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 2013, Caren Golden Fine Art Wed, 22 May 2013 00:31:11 -0400 Exhibition: ArtHamptons 2010 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">July 9 - July 11, 2010</div> <br/> <a href="/exhibition/view/1928"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/35/35197.jpeg" alt="" height="466" width="500" /></a> <p>Devorah Sperber, <em>Marilyn 3</em>, 2009</p> <p> 2,728 spools of thread, stainless steel ball chain and hanging apparatus, clear acrylic viewing sphere, metal stand, 77 x 77 inches </p> <br /> <div class="exhibition-description"></div> http://carengoldenfineart.com/exhibition/view/1928 Exhibition: PULSE New York 2010 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">March 1 - March 7, 2010</div> <br/> <a href="/exhibition/view/1879"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/32/32761.jpeg" alt="" height="330" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://carengoldenfineart.com/exhibition/view/1879 Exhibition: PULSE Miami 2009 <div class="exhibition-subtitle"></div> <div class="exhibition-dates">November 3 - December 6, 2009</div> <div class="exhibition-opening">Opens Thursday, December 3, 1:00 PM - 1:00 PM</div> <br/> <a href="/exhibition/view/1813"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/30/30663.jpeg" alt="" height="375" width="500" /></a> <p></p> <br /> <div class="exhibition-description"></div> http://carengoldenfineart.com/exhibition/view/1813 Exhibition: Shadowland <div class="exhibition-subtitle">Nicola López</div> <div class="exhibition-dates">May 21 - July 10, 2009</div> <div class="exhibition-opening">Opens Thursday, May 21, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1609"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/25/25254.jpeg" alt="" height="505" width="500" /></a> <p>Nicola López, <em>The Space Between</em>, 2009</p> <p> Ink, watercolor, gesso, molding paste on paper, 55 x 55 inches </p> <br /> <div class="exhibition-description"><p>In her third solo show with Caren Golden Fine Art, Nicola López resumes her investigation of the dizzying complexity of the urban landscape. As in her past efforts, the dynamic, mixed media works in Shadowland feature the industrial components of the labyrinthine modern city. López portrays the city as both a symbol of achievement and failure; sites of colossal engineering, social coordination and interconnectedness; but also anxiety and dislocation.</p> <p>Nicola López breaks the city down to its nuts and bolts... or rather, its gears, pipes, joints, girders, grates, wires, cables and bolts, and meticulously reassembles it. Put back together, these reconfigured cityscapes offer multiple vantage points, dramatic perspectival shifts and distorted spatial properties that distill the angular intensity of the modern city to a compositional essence. This new body of work takes her in-depth investigation a step further, capturing the decay and emptiness of a mighty city past its prime. This appraisal of the urban condition functions on both a literal and a metaphoric level. López's process of combining graphite and ink drawings, overlaid with collaged elements, reflects the twisting and snaking components of the city's interlinked networks. The additive process and arrangement of elements in the service of a greater superstructure reflects the basic mechanisms of urban growth. In Shadowland Nicola López presents both the pared-down, as in her woodcut on mylar "Steel Embrace," and the built-up, represented by the rising energy in "After the Storm." The common thread in all López's work, whether spare or abundant, is the combination of printing, drawing and other reworking that harnesses the possibilities of mechanical reproduction with her unique perspective and sensibility.</p> <p>Nicola López's work has been featured in fine art and culture publications including, amongst others, The New York Times, ArtForum, Art in America <span class="caps">BOMB </span>and W Magazine. She has participated in numerous international solo and group exhibitions including Phantom Sightings, which originated at the Los Angeles Museum of Art in the Spring of 2008 has traveled to the Museo Rufino Tamayo in Mexico City, the Centro Cultural Universitario in Guadalajara, Mexico and will open at the Museo del Barrio in New York City in March, 2010, American Soil, the opening exhibition of the Nerman Museum in Overland Park, <span class="caps">KS,</span> Future Tense: Reshaping the Landscape at the Neuberger Museum in Purchase, <span class="caps">NY,</span> Claiming Space at the Stanlee and Gerald Rubin Gallery of the University of Texas in El Paso as well as the Orpheus Selection exhibition at <span class="caps">PS1 </span>in 2007-08. She will have a solo exhibition at the Chazen Museum of Art in Madison, WI in the fall of 2009, which will travel to the Mesaros Galleries of West Virginia University (catalog). Also upcoming, López's work will be included in Embrace! at the Denver Art Museum in Denver, CO and Cut Paper Landscape at the Indianapolis Museum of Art.</p></div> http://carengoldenfineart.com/exhibition/view/1609 Exhibition: Andrew Sendor; Based on a True Story <div class="exhibition-subtitle"></div> <div class="exhibition-dates">April 9 - May 16, 2009</div> <div class="exhibition-opening">Opens Saturday, April 11, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1608"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/24/24292.jpeg" alt="" height="724" width="500" /></a> <p>Andrew Sendor, <em>Angelino Masseloni, Artist Unknown, 2014, human being and mixed media, dimensions variable</em>, 2008</p> <p> oil on linen mounted to panel, 26 x 18 inches </p> <br /> <div class="exhibition-description"><p>Caren Golden Fine Art is pleased to present "Based on a True Story," Andrew Sendor's third solo exhibition with the gallery. Through a series of uncanny hypothetical scenarios Sendor embarks on a self-referential investigation of the recent history of art. Each canvas features an interior exhibition space where videos, paintings, photographs and, absurdly, human-beings-as-art, reside. "Based on a True Story" speculates why, when no medium or subject is too outrageous, the site of a museum remains sacred. What would happen if taxidermied humans were put on display as art? Would this represent a vanguard act of appropriation, or an unspeakable taboo? And if it is indeed one of the last in art, then what does a painted representation of the taboo convey?