Caren Golden Fine Art

Caren Golden Fine Art http://carengoldenfineart.com/ Caren Golden Fine Art is a cutting-edge Contemporary Art gallery exhibiting work by emerging and mid-career artists of growing national and international repute. Founded in 1995 in a small, second floor space in Soho, the gallery relocated to Chelsea in 1999 and opened a ground floor space on West 23rd Street in the fall of 2004. The artists represented by Caren Golden Fine Art have been featured in profiles and reviews in The New York Times, Time Out New York, Art in America, ArtForum, Flash Art, Tema Celeste, ArtReview and many other fine arts publications. Their work has been presented in museum exhibitions throughout the United States, Europe and Asia and has been acquired by many prestigious institutions. In a wide range of media, the work of the gallery artists places emphasis on the validity of conceptual content, aesthetic values and refinement of execution, while maintaining a progressive sense of adventure in art making. en Copyright 2008, Caren Golden Fine Art Fri, 4 Jul 2008 00:31:03 -0400 Exhibition: Slump- EXTENDED <div class="exhibition-subtitle">TOM BURCKHARDT</div> <div class="exhibition-dates">May 8 - June 28, 2008</div> <br/> <a href="/exhibition/view/1407"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/16/16105.jpeg" alt="" height="360" width="500" /></a> <p>Tom Burckhardt, <em>Studio Shot</em>, 2008</p> <p> </p> <br /> <div class="exhibition-description"><p>Caren Golden Fine Art is pleased to present Slump, Tom Burckhardt's fifth solo exhibition with the gallery. Burckhardt resumes his ongoing appraisal of his own practice and the sources of the creative impulse in his <span class="caps">FULL STOP </span>exhibition of 2005. Burckhardt, who has mounted numerous painting exhibitions, now asks the viewer to question whether his new works are paintings or sculptures; abstract or representational. The slumping "canvases" and artifacts from the studio are made of wood, cardboard and Variform (a synthetic modeling film) and painted with enamel. Each has a funky, hand-built approach, which simultaneously subverts a trompe l'oeil reading of the object and undercuts the air of self-importance associated with hermetic abstraction. While most painters tend to gravitate to one end of the spectrum or the other, Burckhardt chooses to conflate the two approaches, feeding off the charged relationship and reevaluating its boundaries. Is the paint bucket rendered as a representation and the canvas as an abstraction...or vice versa? In a sense this show is a restaging of the moment in art history when Pop Art challenged New York School abstraction for pictorial dominance. Here, however, rather than historicizing the issue, Burckhardt treats it as a personal drama, with humor and affection leading to reconciliation. The conflicting moods of sad sack pessimism and improbable optimism conspire to imply a state of exhaustion, revisiting the doubt displayed in <span class="caps">FULL STOP.</span> In Slump Burckhardt collapses the distance between the place of his paintings' creation and the place of their exhibition - with sagging canvases propped on paint cans, crates and ladders. In so doing Burckhardt rejuvenates these weary objects and invests them with optimism.</p> <p>Burckhardt states: "Painting is not dead, but it too can seem a bit beleaguered. As a young artist, my energy and idealism was unbounded. At this point, in middle age, I need to reignite my love of the act of painting. I want to have it all, and this form of artmaking is my way of having objective and abstract paintings co-exist in a unique way. Many people still come to a painting on the wall of a gallery and assume it has already achieved a certain level of authority. As an artist, I don't always trust this relationship; if we beat down these preconceptions, perhaps a genuine optimistic space will be opened. By lowering the floor, you raise the ceiling."<br /> <br /> In 2005/2006, Tom Burckhardt's <span class="caps">FULL STOP </span>was exhibited at Caren Golden Fine Art, <span class="caps">NYC,</span> DiverseWorks in Houston, TX and The Aldrich Contemporary Art Museum in Ridgefield, <span class="caps">CT.</span> Burckhardt's work has been praised in The New York Times, Art in America, ArtForum, ArtNews, Art & Antiques, Harper's and The New Yorker, among others. He is a two-time recipient of the Pollack-Krasner grant.