Brian Tolle featured on Wallstreet International

11 Jan — 27 Feb 2018 at the C24 Gallery in New York, United States

C24 Gallery is pleased to present a solo exhibition of sculptures by Brian Tolle marking his inaugural exhibition with the gallery. The exhibition brings together Tolle’s iconic public work, Eureka, on view for the first time in the United States and in a gallery setting, paired with his Levittown sculptures.

A highlight of the exhibition is the monumental installation Eureka. At approximately 36 feet high, when standing, the sculpture is a 3D rendering of the façade of a 17th-century Flemish canal house as it might exist in wave form. Thus, it becomes an uncanny reflection of the kinetic water below it. Originally commissioned by curator Jan Hoet for his landmark exhibition Over the Edges (2000), as a site-specific public installation in Ghent, Belgium, the sculpture is re-contextualized in the gallery space. Lying flat on the gallery’s atrium floor Eureka confronts notions of place and process thereby questioning the function of art in public spaces versus art in specific institutions. Drawing ideas from a broad-based conceptual analysis, Tolle creates a dialogue between the contemporary and the historical and blurs the border between architecture and its evolving environment.

A keen observer of domestic life and identity, Tolle furthers his interest of politics of place in his Levittown sculptures. The sculptures are inspired by the planned housing community, Levittown: the historic town in Long Island, NY, which became the archetype of American suburban life in the early 1950s. Each of Tolle's eleven sculptures is a precise scaled model of an original Levittown home -- cast from the same mold varying only in color and displaying the architectural details of the original structures. The sculptural houses themselves resemble deflated or melting membranes, and are supported by various appropriated mementos of suburban life - found toys, tire swing, shopping cart, a plastic nativity set, and a recliner. These iconographic items rest underneath and inside silicone rubber skins of the houses, emphasizing a dialogue between sites and domestic artifacts.

As the title of the exhibition suggests, the artworks presented in Bent provoke a re-reading, or discord between reality and fiction. The formal play that Tolle visually articulates between shapes and textures, private and public spaces presents a challenge to standard architectural, as well as behavioral conventions and norms.

Brian Tolle's work has been exhibited in the Whitney Biennial, Liverpool Biennial at the Tate Modern, Kunsthalle Bern, Switzerland, the S.M.A.K. in Ghent, Belgium, Institute of Contemporary Art, Philadelphia; Contemporary Arts Center, Cincinnati; the Queens Museum of Art, New York, Havana Biennial, Cuba, the Invitational Exhibition at the American Academy of Arts and numerous other institutions.

His public works include Irish Hunger Memorial (2002), Battery Park City, NYC, NY a one-half acre sculpture on the Hudson River, reshaping the landscape with a full-scale replica of a hillside Irish farm desiccated by the potato famine. Most recently he completed a public artwork in Brooklyn, NY titled Pageant, 2017 and Outflow (2015), Calgary, Alberta, Canada. Other notable public works are Simnai Dirdro (Twisted Chimney) (2010), Caerphilly, Wales, UK, Remembering Walter H. Dubner (2010), Los Angeles, CA., and Stronghold (2007), University of Washington, Seattle, WA.

He is the recipient of awards from the Irish American Historical Society, the Louis Comfort Tiffany Foundation, and the Design Commission of the City of New York.

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REGINA SCULLY Featured in Quiet Lunch


by Akeem K. Duncan.

The true magic of art lies in its ability to interact with its audience. When you walk into C24’s latest exhibition, Mindscapes, by Regina Scully, you instantaneously feel that magic. Scully’s pieces, a multifarious ensemble performing a colorful symphony of visual jazz, “slow and fast marks” that immediately draws you in.