</p> <p>Sendor considers the historical function of the act of painting as a mimetic device, a means of expression, and an agent of desire. While his recent work is born of difficult questions and complex ideas, Sendor's provocative imagery evokes a more visceral reaction from the viewer. Exquisitely rendered and improbably seductive, these disquieting compositions thrive on the same attraction-versus-repulsion dynamic that activated the work of such painters as Goya, Courbet and Bacon. Sendor extends these socio-psychological dialogues and continues to test the experiential limits of representational painting. <br /> <br /> Supplementing the paintings, and adding to the philosophical discussion, Sendor introduces a new series of drawings. Executed on antique paper with such visible signs of age as oxidation, water stains and in some instances mildew, the ambiguities presented in these works disrupt any clear determination of authorship, authenticity or chronology. Thus, the ontological discussion comes full circle back to the paintings, as Sendor's voice alternates between a fictional or a contingent scenario and the impartial documenting of an actual event. <br /> <br /> Andrew Sendor's work has been featured in museum exhibitions including "Phantasmania" at the Kemper Museum of Art in Kansas City, <span class="caps">MO, </span>"MAD <span class="caps">LOVE</span>" at the Arken Museum of Modern Art in Copenhagen, Denmark, and "XS-Size Matters" at the Hudson Valley Center for Contemporary Art in Peekskill, <span class="caps">NY, </span>which traveled to the Knoxville Museum of Art in Knoxville, <span class="caps">TN. </span> In addition to a solo show at Mogadishni Gallery in Copenhagen, Denmark in the Fall of 2007, his work has been presented in "Salon Nouveau" at the Engholm Engelhorn Galerie in Vienna, Austria and most recently the "All Too Human: Young American Painters" at Schuebbe Projects in Dusseldorf, Germany. Sendor has been featured in numerous publications including Art in America, New American Painters, M Magazine, Wonderland Magazine and Art Premium, which featured his work in a 10 page article and on the magazine's cover.</p></div> http://carengoldenfineart.com/exhibition/view/1608 Exhibition: The Divide <div class="exhibition-subtitle">Bradley Castellanos</div> <div class="exhibition-dates">February 26 - April 4, 2009</div> <div class="exhibition-opening">Opens Thursday, February 26, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1607"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/23/23011.jpeg" alt="" height="392" width="500" /></a> <p>Bradley Castellanos, <em>Motel</em>, 2009</p> <p> oil, acrylic, photo collage, and resin on panel, 47 x 60 inches </p> <br /> <div class="exhibition-description"><p>Caren Golden Fine Art is pleased to present Bradley Castellanos' "The Divide." Known for his harmonious pairing of two unlikely mediums - photography and painting - Castellanos resumes his exploration of these media in depth, scaling back on his use of resin in order to bring the other components into high relief. With its tradition as a documentary agent and an objective recorder of the visual universe, photography has cultivated a culture distinct from the expressive subjectivity of painting. Castellanos harnesses the inherent differences in the each medium and, by blending them, uses them as metaphors for extra-artistic dualities: culture vs. nature; abstract vs. concrete; virtual vs. actual.</p> <p>These oppositions provide the conceptual scaffolding for the eight new works comprising his second solo show with Caren Golden Fine Art. In the absence of toxic spills, synthetic hues and expanses of resin, these subtler issues come to the fore. Paintings such as "Motel," retain the directness of their original large-format photographs, even as passes of abstract painting peek through the negative spaces meticulously cut away around tree trunks, branches and leaves. Castellanos seamlessly braids painting and photo-collage into a whole in which mysterious vignettes transcend the sums of either medium. Often bringing the natural and the man-made worlds into confrontation, the content in these works, such as the trident wielding Roman god of the sea perched on a man-made fountain in "Neptune", function in similar ways in their ability to resolve seemingly incongruous elements into captivating and slightly askew compositions. </p> <p>Bradley Castellanos' paintings have been widely exhibited in museum and cultural institutions including PS 1, The Nueberger Museum in Purchase, <span class="caps">NY,</span> The McDonough Museum of Art in Youngstown, Ohio and The Brooklyn Academy of Music. His work was presented last summer in a solo exhibition at Mogadishni Gallery in Denmark and have been exhibited in Salzburg, Austria; Turino, Italy and San Francisco, CA as well as in numerous group exhibitions in New York City. "The Divide" is Bradley Castellanos' second solo exhibition with Caren Golden Fine Art.