Ouattara Watts

FIAF Gallery
New York City, NY, United States

January 24 – February 23, 2013

Free and open to public
Gallery Hours
Tue–Fri: 11am–6pm
Sat: 11am–5pm

FIAF Gallery
22 East 60th Street
New York, NY 10022

Drawing on his African roots and experiences as a New Yorker, Ouattara Watts creates mixed-media paintings that transcend geography to address the broader expanse of the cosmos.

Watts, who has exhibited at MoMA PS1, the Whitney Biennale, and the New Museum in New York, incorporates cryptic ideograms, religious symbols, and floating abstractions in his work, inviting diverse social and historical readings.


Charest-Weinberg and Eva Danielle are proud to present “No Kill,” a group exhibition of photography to benefit the Miami-based Project Fashion Tails. The exhibition will open to the public on September 22nd and will be on view through October 31st, 2012. There will be an opening reception on September 22nd from 7-10pm.
No Kill represents the next generation of charity. Distinctions between a commercial gallery setting and a non-profit organization fall away, allowing all involved to make a change in their community. The situation that homeless and displaced animals face nationwide is startling; locally, it is devastating. The economic downturn has stripped many families of the resources to care for their pets, leading them to surrender them to a rescue or simply abandon them on the roadside or in the Everglades. Miami Dade Animal Services has 250 spaces for cats and dogs, and it is estimated that they euthanize 200-300 per day. In 1998, Jill Wittels created Helping Homeless Animals, a no kill rescue that has placed hundreds of animals over the years.
No Kill is an exhibition of photographs from Project Fashion Tails, an initiative started by Wittels and designer Eva Danielle to educate the public about the plight of these animals. No Kill features the work of 40 world-renowned fashion photographers. Each photographs a model with an animal from a Miami rescue. Striking a balance between couture and ethical responsibility, these works present an opportunity for the worlds of fashion, art, and activism to combine in order to save innocent lives. The photographs, which explore all aspects of the fashion shoot, respond to a long tradition of photographing animals alongside humans. In their ornate decadence and candid approach, the images reach back through the history of photography. They update Richard Avedon’s classic images of Nastassja Kinski with the serpent and Audrey Hepburn with her cat. In their more informal moments, we think of Garry Winogrand, who was equally capable of photographing animals at the zoo and models on the street. In their conceptual poise, William Wegman’s photographs of his weimaraners come to mind. Most recently, there are Ryan McGinley’s unexpected combinations of nudes and animals. While these connections might help place the images in history, they are somehow beside the point. No Kill isn’t about art, nor is it about fashion; it’s about helping animals.

For more information, please see

Pedro Barbeito

Panel Discussion Moderated by Mel Dogan

New York City, NY, United States

August 1, 2012 – 6-8PM

C24 Gallery
514 West 24th Street
New York City, NY 10011
(646) 416-6300

August 1, 2012 – 6-8PM
C24 Gallery invites you to a panel discussion featuring artists: Benjamin Armstrong, Pedro Barbeito, Motoko Dobashi and Jennifer Tee. Moderated by Mel Dogan

Pedro Barbeito

Pop Violence

The Aldrich Contemporary Art Museum
Ridgefield, CT, United States

July 15, 2012 – February 24, 2013

Articles and Reviews:
CULTURE CATCH | June 20, 2012

The Aldrich Contemporary Art Museum
258 Main Street, Ridgefield, CT 06877
Tel 203.438.4519, Fax 203.438.0198,

Pop Violence
Opening Reception Sunday, July 15, 2012 from 3-5 pm
3 pm The Splits, a performance by Jane Benson in the Leir Atrium
Download: Pop Violence Brochure (PDF)

The Aldrich will host an opening reception to introduce united states, a semester of solo exhibitions and artist’s projects that approach both the nature of the United States as a country and “united states” as the notion of uniting separate forms, manners, or conditions of being. Subjects that are touched upon include history (and forgetfulness), war, political division, race, the economy, immigration, competition vs. cooperation, mythology, group psychology, the social contract, and consumerism. No one series of exhibitions can summarize the complexity of the meanings inherent in the concept of “united states,” however the goal is not to provide closure, but rather to echo the belief that disparate entities united to form a whole are hopefully greater (and more profound) than the simple sum of parts.

united states includes solo exhibitions by Pedro Barbeito, Jonathan Brand, Brody Condon, Brad Kahlhamer, Brian Knep, Erik Parker, and Hank Willis Thomas, as well as singular projects by Jane Benson, Alison Crocetta, Celeste Fichter, Erika Harrsch, Sui Jianguo, Nina Katchadourian, Matthew Northridge, Risa Puno, John Stoney, Frances Trombly, Rosemary Williams, and Jenny Yurshansky.

