Support Artist Michelle Hartney’s MOTHER’S RIGHT Installation + Performance Kickstarter Campaign

Mothers Right- banner

Mother's Right montage

Live through May 31, 2015, the MOTHER’S RIGHT Kickstarter campaign supports artist Michelle Hartney’s conceptual installation and performance piece addressing the United States’ high rates of maternal mortality, paired with its high obstetrics spending—culminating with a performance this Labor Day, September 7, 2015, in Chicago.

Hartney is sewing 1,200 hospital gowns—one for every mother who died in childbirth in America in 2013—each hand silk-screened on apparent hospital-gown fabric, but with designs composed of tiny drawings the artist has created of the plant derivatives of the drugs that have been used on laboring women for the past 150 years. Kickstarter campaign incentives for supporters include an installation of ten MOTHER’S RIGHT gowns, having your name (or the name of someone you choose) being sewn into one of the gowns used for the performance piece and installation, a 6 x 6 inch round framed tondo piece of the silk-screened fabric, a sterling silver MOTHER’S RIGHT necklace, a limited edition installation drawing Hartney created for the project, a set of ten, lined correspondence cards, and a personal thank you note with a piece of the hand silk-screened fabric, among others, all designed by Hartney.

In the Labor Day performance, several pairs of women will stand facing one other, folding the handmade gowns into triangles—similar to the way the American flag is folded at the funeral of a solider. The traditional flag-folding ceremony includes twelve symbolic folds, with the ninth fold symbolizing womanhood. These custom-made hospital gowns have been cut to a length where the fabric stops on the ninth fold. The third chapter in Hartney’s Obstetrics in America series—preceded by Our Past and Birth Words, exploring contemporary American birth’s history which is rooted in misogyny, racism, and abuse—MOTHER’S RIGHT seeks to bring awareness to some of the basic human rights that are being violated on a daily basis in the United States.



Michelle Hartney -Mother's Right

WORLD PREMIERE: Sacred-Profane by The Nouveau Classical Project

DAY 3 STILLBe sure to check out the latest sonic creation from The Nouveau Classical Project: Sacred-Profane. They’ll premiere a song cycle called “Sororatorio: a Cuntata” and wear fashion by Jenny Lai’s experimental womenswear brand NOT. It’s classical music on crack!

Sacred-Profane explores a range of human polarity, traveling from stately composure to total abandonment. Through a series of concert pieces and cutting edge fashion, Sacred-Profane pulls at loose strings until it unravels in a fitful explosion of profanity.

The program will feature Johannes Ockeghem’s sacred Missa Prolationum – Kyrie re-imagined by Marina Kifferstein, music by Sarah Kirkland Snider and Nina Young, and world premiere of Vin Calianno’s Sororatorioa new song cycle inspired by the celebrated and profane Delta Gamma sorority email that went viral in 2013.

For a sneak preview, click here to see NCP’s Kickstarter campaign.


April 9 + 10, 2015, 8PM Curtain

For this concert, both regular and VIP tickets are available. VIP tickets include open wine bar access. All tickets are available here.

Clemente Soto Velez Cultural Center/Flamboyán Theater
107 Suffolk Street
New York, NY 10002

Shock of the New…and Old: Armory Arts Week 2015


Once again a flurry of art fairs–more than 10–descend upon Gotham this week. From Old Masters like the Armory Show to emerging talent like Art on Paper, there is an overwhelming selection from which to choose.  Accompanying this colorful orbit of satellite fairs are opening parties, special projects, lecture series, performances, and happenings.  Not to mention all the galleries and museums around the city have synced their exhibition clocks to chime in on the action. Below is a brief rundown of “artivities” that will allow art enthusiasts to curate their own unique experience:


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Allie Pohl

Allie Pohl, Ideal Woman in Neon Green

March 3–8, 2015
March 3: 1–4pm Collectors Preview (invite only), 3–5pm Press Preview, 5–10pm VIP Vernissage
Public hours: March 4–7, 12–8pm, March 8, 12–6pm

NYC’s “curator-driven art fair” has a 2015 curatorial theme of TRANSACTION. Over 80 curators were invited to create exhibitions in SPRING/BREAK’s new Moynihan Station location. Highlights: AKArt curators Amy Kisch, Ricky Lee, Lizzie Jones, and Alexandra Wagle, present the group exhibition Transgressive Inversions + Identities: featuring works by: Craig Damrauer,  Johanna Evans-Colley, Sean Fader (of 2014 Wishing Pelt fame), Katya Grokhovsky, Ujin Lee, Kristin McIver, and Allie Pohl (the ultimate Ideal Woman); Dustin Yellin x Bazaar Teens‘ controversial installation of eight paintings made out of shredded money–a $10k anonymous donation, that is!!


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Huguette Caland, Miroir

Huguette Caland, Miroir

March 5–8, 2105
Opens: March 4, 5–8pm MoMA Vernissage ticket holders
Public hours: March 5–8, 12–7pm

Headlining this week is none other than The Armory Show. In its 17th edition, 199 galleries from 28 countries will spread out over Pier 92 (Modern Art) and Pier 94 (Contemporary Art and Special Projects). Each year the Armory Show presents a special regional focus. 2015 features the MENAM—Middle East, North African, Mediterranean—region with gallery presentations, symposia, artist commissions, and projects like the Culturunner retrofitted RV.  Read more about MENAM hereHighlights: MoMA hosted The Armory Party on March 4th.  VIP’s have early admission from 8–9pm; General Admission 9pm–12:30am. Find tickets here.