</p></div> http://carengoldenfineart.com/exhibition/view/1607 Exhibition: Richard Klein and Julie Rofman <div class="exhibition-subtitle"></div> <div class="exhibition-dates">January 15 - February 21, 2009</div> <div class="exhibition-opening">Opens Thursday, January 15, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1601"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/22/22103.jpeg" alt="" height="157" width="500" /></a> <p>Caren Golden Fine Art, <em>Richard Klein and Julie Rofman</em>, 2009</p> <p> </p> <br /> <div class="exhibition-description"><p><span class="caps">RICHARD KLEIN</span>'S newest body of work expands on his ongoing investigation of the physical versus the immaterial. Primarily utilizing found glass objects, beginning with his signature eyeglass lenses, the artist's pallet has expanded from the purely optical to components such as ashtrays, jar lids, speakers. Strategically placed corporate logos bring an additional dimension to the conceptual depth of Klein's work. The four sculptures included in the exhibition, Transparency, Two Trains, Mantle, and Black Friday, all make reference the United States through allusions to iconic American objects: the flag, the mailbox, the hearth, and the shopping cart. These new works add to Klein's metaphysical concerns a subtle layer of social and political commentary that is based in our current transitional moment. In two of the works, Black Friday and Two Trains, Klein has ominously painted the interior of their glass surfaces opaque black "blinding" both the objects themselves and the viewer's experience. Transparency has given way to obscurity, light has surrendered to dark, and certainty has lapsed into uncertainty. Even in their philosophical rigor, Klein's work arrives an improbable but undeniable elegance and beauty.</p> <p>Richard Klein's previous exhibitions with Caren Golden Fine Art were featured in Art in America and Sculpture magazine. He was the 2004 Connecticut Artist of the Year. His work has recently been featured in "THE <span class="caps">FREEDOM CENTRE</span>: <span class="caps">THIS SHOW WILL CHANGE YOUR LIFE</span>" at Hales Gallery in London, "Shattering Glass: New Perspectives" at Katonah Museum of Art in Katonah, New York and "Optical Allusions" at Wake Forest University Art Gallery in Winston-Salem, North Carolina. </p> <p><span class="caps">JULIE ROFMAN</span>'S paintings investigate current societal anxieties and how they are reflected through excessive consumption. Whether culturally significant artifacts or unidentifiable industrial debris, it all becomes fodder for her sumptuous and eclectic paintings. Rofman's newest body of work is informed by the recent turmoil in the financial markets that has left much of America reeling and unstable. As Rita Gonzalez stated in New American Paintings, "Julie Rofman's perverse build up of consumer goods transmit the massive spoils of globalization." The work Bank features the familiar arcade game called "the Claw" but in Rofman's version a mirror occupies the area at the bottom where the elusive prizes usually sit. Instead, those toys are stuck to the ceiling of the game and the claw can only grasp at the mirror image leaving the prizes such as Jeff Koons sculptures, an Aeron chair and a Persian rug unattainable. The painting Trading Post depicts a <span class="caps">NYSE </span>trading post as a circus tent. Buildings outstretch to the horizon line, alluding to the countless homes in America facing foreclosure. Here, as in many works, Rofman incorporates the motif of the patchwork quilt as a symbol of frugality and community; ideas that she sees as increasingly important in light of the current state of global social and economic affairs.</p> <p>Rofman's paintings were selected for inclusion in the current West Coast edition of New American Paintings and featured in the "Future Tense: Reshaping the Landscape" exhibition at the Neuberger Museum in Purchase, NY in the summer of 2008. Her work has been presented in group exhibitions at the Carl Berg Gallery in Los Angeles, Electric Works in San Francisco and in "This Modern World" at the GE Headquarters in Fairfield, <span class="caps">CT.</span></p> <p>For further information on the work of Richard Klein or Julie Rofman, please contact Shane McAdams at 212.727.8304 or shane@carengolden.com</p></div> http://carengoldenfineart.com/exhibition/view/1601 Exhibition: Nathan Redwood <div class="exhibition-subtitle">So Much Sound</div> <div class="exhibition-dates">October 16 - November 26, 2008</div> <br/> <a href="/exhibition/view/1410"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/19/19601.jpeg" alt="" height="582" width="500" /></a> <p>Nathan Redwood, <em>Drift</em>, 2008</p> <p> acrylic on canvas, 35 x 30 inches </p> <br /> <div class="exhibition-description"><p>Caren Golden Fine Art is pleased to present So Much Sound, Nathan Redwood's debut solo exhibition in New York City. For this exhibition Redwood stretches and contorts his acrobatic brushwork and expands his expressive vocabulary. His water-thin acrylic strokes over glass-like, gessoed surfaces contradict the illusion of volume and depth articulated in his work. Velvety swathes and seductive folds of flowing paint trace his kinetic strokes, as figure and ground arise in their wake. The frozen energy captured in his marks evokes the fluidity in the abstract paintings of James Nares and David Reed; however, Redwood's paintings thrive in the margins between concrete imagery and abstract space, offering an additional dimension in which his whimsical cast of objects and characters performs. Historically, Redwood's work looks back to the epic visions of Romantic landscapes painters like Caspar David Friedrich and John Constable, but brings to it a mark-making sensibility inspired by Surrealists such as Wolfgang Paalens and Max Ernst. These unorthodox touchstones invest his work with an unusual combination of eccentricity and drama. The canvases in So Much Sound are created through an artful combination of brushing, pouring, jabbing and finger-painting - a gambit with the infinite and indefinite space of the blank canvas, aiming to carve it up, piece by piece, until an unlikely narrative emerges. The edges of his canvases become a proscenium, the canvas a stage and paint a magical cast of rope, cinder block and plywood players.