BENT—Brian Tolle’s Contested Surfaces

By Melissa Ragona

Bent is an uncanny topology. It points to nomadic materials, shifting sites and social confrontations. Pairing as it does two of Brian Tolle’s signature architectural projects, Eureka (2000) and Levittown (2009), Bent aims to re-stage the questions that initially led Tolle to these works: how has the social contract been negotiated and/or manipulated through city planning? What role does design play in terms of delivering the illusion of social democracy? How is nostalgia used as a medium to resurrect the fiction of a utopian past?

Originally commissioned by Jan Hoet as a site-specific installation in Ghent, Belgium, Eureka (2000) is a fabrication of a 36 foot high facade of a 17th century Flemish canal house whose surface incorporates the wave structures found in the water that laps up against its original foundation.

The above image shows the original installation of Eureka, (2000), in Ghent, Belgium. The site specific installation was commissioned by curator Jan Hoet for his landmark exhibition Over the Edges (2000).

Eureka, (2000), Styrofoam, urethane, acrylic paint, 420 x 180in. (1097.3 x 457.2cm) installed at C24 Gallery for Bent.

One of the design queries initially posed by Tolle Studio was what would brick look like if it could behave like water? Or how could something solid, suddenly behave as if it were a liquid? In other words, how might stability and duration, suddenly become erratic and temporal? Indeed, Tolle’s façade commented critically on other forms of architectural artifice found along the canal—the Baroque and Gothic features of many canal houses had, in fact, been cobbled together from more grand structures found throughout the city. Through a sleight of hand, these more decorative pieces were clandestinely incorporated into the drab canal houses, transforming them into gleaming artifacts of a fictional, illustrious past.


The making of Eureka: A drawing which shows grout lines, windows and other building features is made based on a high-resolution photo of the original building. 3D software meant for cinematic effects is used to simulate waves in the ocean, and another drawing, followed by a 3D model of the building reflected onto this wavy surface is made. A CNC milling machine outputs the 3D model by carving it into Styrofoam, which is later painted.

Similarly, Tolle’s Levittown exposes the chicanery of a particular social housing scheme. However, this one was presented—several hundred years later—in America. The original Levittown also banked on nostalgia, but instead of referencing gilded empires, William Levitt used thousands of simple Cape-Cod style houses to intone the idyllic, hard-working colonial homesteads that were originally erected and refined on Eastham, Wellfleet, and Truro, Massachusetts. The aura around them not only evinces a pioneering work ethic, but the bucolic — the idea of a house, nestled in the countryside with fresh air, friendly wild life, and nuclear families frolicking in the sun.

The image to the left shows an aerial photograph of Levittown, NY, 1949. The image to the right shows the traditional Cape-Cod style Levittown house (circa 1950).

However, the Levittown that Tolle points to in his sculptural series is one that was full of collapsed dreams (Tolle’s deflated house skins nod to this), bigotry, and suburban sprawl. Launched in 1947, over a thousand homes were sold in the first three hours. Only white families, predominantly WW II veterans, could purchase these compact dreams. Moreover, the engineering behind them was informed by military expertise, i.e. Levitt had served in the Navy’s service construction battalions, perfecting the mass-produced structures that were uniform and used interchangeable parts as their trademark. To boot, the particular group of houses that Tolle investigates in Levittown were built on acres and acres of ravaged Long Island potato fields—hearkening back to his earlier monumental work, the Irish Hunger Memorial (2002). Long Island’s blight was not nearly as devastating as the Irish Potato Famine, but had similar economic and political consequences. He addresses the displacement of Long Island potato farmers specifically in Phytophthora Infestans in both title and visual cue—the former, refers directly to the amoeba protozoa that caused the potato disease, while the latter is illustrated by one of the Levittown house models draped over an overturned wheelbarrow of potatoes.

Irish Hunger Memorial (2002)

Phytophora Investments, (2009), Wheelbarrow, plastic potatoes, platinum silicon rubber, 55 x 42 x 44in. (139.7 x 106.7 x 111.8cm)

Each of the eleven Levittown sculptures snipes at disturbing aspects of the initial housing experiment: conformity (TrimCycle, Vanitas Vanitatum, Father Knows Best, Mobile), anti-semitism —despite the fact that Levitt was Jewish—(Jerusalem Avenue), the pervasiveness of teenage drug abuse (Go Ask Alice), fraternal authority (Loyal Order), and the hypocrisy of making these homes, like the flag, a badge of courage for often wounded and disabled war veterans (Out of Service, Old Glory).  A work in the Rennie Collection, Covenant, directly addresses the structural racism of the Levittown project. It depicts a brown house cloaking an outdated porcelain drinking fountain whose water line extends from a gleaming stainless steel chilled drinking fountain—a depiction of segregated, unequal public facilities for African and White Americans, respectively. While Levitt argued that his major funder, the Federal Housing Authority, mandated this “covenant,” he willingly included the same precept in his leases, barring those who were not “member(s) of the Caucasian race.”