There is a recognizable balance of purposefully precision and improvisational whimsy in this exhibition. Scully readily admits that while she maintains a certain degree of control, she allows her paintings to take her where they may. In kind, the pieces have the same effect on her audience, whisking us away on an interpretative joyride where we mold the landscapes, proclaim the patterns, commandeer the weather and write the language. Scully states:

“The idea is for people to finish the paintings themselves… to see what they see. I don’t want to tell people what to see. The viewer sees places that I’ve never been… one person will say ‘God, this reminds me of Australia in March,’ another person may say, ‘This is Wisconsin’ or ‘this is Hawaii…'”

Despite having her own translations of what she truly thinks the pieces portray, Scully presents each piece without any titles, leaving us not a cliff note or even a shred of confirmation that we are getting the “main idea.” It almost seems a little cruel, as if Scully is sending us on some wondrous wild goose chase. Scully denies any mischievous intent by offering a simple but empowering explanation, “this is your world! I mean, it’s mine while I’m exploring [and creating] it but still…”

In theory, Scully is a builder. She first gravitated towards metalwork and jewelry and applies the same technique to painting. “After doing lots of sculpture, [I asked myself] ‘what if I create space on a two-dimensional plane?’ It gets interesting. It accesses people’s subconscious and what is inside of them,” Scully reveals. During the opening exhibition, the gallery was buzzing with varying theories and custom descriptions of each painting—even eavesdropping was an experience in itself.

Mindscapes is essentially about trust. The audience relinquishes control and allows Scully to offhandedly shepherd them through each piece. However, with the paper pieces, it is Scully who relinquishes control. “The paper is unforgiving,” admits Scully. Each stroke becomes permanent and determined. This turning of the tables is a pleasant shift that adds to the charm of this exhibition. Mindscapes is without narrative, an unassembled puzzle waiting to be pieced together.

Granted a special New Year extension, this week is the last chance to see Mindscapes. So, if you’re in the Chelsea area, be sure to stop by C24 Gallery. Tell them Quiet Lunch sent you!

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Carole Feuerman in the NB Herard

Carole A. Feuerman Presented with the Albert Nelson Marquis Lifetime Achievement Award by Marquis Who’s Who

by Carrie Brunner

NEW YORK, NY, December 15, 2017 — Marquis Who's Who, the world's premier publisher of biographical profiles, is proud to present Carole A. Feuerman with the Albert Nelson Marquis Lifetime Achievement Award. An accomplished listee, Ms. Feuerman celebrates many years' experience in her professional network, and has been noted for achievements, leadership qualities, and the credentials and successes she has accrued in her field. As in all Marquis Who's Who biographical volumes, individuals profiled are selected on the basis of current reference value. Factors such as position, noteworthy accomplishments, visibility, and prominence in a field are all taken into account during the selection process.

Sculptor, artist, and president of Feuerman Studios, Inc. since 1967, Ms. Feuerman is best known for her sculptures of swimmers. Growing up, her fondest memories were of times spent at Jones Beach on Long Island. She is recognized as a pioneering figure in the world of hyperrealist sculpture, and started in the late '70s by making life-sized sculptures that portrayed their models precisely. They are meticulously detailed to create the illusion of reality. Dubbed “the reigning doyenne of super-realism” by art historian John T. Spike, Ms. Feuerman has solidified her place in art history.

Through her sculptures, Ms. Feuerman creates visual manifestations of the stories she wants to tell of survival, balance, and the struggle to achieve. She has produced a rich body of work spanning four decades and four continents. By combining conventional sculptural materials of steel, bronze, and resin with more unconventional media like water, light, sound, and video, Ms. Feuerman creates hybrid works of intricate energy and psychology. Her labor-intensive sculptures involve working on the pieces both in wax and bronze, applying a patina in the foundry, and detailed finishes in her studio. Her largest monumental outdoor work, “The Double Diver”, stands 36 feet tall and weighs 4.4 tons, made of steel. It balances perfectly on six-inch wrists in a feat of engineering, and is owned by the city of Sunnyvale, CA.