</p> <p>A graduate of The School of the Art Institute of Chicago and The Skowhegan School of Painting and Sculpture, Nathan Redwood's work has been shown at the San Jose Museum of Art, the Neuberger Museum of Art and numerous solo and group gallery exhibitions in the US and Europe. His work has been featured in, among others, The New York Times, The Los Angeles Times and ArtUS, His recent solo show at the Carl Berg Gallery in Los Angeles will be the subject of an upcoming review by Michael Duncan in Art in America. </p> <p>For further information please contact Shane McAdams at 212-727-8304 or shane@carengolden.com</p></div> http://carengoldenfineart.com/exhibition/view/1410 Exhibition: Jonathan Calm: Projects <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 4 - October 11, 2008</div> <br/> <a href="/exhibition/view/1409"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/18/18173.jpeg" alt="George in Marcy Park" height="333" width="500" /></a> <p>Jonathan Calm, <em>George in Marcy Park</em>, 2008</p> <p> pigment print, 40 x 50 inches </p> <br /> <div class="exhibition-description"><p>Caren Golden Fine Art is delighted to announce the season opener and solo show of Jonathan Calm, his third solo exhibition with the gallery. In this new body of photographs, video and installation work, Calm continues to explore the imagery and themes inspired by the detritus and ephemeral moments of the changing urban landscape and its inhabitants.<br /> <br /> Finding inspiration from such subjects as public housing projects, archival footage of 1940's urban renewal programs, mainstream media's signifiers of "ghetto life" and the gentrification occurring today in America's inner-city neighborhoods, Calm's work provokes viewers to question the broad generalizations made about both the architecture and the people who live in these environments. Collectively his critical eye siphons out of these often overlooked and avoided places images that are poetic and powerful. An unexpected combination of elements ignites Calm's work and makes it sear through the duality of a whole host of complex and critical issues on promise, oppression, beauty, neglect, the comic and the tragic.<br /> <br /> Calm's work draws on a keen sense of minimalist and formalist aesthetics which take the form of geometric elements and regularized patterns found in most urban spaces, from the linear brick facade of a city housing project, the diamond patterns of safety glass or the web of a basketball net. Yet the rich and poetic imagery of buildings reflected in puddles of water simultaneously rubs up against a feeling of dislocation from the buildings' inhabitants as well as sense of disorientation created by the inverted reflections. The collaged, looped and layered original and cleverly edited appropriated videos are inspired by the artist's own memories of growing up in New York City and his return visits to the housing "projects." Calm's work equally draws on a wealth of information generated from his extensive and ongoing research into the origins of urban public housing and its evolution since.<br /> <br /> Jonathan Calm's work has been widely exhibited with solo and group exhibitions at galleries and museums throughout the United States and Europe, including the Museum of Modern Art, Tate Britain, the Reina Sophia, the Studio Museum in Harlem, the Jersey City Museum, Wadsworth Athenaeum Museum of Art and most recently the Renaissance Society in Chicago. His work has garnered critical attention in numerous publications including Art in America, The New York Times, Artforum and the Village Voice along with appearing in numerous exhibition catalogues. Jonathan Calm: Projects will be on view from September 4 - October 11, 2008.<br /> <br /> Lorraine Morales Cox, Ph.D, July 2008</p></div> http://carengoldenfineart.com/exhibition/view/1409 Exhibition: Tension/Release <div class="exhibition-subtitle">Summer Group Exhibition</div> <div class="exhibition-dates">July 7 - August 8, 2008</div> <div class="exhibition-opening">Opens Thursday, July 10, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1408"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/17/17282.jpeg" alt="" height="312" width="500" /></a> <p>Tension Release, <em>Summer Show</em>, 2008</p> <p> </p> <br /> <div class="exhibition-description"><p>Tension is generated in music by approaching, but not arriving at, a tonal release; in narrative film rising action sets up the climactic hook. It can be as understated as John Cage or as excessive as Richard Wagner; as intense as the final scene of Citizen Kane, or as subtle as the moment when the cigarette is lit in Andy Warhol's film "Haircut" - a moment that inspired "tumultuous joy and release" for Dave Hickey. The physics of the natural world rhyme with those in the emotional; the more potential energy stored in a rock at the top of a cliff, the more kinetic energy will be released when it is pushed off. In art, when employed effectively, this relationship activates the viewing experience the same way a piston activates an automobile or a love scene activates one's emotions. The artists in the Tension/Release exhibition harness this unsprung potential with work that appears stable for the moment, but threatens to collapse into disorder, either literally or metaphorically.</p> <p>Hanging precariously above viewers' heads, Alejandro Almanza Pereda's bowling balls and Atsushi Tameda's "Pinnochio" provoke uneasiness in different ways. Pereda's work implicitly threatens the viewer, while the subject of Tameda's piece threatens only its desperate subject. Ron Baron's tower of stacked mundane objects hovers disquietingly, while, closer to the ground, Miguel Angel Rios's spinning tops feed on tension, both literally and representationally. Stephen Reynolds's sculptures simultaneously conjure the safety of a pillow and the implicit danger in an irregular stack of unsecured concrete objects. Nathan Redwood and Billy Malone generate tension through exquisitely rendered drawings of teetering constructions that seem poised to fall, as Javier Piñón's cowboy tempts fate as he squirms atop a stack of wobbly chairs. </p> <p>Some work in Tension/Release utilizes the notion obliquely and conceptually. Roland Flexner's subdued "bubble" drawings illustrate the fragile life of an inky soap bubble in three stages, while Michael Womack's mechanical televisions explore the dialectical relationship between bursts of new technology, their obsolescence and subsequent rebirth in later technologies. Taking the form of printed