Spanish-born, New York-based artist Pedro Barbeito’s exhibition at The Aldrich presents a series of work ranging from 2005 to the present. The paintings in Pop Violence are based on images of war drawn from American entertainment and news media. For Barbeito, these works address the formative role of violence in contemporary life, from a political ethos driven by “terror” and deception to the aesthetics of visual assault prevailing in popular culture. Drawing upon the anxieties of an age when we are afforded, primarily through the Internet, unprecedented visual access to the violence of war and political strife (the conflict in Iraq and the Abu Ghraib images of torture, for example), these canvases materialize through painting the ubiquitous command found in most NYC transportation hubs: “If you see something, say something.”

“Painting, since the beginning of history, has been the representation of the world through pictures,” explains Barbeito, “and as such, my paintings represent our current world, exploring the relationship between digital imaging, culture at large, and the history of painting.” His images are particularly informed by the artist’s interest in the traditions of popularized depictions of violence, from early superhero comics (Fighting Yank/Captain America/Battle Brady), to video game imagery (Gears of War/Halo 3), to the portrayal of violence and jingoism in movies and on television. These are all powerful popular forms that testify to the workings of violence in America, yet do so in often beautiful and visually inventive ways. The layering of images, paired with the physicality of the paint application on the canvas, typifies the presentation of violence in our contemporary era, speaking to the cacophony of voices in communications media overloaded by often-contradictory information: flag waving, horror, and glamour.

united states is sponsored by The Aldrich Contemporary Art Museum with additional support provided by the National Endowment for the Arts, Art Works and Connecticut Office of the Arts. In-kind support provided by Ancona’s Wines and Liquors and PALM, Belgium’s #1 Ale. Special thanks to our media sponsors Morris Media Group, publishers of Ridgefield Magazine and WSHU Public Radio.


Pedro Barbeito

The Science/Astronomy Series

New York City, NY, United States

July 10 – August 24, 2012

C24 Gallery
514 West 24th Street
New York City, NY 10011
(646) 416-6300

New York, July 7, 2012 — C24 Gallery is pleased to announce a solo exhibition of paintings and prints by Pedro Barbeito. These works date from 1997 to 2012 and are the result of the artist’s investigation on the impact of digital imaging on the language and history of painting, while addressing some of the successes and failures of technology and science. The paintings present imagery of the universe like black holes, dark matter, stellar births: phenomena that are being visualized in a variety of different shapes and forms yet have no standardized structure. Technology and digital imaging have altered our preconceptions of the world; we no longer define things solely by what we can see. Painting, in particular, illustrates both representation and abstraction in very simplistic terms – by what is recognizable and what is not. These seemingly abstract paintings are arguably the most complete representation of the phenomena, due to the various images depicted in multiple mediums, each providing another layer of information. This de-contextualizing of the scientific imagery by bringing it into the vernacular of painting raises questions of how we see things and interpret them due to their presentation. In The Science/Astronomy Series, Barbeito incorporates printouts, digital monitors and stereo lithography models into his paintings hence a symbiotic relationship occurs where each medium slightly alters the language and the interpretation of the other.

About Pedro Barbeito 
Pedro Barbeito was born in La Caruña, Spain in 1969 and currently lives and works in Brooklyn, New York. The artist has exhibited his work internationally for the past fourteen years. Solo exhibition venues include Basilico Fine Arts and Lehmann Maupin Gallery in New York, Parra-Romero Gallery in Madrid, Charest Weinberg Gallery in Miami, and Galerie Richard in Paris. He has participated in museum exhibits at the Rose Art Museum in Massachussetts; the Museum of Modern Art in Arnhem, The Netherlands; the Palm Beach Institute of Contemporary Art in Florida; and the Museo Ruffino Tamayo in Mexico City, among others. His solo exhibition Pop Violence at the Aldrich Museum opens Sunday, July 15 will remain on view through September 30 as a part of their united states series.

About C24 Gallery 
Based in New York and founded in 2010, C24 is a gallery of international contemporary art that focuses on artists from diverse geographies. The gallery is dedicated to identifying and providing a platform for international talent who are often emerging artists or who have already achieved critical acclaim outside of New York.