Ms. Feuerman has been featured in one-woman shows at sculpture parks, museums, galleries, and city spaces worldwide, including the Venice Biennale, Documental in Kassel, and Art Basel. She has had nine solo museum retrospectives, and has been included in the permanent collections of 19 different museums. There are now four full-color monographs written about her work, two editions of “Carole Feuerman Sculpture” published by Hudson Hills Press, “La Scultura Incontra la Realta”, available in multiple languages, and “Swimmers”, published by the Artist Book Foundation. “Grande Catalina”, her monumental sculpture, was featured at the 2007 Venice Biennale and was included in “A History of Western Art” published by Harry N. Abrams and written by Anthony Mason and John T. Spike.

Ms. Feuerman has taught, lectured, and presented workshops at the Metropolitan Museum of Art, the Solomon Guggenheim Museum, Columbia University, and Grounds for Sculpture. Responsible for founding the Carole A. Feuerman Sculpture Foundation, Ms. Feuerman formerly served on the review panel for the Annual State Arts Block Grants Program for the county of Hudson, NJ, and is on the board of trustees for the International Sculpture Center and the Chashama Foundation. A longtime member of the School of Visual Arts Alumni Association, the International Women's Forum of New York, the Solomon R. Guggenheim Museum, and the Metropolitan Museum of Art, she was named an honorary committee member of the Sculptors Guild in 2017.

Born in Hartford, CT, Ms. Feuerman earned a Bachelor's degree at the School of Visual Arts in 1967, the same year she opened her own studio. She previously studied at Hofstra University and Temple University. In addition, she has been the recipient of numerous awards, most recently a Best in Show by the Huan Tai Hu Museum in 2016, as well as an Amelia Peabody Award, first prize in the Beijing Biennale and the Austrian Biennale, finalist in the World Trade Center Competition, and a Medici Award from the city of Florence, Italy in 2005. Married to Ron Cohen, she has had five children and five grandchildren. Ms. Feuerman has been included in various editions of Who's Who in America, Who's Who in the East, Who's Who in the World, and Who's Who of American Women. For more information, please visit

In recognition of outstanding contributions to her profession and the Marquis Who's Who community, Carole A. Feuerman has been featured on the Albert Nelson Marquis Lifetime Achievement website. Please visit for more information about this honor.

Since 1899, when A. N. Marquis printed the First Edition of Who's Who in America , Marquis Who's Who has chronicled the lives of the most accomplished individuals and innovators from every significant field of endeavor, including politics, business, medicine, law, education, art, religion and entertainment. Today, Who's Who in America remains an essential biographical source for thousands of researchers, journalists, librarians and executive search firms around the world. Marquis publications may be visited at the official Marquis Who's Who website at

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Christian Vincent featured as a Top Pick in Create! Magazine

Top Picks: Art Miami and Context 2017

1. Alonsa Guevara (Anna Zorina Gallery)

2. Vitaly Pushnitsky (Marina Gisich Gallery)

3. Anna Valdez (Hashimoto Contemporary)

4. Made by London

5. Zhenya Xia (HG Contemporary)

6. Kathryn MacNaughton (Bau-Xi Gallery)

7. Christian Vincent (C24 Gallery)

Beyond the Green, 2017 Oil on canvas 36 × 44 in

Beyond the Green, 2017

Oil on canvas

36 × 44 in

8. Thomas Jackson (Jackson Fine Art)

9. Ran Hwang (Pyo Gallery)

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Seçkin Pirim featured in Pulbiber Magazine

Artist Workshops in Istanbul Modern 

Istanbul Modern continues to bring artists together with artists at "Your Perşeneniz" artist workshops sponsored by Ülker. The Artist's Workshop on December 7 is the guest of Seçkin Pirim.

At the workshop of Seçkin Pirim, who invited our perceptions to questioning by focusing on contrasting concepts such as reality, illusion, border, infinite, openness, obscurity, lightness and darkness, participants are exploring depth in the artistic plane inspired by the artist's productions. By putting the papers on a certain plane, they make visual equations that can not be understood as two-dimensional mu or three-dimensional mu, real or a representation at first glance.