documents, Brian Clifton explores the latent tension housed in a variety of ill-conceived human interventions intended to ameliorate a problem that they ended up exacerbating. Dannielle Tegeder's sculpture investigates how individuals negotiate social spaces in relation to architecture, in turn, reflecting the dynamics and tension of the surrounding urban landscape. William Lamson's video "Duel" contrasts an idyllic, snow-covered setting against a jarring display of black balloons being shot with a handgun. Like Warhol with "Haircut," Lamson uses the subtlety of his introduction to intensify the climax. </p> <p>Other works in Tension/Release address the issue more psychologically, through implied narratives that initially appear stable, but are ultimately destined to deteriorate. Carlos and Jason Sanchez's "John Mark Karr" (the man who confessed to killing JonBenet Ramsey), stares into a mirror, sending the viewer guessing about what deviant scheme is hidden behind his stoic demeanor. Likewise, the cast dung "disaster" series of John Stoney and the eerie futurescapes of Michael Schall bring viewers into the middle of unsettling scenarios that walk a narrow line between comedy and tragedy.</p> <p>For images or other information about this exhibition, please contact Shane McAdams at 212-727-8304 or email at shane@carengolden.com</p></div> http://carengoldenfineart.com/exhibition/view/1408 Exhibition: Slump <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/15/15772.jpeg" alt="Kunztruk" height="576" width="421" /></a> <p>Tom Burckhardt, <em>Kunztruk</em>, 2008</p> <p> Enamel on board, paper, wood and Variform, 67" x 49" x 21" </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/14/14761.jpeg" alt="Captain Kirk (Beaming In) 1" height="361" width="500" /></a> <p>Devorah Sperber, <em>Captain Kirk (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/11/11665.jpeg" alt="" height="576" width="432" /></a> <p>Linda Darling, <em>Untitled</em>, 2007</p> <p> 32 x 22 inches </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: CHUNK <div class="exhibition-subtitle"></div> <div class="exhibition-dates">September 6 - October 20, 2007</div> <div class="exhibition-opening">Opens Thursday, September 6, 6:00 PM - 8:00 PM</div> <br/> <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>Mid-Summer: 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 Exhibition: Is there more to life than bread, blood, and bicycles? <div class="exhibition-subtitle">Andrew Sendor</div> <div class="exhibition-dates">February 21, 2007 - May 22, 2013</div> <div class="exhibition-opening">Opens Wednesday, February 21, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1729"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/27/27967.jpeg" alt="The Great Tree of Life" height="639" width="500" /></a> <p>Andrew Sendor, <em>The Great Tree of Life</em>, 2006</p> <p> oil on Plexiglas, </p> <br /> <div class="exhibition-description"><p>Caren Golden Fine Art is pleased to present the exhibition Is There More to Life Than Bread, Blood, and Bicycles? featuring new paintings by Andrew Sendor. For his second solo exhibition at the gallery, Sendor has transformed the traditional white cube into a dimly lit, contemplative space, creating an almost sacred atmosphere that metaphorically weds the mysterious narratives within his paintings. Enveloped in this unworldly aura, his paintings exist not as independent, decontextualized objects, but more as sequential acts in a Romantic play or unfolding chapters in a Victorian novel, exploring the spiritual, the mystical, and the unknowable nature of the afterlife. <br /> <br /> Sendor's disquieting paintings portray demure, anonymous characters juxtaposed against vivid backdrops ranging from timeless and majestic landscapes to ethereal spectrums of transcendent light. Often quoted from antique cartes-de-visite and cabinet cards, Sendor's figures are immaculately rendered in sharp, nearly photographic detail and deployed upon an even more pristine support of Plexiglas. Large sections of the highly polished surfaces are frequently left unpainted, allowing the reflective areas to function like secret portals that mirror and incorporate the viewer's presence. At the same time, these windows encourage a contemplation of the history of technological advancement, from the mythology surrounding photographic "truth" and the camera's ability to capture the soul, to the innumerable and mind-bending uses of manufactured plastics. Sendor expresses an ethnographic curiosity in the visual taxonomies of various people, places, and periods, combining and collapsing them to create otherworldly realms that bridge the spiritual and the material. <br /> <br /> Sendor has literally turned a corner in his practice of painting in working with two planes of highly reflective black Plexiglas joined together at a right angle in I use the term, Struggle for Eternal Existence, in a large and metaphorical sense, including dependence of one being on another, and including (which is more important) not only the life of the individual, but success in leaving progeny. As the Plexiglas reflects the imagery from one perpendicular plane to the other, the viewer gets caught in a physically interactive dialogue. This dialogue transcends that of the typical viewing experience with a two dimensional object. An androgynous baby is sitting within an indeterminate abstract space, while a venerable couple clad in all black hovers in a clearly defined picture plane, describing some of the formal concerns that are primary to this current series of paintings. The relationship between the baby and the couple represents the sum of the meaning that is transpiring between the paintings in the exhibition - the cyclical nature of existence and the regeneration of all life, functioning as the central metaphor for the reading of these works.