil-like forms and irregular hard-edge curves harken Modernism and minimalist sensibilities. This is heightened by a palette of saturated primary colors\, or monochromatic works.   “My paintings reference forms found in architecture and design\,” she says.  “I create compositions based on loose geometry and layered saturated colors. The hard edge process of cutting shapes and layering color onto treated raw linen\, recalls qualities of mid-century low-tech graphics\, color field painting and collage\,” she continues. \nThe forms are hard-edged while still breathy and organic.  The subtle transparencies at the edges of the forms and the contrast of the brushstrokes across the tooth of linen reveal the artist’s hand. “When applying oil paint to linen I try to accentuate the inherent qualities of both mediums\,” she says. “ I consider both the transparency and opacity of the colors\, how they abut and overlap\, and how they respond to the textured tooth of the linen.” She is mindful of each medium’s materiality when painting.  Her saturated colors in either gouache or oil paint are absorbed by the handmade paper or linen\, enhancing the modernist flatness of her forms and use of space. “My reductive abstract paintings are about the beauty of singular color\, the impact of pure abstract forms and the quiet order that cuts through the noise\,” Freeman says. \nJoanne Freeman has had solo exhibitions in galleries around the United States\, and shown at The Queens Museum\, Zillman Art Museum University of Maine\, The Painting Center\, and the Cape Cod Museum of Art. She’s a 2021 recipient of the Pollock-Krasner Foundation Grant\, and the Vice President of the American Abstract Artists organization. She has her M.A in Studio Art from New York University\, and lives and works in New York City.
URL:https://artinamericaguide.com/event/joanne-freeman-new-york-conversation-2/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221027T100000
DTEND;TZID=America/Halifax:20221203T180000
DTSTAMP:20260509T113540
CREATED:20221010T152152Z
LAST-MODIFIED:20221010T152152Z
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SUMMARY:Susan English: "Light to Light"
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming solo exhibition of new paintings by Susan English. “Light to Light” will be English’s third solo exhibition with the gallery. \n  \nEnglish’s work develops in relation to light – it is informed by her exposure to it\, the occurrence within the work\, and the oscillation between them. Spending time in Maine\, the Hudson Highlands\, and on walks in nature helps source the light experience which translates into paintings. “Light also generates from the work as the paintings absorb\, reflect and relate to light in the room. A title with a doubling of the word light felt both compelling and visually beautiful\,” she says. \n  \nThe title of the show is inspired by a passage in T.S. Eliot’s Four Quartets: \n“… After the kingfisher’s wing \nHas answered light to light\, and is silent\, the light is still \nAt the still point of the turning world.” \n  \nEnglish interprets this part of the poem as “describing a moment of light phenomenon and culminating in the meditation.” “My paintings are an answer to my own light experience\,” English says. “The noticing and awareness of subtle and not so subtle light shifts in the landscape and built environment and the way natural light manifests in my studio are a primary content of my work – creating light from light.” \nPutting oneself in the path of light is important to English. She views this as something that cannot be controlled\, but something that needs space to occur – much like her process.  Her process involves pouring tinted polymer in thin layers\, over panel or Yupo paper\, and slightly angling the work so that the pigment moves and settles in the polymer. From there\, she waits 24 hours to learn the true color of the polymer after it dries – an exercise in patience that borders meditation. This is then repeated with each layer\, as she intuitively builds them up.  As she’s said before\, “quite honestly\, in the pouring process I am attempting to control as much as possible\, but when I get too good at it\, it might become boring! Accidents are the spice of life here!” \n  \nEnglish holds an MFA from Hunter College\, and has held solo exhibitions across New York state\, Connecticut\, and California since 2001. She was awarded the NYSS Mercedes Matter Award in 2020\, and has completed several fellowships and residencies throughout her career. She lives and works in Cold Spring\, NY.