"Your Thursdays" Artist Workshops; workshops where artists share their creative processes and artistic experiences with participants, short interviews and artistic practices. Having invited artists to explore the museum, artworks and artistic production processes, Istanbul Modern also recognizes artists and opens up a wealth of experience with them.

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C24 Gallery on ART FUSE

Re-Thinking Home: ACAW’s Thinking Projects Pop Up at C24 Gallery

 by Audra Lambert

Thinking Projects Pop Up at C24 gallery can seem at first glance to be an expedition: before you, wonders of the world are arrayed in complex configurations. However, unlike expeditionary forces venturing to faraway lands these works are brought to New York audiences by artists Nadiah Bamadhaj (Jogjiakarta), Irfan Önürmen (Istanbul), and Sumakshi Singh (Delhi). Each artist adapts images relevant to their particular cultures, presenting their work within the context of Asia Contemporary Art Week 2017. The exhibition, on view through October 28, invites contemplation on the natural world from different angles and through the lens of mixed media. The triumphant exhibition, curated ACAW director Leeza Ahmady, makes manifest the potent links between US-based galleries and those in partner countries in Asia. This show, in particular, is produced with cooperation between Richard Koh Fine Art (Kuala Lumpur), Exhibit320 (New Delhi) and C24 Gallery (New York).

Singh’s work in the exhibition, in particular, Tree, subtly explores the powerful nuances of the natural environment. The lace drawing pinned on board piece is composed of sumptuous layers of thread undulating across the expanse of the composition. The white wisps clinging to the boughs whisper a wistful longing or a search for meaning subverted. The only certainty of the work lies anchored in the twisted trunk, reaching down toward the gallery floor. The sheer scale of the work invites visitors to appreciate the wonder of the natural world as re-created in organic materials.

Bamaghaj’s charcoal collages on paper, a series entitled Pessimism is Optimistic IV, documents various states of completeness and decay, a meditation on the role that dwellings and architecture play in her native Indonesia. The series of collages present various versions of utility, alternately showing solace or destruction. The intricacies embedded in these works is best appreciated with close and careful glances. Önürmen’s Diffusion presents enmeshed visions of figurative bodies and abstracted substances within a fragile yet haunting installation. Symbols of violence – a fighter pilot and a gun stand out from the melee – vie for attention with minimalist sculptures and abstract gestures. The futility of our place within the current political climate, and a rumination on the impact art history has in such fragile conditions, cannot help but spring to mind.

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İrfan Önürmen on Daily Sabah

Historic Istanbul Street alive with design, art this week

Rivaling Istanbul's hip districts of Karaköy and Bomonti, TomTom Street, which was once home to Levantines, assumes a new identity with cafes and galleries popping up daily. Now, the historic street is hosting the third edition of ‘Design at TomTom Street,' welcoming designers, artists and musicians

When seeking information about Istanbul and its neighborhoods, the first place that people certainly mention is Beyoğlu. Now, Istanbul's busiest neighborhood is in the spotlight again with "Design at TomTom Street."

TomTom Street, a promising center of creation with a rich history and expansive architecture that carries the past into the present, featuring everything from restaurants to art galleries and museums to design stores, is bringing design to the heart of Istanbul from Oct. 19-22 with "Design at TomTom Street" under the theme, "Watch Yourself."

Held twice a year, the third edition of the design festival will host 100 designers, 50 artists, 50 speakers and five different venue designs.

Organized with the initiatives of the TomTom Design Management Executive Board consisting of Hakan Kodal, Bahar Korçan, Serra Arıkök and Ayşegül Temel, the event is organized under the auspices of the Beyoğlu Municipality. Organized for the second time in May 2017 and visited by more than 20,000 visitors, the event will host three different activities on three different nights.