<br /> <br /> In The Great Tree of Life, a unique synthesis of symbolic portraiture and non-referential abstraction add up to a conglomerate of pictorial languages, as they traverse throughout history, seamlessly blended into one hybridized image. Rather than merely glorifying the essence of a specific person, Sendor has created a portrait of humanity, at once calling attention to our biological makeup and the psychological roller coaster characteristic of the much explored topic of the human condition - the positive and negative aspects of existence as a human being, especially the inevitable events such as birth, childhood, adolescence, love, sex, reproduction, aging and death.<br /> <br /> Andrew Sendor was the subject of a ten page article, (with cover illustration), in the May/June, 2006 issue of Art Premium magazine. His work is currently on view in the Salon Nouveau exhibition at the Engholm Engelhorn Galerie in Vienna, Austria and will be featured in the Phantasmania exhibition at the Kemper Museum of Contemporary Art in Kansas City this summer. In the Fall of 2007 Sendor's work will be presented in a solo exhibition at Mogadishni Gallery in Copenhagen, Denmark.</p></div> http://carengoldenfineart.com/exhibition/view/1729 Exhibition: Deadland <div class="exhibition-subtitle">Bradley Castellanos</div> <div class="exhibition-dates">October 19 - November 25, 2006</div> <div class="exhibition-opening">Opens Thursday, October 19, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1700"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/10/10809.jpeg" alt="" height="576" width="427" /></a> <p>Bradley Castellanos, <em>Dead Island</em>, 2012</p> <p> oil, photo collage, resin on panel, 96 x 72 inches </p> <br /> <div class="exhibition-description"><p>Bradley Castellanos' work achieves the seamless combination of large-format photography and the tumultuous energy of abstract painting. His intricately cut photo-collages are layered with lushly-colored abstract oil paint and pristine resin. As Dan Cameron states, "Castellanos has developed a complex technique of combining transparent and opaque layers so that any overlap is nearly impossible to pin down, making one stop to wonder why nobody has previously set out to accomplish a <br /> similar feat of seamlessly combining two media that are typically perceived as being at odds with each other. Despite the paintings' occasionally toxic-seeming appearance, this balance of bravura brushwork and photographic print seems to be almost ecological in its careful consideration toward the separate claims of each competing system."</p> <p>Castellanos' urban landscapes threaten to contaminate and consume all life. They are dead ends of decay, waste and desolation, yet radiate with an unnatural beauty that transcends their grim circumstances. Even pastoral landscapes are dark dreams, undermined by devastation, loneliness and despair. This collision of abstraction and realism, paint and photography occur in a toxic environment that both seduces and repels. </p> <p>A recent graduate of The School of Visual Arts Master's program, Castellanos' work has already been exhibited at PS 1 and in group shows at Nicole Klagsbrun and Pavel Zoubok. Last summer Dan Cameron selected Castellanos for the HangArt-7, a prestigious exhibition in Salzburg, Austria of seven New York emerging artists which was on view from July 8 through August 27, 2006. In addition to recent press coverage in the September issue of Gotham, a painting from Bradley Castellanos' Deadland series will be published in an upcoming issue of Harper's.</p></div> http://carengoldenfineart.com/exhibition/view/1700 Exhibition: Overgrowth <div class="exhibition-subtitle">Nicola López</div> <div class="exhibition-dates">September 7 - October 14, 2006</div> <div class="exhibition-opening">Opens Thursday, September 7, 6:00 PM - 8:00 PM</div> <br/> <br /> <div class="exhibition-description"><p>Caren Golden Fine Art is pleased to present OverGrowth, Nicola López's second solo exhibition with the gallery. In her new installation work and drawings López continues her investigation into the relationship between nature and technology. Although nature itself rarely makes a direct appearance in her work, it is constantly present both in its glaring absence and in technology's organic patterns of growth, mutation and parasitism. Looking at the hulking structures of pylons twisted into tree-like forms, the creeping vines of cables and tubing, and architectural structures swirling with the ferocity of a hurricane, we are presented with a world grown wild and beyond control. In creating images of cityscapes and structures that struggle against themselves as they strive towards order and yet verge on the edge of breakdown, López questions our society's insistence upon growth and glorification of technology. <br /> <br /> It is apparent that to López this story does not simply end where the utopian dream goes bad. There is another chapter in which the border between nature and technology begins to blur, where a new life cycle emerges as nature itself co-opts the very building blocks of our man-made world. We are forced to ask if this indicates a triumph of what is built or what is natural--or if they are even truly separable from one another. In either case, will this version of "unnatural" nature ultimately thrive or will it bend and break under its own weight?</p> <p>A graduate of Columbia University's <span class="caps">MFA </span>program, Nicola López's work has been reproduced in Art in America, Artforum, Art on Paper, Planet Magazine, The Brooklyn Rail, and most recently as a full page image in the August, 2006 issue of Harper's. In the past two years she has participated in museum exhibitions at The Bates College Museum of Art in Lewiston, <span class="caps">ME,</span> The Frye Art Museum in Seattle, <span class="caps">WA,</span> The Cleveland Institute of Art in Cleveland, <span class="caps">OH,</span> The Arkansas Arts Center in Little Rock, <span class="caps">AR,</span> El Museo del Barrio in New York City and The Museo de Arte of San Juan, Puerto Rico.<br /> A Promising Tomorrow, López's site-specific installation first presented in the the Museo Cultural in Santa Fe, NM and then in the Greater New York 2005 exhibition at PS 1, was acquired by the Museum of Modern Art and is on view at <span class="caps">MOMA </span>in the Since 2000: Printmaking Now exhibition through September 18, 2006.