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March 4–8, 2015
Gala Preview: March 3, from 5:30–9:30pm, purchase tickets here.
Public hours: Wed–Fri, March 4–6, 12–8pm, Sat, March 7, 12–7pm, Sun, March 8, 12–5pm

The 27th edition of the nation’s “Longest Running Fine Arts Fair” is organized by the ArtDealer’s Association of America. The upscale fair, located in the Park Avenue Armory, presents curated solo, duo, and thematic presentations from 72 galleries—ranging from contemporary solo projects like Petzel Gallery’s Wade Guyton presentation, to more historical surveys such as Carl Solway Gallery’s presentation of rare histroical works by Nam June Paik, to thematic exhibitions including The Responsive Eye at 50, featuring Op-Art at Maxwell Davidson Gallery.

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March 4–8, 2015
Public hours: Daily from 11am until 8pm, Free Admission

A block from the Armory Show, THE(un)SCENE promotes itself as a refreshing alternative to“the maze of cookie-cutter, white-walled art fairs.” Added bonus: free ice cream! Highlights: Each day hosts a full schedule of happenings including performances and talks. See the complete schedule of happenings here.


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March 5–8, 2015
Preview: March 5, 11am–4pm Guest of Honor and VIP preview, 6–8pm Public Vernissage
Public hours: March 6–7, 12–8pm, March 8, 12–7pm

VOLTA is an invitational solo project fair for contemporary art. This year it moves to Pier 90, adjacent to The Armory Show in Hell’s Kitchen.  Highlights: An engaging roster of artist and curator talks. Look at full schedule here.



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March 5–8, 2015
March 5: 10am–1pm Preview Brunch, 6–8pm Young Collectors Cocktails (both invite only)
Public hours: March 5, 1–6pm, March 6–7, 11am–8pm, March 8, 11am–5pm
March 6, 5–8pm Members of local museums get free admission

PULSE, located in Chelsea’s Metropolitan Pavilion, blooms early on the art calendar this year (it used to run during Frieze Week in May). The fair features creative offshoots like IMPULSE for emerging galleries, POINTS for alternative gallery models and non-profits, and PLAY, a platform for video and new media art. Highlights: March 5th at 4pm, “Women in the Artworld: Today–> Future,” a tour led by Association of Women Art Dealers (AWAD) Founder Susan Mumford focusing on six leading women in the field.



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March 5–8, 2015
March 5: 6–8pm Vernissage
Public hours: March 6–7, 12–7pm, March 8, 12–6pm

This year over 50 galleries and non-profits from 14 countries across Europe and the Americas participate in Independent’s 6th edition, located in the Chelsea Gallery District. Highlights: a multimedia installation from renowned German artist Andrea Büttner and a series of drawings from Jimmie Durhamat Kurimanzutto, one of 16 new Independent exhibitors.



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March 5–8
March 5: 6–8pm Opening Reception (free and open to the public)
Public hours: March 5–7, 11am–8pm, March 8, 11am–4pm, Free Admission

Located in the Waterfront Tunnel in Chelsea, Moving Image’s 5th edition presents 36 single-channel videos and installations from international galleries and non-profits, including 5 world premieres. 2015’s edition sees an additional curatorial focus on artists and galleries from Brazil and Finland. Highlight: “Moving Image: Instant Upload,” a talk which examines the importance and consequences of having works online for artists today.


Doug Beube, Collapse

Doug Beube, Collapse

March 5–8, 2015
March 5: 5:30–8pm, Preview benefitting the Brooklyn Museum, 8–10:30pm VIP Opening Party (tickets here)
Public hours: March 6 & 7, 11a,–7pm, March 8, 11am–6pm

The new fair from Art Market Productions is not just for “works on paper.” The fair features artists who “look to paper” as a major influence in their multimedia practices—including sculpture and installation.

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March 6–8
March 6: 2–4pm Platinum First View, 4–6pm VIP
Public hours: March 6, 6–10pm, March 7 & 8, 11am–8pm

The 15th edition of SCOPE NY moves to a new location across from the Armory Show in the Metropolitan Pavilion West. Programs include the long-standing Breeder sector with a focuson emerging galleries, and Juxtapoz Presents, a series of galleries curated by Juxtapoz Magazine, including a special edition of the magazine.





Run of the Mill | Evan Robarts
Opens March 3, 2015
Opening Reception: 6-9pm
The Hole | 312 Bowery, New York, NY
March 3–April 5

This week The Hole presents Evan Robarts’ first major solo exhibition. The show will highlight three bodies of work by the material-driven conceptual artist, including scaffolding pieces, “line drawings” and “mop” paintings. Besides the pared-down, material-driven, and cerebral aspects of these works there is also a strong personal, warm or even humorous component that for the artist is particularly important. His work is not yet widely known, but he is pretty inventive in his craft: a worthy artist to check out.



Electric Objects EO1 Beta Showcase at the Gallery at the Ace Hotel
March 5, 2015
Opening Recption 6-8pm
Ace Hotel | 20 W 29th Street NYC

Electric Objects, a device that allows collectors to view new media works on a digital canvas that can be mounted to walls, has caught the attention of both the art and tech world. It’ll be making its curatorial debut at the Gallery at the Ace Hotel, curated by founder Jake Levine and curator Zoe Salditch.