URL:https://artinamericaguide.com/event/susan-english-light-to-light/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221027T100000
DTEND;TZID=America/Halifax:20221203T180000
DTSTAMP:20260509T113540
CREATED:20221010T152131Z
LAST-MODIFIED:20221010T152131Z
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SUMMARY:Erin O'Brien "These Days"
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an upcoming solo exhibition of new paintings by Erin O’Brien. “These Days” is O’Brien’s first solo exhibition with the gallery. O’Brien’s work juxtaposes human and architectural qualities\, pushing and pulling between each. There is a natural component to her work that is visually combated with strict\, dense shapes\, but the hybrid somehow hums. The collage-like process starts with an initial line drawing that acts as the bones of the painting. She works on linen\, and her photographs and sketches inform the starting lines. The exposed linen contrasts the starkness of her paint as an organic element. \n“The title of the show\, These Days\, is taken from Nico’s version of the Jackson Browne song\,” O’Brien says. “The song is about loss\, sadness\, and regret. And while my work holds plenty of the first two\, it has none of the third\, and actually holds a measure of hope\, too. But the title feels fitting for a show of these paintings at this time\, when we’ve all been dealing with losses of one kind or another\, and uncertainty feels like the only certainty we can rely upon.” she continues. \nIn what feels like a post-pandemic world\, time seems to have two categories: then and now. These days feel distinctly different from life before COVID. This body of work explores the feelings that exist following a major global event. \nO’Brien received her MFA from Bard College in 2003\, and has since exhibited across the northeast\, Georgia\, Florida\, and Italy. She has completed residencies at Palazzo Monti in Italy\, Anderson Ranch Art Center in Colorado\, amongst others. She lives and works in Brooklyn\, NY.
URL:https://artinamericaguide.com/event/erin-obrien-these-days/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220915T100000
DTEND;TZID=America/Halifax:20221022T180000
DTSTAMP:20260509T113540
CREATED:20220912T150209Z
LAST-MODIFIED:20220912T150209Z
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SUMMARY:Introductions: Arielle Zamora\, Greg Slick\, Cynthia Rojas\, Greg Goldberg
DESCRIPTION:Kathryn Markel Fine Arts announces a new exhibition\,“Introductions”\, featuring paintings by four artists new to the gallery – Gregory Goldberg\, Cynthia Rojas\, Greg Slick\, and Arielle Zamora. Each of these artists has a unique visual language to express a specific agenda and although each of them paints abstractly\, their paintings all reflect their reactions to the real world. \nThe paintings of Greg Goldberg consist of an accumulation of many layers of thin glazes of color added over a period of months. Each color choice is a response to the time of day\, the season\, and the weather\, and thus reflects Goldberg’s reaction to light in a particular moment of time. Goldberg then records each brush stroke with a color swatch and date\, on a corresponding watercolor paper guide\, documenting the process of each painting. There is meticulous care taken in the painting process\, and yet the paintings themselves seem so spontaneous and immediate. Gestural mark-making gives them a free-flowing\, almost musical energy as brushstrokes engage and move with one another in graceful harmony. Goldberg has exhibited his work at numerous galleries and non-profit spaces including Artist Space in New York and James Barron gallery in Connecticut. He has had recent one-person exhibitions at the National Arts Club in New York and the Cornwall Library in Connecticut. \nCynthia Rojas creates her paintings with an insistent\, intuitive line and colorful\, eccentric shapes. Annual trips to Mexico have had a major influence on her palette and vintage textiles\, while architectural motifs and aerial landscape views influence her choice of forms. Rojas synthesizes all this into a unique visual language that produces ambiguous spaces that are abstract but also based on a dream reality that only Rojas can access. Rojas received her BFA from the San Francisco Art Institute and her MFA from the School of Visual Arts. She has exhibited in galleries around the country as well as in Japan\, Spain\, and Thailand. She lives and works in New York. \nArielle Zamora’s paintings are contemplative\, minimal constructions based on her own\, very personal\, slightly eccentric geometry. Her painstaking process involves layers of joint compound and paints to create a ground that allows for flat color as well as lines physically