</p></div> http://carengoldenfineart.com/exhibition/view/1407 Exhibition: Standard Operating Procedure; <div class="exhibition-subtitle">Photographs by Nubar Alexanian</div> <div class="exhibition-dates">April 30 - May 3, 2008</div> <br/> <a href="/exhibition/view/1369"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/15/15570.jpeg" alt="Waterboarding 1- Reenactment" height="332" width="500" /></a> <p>Nubar Alexanian, <em>Waterboarding 1- Reenactment</em>, 2008</p> <p> Archival Quad Tone Prints, 20 x 30 inches </p> <br /> <div class="exhibition-description"><p>Caren Golden Fine Art is pleased to present Standard Operating Procedure: Photographs by Nubar Alexanian. The exhibition is the culmination of Alexanian's ongoing collaboration with director Errol Morris, who he has worked with on the set of Morris' films Fast, Cheap and Out of Control, Mr. Death: The Rise and Fall of Fred A. Leuchter Jr., the First Person series, and, most recently, Standard Operating Procedure, which will be released on April 25th by Sony Pictures Classics and Participant Media. In the Standard Operating Procedure photographs, Alexanian examines the notorious events at Abu Ghraib prison through the eyes of the American soldiers who participated in the abuses of power including Lynndie England, Sabrina Harmon. Aided by actors who reenacted the troubling events, Alexanian's photographs further etch these terrifying images into the consciousness of the viewer.<br /> <br /> Nubar Alexanian's provocative photographs depict the moral transgressions in the Abu Ghraib and encourage the viewer to confront issues about institutional behavior and group psychology and questions the American media's willingness to ignore the darker sides of war and hierarchical social structures. The viewer is simultaneously attracted to the beauty of the imagery and repelled by what is depicted. As the lines between reality and imagination blur, the dramatized events underscore the ambiguity of our perspectives on urgent moral issues. <br /> <br /> Standard Operating Procedure: Photographs by Nubar Alexanian will be on view in the gallery from Wednesday, April 30th through Saturday, May 3rd. Please join us for a reception for the artist Friday, May 2nd from 6 to 8 <span class="caps">PM, </span>and for a book signing of Alexanian's new monograph, <span class="caps">NONFICTION, </span>on Saturday, May 3rd from 1 to 3 <span class="caps">PM. </span> At 2 PM on May 3rd there will be a conversation between Stuart Horodner, Curator of the Atlanta Contemporary Art Center and Mr. Alexanian. </p> <p>The Standard Operating Procedure: Photographs by Nubar Alexanian exhibition has been presented at the Atlanta Contemporary Art Center (October 5 - December 22, 2007) and the Pacific Northwest College of Art (February 27 - April 29, 2008). The exhibition will travel to the Corcoran Gallery of Art (April 23 - June 2, 2008) and the Walker Art Center (for a special evening on April 15, 2008) with other venues pending confirmation.<br /> <br /> For further information please contact Shane McAdams in the gallery at 212.727.8304 or by email at shane@carengolden.com</p></div> http://carengoldenfineart.com/exhibition/view/1369 Exhibition: Devorah Sperber <div class="exhibition-subtitle">Mirror Universe</div> <div class="exhibition-dates">March 20 - April 26, 2008</div> <div class="exhibition-opening">Opens Thursday, March 20, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1269"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/14/14762.jpeg" alt="Spock (Beaming In) 1" height="362" width="500" /></a> <p>Devorah Sperber, <em>Spock (Beaming In) 1</em>, 2007</p> <p> 25,000 plastic beads, strung onto monofilament, 103 x 23.5 x 1.5 inches </p> <br /> <div class="exhibition-description"><h1><span class="caps">PRESS RELEASE</span></h1> <p>Caren Golden Fine Art is pleased to present Mirror Universe, the first solo exhibition by Devorah Sperber with the gallery. Mirror Universe will feature an entirely new body of work by Sperber based on images from the television series Star Trek. The title, Mirror Universe, alludes to the 1967 Star Trek episode Mirror, Mirror in which a transporter mishap swaps the crew of the Enterprise with evil counterparts, trapping them in a "savage parallel universe." The concept of a mirror or parallel universe is a dominant theme in the show, and, in keeping with this metaphor, many of the works incorporate mirrors to view the work. For Sperber the exhibition is an opportunity to look at the relationship between popular science and art, and how they relate to larger metaphysical issues. In particular, she is interested in how consciousness and the act of seeing create the illusion of a stable, predictable, singular world. Mirror Universe is Sperber's first gallery exhibition since her highly acclaimed Brooklyn Museum exhibition The Eye of the Artist: The Work of Devorah Sperber, (January 27 - June 17, 2007). <br /> <br /> In addition to Sperber's signature "Thread Spool" pieces and works comprised of chenille