The power of Tolle’s exhibition Bent is the rich, complex histories and research that inform each project and the impeccable attention to detail that Tolle Studio (which includes the gifted designer, Brian Clyne) gives to each sculpture, i.e. the goal for Eureka was not just to deliver a representation of flowing water or paint a trompe l’oeil, but to enact a point by point simulation of wave behavior within the material of brick. Likewise, in the initial process of making Levittown, Tolle traveled to the Town of Hempstead, Long Island in order to study the mass-produced houses —actually knocking on doors and asking homeowners if he could measure their doorknockers, windows and chimneys. By mimicking the cookie-cutter uniformity of Levittown with the highest of production values, so that the colors and forms almost radiate “happiness”—Tolle’s work shows the dramatic failure such American dreams suffered in their attempts to cloak, indeed repress the violence, poverty, and xenophobia that lurked at the heart of ideas about property, public space, and familial well being. By theorizing the notion of façade at all levels — stretching it, warping it, bending it, crumpling it, invading it, laying it on its back—Tolle creates, like Warhol, a new depth to surface. He also jumps across history, as well as different cultures in this exhibition —forcing viewers to think both diachronically (within the sequential and cyclical time of history), as well as synchronically or “all at once” at the structures of architecture, community, and commerce.

Melissa Ragona is an Associate Professor of Critical Theory and Art History in the School of Art at Carnegie Mellon University as well as an independent curator and critic. Her book, Readymade Sound: Andy Warhol’s Recording Aesthetics, is forthcoming from University of California Press. Her essays and reviews have appeared in October,Frieze, Art Papers and numerous edited collections. She has also published in monographs on the work of artists, Heike Mutter, Ulrich Genth, Christian Jankowski, Carolee Schneemann, Paul Sharits, and Antoine Catala. Ragona has curated exhibitions and served as a curatorial consultant at various venues throughout the US, including the Mattress Factory Contemporary Art Museum (Pittsburgh), the Miller Gallery (Pittsburgh), PPOW Gallery (New York), as well as the Museum of Modern Art (New York). She has lectured on experimental film, sound, performance and installation at Yale University, Princeton University, Tate Modern in London, the Museum of Modern Art (MoMA) in New York, Freie Universität Berlinas well as The Academy of Fine Arts (KUVA) in Finland, and other venues both nationally and internationally. 



C24 Gallery proudly presents Mindscapes, a solo exhibition of new paintings and works on paper by New Orleans based artist Regina Scully.  Mindscapes will be on view November 2 – December 23, 2017 with an Opening Reception on Thursday, November 2 from 6pm- 8pm.

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ACAW Thinking Projects Pop Ups, Curated by ACAW Director Leeza Ahmady

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Reception at C24 Gallery: October 12, 6-8pm

Nadiah Bamadhaj (Jogjiakarta), Irfan Önürmen (Istanbul), and Sumakshi Singh (Delhi)

Three highly accomplished artists from three different regions of Asia create new works, chronicling long-term projects that weave significant inquires about the obscure cultural, socio-psychological and sacred vernaculars of their respective localities in their expansive compositions of drawing, painting, sculpture and multimedia installation. Each of their projects on view presents compelling conceptual dialogues about humanity’s relationship with nature, the built environment, place, and identity.

Bamadhaj’s work focuses on the social intricacies of Indonesian society using myth, architecture, and dwelling to articulate her observations. Singh uses the history and physicality of materials as springboards for spatial interventions and philosophical inquiry, while Önürmen’s work shares similar tactics as the other two artists in revealing the relationships and discrepancies between personal and public experience as seen through the lens of contemporary media.

Curated by ACAW director Leeza Ahmady as part of Asia Contemporary Art Week (ACAW) 2017 signature program: THINKING PROJECTS— pop-up exhibition series presenting research-based on-going artistic endeavors by 9 noted artists from China, Indonesia, Turkey, India, and the United States. The series showcases the vibrancy of artistic activity inside of Asia while building deeper bonds between ACAW’s Asia and New York based Consortium Partner organizations and galleries.