Richard Dupont


Carolina Nitsch Project Room
New York City, NY, United States

June 29 – August 11, 2012

June 29 – August 11, 2012

Carolina Nitsch Project Room
534 West 22nd St
New York City, NY 10011

We are pleased to announce the exhibition SYSTEMIC, at Carolina Nitsch Project Room, 534 W. 22nd St, New York. This group show will feature work by Tauba Auerbach, E.V. Day, Jürgen Drescher, Richard Dupont, Spencer Finch, Carsten Höller, Alyson Shotz, and Aaron Spangler. These artists take a systems based approach to their processes or, in some cases, critique the structures and organizations which spread into our lives and communities. As in a “hive mentality” there is also some overlap in the themes, process and materials that each of these artists utilize. Auerbach, Day, Finch and Shotz take a mathematical approach to their methodology by multiplying simple forms or concepts into contemplative constructions. Dupont,Drescher, Höller and Spangler offer a critical view of various systems and collective behavior through history and in contemporary culture.
Tauba Auerbach has created an oversized pop-up book titled [2, 3] (2011), featuring six die-cut paper sculptures that unfold into wonderful, elaborate forms. Engineered by the artist, each “page” opens into a beautifully constructed object, intricately conceived so that the large-scale paper works can be collapsed totally flat. The pieces evolve from a range of geometric forms and stand as an astonishing art-object; part bookwork and part sculpture, and represents an advance in the field of pop-up technology.

Pollinator (2012) by E.V. Day continues her exploration of the reproductive organs of flowers, which started as high resolution scans and were then split and mirrored vertically as in a Rorschach print. This latest incarnation takes the two-dimensional information and extracts it back into space. With its polished, metallic surface, this sculpture becomes, both literally and figuratively, a place for reflection about reproduction and replication, about endurance and timelessness, and about using technology to give an evanescent life form a futuristic, alternate existence.

Jürgen Drescher’s Speech Bubble XII (2011) is a silver plated epoxy form; a sculptural appropriation of a 2-D graphic convention reflecting a distorted version of the viewer. Drescher is concerned with transforming everyday “found objects” through the casting process into “ready-made” art objects, which emphasize a skepticism and mistrust of social regulations and commercially orientated agreements.
Head Head (2011) by Richard Dupont is a solid cast polyurethane head with smaller heads imbedded inside. These include various cast life masks of the artist as well as life masks of arbitrary celebrities (Leonard Nimoy, Angelina Jolie, Beethoven) acquired over the internet. Also included are aged epoxy rapid prototypes of both the artist and his wife dating back to an earlier sculptural tableaux from 2003; as well as two antique glass heads- one clear and one black glass. This work acts as a repository for concrete identity, memory and artistic process, and illustrates the growth and fragmented physical nature of digital identity. It addresses the function of memory and its physical manifestations at a time when these are shifting away from older forms of memorialization- life casting, traditional portraiture, and photography- towards a digital residue.
The River That Flows Both Ways (2011), by Spencer Finch is a suite of 5 pigmented paper panels which attempts to capture the subtlety changing hues of the Hudson River on June 12,2008; at 9:20 am, 11:29 am, 12:10 pm, 3:54 pm, 7:08 pm). A large glass installation from this series can be seen along the High Line between 15th and 16th streets.
Carsten Hoeller’s Multiple Mushroom Dome (2012) was published by Carolina Nitsch for the New Museum of Contemporary Art, where the artist recently had a large survey exhibition. This small work combines three different types of mushrooms into a sculptural hybrid, the most recognizable being the red and white spotted, psychotropic Fly Agaric fungus, which has been important to shamanic cultures of Eurasia, and has been the subject of many projects and installations by the artist.
Spiral (for LB) is part of Alyson Shotz’s continuing examination of repeating form in rotation and variation.  It has a mathematical structure which is based on the notion of rotation around a central point. The sculpture is built to the scale of an average woman’s height and inspired by Louise Bourgeois “Spiral Woman”. In this case the woman is abstracted into geometry, but also spinning around a center, hovering directly above the floor. The appearance of this work is largely informed by external factors that change throughout the day- changes in light and season appearing on its surface.
Aaron Spangler’s Christian Separatist Home Birth (2012) is a massive wood cut, part of a larger series, made from connected panels of basswood, which were logged and milled in North Western Minnesota where the artist lives. The use of material here is important in considering that culture is partly created by ones environment.
For further information or images please contact the gallery at 212-645-2030
or email: [email protected]

Pedro Barbeito

Archetypes and Historicity Painting and
Other Radical Forms 1995-2007

By Mario Diacono

Published by Silvana Editoriale

This volume collects texts written to accompany exhibitions held in the Mario Diacono Gallery between 1994 and 2007. It constitutes, with Verso una nuova Iconografia and Iconography and Archetypes, the third and final survey the author attempted of the advanced painting being made in the United States and Europe. The circulation of the same lexicon among the three titles implies that they are almost interchangeable, reflecting a continuity between new works and old imaginary. The thread linking contemporary images to past icons is visible despite a reinventing or even an inventing of the media that the artists are using to materialize their ideas.