On the opening night, a private launch of "TomTom Designhood," which will be full of art, design and music will take place. In the next days of the event, private chat sessions and meetings under the title of "Designing Life and the Future" will be offered, featuring dance performances and different music activities for visitors. Big names including Levent Erden, Ömer Madra, Yelda İpekli, Özlem İkiışık Barutçu, Sare Palaska, Cem Talu, Hande Akın, Özlem Gürses, Şah Yaycı, Ecmel Ayral, Başak Pelister and Günseli Kato will attend various panel sessions and workshops during the event, as well. The works of more than 50 artists will be on display in the exhibition area, under the theme of "Watch Yourself," along with installations and art projects in the important buildings and landmarks of TomTom Quarter. The TomTom Red exhibition area, specially arranged for the event and curated by Bahar Korçan, will host the works of artists including İrfan Önürmen, Barış Sarıbaş, Çağla Mısırlı, Alev Gözonar, Buğra Erol, Dicle Çiftçi, Alev Araslı, Sevil Dolmacı Art Cosultancy sanatçılarından Alea Pınar Du Pre, Elif Tutka, Yusuf Aygeç, Nurdan Likos, Art On Galery Sanatçılarından Olcay Kuş, Erman Özbaşaran, Ahmet Çerkez and Olgu Ülkenciler.

In addition, the "Deco Floor," prepared for the first time earlier this year to host the exhibitions of leading decoration design brands from Turkey and around the world, will continue at the third edition of the event.

The collections of famous fashion designers including Arzu Kaptol, Mehtap Elaidi and Özgür Mansur, along with the collections of young designers, will be on display at the TomTom Trend Area, established in collaboration with the Fashion Designers' Association and with the Bahar Korçan selection.

TomTom Street is expected to host the best music in town, as well. Live music and DJ performances will offer colorful hours for visitors throughout the event. Moreover, a video and photo contest will be held and the creator of the best videos and photos describing the "Watch Yourself" theme will win a return ticket to the Milano Design Week.

On the closing night of the event, "Design Awards" will be presented by the Registered Trademarks Association and the curtain will fall, until next year, with a concert titled, "Nardis Jazz Night."

Representing Troy, the main sponsor of Design at TomTom Street, General Manager of Interbank Card Center Dr. Soner Canko noted that they are proud to be among the supporters of the Design at TomTom Street event, and endeavor to show the importance of creative ideas, new looks and unique approaches. "As one of the very few events that opens up a space for creative people, Design at TomTom Street shows us that creating and making starts with 'Watching Yourself.'"

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Mike Dargas in Contemporary Art Curator Magazine

Mike Dargas was born in 1983 in Cologne, Germany.  Alongside his first drawings, he started making paintings with oil paint from a young age, which he was selling to friends of his mother. At age eleven, Mike Dargas exhibited his talent publicly, drawing old masters paintings with pastel and chalk on the pavement in front of the Cologne cathedral.

He then got accepted in an art school, from which he graduated after a year and a half, the only child in a class of adults. There, he learnt different techniques, and received a training that led him to master three dimensional arts, like wooden sculptures. In his early twenties, he built himself a solid reputation in the tattoo scene and won numerous prizes and awards.

Inspired by artists such as Dali, Caravaggio and HR Giger, Mike Dargas studied various techniques and since his youth developed a passion for realism, which he narrowed down over the years to hyperrealism.

The extremely precise technique with oil paint gives, like a photography, a snapshot of the moment. The artist studies his subjects with such intensity, that each portrait pictures a profile of increasing intimate closeness. In his portraits, Mike Dargas is not limited to certain types. He paints young and old, beautiful and dark, fragile and strong people. They are lost in their thoughts, show inner conflict or convey a unique or even holy calmness. The perfection of his technique serves his goal to tend towards the perfect image, reaching for the soul within each single one. Through his works, Mike Dargas challenges us to take a closer look, to understand the nature of human being and to question our own emotional perception.

The artist lives and works in Cologne, Germany.

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Dil Hildebrand in Architectural Digest

A Brooklyn resident for over 25 years, Walsh currently lives in Park Slope. She peppered her front-facing bedroom with modern silhouettes covered in lush, textural materials like velvet and leather. A leaf-printed folding screen at the back of the room is meant to mimic the view of branches out the room's front windows.