Co-Presented in collaboration with Richard Koh Fine Art (Kuala Lumpur), Exhibit320 (New Delhi) and C24 Gallery.

About the artists

Nadiah Bamadhaj was initially trained as a sculptor at the University of Canterbury in New Zealand but now produces drawings, sculptures, installations and digital images. Her artwork continues to focus on the social intricacies of Yogyakarta society, using myth, architecture, and dwelling to articulate her observations. She was awarded the Nippon Foundation’s Asian Public Intellectual Fellowship in 2002 and elected to spend her fellowship period in Yogyakarta, Indonesia, where she currently lives. Her solo exhibitions have been presented at Richard Koh Fine Art, Singapore in 2014 and 2012, and her works have been shown at the Art Central Hong Kong (2016, 2015), Bank Negara Museum and Gallery (2015), Paris Asian Art Fair (2015), Art Stage Singapore (2015), Art Taipei (2014) Saatchi Gallery, London (2014), Singapore Art Museum (2014), among other venues.

İrfan Önürmen graduated from the Istanbul Fine Arts Academy (now known as Mimar Sinan Fine Arts University), Department of Painting, in 1987. His work reveals the relationships and discrepancies between personal and public experience as seen through the lens of contemporary media. Önürmen addresses the impact of mass media on human experience and its visual representation through collage, painting, and sculpture. His recent solo shows were exhibited at C24 Gallery, New York (2016), Katara Art Center in Doha, Qatar (2012), Pi Artworks Galatasaray, Istanbul (2011). Önürmen’s work has been exhibited at several international art fairs including Volta NY (2017), PULSE New York (2013), Art Dubai (2012), and the Armory Show (2012).  

Sumakshi Singh’s work often uses the history and physicality of spaces as a springboard, involving interventions that she finds or creates in the walls, floors and ceilings (often in sterile seeming urban environments). These subtle interventions occasionally house microcosmic activity in the form of synthetic, miniature structures of painted polymer clay along with moss, fungi, plants and other organic materials. Her interactive installations, paintings, drawings and sculptures have been presented in solo and curated group exhibitions in India, China, USA, Canada, France, Italy and Switzerland. Recent venues include Saatchi Gallery, London, UK (2016), Kochi Biennale, Kochi (2014) Museum of Contemporary Art, Lyon (2013), and UCCA Beijing (2012). She was awarded a Zegna Grant in 2009, an Illinois Arts Council award in 2007, and Richard H. Driehaus Foundation Award in 2005.

About ACAW

The 12th edition of Asia Contemporary Art Week (October 5 - 26) kicks off with over 30 cutting-edge exhibitions, receptions, performances, discussions & festivities at leading Consortium Partner museums and galleries citywide.  In addition to ACAW’s annual signature art forum for arts professionals FIELD MEETING (October 14 &15 hosted at Asia Society Museum & SVA Theatre) ACAW 2017 introduces THINKING PROJECTS Pop-Up exhibitions at select venues.  ACAW is a curatorial and educational platform fiscally sponsored by New York Foundation for the Arts (NYFA).

Complete Schedule Agenda and Details at ACAW.INFO




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C24 Gallery in partnership with The New York Foundation for the Arts presents Facial Profiling, a multimedia exhibition curated by David C. Terry, director and curator of Grants and Exhibitions at NYFA. Facial Profiling investigates the concepts of the observed self with over 50 new works by seven NYSCA/NYFA Artist Fellows: Samira Abbassy, Kwesi Abbensetts, Geoffrey Chadsey, Sean Fader, Michael Ferris, Jr., Kymia Nawabi, and Oliver Wasow.  Facial Profiling will be on view July 20 - September 30, 2017 with an opening reception on Thursday July 20 from 6:30pm - 8:30pm at C24 Gallery.

Unified through the explorations of the perceived and projected self, the participating artists examine the notions and visual representation of identity as formed and influenced by place, culture, gender, and conformity. The resulting artworks ask the viewer to question how we interpret portraiture.

Referential to symbols and icons of ancient civilizations, juxtaposed to effigies of contemporary society, the works of Samira Abbassy, Michael Ferris Jr. and Kymia Nawabi uniquely address representation and cultural identity.  Each artist looks to cultural heritage to investigate how the relationship to traditions and collective experiences form cultural identity.                                                                                                                                           

 Kwesi Abbensetts and Sean Fader's photographs share an exploration in the conscious presentation of persona. Technology and social media are dominant tools in contemporary society that allow people to control or change their character, or identity as presented to or perceived by others. These digital tools act as a mask to reality.