Polychromasia | Beau Stanton
Opens March 5, 2015
Opening Reception: 8-10pm
The Library Bar at the Hudson Hotel | 356 West 58th Street, New York, NY

If you’re looking for some popping colors and detailed linework, then Beau Stanton’s upcoming exhibition is for you. Stanton’s work is influenced by classical examples of painting, ornamentation, and religious iconography. Though he typically creates paintings, murals, installations, and animations, Stanton’s latest manifestation of 20 multiples is sure to exemplify his originality and exploratory methods. If you’re a fan of Alex Grey, this is the show for you, as Stanton’s latest work is definitely influenced by Grey in a number of ways.


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Party: Armory Young Collectors at Soho House
March 5, 2015
Soho House | 29 Ninth Avenue, NYC
Kick off: 9 p.m., invitation only

Just south of the fury that’s happening in Chelsea, there’s a bit of calm in the clubby confines of Soho House, where Armory Show director Noah Horowitz hosts a bash alongside a few other art world bigwigs.


Volume 003 (Empire State) | Group Exhibition organized by Sugarlift
Opens March 6, 2015
Opening reception: 7-10pm
Livestream Public | 195 Morgan Avenue, Bushwick, BK
NY NOTE: Get your tickets to this event before you get on the subway. Ten doll hairs brings the photos to life.

Organized by Sugarlift, an online gallery based in Bushwick, Empire State presents the recent work of local street photographers who have been creating a new movement of urban photography throughout New York City. These 12 photo wizards have blown up your Instagram and Tumblr to show the public a small piece of their adventures to capture the perfect shot. Go to see these exhilarating photographs in the flesh and you’ll vicariously (and perhaps IRL) meet some of the most talented explorers around.


pulse after party march 7 2015

Party: Pulse After Party at Hotel Americano
March 7, 2015
Hotel Americano | 518 W. 27th Street, NYC
Kick off: 9 p.m., invitation only

Pulse is another art fair that you will inevitably go to, and then by the weekend you’ll need the strongest cocktail ever made in Manhattan to cure your “art-fatigue.”  Start by unwinding by the indoor pool and then gaze out over the Chelsea landscape from the rooftop, thinking about of all the art you saw this week, and all the fortunes spent and fortunes made. Depressed yet? Rinse and repeat until you are comfortably numb.


Bjork Retrospective, MoMA
March 8–June 7, 2015
MoMA Member Previews run from March 4–7
Public opening hours begin March 8
MoMA | 11 West 53rd Street, NYC

The year’s most heavily anticipated exhibition has finally arrived: the retrospective of composer, musician and singer Björk! Anticipate epic sound and visual installations. Also anticipate nostalgia if you grew up as a teen in the 1990s.  Expect a comprehensive survey of the Icelandic artists’ costumes (remember her Swan ensemble at the Oscars?), outlandish hairstyles (volcanic puffs of red locks, voluminous sci-fi geisha buns) and state of the art face make up (think Homogenic album cover).  Between her music, her relationship with Matthew Barney and the creative endeavors she’s undertaken, Björk’s retrospective is a must-see.



AKArt + FolioCue to Celebrate the Launch of The Excellent People [The EP] Magazine

The EP-AKArt-FolioCue

DATE: Wednesday, February 25, 2015, 6-9pm
LOCATION: Beverly’s, 21 Essex Street NYC

AKArt and FolioCue are pleased to host the launch event for The Excellent People (The EP)magazine—whose inaugural issue is themed The Artist—during a pre-Armory week reception at Beverly’s, NYC, on Wednesday, February 25, 2015, 6-9pm.

The EP offers multipage image-driven features on young, talented artists in Paris, LA, NY, and London. This limited-edition premiere issue features Allie Pohl, Cole Sternberg, and Dietmar Busse, the LA collaborative FriendsWithYou, and London-based artist Reza Aramesh, among others. A feature on Prospect 3, New Orleans contains interviews with Brooke Davis Anderson, the Executive Director of Prospect 3, and Franklin Sirmans, the Artistic Director (also the Chief Curator of Contemporary Art at the Los Angeles County Museum of Art)—along with images and information about Prospect 3 artists.

The magazine puts artists in conversation with key writers, such as (READ)art’s Founder and Fjords contributor Heather Zises, and scholar + curator of the recent blockbuster NYC exhibition Judith Lauand: Brazilian Modernist, 1950s–2000sAliza Edelman, and features dialogues with design, fashion, and art world figures such as the Director of the Museum of Arts and Design Glenn Adamson, the fashion-inspired art site FolioCue founder Jamie Knowles, and one of LA’s top young art dealers, and founder of LAXARTLauri Firstenburg—with a multi-page portfolio about what’s happening on the LA art scene. Published by AKArt Vice President, Ricky Lee, the premiere issue of the full color, 11 x 14 inch magazine is available in select bookstores and specialty shops in NY, Miami, LA, London, and Paris.

EP inside

On the Corner of Public and Private on the LES


Alexis Dahan, Alarm Amann, 2015, fluorescent paint on FDNY Alarm. Photo credit: Two Rams Gallery and Alexis Dahan.

Alexis Dahan, Alarm Amann, 2015, fluorescent paint on FDNY Alarm. Photo credit: Two Rams Gallery and Alexis Dahan.

Currently on view at Two Rams (February 5- 22, 2015) is a conceptual playground of art and space called Alarm! Conceived of by Alexis Dahan, the immersive exhibition continues the Parisian artist’s investigation of city streets as a source for visual experimentations, a location for public art interventions and a place to disseminate philosophical content.