</p></div> http://carengoldenfineart.com/exhibition/view/1723 Exhibition: FULL STOP <div class="exhibition-subtitle">Tom Burckhardt</div> <div class="exhibition-dates">September 8 - October 15, 2005</div> <div class="exhibition-opening">Opens Thursday, September 8, 6:00 PM - 8:00 PM</div> <br/> <br /> <div class="exhibition-description"><p>Caren Golden Fine Art is pleased to present Tom Burckhardt's <span class="caps">FULL STOP, </span>a site specific installation accompanied by a new series of enamel on wood paintings. </p> <p><span class="caps">FULL STOP </span>is a full-scale replica of an artist's studio made entirely of cardboard and black paint. 10' high x 18' wide x 18' deep, the installation is filled with art historical references such as Jackson Pollock's shoes, Jasper Johns's Savarin can and Edward Hopper's potbellied stove. Entering the installation, the viewer animates the space while experiencing an artist's dilemma first hand. As Burckhardt states: "This walk-though environment is full of the clutter and paraphernalia of the modern painter, toiling in romantic obscurity against the existential void. Except he/she doesn't seem to be succeeding. A basic lack of ideas has crippled production despite having all the right materials: tools, art supplies, art books and postcards of past masters' work at hand. The highly detailed and slavishly worked whorl of the stuff of art making and bohemian existence, all carefully constructed of cardboard and painted in a cartoon-like manner, belie the contradiction at the center of the room: a blank canvas sitting on the easel."</p> <p>On view in the second gallery are Tom Burckhardt's newest enamel on wood paintings. Building upon his signature blending of abstract patterning, Pop imagery and landscape references, these paintings introduce a new element: the human figure. With paint rollers and ladders, lifting and pulling, Burckhardt's diminutive artisans labor to construct the composition of the works of art in which they are depicted. They display the industry and inspiration that the Artist in the <span class="caps">FULL STOP </span>cardboard studio aspires to, yet cannot find.<br /> <span class="caps">FULL STOP, </span>the Studio, will travel to DiverseWorks in Houston, TX from November 4 through December 17, 2005 and The Aldrich Contemporary Art Museum in Ridgefield, CT from March 26 through July, 2006.</p></div> http://carengoldenfineart.com/exhibition/view/1724 Exhibition: Offline & Infamous <div class="exhibition-subtitle">Jonathan Calm</div> <div class="exhibition-dates">May 20 - June 25, 2005</div> <div class="exhibition-opening">Opens Friday, May 20, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1761"><img border="0" src="http://carengoldenfineart.com/static/dyn-images/10/10848.jpeg" alt="" height="337" width="500" /></a> <p>Jonathan Calm, <em>Scratching Chance #1</em>, 2005</p> <p> Digital C- Print, 24 x 40 inches </p> <br /> <div class="exhibition-description"><p>Caren Golden Fine Art is pleased to present "Offline & Infamous," the second solo gallery exhibition by Jonathan Calm. In this exhibition, Calm's new videos and photographic images offer insights into the implicit beliefs about fate and chance that are a large, but frequently overlooked part of the urban world of the projects -- a world in which he was raised. Central to this new body of work is the scratch card, an omnipresent item by which many of the residents of these neighborhoods seek to change their socio-economic circumstances. </p> <p>Using the documentary style of his earlier video works, which explore the lives of archetypal homeless and drug-addicted people, Calm took his video camera and a stack of scratch cards into the streets. There he asked strangers to let him film their hands scratching the cards, and in return, he or she could keep all of the money won. As each person scratched his or her card, stories, desires, and concerns spontaneously poured forth. The two videos in "Offline & Infamous" capture the real and metaphorical places from which the urge to begin "Scratching Chance" arises. One video consists of a grid of hands scratching different cards as the viewer hears snippets of the participants' thoughts and comments. Their words convey their optimism, desperation, resignation and religious zeal. A second video evokes a sense of claustrophobia by combining hands scratching cards with images from hallways, stairways and elevators in housing projects. Calm's "Scratching Chance" photographs are digitally combined images of used scratch cards with the shedding bark of Sycamore trees. These photographs encourage the viewer to look at hope, disappointment, and ultimately the gamble involved in coping with and seeking to change one's fate. <br /> <br /> Jonathan Calm was the 2003 recipient of the <span class="caps">MTA</span> Poetry in Motion Award. His work has been warmly reviewed in The New York Times, Time Out New York, Tema Celeste and NY Arts. Calm's videos have been screened in the Rotterdam Film Festival and in museums throughout the United States including The Museum of Modern Art, The Studio Museum of Harlem and Chelsea Art Museum in New York City, The Cheekwood Museum in Nashville, TN and The Smithsonian Institute in Washington <span class="caps">DC. </span> They aired on "Reel New York" on the New York Public Broadcasting System in both 2002 and 2004. In September 2005 Jonathan Calm's video "Delta" will be included in the "We Are the World" exhibition at the Reina Sophia Museum in Madrid, Spain.<br /> <br /> "Offline & Infamous" will be on view from May 20th through June 25th, 2005. There will be a reception for the artist on Friday, May 20th from 6 to 8 <span class="caps">PM.