Oliver Wasow and Geoffrey Chadsey's imaginative portraits are influenced by imagery from the public collective, reworked and reimagined. Wasow's portraits of contemporary political figures project a conceptualized representation, imprinted by opinion, of the interior world of powerful figures, illustrated by the atmosphere of the portrait. Chadesy's drawings are collected from random social websites. The figures are transformed by materialized projections of fantasy into a merging of identities.

C24 Gallery: C24 Gallery: C24 Gallery was established in New York in 2011, with a commitment to showcasing ground-breaking contemporary art. The gallery provides a platform for artists who have achieved critical acclaim in diverse locales. C24 Gallery represents artists working in all formats and media and remains dedicated to a geographically diverse program.

NYFA: The New York Foundation for the Arts was founded in 1971 to empower artists at critical stages in their creative lives. Each year we award $650,000 in cash grants to individual artists in all artistic disciplines. Our fiscal sponsorship program is one of the oldest and most reputable in the country and helps artists and organizations raise and manage an average of $4 million annually. Our Learning programs provide thousands of artists with professional development training and support, and our website,, received over 1.2 million visitors last year and has information about more than 12,000 opportunities and resources available to artists in all disciplines.




C24 Gallery is pleased to present Lorem Ipsum, an exhibition of new paintings by Canadian artist Dil Hildebrand. This will be Dil Hildebrand’s first solo exhibition in New York. Lorem Ipsum will showcase paintings and collage that highlight the artist's distinctive working process in which he examines space and surface. The exhibition will be on view May 2 - June 30, 2017 with an Opening Reception on Tuesday, May 2 from 6 - 8pm. 

Dil Hildebrand's new body of work focuses on spatial concepts of design, the construction of image, and the mechanics of representation in art. His work is informed and influenced by a diversity of references and methods, including modernist strategies of fragmentation and re-composition, pictorial tropes of Western art and theatre, and post – modernist architecture. Layered panels follow a consistent color palette throughout the work, playing with distortion, and depth of field. In Lorem Ipsum, Hildebrand’s paintings deliberately move away from the austerity of the Cartesian aesthetic to create broader, stylistic movement in space, transcending two-dimensionality and blurring the lines between spatial representation and abstraction.  

Drawing from experience in scenic painting for theatre, Hildebrand employs the techniques of illusion used in set design. In Lorem Ipsum, his highly stylized brush strokes mixed with collage and layering of acrylic panels, produce the experience of post-modern architectural form.  Through the use of materials such as nylon flocking, which is a material commonly found in wallpaper, sand, resin and acrylic paint, the highly physical surfaces create a sense of deep pictorial space. The resulting images frame the body of the viewer in life-sized patterns that imitate the grandeur of structural design. 

Frameworks and passageways are important motifs to Hildebrand’s work. Windows are leitmotifs of architectural patterning, ordering the way we think and move through the world; they represent the intersections of movement between states of being. Charged with neurosis and rich with history, the architectural image acts as both a map and a record of physical and psychological experience.  In this way, the actual frame of Hildebrand’s paintings act as a window or portal. As if looking through a doorway, the eye rises and falls traveling through the bold shapes and colors of the panels. The result is a transcendent experience that both architectonic spaces and Hildebrand's paintings share: a compulsory recognition of the present.

Dil Hildebrand’s work has been shown internationally in such venues as The National Art Museum of China, Beijing (2010); the National Gallery of Canada, Ottawa (2012); Herron Galleries at University of Indiana, Indianapolis (2013); Choi & Lager Gallery, Cologne (2013); Union Gallery, London UK (2012&13); University of Manitoba School of Art. Gallery, Winnipeg (2013); YYZ, Toronto (2011); Galerie de l’UQAM, Montreal (2013); Musée d’art contemporain de Montréal (2014); AUT University Gallery, Auckland NZ (2007); and Museum of Contemporary Canadian Art in Toronto (2006).

Hildebrand is an MFA graduate of Concordia University, Montreal and has been awarded a number of distinguished grants and awards including the International Residency at Acme Studios, London UK (2013); the Canada Council for the Arts (2010); the Banff Centre Thematic Residency (2009); Conseil des arts et des lettres du Québec (2009) and was winner of the RBC Canadian Painting Competition (2006).