etched into the surface. The chance imperfections inherent in the joint compound plus her subtle color palette soften the mathematically-informed edges\, shapes\, and lines which seem to rise out of the ground and not be imposed on it. Zamora received her BFA from The Oregon College of Art and Craft and has exhibited extensively in the Northwest area. She lives and works in Portland Oregon. \nGreg Slick’s new paintings are informed by time\, history\, archaeology\, and anthropology. Flatly painted\, piled up and overlapping forms refer to mountains of geologic and human history. They suggest ancient megalith structures as well as contemporary “mapping. Slick says “My paintings investigate ideas of monumentality through the geometries of prehistoric archaeological sites. Using color\, texture\, patterns of entoptic phenomena and occasional references to digital mapping my work examines how megalithic shapes can occupy space in different and surprising ways within an abstract language. Hard-edge forms reinterpret tumbles of stones at Neolithic sites as a composition of texture/color upon a vibrant ground. Color schemes allude to changing light in rural areas where these stones are found. The intended challenge to the viewer is to read deeply and consider the meaning and politics of monument building along the human journey.” Slick is a visual artist and independent curator based in Beacon\, NY. His work has been exhibited in numerous galleries and non-profit spaces in New York as well as at the Rochester Contemporary Art Center\, the SUNY Ulster Gallery and the Samuel Dorsky Museum at SUNY New Paltz. He lives and works in Beacon\, New York
URL:https://artinamericaguide.com/event/introductions-arielle-zamora-greg-slick-cynthia-rojas-greg-goldberg/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220915T100000
DTEND;TZID=America/Halifax:20221022T180000
DTSTAMP:20260509T113540
CREATED:20220826T172108Z
LAST-MODIFIED:20220826T172108Z
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SUMMARY:Sydney Licht - "At The Edge of Things"
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to announce a solo exhibition of new paintings by Sydney Licht.  This marks Licht’s sixth solo show with the gallery.  Licht draws inspiration from the common\, disposable detritus of everyday life and creates still lives centered around takeout containers\, department store boxes\, sugar packets and other disposables.  Licht tells the domestic experience of society’s materialism via modern takes on the still life. \n  \n“At the Edge of Things” presents a fresh point of view on the conventions typically associated with still life.  “For centuries\, still life paintings have portrayed items from the realm of the domestic….food\, utensils\, dishes\, flowers and other elements that celebrate the table and the communal dining experience\,” Licht says. “Today\, as technology impacts our lives more and more\, few of us have the means or the desire to spend hours preparing and presenting a meal served on china dishes with silver place settings.  Instead\, we order online and our food arrives ready to be microwaved.  During the Covid era\, communal dining experiences were more likely to occur on a computer via Zoom than in person sitting around a table together.  All of this begs the question\, has the shelf life of the still life as we’ve known it reached its expiration date?” she continues. \n  \n Her work is also concentrated on formal\, explorative aspects of painting and an interest in the materiality of paint itself.  Tabletops and other interior surfaces are minimized to a sliver of color or block of pattern across the bottom of the paintings – boxes and packages are then arranged onto these planes of color.  “Color in its quantity and specificity can affect how we perceive articles as either developed forms or simple shapes.  In addition to space\, multiple objects can exist at the edge of things such that their silhouettes might collide or meet up in unexpected ways\, sometimes flattening space or other times just claiming attention.  By translating what I see around me into works that articulate this dynamic aspect of our visual culture\, my goal is to push the boundaries of what a still life can be\,” Licht says.  During a time of such visual abundance\,  At the Edge of Things grants viewers a respite to focus on these humble details. \n  \nLicht’s work is included in several public collections\, spanning from New York to Boston and Cincinnati. She has been a visiting artist at The American Academy in Rome twice\, and completed the Yaddo Residency in Saratoga Springs\, NY.  Since her first solo show in 1986\, Licht has exhibited across the country and worldwide in group and solo exhibitions.