stems, Mirror Universe will introduce a series of standing figures composed of semi translucent beads; depicting the familiar Star Trek characters in the process of "beaming up". For Sperber the individual works, and the exhibition in general, serve to support the idea that `reality' is merely an illusion created by the brain in collaboration with the human eye. The ideas at the heart of Mirror Universe recall the writings of phenomenological philosophers such as Maurice Merleau-Ponty who claimed that one's understanding of any physical object is contingent on the observer's psychological and physical perspective on it. He held that every object is a "mirror of all others" whereby all things reflect meaning off one another, complicating how they are perceived. Sperber echoes Merleau-Ponty's thoughts as the latent images in her work compete with its component objects - thread spools, beads and chenille stems - to engage the viewer with a combination of poetic illusion and clarity. </p> <p>Mirror Universe will be on view concurrently with several other exhibitions featuring Devorah Sperber's work in and around the New York City area. Sperber's traveling solo museum exhibition opens at <span class="caps">MASS</span> MoCA on March 27th and she currently has works on view in the Art, Image and Warhol Connections exhibition at the Jewish Museum and in the Brainwave: Common Senses exhibition at Exit Art. Commissioned by New York Foundation for the Arts, the long term installation of three site-specific thread spool pieces that relate to the history of Penn Station remains in the lobby of One Penn Plaza, (34th Street between 7th and 8th Avenues), through the summer of 2010. Caren Golden Fine Art will present a solo installation of Devorah Sperber's Star Trek works at <span class="caps">PULSE</span> NY Art Fair (Booth <span class="caps">E13</span>) from March 27 through 30, 2008.</p></div> http://carengoldenfineart.com/exhibition/view/1269 Exhibition: Gandalf Gavan, Nathan Redwood and Julie Rofman <div class="exhibition-subtitle">TerraUnFirma</div> <div class="exhibition-dates">February 14 - March 15, 2008</div> <div class="exhibition-opening">Opens Thursday, February 14, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1268"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/14/14005.jpeg" alt="" height="406" width="500" /></a> <p>Gandalf Gavan, Nathan Redwood, Julie Rofman, <em>TerraUnFirma</em>, 2008</p> <p> </p> <br /> <div class="exhibition-description"><h1><span class="caps">PRESS RELEASE</span><br /> </h1> <p>Caren Golden Fine Art is pleased to present TerraUnFirma, a three-person exhibition featuring the work of Gandalf Gavan, Nathan Redwood and Julie Rofman. Each of these artists distorts representational space, disorienting the viewer. This fracturing of spatial integrity also serves as a metaphor for a more general unease and anxiety about the contemporary socio-political climate.<br /> <br /> Although generally anti-idealistic, these works are not without a sense of comedy, and ultimately a dash of optimism. Like the irrational but often humorous explorations undertaken by the Surrealists between the World Wars, Gavan, Redwood and Rofman parse and embellish the objective universe to emphasize the inherent subjectivity in representing a notion of "reality." Nathan Redwood's eccentric and vibrant paintings of churning construction sites and depopulated junk-strewn landscapes read as narratives of a post-industrial upheaval. These large-scale paintings, with their variety and dramatic spatial effects, belie Redwood's economical brushwork and thin application of paint. The seemingly dense and opulent surfaces are actually the product of thin layers of transparent pigment and acrylic medium applied with a deft and calculated touch to tease improbable resolution and detail from his work. Julie Rofman's paintings depict environments littered with loose architectural debris that seem to have regenerated from the ash heap into a living network of reanimated objects. The ground is rarely visible in her post-apocalyptic metropolises. Instead, endless vistas of cast-off material spread through dense skies. Unlike his two-dimensional counterparts, Gandalf Gavan's distortion of space is literal as well as symbolic. Using a warped mirror to bend and stretch an accompanying installation of scattered objects, Gavan pulls the viewer, and the surrounding gallery space, into the content of the work. The viewer thus becomes an active participant in the installation. The mirror's abstract reflection also functions as a landscape painting in its own right, aligning Gavan's with the canvases of Redwood and Rofman. Each of these three artists' graceful negotiation of the uncertain region between concrete and abstract space keeps the viewer reconsidering his position within the cultural landscape.