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EVENT | September 21, Panel Discussion: Facial Profiling

Join C24 Gallery in partnership with NYFA

Panel Discussion: FACIAL PROFILING
Moderated by Facial Profiling curator David C. Terry

September 21, 2017, 6-8pm, C24 Gallery 560 West 24th Street, NYC
Panel discussion begins at 6:30pm

RSVP Required :

David C. Terry, curator of Facial Profiling, on view at C24 Gallery, moderates a discussion with NYSCA/NYFA Artist Fellows Samira Abbassy, Kwesi Abbensetts, Geoffrey Chadsey, Sean Fader, Michael Ferris, Jr., Kymia Nawabi and Oliver Wasow. The panel considers concepts of the observed, perceived and projected self, and will discuss the way their individual art practices strive to create works that cross cultures, genders, conformity, identity and question how we interpret/project imagery as portrait. Facial Profiling, is currently on view at C24 Gallery through September 30th.


Event | September 7 Reception with Performances at C24 Gallery

Join NYFA and C24 Gallery for an evening of performances in conjunction with Facial Profiling, curated by David C. Terry.

On Thursday September 7, 2017 three performances by NYSCA/NYFA Artist Fellows will occur at C24 Gallery. These performances are in conjunction with NYFA’s curated exhibition, Facial Profiling, currently on view at C24 Gallery. The performances will draw from the exhibition by exploring concepts of the observed, perceived and projected self. Works include visualizations that cross cultures, genders, conformity, and identity and also question how we interpret/project imagery as portrait.

Cori Olinghouse, photo by Andrew Jordan

Cori Olinghouse, photo by Andrew Jordan


Title: Facial Profiling
Performance Date: September 7, 2017
Time: 6:00 PM- 8:00 PM, Performances from 7:00 PM - 7:30 PM
Location: C24 Gallery, 560 West 24th Street, New York, NY, 10011

Participating Visual Artists:
Samira Abbassy
Kwesi Abbensetts
Geoffrey Chadsey
Sean Fader
Michael Ferris, Jr.
Kymia Nawabi
Oliver Wasow

Performing Artists:
Joseph Keckler
Cori Olinghouse
Martha Wilson

This event is free and open to the public.

Martha Wilson as Donald Trump at Rosekill, photo by Miao Jiaxin.  

Martha Wilson as Donald Trump at Rosekill, photo by Miao Jiaxin.


About the Performers:

Joseph Keckler (Fellow in Interdisciplinary Work ‘12) is a singer, writer, and artist who often draws on humor, autobiography, and classical themes. He has appeared at venues including Centre Pompidou, SXSW Music, Miami Art Basel, BAM, among others, and has been featured on BBC America and WNYC Soundcheck. a Creative Capital Award in Performing Arts, a 2012 NYSCA/NYFA Artist Fellowship in Interdisciplinary Work, a Franklin Furnace Fund for Performance Art grant, and a Village Voice Award for “Best Downtown Performance Artist.” The New York Times recently named him a “major vocal talent [who] shatters the conventional boundaries…” He is currently under commission from Opera Philadelphia/FringeArts and PROTOTYPE/HERE for new performance pieces premiering in 2019. His first essay collection, Dragon at the Edge of a Flat World, will be published by Turtle Point Press this fall.

Cori Olinghouse (Fellow in Choreography ‘13) performs her improvisational portraiture practice, Clown Therapy, exploring the shape-shifting nature of identity and personhood. She channels personal experiences growing up in an American landscape of Twinkies and Wonder Bread—accessing the archival to play in the residues of history. Dark and wry, this dance excavates the effects of family dynamics, cultural appropriation, and whiteness on her art.