Alexis Dahan, Newsstand (with taxi), 2015

Alexis Dahan, Newsstand (with taxi), 2015

Composed of nine different site-specific installations, the exhibition explores themes of temporality and obsolescence while simultaneously commingling a myriad of inner and outer realms that push and pull against one another, resulting in a provocative blur of public and private spaces.

Alexis Dahan, Newsstand and Blue Puddle, 2015.  Photo credit: Ruvi Leider.

Alexis Dahan, Newsstand and Blue Puddle, 2015. Photo credit: Ruvi Leider.

Outside the gallery, three public interventions take place directly on the street: an old fire alarm box on the corner of Rivington and Bowery that has been repainted with fluorescent red pigment; a square shaped pothole that has been filled with ultramarine water to create Blue Puddle; and a freestanding, fabricated yellow newsstand that dispenses a philosophy and art theory newspaper entitled Alarm! Perhaps a wink to New York’s past, these multiple parts and color combinations recall aspects of Barnett Newman’s four part series, Who’s Afraid of Red, Yellow and Blue? with a twist of De Stijl.

Alexis Dahan, Alarm Amann, 2015 and Constellation of Street Corners II, 2015. Photo credit: Ruvi Leider.

Alexis Dahan, Alarm Amann, 2015 and Constellation of Street Corners II, 2015. Photo credit: Ruvi Leider.

Inside the gallery are works that function as the hub of Dahan’s exhibition. Hanging brightly on the north wall is Alarm Amann (north, south, east, west), four photographs of the refurbished fire alarm box that have been hand colored with the same fluorescent pigment, reconfigured as rectangular obelisks, and framed with the same molding that ornaments the alarm. Installed on the west wall are an elegant arrangement of raw cut lapis lazuli stones entitled Constellation of Street Corners II, which is a remix of a piece Dahan previously exhibited on the same gallery wall that inaugurated his Blue Puddle interventions in July 2014. On the opposite wall, Dahan pays homage to his cultural roots by including a Lettrist collage by French artist Gil Wolman, L’EPC/Le Quotidien Dechire (1975) that nods to a seminal text, A Theory of Detournement, 1956, whose tenets are the underpinnings for this exhibition.

Alexis Dahan, Payphone Chair, 2015 and Gil J Wolman, (L')EP.C. espagnol prépare son retour (Le Quotidien Déchiré), 1975. Photo credit: Ruvi Leider.

Alexis Dahan, Payphone Chair, 2015 and Gil J Wolman, (L’)EP.C. espagnol prépare son retour (Le Quotidien Déchiré), 1975. Photo credit: Ruvi Leider.

Alarm! offers three works that that bridge together the public and private domains by occupying the curious realm of the “in-between”. While technically placed inside the gallery, Magazine Rack is a custom newsstand that is only visible from outside, and acts as a continuation of the store next door’s inventory. Payphone Chair is a whimsical, readymade-esque sculpture constructed out of two NYC decommissioned payphones that offers “a room with a view” to anyone who sits behind the one-way mirror installed on the gallery storefront, one can privately observe street activity without being seen. While playing the role of a voyeur, viewers can look across the street at Breuning Politics, a series of social commentary drawings Dahan made in collaboration with artist Olaf Breuning.

Alexis Dahan, Magazine Rack (Alarm Amann and Newsstand), 2015. Photo credit: Ruvi Leider.

Alexis Dahan, Magazine Rack (with Alarm Amann and Newsstand), 2015. Photo credit: Ruvi Leider.

Breuning Politics: Young and Old, 2015

Breuning Politics: Young and Old, 2015

A dash Duchampian in approach, a bit Cattelan with his craft, and a touch Banksy with his use of NYC streets, Dahan has spun a intriguing web of dialogue and discourse between potholes, phone booths, fire alarms and murals. Be sure to visit this symphony of sights and signs before it comes down on February 22nd!



ABOUT ALEXIS DAHAN: Alexis Dahan was born in 1982 in Paris, France. After studying literature and philosophy in Paris, he got his M.A. in Journalism at New York University. His artistic career started in December 2012 with an acclaimed solo exhibition at Half Gallery, New York that was followed by a solo show at Rook & Raven Gallery, London in May 2013.

MOSKOV Art + Fashion Collaboration for NYFW 2015

An interactive two hour Art + Fashion Performance at Longhouse Projects, featuring a collaboration between fashion line Moskov and artists Peter GerakarisJonny Detiger, and Joshua Avery Webster

LOCATION: Longhouse Projects, 285 Spring Street, NYC
TIME + DATE: Monday, February 16, 6-8PM
L to R: Joshua Avery Webster (artist); Khristine Mejia Catacutan (MOSKOV designer & creative director); Peter D. Gerakaris (artist); Jonny Detiger (artist); Dan Moskovenko (MOSKOV founder & men’s co-designer).

L to R: Joshua Avery Webster (artist); Khristine Mejia Catacutan (MOSKOV designer & creative director); Peter D. Gerakaris (artist); Jonny Detiger (artist); Dan Moskovenko (MOSKOV founder & men’s co-designer).

Photocredit (horizontal images): Mark Lennihan; Photocredit (vertical images): READart.

Photocredit (horizontal images): Mark Lennihan;
Photocredit (vertical images): READart.