If the novelty of the techniques is always deliberate, however, the return of an image’s archetypal structure may be instead mostly subconscious. The intertexuality, or interfigurality, between old and contemporary images, in the last thirty or forty years, points to the other sphere of globalism, beside the spatial one that the cybermedia and the multi-national economy are generating. It’s the temporal globality that the encyclopedic museums, the philosphy of consciousness, art books, jet travel, an ever-deepening knowledge of the past, the dissemination of information have constructed in the modern mind, and that renders all art diachronic in facture but synchronic in meaning. The strength of an artist’s intuition and formal devices is, of course, irreducible to the presence of an interfigurality; but a painting often receives a higher validation from the depth it acquires from its (re)invention of an archetype.

Buy Book

Fernando Mastrangelo

Connecting Cultures: A World in Brooklyn

Brooklyn Museum
Brooklyn, NY, United States

Brooklyn Museum
200 Eastern Parkway
Brooklyn, New York 11238
Telephone: (718) 638-5000

Articles and Reviews:
THE NEW YORK TIMES | April 19, 2012

This innovative, cross-cultural installation was developed to create new ways of looking at art by making connections between cultures as well as objects. Located in the Museum’s first-floor Great Hall, it provides for the first time a dynamic and welcoming introduction to the Museum’s extensive collections, featuring pieces that represent peoples throughout time and around the world.

Connecting Cultures is organized around three main themes: “Connecting Places,” “Connecting People,” and “Connecting Things.” In viewing the juxtaposition of thematically linked works, visitors are invited to consider the importance of place, of self-representation in art, and of the role that objects play in supporting personal and cultural identity. Works on display include Gaston Lachaise’s monumental Standing Woman, Nick Cave’s Soundsuit, and kero cups used in Andean ritual.

Connecting Cultures: A World in Brooklyn was a joint effort of the Brooklyn Museum’s curators, organized by Kevin Stayton, Chief Curator. The installation was designed by Matthew Yokobosky, Chief Designer at the Brooklyn Museum.

Generous support for this long-term installation was provided by Lisa and Dick Cashin.

Marc Séguin

Sugar Shack Au Pied de Cochon

386 pages. 100 recipes by Martin Picard.
2000 photographs, a short story by Marc Séguin…

This 386-page book dedicated to maple syrup offers 100 recipes by Martin Picard, 2000 photographs, a short story by Marc Séguin, a journal describing life at the shack during the sugaring-off season, a technical chapter on harvesting maple water and the production and consumption of maple syrup, together with many illustrations by Tom Tassel. A cross between an art book and a culinary encyclopedia, it is as unique as the international reputation of the Au Pied de Cochon restaurant.

Culinary research intersects with tradition in this book which is as iconoclastic as Martin Picard’s world famous cuisine. Mixing genres and styles, just like this chef does in his kitchen, the book offers a touch of literature, a smattering of sexy images together with scientific information and cutting-edge gastronomical research. More than just another cookbook, this book wants to mark the passage of time. It describes an entire year in the restaurant, in sync with the rhythms of the seasons, from the silences to the fiery outbursts in an internationally recognized kitchen. It pays tribute to gastronomical and sugarmaking traditions, intent on conserving them and passing them on. Maple syrup is as unique and rare a product as truffles or caviar, and readers around the world will be introduced to the wide range of its qualities and uses.

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Hannes Bend ECLIPSE

Articles and Reviews:
ART 21 | July 6, 2012
ART DISTRICTS | June 2, 2012
MIAMI RAIL | June 1, 2012
THE ILLUMINATOR | May 12, 2012
GOOD MAGAZINE | April 27, 2012
BERLIN ART LINK | April 26, 2012
SUNSENTINEL | April 21, 2012
CHICAGO TRIBUNE | April 21, 2012
KNIGHT ARTS | April 20 2012
INHABIAT | April 12, 2012
EXAMINER | April 11, 20112
MIAMI HERALD | April 8, 2012
FLAVORPILL | April 6, 2012
MIAMI ART EXCHANGE | March 29, 2012
MIAMI NEW TIMES | March 22, 2012

Charest-Weinberg is pleased to present “Eclipse,” an exhibition of work by Berlin-based artist Hannes Bend. The exhibition will open to the public on Friday, March 30th and will be on view through June 2nd, 2012. There will be an opening reception on March 30th from 6-9pm.

Hannes Bend was born in Neustadt, a small town on the Baltic Sea in northern Germany. An affinity for the dramatic natural landscape, one that similarly inspired the German Romantics, runs through his art. It should be mentioned that Caspar David Friedrich painted the area surrounding Bend’s childhood home. However, the younger artist’s sublime has been contaminated by the twentieth century–industrial modernization and globalized popular culture–forcing classical tropes to grapple for contemporary relevance. The sky and the ocean, long expanses of contemplation, have been recast as negative space encroached upon by society. While not hopeless, the situation is far from ideal.