URL:https://artinamericaguide.com/event/sydney-licht-at-the-edge-of-things/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220512T100000
DTEND;TZID=America/Halifax:20220618T180000
DTSTAMP:20260509T113540
CREATED:20220325T171747Z
LAST-MODIFIED:20220325T171747Z
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SUMMARY:Monica Banks: All You Can Eat
DESCRIPTION:Kathryn Markel Fine Arts is delighted to announce an upcoming solo exhibition of Monica Banks’ newest ceramic work. Titled “All You Can Eat ”\, this is Banks’ first show with the gallery.  \n  \n“All You Can Eat ” combines new ceramic vessels and utensils with earlier cakes and other surprising elements made over the years — such as porcelain portraits of dead birds\, houses\, and pig hands.  One of Banks’ early series stemmed after the Haiti earthquakes. She conceptualized the mass loss through a collection of one-inch porcelain human figures – representing the victims of this tragedy and other natural disasters. This series was the beginning of her use of porcelain\, the main medium in her practice today. “My new porcelain work— mugs\, plates\, forks\, coffee pots\, etc. explores the unspoken things we think about ourselves and each other during the everyday acts of eating and drinking.”  \n  \n“This series started when I began giving voice to self-defeating slogans by adding them to pretty mugs that could not successfully hold liquids (e.g.\, “you ruin everything\,” “no one cares\,” “why are you so…”). This twist on the concept of inspirational mugs and travel souvenirs inspired me to incorporate petals\, tattoos\, slugs\, eyes\, teeth\, stitched flesh\, and other unlikely motifs into the tableware\,” she says.  \n  \nBy topping her edible subjects with ceramic insects\, pests\, and feathers\, she evokes conversations about the duality of the world we live in. The eclectic mix vacillates between the pleasant and unpleasant. “The resulting tablescape aims to evoke the full spectrum of feelings —from celebration to despair\, self-mockery to confrontation\,” she says. 
URL:https://artinamericaguide.com/event/monica-banks-all-you-can-eat/2022-05-12/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220512T100000
DTEND;TZID=America/Halifax:20220618T180000
DTSTAMP:20260509T113540
CREATED:20220324T205010Z
LAST-MODIFIED:20220325T180419Z
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SUMMARY:“Come Slowly – Eden!”
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce an exhibition of new paintings by Yolanda Sanchez. This is her seventh solo exhibition with the gallery. \nTitled Come Slowly – Eden!\, Sanchez draws the name from an Emily Dickinson poem about the intoxication of flowers and fragrance in Eden. And inspired by a Henri Matisse quote\, “there are always flowers for those who want to see them” Sanchez says\, “Flowers have long been a central theme for me and are evidence of my deep-rooted relationship to the natural world\, informing my overall approach to image-making.” \nWith nature as the catalyst for much of her art\, she works with its natural forms and aspires to translate a series of senses. “On the heels of my recent solo textile exhibition\, “The Earth Laughs in Flowers\,” in which I explore the light and color of my immediate natural environment through native flora\, I now continue this thematic journey in paint. It is the color but also the sensuousness of nature that I endeavor to suggest in both my paintings and textiles.” \nSanchez’s PhD in Clinical Psychology and MFA in Painting serve as complex lenses in the process of her craft. “I am interested in the joyful\, playful\, or even spiritual properties of light\, and believe strongly that we shape the world around us through our perceptions\, awareness\, and attention\,” she says. “I would like to offer an invitation to awaken to beauty and delight\, to a moment of contemplation\, below the line of thought.  My current series of paintings reflects a light-hearted\, fun attitude\, if even\, at times\, a bit wild and bold.”
URL:https://artinamericaguide.com/event/come-slowly-eden/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220326T100000
DTEND;TZID=America/Halifax:20220512T180000
DTSTAMP:20260509T113540
CREATED:20220211T202309Z
LAST-MODIFIED:20220211T202309Z
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SUMMARY:A Glitch in the Membrane