Unconventional Convention: The Outsider Art Fair

oaf nyc 2015-1


January 29-February 1st, 2015
3-6 PM Early Access
6-9 PM Vernissage

Friday 11 AM – 8PM
Saturday 11 AM – 8PM
Sunday 11 AM – 6PM

The Outsider Art Fair opened Thursday evening in New York at Center 548. Already in its 23rd year, the event offers a diverse range of works and programming. In addition to a wide swath of booths–over 50 galleries are participating from 27 international cities–the fair features an engaging space “If I Had Possession Over Judgment Day” curated by Anne Doran and former dealer Jay Gorney. Additional highlights include Haitian works from the collection of filmmaker Jonathan Demme courtesy of Arte del Pueblo gallery, drawings of marching bands by New Orleans artist Bruce Davenport Jr., and sculptures by Jerry the Marble Faun, the former Grey Gardens gardener for the East Hampton Beale residence.

Bruce Davenport

Bruce Davenport

READart attended the vernissage on Jan 29th to explore the fair.  After floating in and out of booths, we struck up a conversation with gallery director David Fierman from Louis B. James.  Naturally, the topic of Outsider Art surfaced, and we discussed various definitions of the term. Fierman offered, “Within the context of today’s market, the term ‘Outsider Art’ is changing and increasingly expanding its scope. The director of the [Outsider Art] fair Becca Hoffman aptly stated that Outsider Art is an umbrella term which encompasses a wide range of types and styles of art…Some of these artists have mental afflictions, and some do not…Mostly, Outsider Artists can be defined as ‘self taught’, meaning those who make work without the training of the art-school system.”


The jury is still out on whether or not Outsider Art has become “Insider.”

Karel Havlicek

Karel Havlicek

Lubos Plny

Lubos Plny







December 31 / 2014
Author Heather Zises
Category Art
Comments No Comments

The Importance of Being Ernest Newman Contemporary

Installation shot of ENC "Contemporaries"

Artists-turned-gallerists Jeremy Wagner and Jiyoung Park launched Ernest Newman Contemporary last week  with their inaugural show Contemporaries.  Located in Greenpoint, the exhibition space possesses the beautifully polished detail of a bluechip gallery, yet maintains a humble intimacy that is de rigueur for the Lower East Side or Bushwick scenes.  

Contemporaries features a panoply of small, gem-like works that have been tapestried into a large, salon-style wall installation. Comprised of paintings, photographs, drawings, and collage, pleasant rhythms and harmonies pulse throughout the show, such as fluctuations between vibrant color and monochrome, figuration and abstraction, pop and expressionist sensibilities.

Currently on view at ENC are works by twelve New York City artists who have crafted their own expressive vernaculars. Thematically, the survey explores the varied lifestyles of today’s visual artists, and how current social, cultural, and economic situations shape their studio practice. By bringing together striking works from each participating artist, the exhibition aims to highlight a collective presence, one that complements, informs, and influences each other.  Highlights include: Shawn Powell’s “Op-Pop” abstractions; Kristine Moran’s “Automatic” monotypes; Seldon Yuan’s mirrored self-portrait; Jeremy Wagner’s playful new collages; Jiyoung Park’s ethereal still life collages; Julien Roubinet’s bubblegum pink Led Zeppelin II cassette tape print, and Peter D. Gerakaris’ meticulous, fantastical Mask Series.  

Exhibiting artists: Steven Brahms, Bryan Chadwick, Alicia Gibson, Jill Galarneau, Peter D. Gerakaris, Jesse Langille, Kristine Moran, Jiyoung Park, Shawn Powell, Julien Roubinet, Jeremy Wagner, Seldon Yuan.

Dates + Times
Opening Reception: Saturday December 13th  4-7pm

Exhibition: December 13–January 24
Gallery hours: By appointment

226 Richardson Street, Brooklyn, New York 11222

Participating artists Kristine Moran and Alicia Gibson at the Opening Reception for Ernest Newman Contemporary

Participating artists Kristine Moran and Alicia Gibson at the Opening Reception for Ernest Newman Contemporary


READart recently visited with the co-owners of the Greenpoint gallery to ask a few questions about being the new kids on the block, and the importance of being Ernest Newman Contemporary…

Artist and Co-founder of Ernest Newman Contemporary Jeremy Wagner installing "Contemporaries"

Artist and Co-founder of Ernest Newman Contemporary Jeremy Wagner installing “Contemporaries”

RANY: Hi Jeremy and Jiyoung, congratulations on the launch of ENC!  This is not your typical gallery… Could you explain why you decided to open the space and how it has evolved?

ENC: Correct, we are an artist run gallery that is interested in emerging into the contemporary art world through networking and promoting artists. We believe that we can collectively achieve higher cultural relevance and exposure by aligning ourselves with likeminded, creative souls. We know so many talented artists living and working in New York through various connections and from our art school backgrounds (Jeremy attended RISD for undergrad and Jiyoung studied in Korea before they met at Hunter to earn their MFAs). That said, the gallery enables us to reach out to artists within our immediate network and beyond. In a way, the notion to organize exhibitions and create a gallery space progressed naturally. We both felt that we were ready to take on a more active roll in the art world and utilize the resources available to us. Over the years we have cultivated a long list of artists we admire, a growing collector base, and an active network of art lovers and enthusiasts.  Therefore, we figured it was time to open up an exhibition space and make things happen!

​Artist and Co Founder of Ernest Newman Contemporary  Jiyoung Park with photographer Juan Claudio Dreyfus​

​Artist and Co Founder of Ernest Newman Contemporary Jiyoung Park with photographer Juan Claudio Dreyfus​

RANY: How does it feel to be artists who are also taking on the role of gallerists?  