For “Eclipse,” Bend stages a multimedia recreation of the contemporary sublime and its lower, fractured shadow. The gallery overflows with wreckage dredged from the Osborne Reef, a failed manmade reef off the coast of Fort Lauderdale. The reef began in 1972, when the Broward Artificial Reef Inc. Company (BARINC) began dumping car tires in hopes that they would foster marine life. With close to 2,000,000 tires today, the Osborne is now an ecological catastrophe. Two videos bracket this well-intentioned dystopia. Eclipse, 2012 shows blue sky interrupted by passing cars, industrial equipment, and the underbellies of passenger airplanes. Aquadome, 2012 juxtaposes different watery environments: the shoreline, the Osborne Reef, aquariums and swimming pools. As Aquadome flits from the submerged cemetery to the bourgeois appropriation of nature, recalling both Friedrich’s The Sea of Ice and Dan Graham’s Death By Chocolate, the viewer must accommodate both natural continuation and societal entropy. It is not just a phonetic link that attaches these water pieces to bathos-the lofty treatment of the commonplace. His work joins us as we search high and low for that which is worth saving.

Hannes Bend graduated from the Fine Arts College Berlin Weissensee in 2007. He has had solo exhibitions in Berlin and New York. “Eclipse” is his first solo exhibition with Charest-Weinberg.

This exhibition is supported by:
South Florida Diving Headquarters
PalmBeach HammerHeads Dive Club
Miami Cordage

Jacob Gossett OLYMPIA

“Introducing Jacob Gossett” is a 46 page ebook (pdf), presenting an in-depth overview of Gossett’s studio practice and his first exhibition, Olympia. View: Introducing Jacob Gossett (PDF) (9.2 MB)

Charest-Weinberg is thrilled to present Olympia, the first public exhibition of Jacob Gossett’s artwork. Olympia will open to the public on Friday, June 8th and will be on view through July 31st, 2012. There will be an opening reception on June 8th from 7-9pm.

Following the opening, Beacon, Gossett’s electro-R&B group, will stage a performative concert alongside Michna (NY) and Heathered Pearls (LA) at The Vagabond in Downtown Miami. This performance is hosted by Charest-Weinberg and Ghostly International. Doors open at 10pm. (view artwork)

Jacob Gossett was born in 1983 in Youngstown, Ohio and grew up surrounded by athletic culture. Over the past few years, his work has dealt with the cult(ure) of flesh: body politics, competition and aggression, and the physical ideal in the arts. Similarly, Beacon is known for their intensely visual performances and videos based upon sexual fantasy. For Olympia, Gossett has made four large-scale and tightly cropped paintings of flexing Mr. Olympians out of Creatine powder mixed with epoxy resin. Just as weightlifting breaks down the body so that it can become larger and more defined, these compositions, rendered in a dot matrix, are only cohesive when viewed from afar. As the spectator approaches the canvas, they disintegrate. The paintings will be presented alongside a looped video of an athlete training in a dank basement room covered in photographs of bulging muscles.

Olympia is a display of power that cannot be activated. Bodybuilding is performative in nature, yet the ideals of the performers are closer to Greek statuary. When training, these men strive for beauty, symmetry, and proportion—in other words, sculptural qualities. In the 1977 documentary Pumping Iron, a young Arnold Schwarzenegger describes this connection:

“Good bodybuilders have the same minds when it comes to sculpting that a sculptor has. You look in the mirror and say, ‘ok, I need a little bit more deltoids, a little more shoulders so I get the proportions right.’ ”

Schwarzenegger, whose image appears in the show, is a powerful symbol of the intersection of physical and political aesthetics. In this regard, one must remember that Olympia was also one of Leni Riefenstahl’s most famous films. Gossett addresses this racial quotient with the colors of his paintings, which depend on two components: the Creatine supplement (his brand comes in either vanilla and chocolate) and the guidance of the widely used bodybuilding suit chart, which matches the color of the garment to the athlete’s skin tone.

Jacob Gossett was a resident at Skowhegan in 2009 and graduated from the Pratt Institute in 2010.

Fernando Mastrangelo

This Too Shall Pass

PG Contemporary
Houston, TX, United States

February 17 – March 18, 2012

PG Contemporary presents The Truth Will Set You Free and This Too Shall Pass, two solo exhibits by artists Forrest Prince and Fernando Mastrangelo.

HOUSTON, TX – February 7: Despite their significant age difference, artists Fernando Mastrangelo and Forrest Prince offer two complementary interpretations of religious iconography, social commentary and mythology. Both sculptors challenge mainstream ideas about subjects ranging from social and political ideology, education and the art-making process.

Philomena Gabriel Contemporary opens Prince and Mastrangelo’s solo exhibits, The Truth Will Set You Free and This Too Shall Pass, on February 17 from 6pm to 8 pm, followed by a morning reception on February 18, from 11am to 1pm. The show runs through March 18. Both Mastrangelo and Prince will attend the opening events.