DESCRIPTION:  \nKathryn Markel Fine Arts is thrilled to announce the exhibition of recent paintings by Deborah Dancy\,  “A Glitch in the Membrane”. This is her first solo exhibition with the gallery.  \n  \nThe works in this exhibition expand on the specific visual language and the creative/destructive process that is the hallmark of Dancy’s practice. For Dancy\, painting is a constant building and tearing down as she paints and then scrapes paint away. A form will\, as she says\, “assert itself” and then require an answer via another shape\, color\, or movement which in turn creates yet a new question. And as the conversation of gestures continues\, the transparency of Dancy’s decision making\, her embrace of accident and surprise infuses the paintings with a touching vulnerability.  Dancy’s mark-making is sometimes dense and insistent and sometimes hesitant and questioning. Arbitrary fields of heavily colored strokes appear out of the gray to disrupt an ambiguous space of oranges and pinks. Interrupted spaces\, sensuous shapes colliding and the chalky palette all add to the sense of the off-kilter and the amiss. As Dancy says\, “In these unprecedented times\, anticipating the unexpected has never been more pressing. The realization of how delicately everything is held together has led me to paintings in which the instability of space and time is keenly felt. The use of color and interrupted shifts of shape and space act to both entice and distract and these unstable spatial tensions speak to our present state of being.” \n  \nDeborah Dancy has received numerous significant honors and awards\, including: a John Simon Guggenheim Foundation Fellowship\, New England Foundation for the Arts/NEA Individual Artist Grant\, Nexus Press Artist Book Project Award\, Visual Studies Artist Book Project Residency Grant\, The American Antiquarian Society’s William Randolph Hearst Fellowship\, a YADDO Fellow\, Women’s Studio Workshop Residency Grant\, Connecticut Commission of the Arts Artist Grant\, as well as a Connecticut Book Award Illustration Nominee. Her work is included in the collections of Museum of Fine Arts\, Boston\, The Kemper Museum of Contemporary Art\, The Birmingham Museum of Art\, The Baltimore Museum of Art\, The Montgomery Museum of Art\, The Spencer Museum of Art\, The Hunter Museum of Art\, Vanderbilt University\, Grinnell College\, Oberlin College Museum of Art\, Davidson Art Center\, and The Detroit Museum of Art among other institutions. \n  \n 
URL:https://artinamericaguide.com/event/a-glitch-in-the-membrane/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220217T100000
DTEND;TZID=America/Halifax:20220326T180000
DTSTAMP:20260509T113540
CREATED:20220211T174011Z
LAST-MODIFIED:20220211T174011Z
UID:92109-1645092000-1648317600@artinamericaguide.com
SUMMARY:Walking a Line
DESCRIPTION:Kathryn Markel Fine Arts is thrilled to announce an exhibition of new glass sculpture and works on/of paper by Nancy Cohen.  Walking a Line marks the artist’s third solo exhibition in the gallery. \n  \nCohen works concurrently in two media. – She creates organic sculptural forms from pieces of glass and she creates drawings on hand-made paper using pigmented paper pulp as the drawing medium.  These two ways of working are closely related both formally and conceptually.   Both the paper pulp and the sculpted glass function as the substrate for drawing lines and both mediums are the physical embodiment of the essential thread that unites all of Cohen’s work– the relation between fragility and strength.  Paper and glass both walk the line between strong and fragile\, and Cohen is interested in pushing both mediums to the limit. \n  \nLine is the dominant formal element on all works in this exhibition.  Both Sculpture and paper are covered with lines that both unite and divide\, define or obscure.  As Cohen says about the Line: \n  \n“There is a fine fragile line between existence and its opposite\, a line we all walk and which the small and large environments that contain us walk as well.  Environmental and personal vulnerability has been a longstanding focus in my work.  Waterways\, in particular\, with their almost human balance of fragility and strength\, their perseverance through adversity—much of it inflicted by us—trace lines of stress and hope through our landscapes—as well as a strong line through the body of my work.” \n  \nFinally\, the line between existence and its opposite has been sharpened for all of us in recent years with the climate crisis and\, more recently\, the Covid pandemic.  At the same time\, the line between our individual fragilities and those of the collective and the planet have been blurred.  Individually\, we have often been isolated—themes of escape and flight\, literal and imagined\, figure heavily in work I’ve produced in the pandemic period—but our fragile bodies and our fragile environment are inextricably linked.  More than ever\, we walk the line together.” \nNancy Cohen has exhibited throughout the United States\, including at the Garrison Art Center\, the Hunterdon Art Museum\, the Philadelphia Art Alliance\,  and the Jersey City Museum and New Jersey State Museum. Her work is in the collections of Citibank\, Howard University\, Memorial Sloan Kettering\, Montclair Art Museum\, and the Yale University Museum.