ENC: We feel as if we have grown so much as artists already since ENC’s inception. As we conduct studio visits, we feel increasingly engaged in contemporary dialogues whether it’s gaining a better understanding of other artists’ work or observing their studio practices. We also have a new found appreciation for the amount of time and energy a standard gallery puts into presenting artists’ work and orchestrating exhibitions. It’s an interesting and empowering role. Collectively, we have plenty of experience as artists working with galleries. Therefore, we can relate to the role of the artist, and appreciate the extreme labor and dedication an artist devotes to making their work. We hope we can benefit from each other’s experiences and mutually support one another.

Opening Reception of "Contemporaries" at Ernest Newman Gallery

Opening Reception of “Contemporaries” at Ernest Newman Gallery

RANY: Building upon that, what perspectives and ideas do you think you might add to the gallery experience as “artist-gallerists” that standard “non-artist gallerists” might not?

ENC: Having extensive visual and critical training enables us to apply our knowledge of aesthetics and design to every aspect of Ernest Newman Contemporary; especially how we present the artists’ work.

Installation shot:  Julien Roubinet,  Antelope Canyon I & II photographs (on left); drawings by  Jesse Langille (on right)​.

Installation shot: Julien Roubinet, Antelope Canyon I & II photographs (on left); drawings by Jesse Langille (on right)​.

RANY: Are there any galleries you look up to as models for what you are doing now, or do you feel more like pioneers?

ENC: We’re discovering there are numerous alternative artist-run galleries in existence, and more are popping up, especially in Brooklyn. We are taking note of how they operate, and factoring it into our vision. We recently attended the opening of a brilliant exhibition Post Partum Party at Rhombus Space in Red Hook, Brooklyn. It is founded and run by Katerina Lanfranco, who is a fellow Hunter MFA alum, and fellow professor of Jiyoung’s at Hunter College. We are also inspired by galleries such as Salon 94 uptown and Jack Tilton Gallery, which showcase works in a more domestic setting than the typical white cube.

​Installation shot​ of ENC's west wall: Steve Brahms, How Much? series; Seldon Yuan, Center of the Youniverse; Peter Gerakaris, How High the Moon Remix and Rappstraction Remixes I & II

​Installation shot​ of ENC’s west wall: Steve Brahms, How Much? series; Seldon Yuan, Center of the Youniverse; Peter Gerakaris, How High the Moon Remix and Rappstraction Remixes I & II

RANY: What is your current program at ENC?

ENC: Our inaugural group exhibition titled Contemporaries opened December 13. It features a diverse range of artworks by 12 artists. The show is organized to showcase works by a group of artists who are living through the advantages and challenges of creating work in New York City in our time. We pose questions like, “What is it like to be an artist in this day and age?” and “How do the social, cultural, and economical situations shape an artist’s studio practice?” We are presenting works of artists who persevere, thrive, and move forward. Formally speaking, the gallery will focus upon small to medium scaled pieces, paintings, drawings, collages, and editioned works such as prints and photography.

Jill Galarneau, Nibby, paper and acrylic collage

Jill Galarneau, Nibby, paper and acrylic collage

RANY: Unlike most galleries, you feature an extensive ‘Studio Visit’ section on your web site. What are your ideas behind this?

ENC: The idea behind showing our visits to artist’s studios is to tell a story and to give context to the artist’s process as well as to chronicle our journey from the studio to exhibition. The “studio visit” is a way to further promote our artists’ practice and their work to our audience. We believe artists’ studios are sacred places and an extension of the artists themselves. We feel privileged to be invited into their workspaces and to share images of the studios and works in progress. We like to document every step of our curatorial process. We think that it grants viewers a richer and more interactive website experience than traditional gallery websites which gives little indication of scale, or a sense of how the artwork looks in an actual environment.

Peter D. Gerakaris, Peacock and Piton Opera Mask Remix prints

Peter D. Gerakaris, Peacock and Piton Opera Mask Remix prints

RANY: What role has social media played — or not played — within your curatorial process?

ENC: Social media plays a pretty large role, and we are definitely taking advantage of its networking power. It has become an incredible marketing tool. We use it to promote ourselves, while also obtaining information about other relevant events, shows, and artists. Seemingly, the whole art world is actively engaged on Instagram which makes everyone very accessible.


RANY: What are your thoughts on artfairs for emerging artists?  Do you feel they are a blessing or a curse, or perhaps a bit of both?

ENC: We enjoy artfairs. For many artists, they have been a beneficial tool for exposure and sales. Emerging artists are bellwethers for the direction where contemporary art is going, and artfairs provide a snapshot of what’s going on currently and globally. Perhaps a draw back could be when an emerging artist compromises their work in an effort to cater to the market.

mathilde-led zep

RANY: Finally, what is in store for ENC in the coming months?

ENC: We are continuing to conduct studio visits and attempt to see as many exhibitions as possible. We enjoy meeting new people and putting together exciting shows with artists who are passionate about what they do.  This inevitably helps with strategizing ways to further promote artists and ENC.




ABOUT ERNEST NEWMAN CONTEMPORARY: Ernest Newman Contemporary is an artist exhibition space straddling neighborhoods Williamsburg and Greenpoint, Brooklyn. The space showcases cutting edge, emerging, and established artists with brilliant talent and tireless commitment. We specialize in small to medium scaled work in all mediums, which are available for viewing by curators, collectors and the general public by appointment. Take a peek at ENC artists’ studio visits here, and visit their individual artist pages.