</p> <p>For further information please contact Shane McAdams at 212.727.8304 or shane@carengolden.com</p></div> http://carengoldenfineart.com/exhibition/view/1268 Exhibition: Travis Somerville <div class="exhibition-subtitle">Authentic Facsimiles of a Nation</div> <div class="exhibition-dates">January 3 - February 9, 2008</div> <br/> <a href="/exhibition/view/1274"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/12/12305.jpeg" alt="installation view; Authentic Facsimiles of a Nation - Please contact the gallery about individual sculptures: info@carengoldenfineart.com" height="303" width="500" /></a> <p><p>installation view; Authentic Facsimiles of a Nation - Please contact the gallery about individual sculptures: info@carengoldenfineart.com</p></p> <br /> <div class="exhibition-description"><h1>Press Release</h1> <p>The tumultuous history of race relations in the South has been, in large part, buried and left to fester in the years since the Civil War. While culture is intangible and abstract, its artifacts are available as evidence of its existence. Born in Atlanta, Georgia and raised throughout the South, Travis Somerville unapologetically picks at these old wounds by exposing the popular objects and iconography of Southern culture. Somerville's use of imagery is complex and shaped significantly by his personal relationship to it. His critical eye works in the shadow of his own nostalgia and consequently attempts to reconcile the idealism of his religious upbringing with the racial and political turmoil of his past.</p> <p>Somerville's irreverent installations, paintings and embellished photographs incorporate suggestive symbols of the South's troubled history such as Ku Klux Klan hoods and Confederate flags as well as doo-rags, whiskey bottles and images of popular advertising from the more recent past. His graphite-on-paper portraits take their subjects from vintage photographs and offer a more reflective side of his historical excavation. The suggestive content, although sensitive, attempts to unearth the complexities and contradictions in post-antebellum society rather than condemn it. Somerville has recently expanded on these ideas by exploring how the contemporary concerns of the South - most salient in the aftermath of Hurricane Katrina - stand as a metaphor for exported racism and colonialism.</p> <p>Travis Somerville has shown extensively with numerous solo and group exhibitions in both galleries and museums. His work has been presented at, amongst others, the San Jose Museum of Art, the Smithsonian Institution in Washington <span class="caps">D.C, </span>the Laguna Art Museum and the university art museums of Virginia and Arizona State. He is currently participating in "Beyond the Mountaintop" at the Wadsworth Athenaeum in Hartford, <span class="caps">CT.</span> He has garnered critical attention in numerous publications including The Washington Post, Art in America, FlashArt and The Los Angeles Times. Authentic Facsimiles of a Nation, Somerville's first solo exhibition with Caren Golden Fine Art, will be on view from January 3 through February 9, 2008. <br /> </p> <p>For further information please contact Shane McAdams in the gallery at 212.727.8304 <br /> or by email at shane@carengolden.com</p></div> http://carengoldenfineart.com/exhibition/view/1274 Exhibition: BRIEF ENCOUNTERS <div class="exhibition-subtitle">An Expanding Group Exhibition</div> <div class="exhibition-dates">December 4 - December 21, 2007</div> <br/> <a href="/exhibition/view/1209"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/11/11696.jpeg" alt="" height="411" width="500" /></a> <p>Brief Encounters, <em>Installation shot- One of the six groups</em>, 2007</p> <p> </p> <br /> <div class="exhibition-description"><h1>Press Release</h1> <p>Caren Golden Fine Art is pleased to present Brief Encounters, an expanding group exhibition in which the artists are invited by peers already on the roster. Commencing with six individuals, the exhibition swells until the concatenation extends for five generations. Although there was no specific directive for artists in choosing their successors, the groupings bear interesting visual relationships that distinguishes each group from the others.