Brooklyn-based Fernando Mastrangelo uses unconventional and controversial materials such as condensed gun powder, cocaine, pressed corn meal and human ashes as part of his established vernacular. The artist uses these substances to create cultural objects that propose direct relationship between the piece and how it should be understood.

Despite his apparent social message, Mastrangelo rejects the idea of sermonizing, preferring to find meaning in the ironic relationship between the materials and his subject. For the exhibit at PG Contemporary, Mastrangelo has created an impressive new work specifically for the space.

Houston-based artist Prince is a self-taught sculptor who explores everything from global politics to America’s fast-food culture in his work, always with references to such Christian iconography as the cross and the words “Praise God.” Prince has an upcoming retrospective at the Station Museum of Contemporary Art (Houston 2012).

Opening Reception: Friday, February 17 from 6pm – 8pm and
Saturday, February 18 from 11am – 1pm
On View: February 17 to March 18, 2012
Where: PG Contemporary, 3227 Milam St., Houston, TX 77006

Born in 1978, Brooklyn-based artist Fernando Mastrangelo has a Master of Fine Arts in sculpture from Virginia Commonwealth University in Richmond, VA (2004), and a Bachelor of Fine Arts in sculpture from the Cornish College for the Arts in Seattle, WA (2002). In 2001, he attended Pilchuck Glass School in Stanwood, WA.

Mastrangelo exhibits with Charest-Weinberg Gallery in Miami, FL, where he currently has a solo show Black Sculpture and was reviewed by Critics Pick, January 2012

He has participated in numerous group shows in New York, including Waiting for the Barbarians at RARE plus; Malicia at Rare Gallery; Le Desertde Retz at Massimo Audiello Gallery; Intransit at Moti Hasson Gallery; Felix at the Volta Show; Data Panic at Cuchifritos Artspace; Love is a smoke made with the fume of sighs… at Kumukum Gallery; and La Salvamara at Mendes/Mendes Gallery.

His work titled “Malicia” was acquired by the celebrated Cheney Collection in Houston, TX.

Born in Houston in 1935, sculptor Forrest Prince held his first solo exhibit in 1976 at the Contemporary Art Museum in Houston, by renowned curator James Harithas. That same year he participated in a group show at the Houston Museum of Modern Art.

Prince has participated in the HMMA Show at the University of Houston (1982); founded the Praise God Foundation and exhibited in a group show at the Midtown Art Center in Houston, TX (1983); participated in group shows at Diverseworks, Graham Gallery and the Hooks-Epstein Gallery (1987); had a solo show at Diverseworks curated by Caroline Huber (1991); participated in group shows at Lawndale Art and Performance Center in Houston, TX (1994-1995) and the Anti-War Show at The Station Museum of Contemporary Art (2005).

In 2005, Prince was in a group show at the Menil Collection, which acquired his work “The Greatest of All is Love.”

Zoya Tommy, Director of Philomena Gabriel Contemporary, is pleased to present these two exhibits. For more information please contact PG Contemporary at [email protected], or (713) 523-7424.

PG Contemporary is located at 3227 Milam St. Gallery hours are Thursday to Saturday 11am to 6pm or by appointment.

Sheree Hovsepian

Haptic Wonders

Monique Meloche
Chicago, IL, United States

February 4 – March 24, 2012

Haptic Wonders
Monique Meloche
2154 West Division St
Chicago, IL 60622
February 4 – March 24, 2012

Sheree Hovsepian’s work is a multi-faceted investigation of photographic processes. In our first solo show with the artist, Hovsepian’s black and white photograms, hypnotic video, and delicately balanced wall-based installations have a physicality that relates very naturally to the body, and more specifically to the artist’s hand. Touch, or the haptic sense, may be more commonly associated with painting or sculpture, but Hovsepian’s tactile manipulations are very present in her mostly abstract photographic works.

Sheree Hovsepian (American b. Isfahan Iran 1974, lives NY) received her BFA/BA from the University of Toledo in 1999, studied at The Glasgow School of Art, Scotland and received her MFA from SAIC in 2002. She was included in “Harlem Postcards” at the Studio Museum, and has had solo exhibitions at Charest-Weinberg Gallery Miami (2011), The West Street Gallery NY (2010), and the Spertus Museum Chicago (2009). She was a recipient of the Aljira Emerge 20 Residency in Newark NJ, a CAAP Grant, and travel and graduate grants from SAIC. Her work is in the permanent collections of the Studio Museum in Harlem, The Art Institute of Chicago, and the Spertus Museum Chicago. Hovsepian currently teaches at Pratt University and her work will be featured at The Amory Show 2012 in moniquemeloche’s booth 738.