A Conversation with Brooke Davis Anderson, P.3 Executive Director

BDA interview-The EP

This interview was originally published in The Excellent People: The Artist Issue, Winter 2014-15. The EP is now available at Soho News International, Mulberry Iconic Magazines, and Bouwerie Iconic Magazines. Collect your copy today! For more info, please email here.


We also talked with Brooke Davis Anderson, P.3 Executive Director…

HZ: What are some highlights for this year’s Prospect 3 Biennial?

BDA: The theme of this year’s biennial is Notes for Now, curated by Artistic Director Franklin Sirmans, who is also the Head Curator at LACMA. From my vantage point, the position that Franklin is taking for P3 is both beautiful and challenging, and provocative and inviting. It has this wonderful capacity to do a lot of things for a variety of audiences. I feel like Franklin has put together a really gorgeous project. P3 will feature 58 artists from around the world. Works by biennial artists will be interspersed throughout the whole city of New Orleans in 18 different venues, including museums, galleries, hotels and public parks. Headlining this contemporary art project are two marquee artists—Paul Gauguin and Jean-Michel Basquiat—whose presence I think will greatly encourage audiences to come visit New Orleans and explore some amazing art on view courtesy of P3. Contemporary art is one of the harder sectors to engage today’s audience, so I have to say our P3 team felt very fortunate when Franklin’s intellectual premise guided us; we realized that intellectually, he was onto something that would really help us with the public.


HZ: How will Basquiat be represented at P3?

BDA: I liken the exhibition format for Basquiat to “a show within the show,” because there will be a small, yet beautiful exhibition of nine large paintings on view at the Ogden Museum of Southern Art. Franklin has been thinking about Basquiat since the 90’s, and he has been part of almost all of the artists’ exhibitions since then. He realized that within Basquiat’s body of scholarly work, the projects that most of us have seen still remain rather retrospective and all consuming of his oeuvre. Therefore, Franklin put together “Basquiat and the Bayou” which was a way for him to look more closely at Basquiat and unpack specific aspects, concepts and themes within his work. This “mini exhibition” will look at how the South was central to Basquiat’s thinking, and will also tease out many Southern scenes found in the artist’s work.

Curiously, Basquiat was a New Yorker of Caribbean heritage who had no desire to travel to the South…his idea of the South was one that was inflected with racism of the region. One way that the South became real for Basquiat was through painting the food of the South, the language of the South (particularly Gullah Creole), the jazz musicians from the South, and the Mississippi River. The P3 team is particularly thrilled to be presenting Basquiat in such a formative and specific way to New Orleans when the biennial opens in a few weeks. Additionally, the city is thrilled because they found out that Basquiat traveled down to New Orleans in 1988—the year he died—to see Jazz Fest, the primary festival that takes place every year in the Big Easy. During his brief stay, Basquiat became smitten with New Orleans, and apparently he expressed intentions to paint his experiences. Unfortunately, this project was not realized due to his untimely death nearly five months later.

Jean Michel-Basquiat, Natchez, 1985

Jean Michel-Basquiat, Natchez, 1985


HZ: What kind of press coverage is scheduled/has occurred for P3 so far?

BDA: The organization is planning a major conference, which is fantastic! We are so grateful to have received major funding from The Luce Foundation, and a sponsorship from Hyatt Regency, which will allow us to make the conference free to the public. The conference will examine 30 years of influence and impact that the seminal book Flash of the Spirit by Robert Parrish Thompson has had on American art and culture, and our understanding of art history. (Meanwhile, I found it to be quite serendipitous when Franklin shared that Basquiat kept a dog-eared copy of this very book on his bedside table!) The conference will take place for two days in the middle of our 13-week run, and the author Parrish Thompson will give a keynote address. It was very important for me to have a major public program realized during the crux of the biennial. Subsequently, the timing is fantastic because the conference will start a few days after Art Basel Miami. Therefore the P3 team is marketing it as an opportunity for art fair goers to stay in the South: First visit Miami, and then come to New Orleans to see the biennial and participate in the conference. We also just had a wonderful feature in The New York Times Magazine.


“I feel that comfort and curiosity are the two tools for making art accessible.”-Brooke Davis Anderson


HZ: It seems like you have involved the New Orleans community in P3 in many ways. How are you gaining global recognition?

BDA: I currently run P3 operations from New York. A benefit of being offsite is that operating on the executive director level gives us access to national and international funders in a way that being in New Orleans might not provide. So it is useful from the funding point of view. From the biennial’s inception, there has always been the desire that the funding come from everywhere. It also helps that Franklin is based in Los Angeles, another art-friendly city. We have put together a great staff of ten, very energetic people in New Orleans and they are as just as ignited by Franklin’s proposal as I am. On that note, the biennial feels more like a proposal than an exhibition in a lot of ways.

The conference in December is just one of the programs with international outreach. We have a programming calendar that is very active, and everything we are doing is free and open to the public. Since we do not have our own hub in New Orleans, our programming is reliant upon all of our partners, so we have to coordinate with every single venue to put anything on in the city. So this project is one of partnership. It requires a lot of discussions and coordination but it has been a very rewarding way of working. It helps knowing that every venue works differently, and how to anticipate their needs.

Glenn Kaino, Studies for Tank, 2013-14

Glenn Kaino, Studies for Tank, 2013-14


HZ: Congratulations on the two new partnerships with Hyatt Regency and The New Orleans Advocate!