Cori Olinghouse is an interdisciplinary artist, archivist, and curator. Her work has been commissioned by Danspace Project, New York Live Arts, BRIC Arts Media, Lower Manhattan Cultural Council, Movement Research, and Brooklyn Museum of Art. Recently, she was the recipient of The Award (2015-2016), a participant in Lower Manhattan Cultural Council’s Extended Life Dance Development program (2016-2017), a co-curator for the Movement Research Fall Festival, vanishing points (2015), and a panelist in the Museum of Modern Art’s Storytelling in the Archivesforum (2015), alongside Boris Charmatz and Marvin Taylor. Olinghouse danced for the Trisha Brown Dance Company (2002-2006), and has served as the archive director since 2009. She has worked closely with artists from American vernacular styles who use transformation and shape-shifting, including Bill Irwin, and legendary voguers Archie Burnett, Benny Ninja, and Javier Ninja. She received a B.A. from Bennington College in Dance, Writing, and Video (2001) and an M.A. from Wesleyan University in Performance Curation from the Institute for Curatorial Practice in Performance, for which she was recognized with an outstanding thesis award for her hybrid scholarship in archival and curatorial practices: Mapping the Unruly: Imagining a Methodology for the Archiving of Performance (2017).

Martha Wilson (Fellow in Performance/Multidisciplinary ‘01) is a pioneering feminist artist and art space director, who over the past four decades created innovative photographic and video works that explore her female subjectivity. She has been described by New York Times critic Holland Cotter as one of “the half-dozen most important people for art in downtown Manhattan in the 1970s.” In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration, promotion, and preservation of artist books, temporary installation, and performance art, as well as online works. She is represented by P.P.O.W Gallery in New York.

Martha Wilson received an Honorary Doctor of Fine Arts degree from the Nova Scotia College of Art and Design University in 2013. She has received fellowships for performance art from the National Endowment for the Arts and the New York Foundation for the Arts; Bessie and Obie awards for commitment to artists’ freedom of expression; a Yoko Ono Lennon Courage Award for the Arts; a Richard Massey Foundation-White Box Arts and Humanities Award; a Lifetime Achievement Award from Women’s Caucus for Art; and the Audrey Irmas Award for Curatorial Excellence from the Center for Curatorial Studies, Bard College.  

Find out more about NYFA’s Curatorial Services for organizations and the NYSCA/NYFA Artist Fellowship Program, a $7,000 unrestricted cash grant awarded to individual artists living and working in the state of New York.

Images from top: Cori Olinghouse, photo by Andrew Jordan; Martha Wilson as Donald Trump at Rosekill, photo by Miao Jiaxin

NYFA_Logo_Hires_best (1).jpg



C24 named in Five Favorite Chelsea Art Galleries by Roger Smith

Relatively new to the scene, C24 Gallery opened in 2011 with a commitment to bringing innovative contemporary art to the streets of Chelsea. C24 will showcase the work of seven NYSCA and NYFA Fellowship Award winners in, Facial Profiling. The exhibition will be critical examination of how we interpret the ‘self’ – through identity, culture, gender and obedience.

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C24 Gallery at Seattle Art Fair featured in The Daily of the University of Washington

Seattle Art Fair: illuminating the irony of Seattle’s fine art scene

By Ayesha Saleem The Daily

I have never been to an art fair. My expectations were shaped mainly by jokes about pretentious art critics drinking wine while ‘ooh’ing and ‘aah’ing over a drawing that looked like something a five-year-old would draw in class. 

Visual art has never been my preferred medium — I’ll go for music over a painting, a play over music, and a book over anything else. To be honest, I’m a little intimidated by paintings and sculptures, because I never really “get them;” the most emotional reaction I seemed to have was “Oh, that’s so pretty.” Going to the first two days of the Seattle Art Fair, though, presented me with a nice surprise: I’m not as hopeless at appreciating art as I’d always thought. 

After checking into the fair, I wandered through the aisles for a little while. Galleries were set up on the floor in little cubicles, clustered into little cubes along the path. Every now and then, I furrowed my eyebrows just a smidge as I stared at paintings intently, hoping I looked intrigued and thoughtful instead of confused and out of my depth. People with wine glasses filtered around me, buzzing with conversation. I heard someone discuss a painting — something about life and death, and how the artist’s colors and techniques really brought that to the forefront. All I had gleaned from the painting were a bunch of scribbles. 