Richard Dupont

Cerebral Spirits: Stalking the Self

William Paterson University Galleries
Wayne, NJ, Houston, TX United States

January 30 – March 9, 2012

January 30 – March 9, 2012
Opening reception: Sunday, February 5, 2012, 3-5pm
Snow date: Sunday, February 12, from 3-5pm

Court Gallery:
Cerebral Spirits: Stalking the Self
Curated by Suzanne Anker

Artists: Suzanne Anker, Phil Buehler, Richard Dupont, Thomas Eller, Frank Gillette, Michael Rees, Katy Schimert, and Jeanne Silverthorne.

This exhibition explores the ways in which concepts in neuroscience research have been incorporated into visual art practice and contemporary culture. From mental illusions to hallucinations to representations of mood, these work address the intersections of body experience and mental affect through pictorial metaphor.

Cerebral Spirits is organized in conjunction with the Center for Computer Art and Animation. Panel discussion is co-sponsored by the Center for Computer Art and Animation.

Interview with Richard Dupont

Rob Fischer

The Chinati Foundation
Marfa, TX, United States

December 2011 – January 2012

The Chinati Foundation is pleased to host an opening reception for artist in residence Rob Fischer on Thursday, January 19, from 6:00 until 8:00 PM at the Ice Plant in downtown Marfa. Fischer is a New York based artist who makes sculpture, room-filling installations, as well as film and video that is often inspired by and made from discarded and recycled building materials and found bits of architectural debris. The results are formally beautiful works that can evoke modest, abandoned structures, yet tell a story of an American industrial past that has been uncannily crossed with a spirit of utopian inventiveness, ever in flux.

In Marfa, Fischer has continued work on a multi-faceted piece that began as a kind of sculpture and was subsequently filmed — the subject being a mobile, colored glass house that over the course of being built, moved, suspended, and taken apart, embodies the formal, structural and emotive properties that inform his work.

Fischer was born in Minneapolis in 1968, and lives with his wife and two children in Brooklyn. He received his BFA from the Minneapolis College of Art and Design in 1993. Rob has had exhibitions of his work at the Hammer Museum, Los Angeles; Whitney Museum of American Art at Altria, New York; Cohan and Leslie, New York; Mary Goldman Gallery, Los Angeles; Contemporary Arts Forum, Santa Barbara; Franklin Art Works, Minneapolis; Max Wigram Gallery, London; and Art in General, New York. His work has also been featured in group exhibitions, including the 2004 Whitney Biennial; Greater New York, P.S.1, Long Island City, New York; Open House: Working in Brooklyn, Brooklyn Museum of Art; Corcoran Gallery of Art, Washington, D.C.; Sculpture Center, Long Island City; Art and Idea, Mexico City; and the Walker Art Center, Minneapolis.

For more information, please contact:
The Chinati Foundation
1 Cavalry Row
Marfa, TX 79843
t 432 729 4362

Nicolas Lobo

Gum, dropped

Marlborough Chelsea
New York City, NY, United States

December 15, 2011 – January 14, 2012

Gum, dropped
Marlborough Chelsea
545 West 25th Street
New York, NY 10001
December 15, 2011 – January 14, 2012

Lobo’s practice is one of variance and ambition, both conceptually and technically. He has consistently attempted to materialize the invisible while allowing his specific agenda to determine the media. In Grape Syrup Action for Paul Octavian Nasca’s “U Smile 800% Slower,” 2011, Lobo has created an accompanying video for a track that oddly became a Youtube sensation despite existing only as audio. The song in question – Nasca’s super slowed-down version of Justin Bieber’s “U Smile” – blares indiscernibly like an ominous Gregorian chant, while a masked figure in a white Hazmat suit sprays gallons of grape cough syrup onto a white wall. Disjointed ambiguity pervades the work as the identities of the sound, the liquid and the figure remain concealed throughout the video’s mesmerizing fourteen minutes and thirty-seven seconds.

In the series Microwaved CD Pen Tests, 2011, the artist uses the lasers of a light jet machine to expose photo paper in the red, green, blue and black spectrum normally emitted to produce life-like photographic color. The exception to the pure color are images of CDs, briefly microwaved, providing a prismatic counterpoint, splitting the mechanical light into rainbow hues. On this backdrop the artist renders intuitive, gestural markings which appear akin to those of Gottlieb, Marden or Twombly. The result is an Arcimboldo-esque composition that evokes representational portraiture, but whose components are wholly abstract.

Elements of audio detritus and distorted vocal deviances are also evident in slabs of granite and marble leaned casually against the gallery wall. Each slab features the telephone number from various phone sex hotlines watercut into it, achieving a degree of permanence that is otherwise foreign to a medium and industry facing rapid obsolescence in the face of the internet’s total absorption of sexual fetishism.