BDA: We are so excited about our partners in New Orleans and beyond! A lot of them are newly established, but they have allowed us to offer almost everything that we want, and we are actually ahead of our fundraising goals! We were really thrilled when Hyatt Regency came on board, and we have another partnership with Independent Curator’s International (ICI) at the close of the biennial. The Hyatt is our sponsorship hotel–it’s a rather conventional partnership as one might expect in art world travel–but a wonderful new development is that the Hyatt is letting P3 exhibit art in the hotel. As a venue, they wanted to be a site for both art and artists, which includes a designated space where the artists can be together or be on their own. This partnership is one that involves a sponsorship, so the hotel is being very generous of our organization’s financial situation.

The New Orleans Advocate partnership came about in a really great way. They are a new newspaper in town and their readership is one that supports the arts. Our team at P3 has had the long-term goal of creating a free mapping guide for the biennial. The Advocate thought it was an equally good idea, and so in the spirit of serving a need that we have had from the beginning, the newspaper donated the design, the printing, and the distribution of the mapping guide. I am happy to share that there will also be a digital app for the mapping guide, thanks to a sponsorship from the design team Culture Connect.

Another new supporter for P3 is Regents Bank. They are going to sponsor our visitor center on wheels. Part of the beauty of this project is that it is citywide, which is definitely part of the attraction for Franklin and part of the joy for me. So we came up with the idea that rather than be a static, stationary hub, we should really be a mobile hub. We will paint a 1969 Citroën truck our identity color of hot pink and add our P3 logo and Regents Banks logo. It will travel around town for the run of the show. It will be located at our 18 venues, and we will have on social media where the truck will be parked for the day. Then visitors can get their mapping guide, buy their exhibition catalogue, and sip free water and coffee.

Our position with P3–particularly with the New Orleans audience–is to illustrate that artists are thinking about the very same things that you and I are thinking about when we are out in the world and when we are at home. The mobile hub, the mapping guide and the fact that we are free and open to the public this time (we have not been in the past) expresses that a contemporary art biennial experience is open to one and all. We think it has value to one and all, even the people who don’t typically go to museums. We hope the city and all its constituents feel comfortable and curious about the biennial, as I feel that comfort and curiosity are the two tools for making art accessible.

P.3 merchandise

HZ: its so thrilling to hear how many partnerships and sponsorships you have garnered for the biennial under your leadership. Regarding the community at large, has Governor Jindal embraced the biennial and local arts scene as well?

BDA: Actually, the mayor–Mitch Landrieu–and his staff have been supportive in a couple of different ways. We have published two catalogues (one digital, one print) and two books (Basquiat and P3). The mayor has issued a welcome statement in both books and so we are thrilled to have him a friend and a partner.


HZ: Could you talk a little bit about P3’s recent partnership with The Watermill Center and how the artist residency experience has been for P3 artist Entang Wiharso?

BDA: As an international biennial, one of our commitments is to contribute to the economy and wealth of New Orleans. One of the ways we can do that is by creating an art project that brings tourists to the city. In order to establish a footprint and create visibility in New York art world, I felt it was essential to build relationships with The Watermill Center and ICI. The partnership with The Watermill Center has been a great success so far. Entang Wiharso is a really interesting artist and he had a great residency experience at Watermill. It is a very special spot! I was able to visit Entang during his residency and he put together a fantastic exhibition of the work he made during his stay. He was very fortunate to have had more or less the run of the whole place.


Entang Wiharso, Temple of Hope, 2014

Entang Wiharso, Temple of Hope, 2014

HZ: Will Dan Cameron—acknowledged “Nolaphile” and brainchild behind the Prospect biennials—be in attendance this year?

BDA: Yes! What I love saying about Dan is that it took three people to replace him :-) He was the founder and brainchild of the whole biennial, and it’s amazing to what he has given birth. He was also the executive director, the artistic director, and the president. Meanwhile, those roles are now shared between Franklin, myself, and our president Susan Brennan. I don’t fully understand how Dan did it all! He will definitely be at P3 and he is bringing a group of Orange County Museum of Art board members for the opening festivities. I have felt supported by Dan, which is really nice. I should add that Dan was the one who recommended Franklin for the role of Artistic Director for P3. And then Franklin nominated me for this position as Executive Director. I feel very lucky. Franklin and I have known each other for a long time, and it’s been a real thrill to try and make his dreams come true, which is what I feel this biennial is, in many respects. I have felt very moved and very ignited and very inspired by the propositions that he is making to us because they are thoughtful and kind, and challenging and critical, all at the same time. That is not an easy tightrope for people to walk across, and he has managed to do that with this exhibition.


HZ: What are the major differences between P1, P1.5, P2, and P3?

BDA: P1 was amazing and people still talk about it. P2 was equally interesting to a lot of people in New Orleans. After P1 closed, there was a feeling from the local art community that it really wasn’t for the local art community. And so P1.5 was an idea that maybe what Prospect could do is have a local biennial in between the international biennials. However, I am less interested in creating a dichotomy of local versus international. 1.5 was a worthwhile experiment, but it’s not the direction that we will take in the future. We have different strategies for working with the local community during the in between time. We are calling them our “bridge years” and we have already started fundraising for them. In the meantime, we have a lot of local and international artists in P3, and we will be activating and partnering with the local community in other ways that are not equivalent to a “mini biennial” or a local biennial. Furthermore, P3 has a different exhibition team, so inevitably it’s going to be a different project than the others. I am eager to share it with everyone and I am eager to see how it goes! So far, we are all feeling very good—everyone from the board to the staff to the supporters. I hope that the artists are feeling very excited about a couple of weeks from now, too.