</p> <p>Participating artists by family, in order of selection are:</p> <p>Jean Blackburn<br /> James Hyde<br /> Eric Anglés<br /> Charles Mayton<br /> Marc Handelman</p> <p>John Kalymnios <br /> Lawrence Seward <br /> Doug Wada<br /> Larry Bamburg<br /> Susanna Vapnek</p> <p>McKendree Key<br /> Michael Cataldi<br /> Amanda Matles<br /> Adam Lowenbein<br /> Ina Diane Archer<br /> <br /> Richard Klein<br /> Linda Darling<br /> Shirley Irons<br /> Barbara Ess<br /> Robin Kahn</p> <p>Caroline Mak<br /> Kate Baird<br /> Laura Splan<br /> Reuben Lorch-Miller<br /> Allison Shields<br /> <br /> Shane McAdams<br /> Ryan Mrozowski<br /> Elizabeth Huey<br /> Kristen Schiele<br /> Clare Grill<br /> Timothy Hull</p></div> http://carengoldenfineart.com/exhibition/view/1209 Exhibition: Carlos & Jason Sanchez <div class="exhibition-subtitle">"New Photographs"</div> <div class="exhibition-dates">October 25 - December 1, 2007</div> <div class="exhibition-opening">Opens Thursday, October 25, 6:00 PM - 1:00 PM</div> <br/> <a href="/exhibition/view/1158"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/10/10633.jpeg" alt="" height="401" width="500" /></a> <p>Carlos & Jason Sanchez, <em>Masked</em>, 2007</p> <p> Ink Jet type Print, 60 x 75 inches, edition of 5. Smaller size: 40 x 50 inches, edition of 3, </p> <br /> <div class="exhibition-description"><h1>Press Release</h1> <p>The Sanchez Brothers' often tense and suggestive scenes appear as frozen climaxes in dramas whose rising and falling action are intentionally obscured. This technique confers a sense of emotional ambivalence in the viewer who becomes invested in the arc of a story that doesn't really exist. The practice brings to mind Henri Cartier-Bresson's "Decisive Moment" reapplied to the hyper-produced world of contemporary media. For the Sanchez Brothers capturing this moment is a means to both engage and direct the viewer. These cinematic effects ultimately work both as a dramatic tool and as a commentary on the power of the staged image.<br /> <br /> Long time collaborators, Carlos and Jason Sanchez's work evolved from a documentary style to constructed fictions that require in-depth planning and elaborate staging. Even as these carefully orchestrated scenarios distance the viewer, they also evoke empathy. In the end reality yields to illusion; the stalemate is broken by the emotional impact of the Sanchez Brothers' haunting dramas.<br /> <br /> Carlos and Jason Sanchez's work has been widely exhibited with solo and group exhibitions at galleries and museums throughout the United States, Canada and Europe. Their work has appeared in numerous publications and is the subject of a new monograph entitled Carlos & Jason Sanchez: The Moment of Rupture. Their work will be featured in an upcoming issue of American Photo magazine and on the cover of View Photography Magazine published in Belgium. A hard cover monograph of their work has recently been published and will be available for purchase in the gallery. In November their work will be presented in a solo exhibition at the Houston Center for Photography.</p></div> http://carengoldenfineart.com/exhibition/view/1158 Exhibition: Paul Henry Ramirez <div class="exhibition-subtitle">CHUNK</div> <div class="exhibition-dates">September 20 - October 20, 2007</div> <div class="exhibition-opening">Opens Thursday, September 20, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1162"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/10/10753.jpeg" alt="" height="504" width="500" /></a> <p>Paul Henry Ramirez, <em>Chunk 5</em>, 2007</p> <p> acrylic on canvas, 48 x 48 inches </p> <br /> <div class="exhibition-description"><p>Caren Golden Fine Art is pleased to present <span class="caps">CHUNK, </span>a solo exhibition of Paul Henry Ramirez's eagerly awaited paintings. Ramirez's newest works make their first impression as products of a modernist history. His clean and dynamic abstractions nod to the monastic painterly pursuits of Mondrian, the utopian ethics of the Bauhaus and the formal rigor of the Constructivists. However, Ramirez's work challenges and even violates the cool esthetics of Modernism through his playful, promiscuous style. As his paintings shed associations with abstraction, the human body begins to emerge. The shafts of color traversing his canvases read like directional marks tracing the frenetic movements of a cast of abstract characters. Forms that might otherwise be concrete become elastic and whimsical and in Ramirez's hands like dancers moving to his choreography.