</span></p></div> http://carengoldenfineart.com/exhibition/view/1761 Exhibition: Liquor, Lotto & Chinese Food <div class="exhibition-subtitle">Jonathan Calm</div> <div class="exhibition-dates">March 22 - April 27, 2002</div> <div class="exhibition-opening">Opens Friday, March 22, 6:00 PM - 8:00 PM</div> <br/> <br /> <div class="exhibition-description"><p>Jonathan Calm's work originates within the tradition of narrative storytelling, sifting through culture to highlight the essence of our shared visual and audible world. Combining video, animation, sound, sculpture and drawing, Calm critiques the fabric of life in the inner-city using his Brooklyn neighborhood as both his source and as his subject. Mapping the projects, streets and parks, Calm turns the city grids into an iconic graphic vocabulary and takes the viewer on a journey of the self through our culturally diverse technological times. His exhibition's title, "Liquor, Lotto and Chinese Food," refers to what he believes to be the three cardinal sins prevalent in inner-city neighborhoods. In this, his first New York solo exhibition, Jonathan Calm will present photographs, sculpture and four of the short, pulsating videos that have earned him wide recognition since his graduation from Columbia's <span class="caps">MFA </span>program in 2000. In discussing his seminal video, "A Place to Live," in The New York Times, Holland Cotter referred to Jonathan Calm's work as "a terrific multimedia animation." "A Place to Live" will be broadcast on Channel 13 this summer in the "Reel New York" series.</p></div> http://carengoldenfineart.com/exhibition/view/1762 News: April 2013 Newsletter <p>Warmest congratulations to Nicola López for her commissioned<br /> work for the<br /> Metropolitan Museum of Art's Balcony Lounge.<br /> López installation, "Un-building Things," will be on view beginning April 30.<br /> We will post images of the installation in our next Newsletter.<br /> In the meantime, we are delighted to offer several stellar unique works and print<br /> editions<br /> that come directly from Nicola López's studio. Click here [http://r20.rs6.net/tn.jsp?t=frh86umab.0.0.mwg885bab.0&id=preview&ts=S0895&p=http%3A%2F%2Fwww.carengoldenfineart.com%2Fartist%2Fview%2F1013]<br /> to review these exceptional<br /> works which include the wonderful Structural Detour 4 (see above).<br /> Nicola López's third solo exhibition with Pace Prints, Land of Illusion,<br /> opens on April 25 and will be on view through June 8.<br /> New Smart ArtDeals<br /> We have some terrific new works available in our Smart ArtDeals.<br /> First we are featuring two iconic works by iona rozeal brown<br /> (L) iona rozeal brown: Dangerous..., 2005, mixed media on paper, 50 × 38 inches<br /> ® Painful..., 2006, mixed media on panel, 50 × 38 inches<br /> A little gem of a painting by Titus Kaphar<br /> Titus Kaphar: Finding, Fondling and Folding our first forefather, 2007<br /> oil and polymer on canvas, 18 × 12 inches<br /> and a spirited floor piece by Shinique Smith<br /> Shinique Smith: Untitled (Little Bitch), 2007, rug, lunch box, doll & ribbon, 23<br /> x 14 × 7 inches<br /> For more information about these and other Smart ArtDeal [http://r20.rs6.net/tn.jsp?t=frh86umab.0.0.mwg885bab.0&id=preview&ts=S0895&p=http%3A%2F%2Fwww.carengoldenfineart.com%2Fartist%2Fview%2F2488]<br /> listings<br /> please contact Caren at info@carengolden.com or 212-727-8304.</p> <p>Caren Golden Fine Art is pleased to share<br /> the following news about gallery alumni and friends:<br /> I am delighted that my stunning Dannielle Tegeder work on paper will be featured<br /> in Tegeder's solo exhibition Painting in the Extended Field at the Wellin Museum<br /> in Clinton, NY (on view from May 11 thru July 28). Click here [http://r20.rs6.net/tn.jsp?t=frh86umab.0.0.mwg885bab.0&id=preview&ts=S0895&p=http%3A%2F%2Fwww.carengoldenfineart.com%2Fartist%2Fview%2F1391]<br /> to see other great available works by Dannielle Tegeder, several of which will <br /> be presented in her museum show and reproduced in the accompanying hard-cover catalog.<br /> Tegeder's work can also be seen along with the work of Nick Lamia in the traveling<br /> exhibition "Simultaneity" which is currently on view at the Sherman Gallery of Boston<br /> University (thru May 19). Congratulations to Devorah Sperber whose After Mona Lisa<br /> 8 was acquired by the Knoxville Museum of Art. Recently acquired for the permanent<br /> collection of The Crocker Museum in Sacramento, <span class="caps">CA,</span> Travis Somerville's large-scale<br /> installation Rebirth of a Nation: Travis Somerville's 1963 can be seen in the museum<br /> thru May 5. Upcoming in the New York City area, is work by Curtis Mitchell in the<br /> Gravity of Sculpture: Part II show, curated by Saul Ostrow, which opens at Dorsky<br /> Gallery in Long Island City on May 5 and a solo exhibition of work by Eric Benson<br /> at the Arsenal Gallery in Central Park from May 1 thru June 20. Outside New York<br /> City there are several solo exhibitions to recommend in far-flung locations including<br /> Francie Bishop Good's Far From Apple Hill at the David Castillo Gallery in Miami<br /> thru May 4, a solo exhibition of new work by Dominique Figarella at Galerie Anne<br /> Barrault in Paris from April 25 thru June 15 and Dan Kopp's Plastic Islands solo<br /> exhibition at Motus Fort in Tokyo from April 26 thru June 1. And don't miss the<br /> the current (Winter 2012/13) issue of Cabinet magazine with a thought-provoking<br /> six page artist investigative spread by John Stoney.<br /> Brooklyn Academy of Music's <span class="caps">BAM</span>art Fundraiser<br /> Finally, make sure to check out the Brooklyn Academy of Music's <span class="caps">BAM</span>art Fundraiser.<br /> Every bid goes toward <span class="caps">BAM</span>'s innovative programming with a portion earmarked for<br /> Brooklyn-based artists impacted by Hurricane Sandy. The auction items can be seen<br /> on line or in person at The Hole Gallery from April 23 thru April 28. Click here<br /> [http://r20.rs6.net/tn.jsp?t=frh86umab.0.0.mwg885bab.0&id=preview&ts=S0895&p=http%3A%2F%2Fbam.org%2Fauction]<br /> to view auction items and to register to bid online. All bidding ends on April 28<br /> at 6 <span class="caps">PM.</span></p> http://carengoldenfineart.com/news/view/2502