organized by Progress Report
Bronx River Art Center
March 25 - April 29 2011
A 92-page full color catalog of the show with essays by artist Shirley Kaneda and independent curator Jon Lutz is now available on Blurb.
(L to R) Pamela Jorden, Echo Music, 2010; Stacy Fisher, Fuchsia Sculpture with Wood, 2010; Ivin Ballen, More Cubes, 2010; Vince Contarino, Altar, 2011.
mixed media, dimensions variable
Excerpt from Shirley Kaneda's catalog essay, Abstraction: A Fluid Expansion:
"What is at stake for abstraction is whether it has the ability to contain new ideas. One of the things that abstraction has always been capable of is the fact that it continues to change and record the world while recording itself. In other words, it refers to itself as well as outside of itself and allows the viewer to regulate and engage their response with their particular associations. In this way, it resists codification remaining fluid as a mode of representation, persistently searching to present ways of seeing and thinking that previously may have been unavailable."
Echo Helmet, 2010
acrylic on diptych panel
12” x 18”
acrylic on canvas
18” x 24”
(L to R) Cordy Ryman, Vector, 2010; Matthew Deleget, Shuffle (for Grandmaster Flash), 2011; EJ Hauser, spaceman, 2010; Jered Sprecher, Ahab, 2010; Tisch Abelow, Untitled (very tizdayle), 2009.
oil on canvas
20” x 16”
(L to R) Joy Curtis, St. Magnet, 2011; Osamu Kobayashi, Eternal Gathering, 2010; Tamara Zahaykevich, glowing teef, 2009; Douglas Melini, Fluent Green, 2011; Kris Chatterson, Untitled, 2011.
Excerpt from Jon Lutz's introductory essay and artist questionnaire, Fortune Cookies:
"Today, exceptional artists are rarely self-satisfied and engaging work is essentially always in progress. As a result, I think there is a relaxed, but sophisticated spirit in many of the pieces in The Working Title. Some people have been operating outside of their comfort zones and others have tapped into their own inimitably. They can move freely between disciplines, from painting to sculpture to media, and explore idiosyncrasies. I have often been surprised when, revisiting a studio a year later, a previous body of work had been discarded, shelved or even painted over. In other cases, I’ve been impressed to find people delving further into a seemingly singular format and pushing through dead ends."
glowing teef, 2009
foam board, paper, acrylic paint, watercolor, ink and glue
2.375” x 2.25” x 2.875”
acrylic on canvas
80” x 90”
Step Up, 2011
acrylic and oil on panel
20” x 16”
Todo es Igual, 2011
oil on canvas over panel
32” x 24”
Black Mobile, 2011
oilstick, gesso, paper, glue, linen