Major public institutions throughout Canada, including the Montreal Museum of Fine Arts, Musée d’art contemporain De Montréal, the National Gallery of Canada and the Art Bank of the Canada Council, have collected Hildbrand’s work. He will present new work at Bonavista Biennale 2017, in Newfoundland in August, 2017.


C24 Gallery proudly presents Through the Frame, a new series of oil on canvas works by Los Angeles based artist Christian Vincent. Through the Frame will be on exhibition March 3 – April 26, 2017 with an Opening Reception on Thursday, March 2 from 6pm- 8pm.

In this brand new collection of dreamlike paintings, Christian Vincent explores and illuminates social behavior, conformity and isolation in the post-industrial world. Vincent’s distinctive use of perspective and color coupled with the device of defining and framing space with doorways, windows, and mirrors draw focus to the public and personal conflicts and complications of contemporary life.

The independent fictions Vincent portrays in Through the Frame explore existence and nature, and the relationships between the artist’s anonymous characters and the landscapes they inhabit. Within each scene is a metaphorically charged scenario, a miniature drama, which Vincent has become so famous for creating. Vincent’s poetic perspectives on the social and psychological behaviors that are fundamental to the American experience, cast the viewer in the twin roles of observer and voyeur, leaving them to question the nature of desire and individuality. Humanist themes present questions that resonate within all of us.

Vincent’s visual vocabulary sharpens the post-industrial American complex, and directs our attention to his concerns without relying on shock or cynicism. In Blind Spot, we see a large group, dressed exactly the same and painting the same image. The scene is taken off canvas and we are left to question how large the room and the group actually is. Are they learning to paint in the same style, or is it intentional mass production? Patterns in nature that mimic familiar human shapes are seen through multiple tableaus: Ocean waves mimic the faces of hurried people (Untitled, and Dissolve), and wallpaper evokes the ebb and flow of liquid currents, or crowds (Reflex). Within these patterns, we recognize something familiar. Vincent’s deft brush isolates us from others who linger just beyond the frames, creating both a sense of disconnection and a longing for fulfillment.

Art In America’s Gerrit Henry wrote:  “The artist Vincent most closely resembles is not a painter at all, but…novelist Sinclair Lewis. Like Lewis, with his knowing savaging of all things American, Vincent is at bottom a social commentator…[his] deep and perplexed love of his country is worked out in a melodrama of purely native characters and situations.”

Christian Vincent, born in 1966, lives and works in Los Angeles, California. He studied at the Art Center College of Design in Pasadena and his work has been exhibited extensively in the United States, including at the Kemper Museum of Contemporary Art Kansas City, MO; Naples Art Museum, Naples, FL; Susquehanna Art Museum, Harrisburg, PA; Frye Art Museum, Seattle, WA; and Arnot Art Museum, Elmira, NY. Vincent’s work is included in several prominent private collections internationally.

Through the Frame is Christian Vincent’s first solo exhibition at C24 Gallery.

For further information and interview requests:     
Meghan Schaetzle
t: +1 646 416 6300


VUELA VUELA is an all-immersive installation experience that explores the four elements of nature by relating each one to creatures infused with mind and spirit. The exhibition space draws visitors into an alternative world as they peek into the round glass portals on the gallery's facade.  The performance begins inside as they encounter each element through sound and vision while traveling through a phantasmagoric and enchanted universe. Hand blown glass bubbles hold microcosms of beauty and complexity that capture entire worlds and alternate realities in an instance of time. Videoportals open a passage into dimensions where poetic statements materialize into human form creating words and letters that dance in space.  Ballerinas take on the form of small creatures in a multicolored game of perspective and scale that ennoble the existence of tiny beings.  Vibrating trees taken from nature ooze Videobubbles akin to liquid sap with images from the rainforest, the healer, his medicine and his plants, infusing the endangered forest with a second life in this digital world of magic.  The spirit of the trees speaks, chanting the hummingbird song that symbolizes the connection between Earth and the Universe for the Ashanika healers from Peru - the song VUELA VUELA that has given the show its title.  Dancers in costumes mimic the metamorphosis of the butterfly and the somatic sonar-type communication between individuals in ant colonies, flocks of birds and bee hives.