And then it happened: I saw a painting, and I paused. It was a beautiful painting, entitled “Desert,” by artist Wendelin Wohlgemuth. It showcased a silhouette of a person pointing a gun at something out of the frame, and the technique the artist had used made it seem as if the viewer was staring at this person through a grainy green-gray filter. The entire painting had a very melancholic, far-away feeling. It was a perfect depiction of how I felt so often when I read the news or heard about terrible events happening in the world: a removed bystander, peering from an insurmountable distance into a world I had not and would never know, unable to even make out the specific details of the tragedy, let alone offer any meaningful help. This instant connection to a piece of visual art was not frequent, though, and even as I continued perusing the galleries, I saw many paintings that I liked, but few that I really loved. 

A lot of the paintings I saw reaffirmed the pretentious artist stereotypes many of us are familiar with. There was a painting hidden behind a black curtain, with a single spotlight shining on the canvas. There were chairs in front of the painting, and before entering the little alcove, there was an entire list of what the artist thought made good art. The painting itself was a swath of brown paint. It was a really nice brown — more nutty brown than chocolatey brown — but it was just...brown. I sat down for a few moments, then turned toward the person next to me, and we both burst out laughing. One of the reasons I couldn’t take it seriously was probably because it reminded me of that scene from “Daredevil” where Fisk stares at the painting that’s all white and all I could think was, “At least that painting had different shades of white.” 

A recurring theme that seemed to be present was immigration and cultural and racial diversity — there were paintings depicting Latin, Black, Arab, and Native peoples, and galleries from Germany, Japan, and Korea. Some highlights for me were the New York-based C24 Gallery, the Seattle-based Patricia Rovzar Gallery, and the Portland-based Russo Lee Gallery.  

Two things really struck me: a) how expensive art was and b) how exclusivity and separation were sought after by the art community — or at least the subset of that community represented at the Seattle Art Fair. 

Is visual art an activity only for the wealthy? I didn’t see a single piece that was below $500. Most were thousands of dollars, and some were hundreds of thousands of dollars. I saw a painting that was $180,000 that I wouldn’t have paid more than $50 for (due to my own unsophistication, no doubt). I saw a painting that looked literally like someone had drawn it in Microsoft paint being sold for $5000. The idea of people charging this much money for paintings is insane to me, but what’s even more insane is the reality that people have enough money to burn on actually purchasing them. 

These seemingly absurd prices were surprising to me because they appear to directly contradict the purpose of art. Art is the celebration of individuality, but more than that, it’s about openness — it’s about expression, it’s about society, and it’s about how we interact with each other. It’s built on nonconformity, diversity, and yet, the crowd at the art fair was largely homogenous: wealthy, white, and “intellectual.” 

This observation isn’t made with the intent to cast aspersions on the art community or the Seattle art fair; it’s just odd to me that art, which is about the celebration of differences and subjective human emotional connections, seems to draw such a specific set of people. There was also a somewhat elitist emphasis on status, as evidenced by the three separate VIP lounges present. 

Funnily enough, the art being consumed was representative of everything that wasn’t present: diversity of culture, race, and social class. Isn’t art about transcending these hierarchies? 

Overall, though, even as an outsider to the art world, I enjoyed visiting the art fair, and I’d recommend others go as well when it happens next year. The ticket prices were fairly reasonable — $20 for one day, $50 for three days, and $5 for one day if you were between 13-19 years old. 

There were some beautiful pieces of art displayed. For someone who already has an interest in visual art, this fair is a great place to expose yourself to interesting artists and learn a little something new. If, like me, you’re a total newcomer, it’s a great place to start exploring the world of visual art, or get a peek into the strange, subjective world of fine art.

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Carole Feuerman Featured on La Repubblica

Serena is indeed the protagonist of an art installation that does not go unnoticed, dominating the Piazzetta: the work of the American hyperrealist sculptor Carole Feuerman has often been the protagonist of the Venice Biennale, is a swimmer, complete with a headset, shown at rest

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