In Glideslope, 2008, the standard descent ratio for landing an aircraft (three degrees to the horizon), is made manifest in an imposing eight-foot terrazzo cast. Normally a disembodied wire-frame graphic used to assist the pilot, in Lobo’s hands the glideslope becomes a tangible representation of a frequently traveled immaterial space whose hollow-core existence was previously relegated to two-dimensional charts and its practical application.

Gum, dropped will be on view through January 14th. A digital catalogue will accompany the exhibition.

Interview with Andrew and Andrew on East Village Radio | Radio Payer

Nicolas Lobo

Four Minutes, Thirty-Three Seconds
Curated By Omar Lopez-Chahoud

Miami, FL, United States

November 30, 2011 – January 31, 2012


Brunch Reception: December 2nd, 2011 9am- 1pm
Exhibition runs from November 30th to January 31st (Tuesday – Friday 12pm – 5pm)

MIAMI, LegalArt is proud to present “Four Minutes, Thirty-Three Seconds” an exhibition by visiting curator Omar Lopez-Chahoud inspired by the 1960′s Fluxus Movement. This exhibition will take place on the 2nd and 4th floor of LegalArt, with a reception on December 2nd from 9am to 1pm at the time of LegalArt’s “Art Basel Collector’s Brunch”.

“Four Minutes, Thirty-Three Seconds” revisits the liberated attitude towards the creative process that defines the Fluxus movement. This project coincides with significant exhibitions happening at MOMA, NY; the Grey Art Gallery; NYU and at the Storefront for Art and Architecture, in collaboration with Performa 2011. This leads us to reflect on the similar attitudes between Fluxus actionists and a younger generation of artists as well as the socio-economic context in which these responses arise.
The title of this exhibition makes reference toa piece by composer John Cage, a notable influence on the Fluxus work of Lithuanian-born artist George Maciunas. Maciunas (1931-1978) organized the first Fluxus event in 1961 at the AG Gallery in New York City and the first Fluxus festivals in Europe. The Fluxus art movement in the 1960′s and 1970′s was characterized by a strongly Dadaist attitude, promoting artistic experimentation mixed with social and political activism. Often celebrated anarchistic change, Fluxus members avoided any limiting art theories and spurned pure aesthetic objectives. Their activities resulted in events or situations often called Aktions (works challenging the definition of art) and included performances, guerilla or street theater and concerts of electronic music, many of them similar to what in America were known as Happenings.

In the spirit of the Fluxus tradition, Omar Lopez-Chahoud has invited local and international artists, collaboratives, situationists, and curators to present projects in the form of publications, events, discussions, performances, situations, and other actions. These groups and individuals will activate the space in a way similar to the Happenings of the Fluxus Movement, inspired by an anti-art and anti-consumer enthusiasm. Participants in this exhibition include: Augurari Editions, Rodolfo Andaur, Hackworth Ashley, Spring Break, Monserrat Rojas Corradi, Cat Dove, Viking Funeral, Andrea Galvani, Jay Hines, Scott Hug, Karlo Ibarra, Carlos Irijalba, Brookhart Jonquil, Jason Keeling, Kristin Korolowicz, Liz Magic Laser, Nicolas Lobo, Gean Moreno, Richard Mosse, Ernesto Oroza, Gaston Persico, Manny Prieres, Print and Paste Collective (FAU), Megan Riley, Tom Scicluna, Joaquin Segura, SOMA, Natika Soward, Lara Stein Pardo, Suzanne Stroebe, Third Streaming/Yona Baker, Cecilia Szalkowicz, TM Sisters, Pinar Yolacan and others.

Omar Lopez-Chahoud has made use of his LegalArt residency as a lab for ideas, strategies and questions that organically shape the content of this exhibition. This project, like Cage’s composition, creates a potential space for creative energy and responses, facilitating a fertile dialog with the community outside of the traditional gallery venue. Publications produced by artists, curators, and art organizations will be available for research on the second floor of LegalArt. The exhibition continues on the fourth floor with multimedia installations and performances.

On December 2nd a series of panel discussions, performances and open studios will be taking place. See schedule below.

Second Floor:
11:00am Ernesto Oroza: “Architecture of Necessity” The panelist talks about how Cubans intervene in architecture out of necessity and everyday survival in Cuba.
12:00pm Rodolfo Andaur: “Local Reality as Memory Desertification, Contemporary Art in the North of Chile” The Chilean curator talks about the political and geographical impact of art in the North of Chile.

Third Floor:
9:00am – 1:00pm Art Basel Brunch Reception
9:00am – 1:00pm Open Residency Studios: Viking Funeral, Pachi Giustinian, Jiae Hwang, Brookhart Jonquil, Manny Prieres and TM Sisters

Fourth Floor:
Performance schedule TBA
1035 N Miami Ave
Miami, FL 33136