</p> <p><span class="caps">CHUNK,</span> Paul Henry Ramirez's fourth exhibition at Caren Golden Fine Art, expands on his previous work by zooming deeper inside his signature vocabulary - suggestive body parts, shocks of swirling hair-like brush marks and pools of rich color. These stunning new works are based on Ramirez's evaluation and reduction of his work over the past decade. As a result, Ramirez's forms have become more structural and angular, integrating the individual elements into a single, interrelated system. Bold fields of color in each painting function as "skins" to encase the formal elements while being squeezed, cut and stretched themselves. This dynamic relationship destabilizes the stage and activates the characters that move upon it. The tension delivered from this figure/ground ambiguity has allowed Ramirez to pare down the content without compromising its dramatic effects. </p> <p>Paul Henry Ramirez has been widely exhibited nationally and internationally. He has had four one person museum exhibitions: The Contemporary Arts Center in Cincinnati (summer, 2001), The Whitney Museum at Philip Morris, (summer, 2002), The Tang Teaching Museum (late autumn, 2002), and The Stanlee and Gerald Rubin Museum of University of Texas in El Paso, (fall, 2004) and has three catalogs published on his work. Ramirez's work has appeared on the covers of Art Papers and Smock magazines and been reviewed in, among others, The New York Times, Art in America, ArtForum, Flash Art, Time Out New York, New Art Examiner, Art Papers and The Village Voice. He has been the subject of published articles in One World, March and Surface magazines, with a recent two page spread in the Winter 2006-7 issue of <span class="caps">BOMB </span>magazine. Paul Henry Ramirez's works are in the permanent collections of esteemed cultural institutions such as The Whitney Museum of Art, The Austin Museum of Art and The El Paso Museum of Art.</p></div> http://carengoldenfineart.com/exhibition/view/1162 Exhibition: A House is not a Home <div class="exhibition-subtitle">Curated by Beth Rudin De Woody</div> <div class="exhibition-dates">July 9 - August 17, 2007</div> <br/> <a href="/exhibition/view/1163"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/10/10767.jpeg" alt="" height="501" width="500" /></a> <p>Laura London, <em>Girl Sitting on Curb with Car</em>, 2004</p> <p> color photograph, 30 x 30 inches </p> <br /> <div class="exhibition-description"><p><span class="caps">PRESS RELEASE</span></p> <p>A <span class="caps">HOUSE</span> IS <span class="caps">NOT</span> A <span class="caps">HOME</span><br /> Curated by Beth Rudin DeWoody</p> <p>Caren Golden Fine Art is pleased to present A House Is Not A Home, a group exhibition curated by Beth Rudin DeWoody. Through works in a variety of media including painting, drawing, sculpture, photography and video, DeWoody asks the viewer to contemplate the difference between a house and a home. </p> <p>There is an old adage that a house is where your body lies and a home is where your mind and soul rest. At a superficial level, that is a semantic difference. A house is a structural enclosure for something material while a home suggests something abstract and immaterial. The distinction between the two is similar to the one between a place and a site. A place is an insignificant geographical location whereas a site has been invested with cultural significance. Taking this relationship from language to image, what invests a physical structure with characteristics of a home instead of a house?<br /> <br /> Interestingly, DeWoody primarily selects exterior views. We are not invited inside. The people inhabiting these worlds are rarely seen: a disaffected youth in Laura London's Mid Summer, a denizen or two of 1970's Suburbia in Bill Owens' Untitled works. Most works depict sterile facades; faceless dwellings that connote the rise of America's affluent middle class. From Mike Bayne's modest 6 inch oil panel painting to Sheri Warshauer's 8 foot canvas, DeWoody's concept of "house" succeeds through great variety. Amy Bennett, Kevin Cooley, Gregory Crewdson, Ian Hartshorne, Liam Jones, Heidi Schlatter, Futaba Suzuki, Whiting Tennis, Yanai Toister seek out the more eccentric side of suburbia. The works of others are imbued with multiple associations: Will Cotton's saccharine playlands, Travis Somerville's Confederate cabin, the utopian vistas of Julie Langsam and Patte Loper, Frank Magnotta's stark structures, Mark Bennett's fictionalized blue-print worlds and Tom Burckhardt's construction of a cardboard studio as a symbol of painterly futility. These structural enclosures intrigue the viewer by suggesting a fine line between the hollow and the significant, between one of the most material necessities and the more abstract mysteries that dwell within a private space.</p> <p>"A House Is Not A Home" is on view from July 9 through August 17, 2007. The reception for the artists is on July 11 from 6 to 8 <span class="caps">PM. </span> For further information please contact Shane McAdams at shane@carengolden.com or 212-727-8304.</p></div> http://carengoldenfineart.com/exhibition/view/1163 Press: LA Times 6/13/08 <p><a href="http://carengoldenfineart.com//static/dyn-files/1/1905.jpeg">download file</a></p> http://carengoldenfineart.com/static/dyn-files/1/1905.jpeg