Loher's Videosculptures open windows into kaleidoscopic worlds of recombined images and visions that mix different realities. Visual collages are generated using footage taken from the artist’s travels in the Peruvian Amazon in combination with elaborate choreographies filmed from a bird’s eye view in her green screen studio in New York. The resulting images originate from her ongoing experiments in Cymatics - the study of visible sound based on waves of geometric pattern - undertaken in her Videolaboratory. Physical space is transformed into an ethereal world inhabited by the spirits of nature. Chorals, bees and hummingbirds emanate from floating Rainbowmakers that rotate in space and reflect onto the surrounding walls. It is a dimension where life and impermanence intertwine. It is a liminal zone where extinct creatures and endangered species haunt the spectator through the artifice of technology: that very modern form of magic that is able to recreate alternate worlds and imbue them with life.

In this exhibition, Loher takes us on a new journey into the art of molding nature through the artifice of technology and performance.  Loher´s artifacts generate a virtually real world where human action becomes a creative act rather than a destructive force. The mutual relation between technology, art and magic becomes natural in this virtual jungle where the ancestral healer still dwells.

Art as artifice, art as practice, art as experience.


Hypochondriac features works that host parralleled symmetrical and asymmetrical ideas. In some cases, we also observe two versions of the same work, representing opposite poles. In Bullet, layered paper is situated in two separate, physical pieces to form a single relief sculpture. The right piece harbors precise straight lines which turn chaotically curved as they transition to the left piece. The work encompasses frenzy and serenity all at once - two moments of the same experience.

Placing the challenges of form and content at the center of his production, Seçkin Pirim describes Hypochondriac as "an exhibition that overlaps with my life, it lays my life bare. Each work has a story, and a corresponding title. I healed each of those conditions and deteriorations by working in a free and spontaneous manner. I had to genuinely force myself to venture beyond my own borders.”

Combined methods of obsessively symmetrical and precise optical effects with the exact opposite: a spontaneous and un-calculated style of production were used to create this new series of work. In Hypochondriac, the artist explores his personal struggle with hypochondria, the constant worry of having a serious illness, through his art practice. Pirim questions whether or not the notion of ‘the distorted’ or ‘immaculate’ can be described as diseased. Ultimately, Pirim accepts this duality as his own, without recourse or internal criticism. With this artistic process the artist examines himself and his art through a completely unfiltered lens.



Using obsolete technologies like 35mm film negatives, VHS cassettes, X-ray prints, and floppy discs, Nick Gentry’s work comments on the rapidity and scope of contemporary technological shifts. These materials, sourced directly from individuals all over the world, come together—in one form—to suggest a compound of shared experiences. Paul Laster writes of Gentry’s portraits, “Creating a new form of portraiture that’s influenced by the development of the technology, identity and cyber culture in contemporary society, Gentry doesn’t consider the faces he forms to be the subject matter. His avatar’s bodies become vehicles for information from the past.”  His style is delicate yet bold, led primarily by the intrinsic qualities of the materials he chooses to work with, which creates a stunning and unique aesthetic.

By repurposing anachronistic technology, Gentry’s work raises questions regarding consumerism, cyber culture, and identity, while simultaneously highlighting our relationships with technologies of both the past and the future. The resulting portraits explore the line where reality meets illusion and memory. The intentional use of the word “psychic” in the exhibit’s title alludes to the intangible evolution of our external perceptions, which, as Gentry states, “relates to the soul or the mind--something spiritual that is not fully understood by science.”

Nick Gentry (1980) is a British artist living and working in London.  A graduate of London Art College Central St. Martins, notable exhibition venues include The Barbican, C24 Gallery in New York, Robert Fontaine Gallery in Miami and appearances at Bonham’s Urban Art Auctions in London. International press for Gentry has included The Guardian, BBC, Widewalls, The Daily TelegraphThe MirrorThe Huffington Post, La Repubblica, This is Colossal, Juxtapoz, Shortlist, Whitewall, Wired, and the Wooster Collective.


A 452 page retrospective of Irfan Onurmen, covering his artwork from 1985 to the present. Published by C24 Gallery.

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Catalogue published in conjunction with installation artist Skylar Fein’s solo exhibition at C24 Gallery in Chelsea. Includes works by the artist and an essay by Dan Cameron. 

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An illustrated publication by C24 Gallery to commemorate Ali Kazma’s first solo show in New York.  The book consists of interviews featuring contemporary video artist Ali Kazma with IN IT curator Paul Ardenne  and Barbara Polla. 

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Echoes of Voices in the High Towers is the first comprehensive publication of Robert Montgomery’s contemporary art. Referencing the scale of his public interventions, all of his conceptual images are presented in full color in a momentous A2 format, folding out to A1. 

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