URL:https://artinamericaguide.com/event/walking-a-line/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220217T100000
DTEND;TZID=America/Halifax:20220326T180000
DTSTAMP:20260509T113540
CREATED:20220211T173952Z
LAST-MODIFIED:20220214T174104Z
UID:92107-1645092000-1648317600@artinamericaguide.com
SUMMARY:"Soundings"
DESCRIPTION:Kathryn Markel Fine Arts is pleased to announce Soundings\, an exhibition curated by Nancy Cohen with work by Cristina De Gennaro\, Dale Emmart\, Reeva Potoff\, And Barbara Zucker. The show accompanies Cohen’s solo show\, Walking a Line\, and will be up from February 17th to March 26th. Cohen has written about the concept behind the exhibition and about each artist below. \n  \nSounding: To make a sounding is to dip a string into water to measure its depth\, to understand it in a way that would otherwise not be obvious. For a researcher\, it provides information needed before the work can proceed. \n  \nThe artists in Soundings make work that is visually engaging and beautiful\, much of it initially communicating in the language of abstraction. But as the viewer digs deeper into the work\, looking more carefully\, letting questions bubble to the surface\, reading the titles — a greater complexity and layered meaning reveals itself. You can begin to see how the course of action unfolds. \n  \nThe artists in this show make work that involves research into nature\, culture\, science\, and the body. Through their individual investigations they have developed personal and unpredictable visual languages to express their findings. \n  \nCristina de Gennaro considers the sublime through decay and regeneration. Her landscape drawings closely study the flora that comprise the desert and forest floors\, exploring tensions between pattern and complexity\, beauty\, and chaos. \n  \nDale Emmart studies our atmosphere. Her works on paper reference urban exhaust\, industrial fumes\, and smoke generated by city environments\, suggesting complications of industry and climate. The edge between description and abstraction is her primary motivation. \n  \nBeginning several years ago with mold accidentally grown in a coffee cup in her studio\, Reeva Potoff has been focusing on microbial activity\, photographing\, and developing that initial growth into complex digital prints that belie their origins.  Scroll-like prints are incorporated into visceral installation-based work speaking about the transient nature of life. \n  \n“Nose Job” and “Liposuction Buttocks” are two sculptures’ from “For Beauty’s Sake” Barbara Zucker’s 1994 Artist’s Space exhibition examining cosmetic surgery. With her characteristic deadpan humor\, fierce wit\, and impeccable precision this work will make you laugh while you wince in emotional and physical pain at the same time.
URL:https://artinamericaguide.com/event/soundings/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220106T100000
DTEND;TZID=America/Halifax:20220212T180000
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CREATED:20220104T201137Z
LAST-MODIFIED:20220104T201137Z
UID:90811-1641463200-1644688800@artinamericaguide.com
SUMMARY:Rocio Rodriguez "Counterpoint"
DESCRIPTION:NEW YORK\, NY –– January 3rd\, 2022 –– Kathryn Markel is pleased to present Counterpoint\, by Rocio Rodriguez. This marks the artist’s third solo exhibition with Kathryn Markel Fine Arts. \nThis group of 14 paintings by Rocio Rodriguez\, completed in 2021\, are remarkably scaled down. 11×14 inch\, 12×12 inch\, and the largest\, 30×36 inch\, paintings deliver the same weight and monumental vignettes as Rodriguez’s pre-pandemic\, larger than life\, canvases. \nRodriguez continues with her visual language of characters moving in dialogue\, a messy diary per se. The pictorial space inhabits movement\, projection\, and gesture\, Like the smudgy square\, or the blurry suspended wire that’s been struck and left to vibrate; it moves and leaves a trail of motion. The implication is\, nothing stops moving. Each player confers with the other\, offering point and counterpoint. Like the impromptu call and response between smudges and opacity\, erasure and clarity. The forms\, however vague or unstable by themselves\, collectively achieve balance in that no one form reigns. The unfolding is a build-up\, or an escalation\, not necessarily a story\, but definitely an ask of\, what happens next? \nRocío Rodríguez’s work is in numerous national and international private and public collections among them the High Museum of Art\, the New Orleans Museum of Art\, and the Huntsville Museum of Art. Ms. Rodríguez is the recipient of various national and regional awards among them Anonymous Was a Woman Award 2018\, Artadia Atlanta 2011\, a Cintas Fellowship\, and two SAF/NEA Fellowships. In 2014 she was awarded an Artist Residency at the Marfa Contemporary in Marfa\, Texas. Rocío Rodríguez was born in Caibarién\, Cuba. She earned her BFA and MFA from the University of Georgia and continues to live and work in Atlanta\, Georgia
URL:https://artinamericaguide.com/event/rocio-rodriguez-counterpoint/
LOCATION:Kathryn Markel Fine Arts\, 529 West 20th\, Suite 6W\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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