Saturday, August 22, 2015

Nicholas Knight: Text and Image

Three (Dis)Entangled Propositions, 2014.  Rubber stamps.

Blaise Pascal, 2013.  Iron-on transfers on canvas.

Corrupt File with Metadata, 2013.  Iron-on transfers on muslin.


Everything That Is Incomprehensible, 2014.  Iron-on transfers on thrift-store t-shirt.


Hello World (Who Let The Nerds Out), 2014.  Mixed media on muslin.


Hello World Apples, 2014.  Thirty-two photographs on muslin.

Metaphysical Doctrine (Twice), 2013.  Oil on canvas.

Metaphysical Doctrine (Twice), 2013.  Graphite on wall.


Permission Slip. 2010.  Printed tear-off pad.

Place and Time, 2014.  Billboard

Nicholas Knight lives and works in New York.  For more information, visit

Friday, August 21, 2015

Steed Taylor: Road Tattoos and Community

Daughters and Sons Knot
Rusa Rugosa
Road tattoos are commemorative, site-specific, community- based, tattoo-inspired, public artworks on roads and are a key part of my studio practice, sort of the soul of it.  I have made about 45 and recently expanding the concept into 3D as seen in my first image. I make drawing and painting based on them. Schematic diagrams used to layout the designs on the road become artworks as well as fodder for mixed media works and prints.
Road tattoos are a result of my investigation into repurposing a common public space for art and a desire to bring socially engaging art to where people live. But what exactly are they? If roads are considered the skin of a community, then a road has a similar relationship to the public body as skin does to the private body. As people mark their skin as a means of commemoration, communication or ritual; then a road can be marked for the same reasons. Some of the most salient issues in public art are explores in this work - the private relationship to public space, strategies of aestheticization, moral unity and the inclusion of contemporary experience - framed within the cultural back drop of America car culture and our love of the road. I honor people and topics in needed additional consideration, remembrance, appreciation or awareness. I have honored soldiers killed in our recent wars, victims of domestic violence, community activists and many, many other people and topics. 



Knot for Joshua Tree



Orange Community Knot
G.Family Knot

About-Steed Taylor
Born in Cumberland County, NC, I was educated the University of North Carolina, American University and Skowhegan.  My museum shows include the Bronx Museum, Mint Museum, San Bernardino County Museum, North Carolina Museum of Art, The University of the Arts in Philadelphia, Nasher Museum of Art and the Neuberger Museum of Art's Biennial of Public Art.  I have shown at commercial galleries in the NYC area quite a bit and in Miami with Ambrosino Gallery and in Rome with Il Ponte Contemporanea.  Recent commissions for my public art include the cities of Boston, MA, Chicago, IL, Washington, DC, Arlington, VA and New Orleans, LA as well as Riverside Park in New York City, Florida State University and Columbus College of Art & Design.  Recent lectures include the University of North Carolina at Charlotte and the University of New South Wales in Sydney, Australia.  My art has been discussed in publications as varied as Art In America to Playboy Magazine.  

Tuesday, August 18, 2015

Jaanika Peerna's Sensory Explorations: Light, Line, and the Body

Photo credit: Etienne Frossard

Photo credit: Etienne Frossard

Light Matters at Kentler International Drawing Space

For this exhibition, in which dense clusters of vertical lines predominate, a singular performative act, itself a wonder to behold, precedes each piece. This whole-body gesture, which is enacted repeatedly for each work, begins with a clearing: First the artist must undergo a kind of self-emptying, lest the discursive noise of the mind interfere. Above all, openness to the vicissitudes of the present is crucial. Thus prepared, Peerna gathers a fistful of pencils in both hands and stands before a large sheet of Mylar temporarily affixed to a hard surface. Then, extending her arms to their terminal length and pushing her pencil tips against the Mylar, she snaps her body down to the floor in one swift stroke. Essentially an act of freefall leavened by friction, the movement produces a bold graphic streak that cannot be attributed to the artist’s agency alone. Rather, it is the artist in intimate contact with both her materials and the force of gravity that is its source.

Photo credit (above 4 images): Thomas Wilson

Just as Peerna is both an active and passive agent in the creation of her work, so too is her signature material. Mylar’s chief characteristic is its translucency, but Peerna’s Mylar, being slightly frosted, is semi-opaque. Its sheets resemble diaphanous rectangles of cloudy ice, velvety white yet still penetrable by light. At once strong and flexible, capable of flight yet ever subject to the downward pull of gravity and above all exquisitely responsive to ambient conditions, artist and material alike are both vehicle and vessel.

—Taney Roniger is an artist and writer based in Brooklyn and the Catskills.

About the Artist
Jaanika Peerna is an Estonian-born artist living and working primarily in New York since 1998 as well as in Berlin and Tallinn. Her work encompasses drawing, video, installation and performance, often dealing with the theme of transitions in light, air, water and other natural phenomena. She is often involved in collaborative projects working with designers, dancers and musicians. She has exhibited her work extensively in the entire New York metropolitan area as well as in Berlin, Paris, Tallinn, Helsinki, Venice, Rome, Dubai, Sydney, and Moscow. Her work is in numerous private collections in the US and Europe and was recently acquired by Fonds National d’Art Contemporain, Paris. Her work is represented in the United States by ARC Fine Art in Connecticut, M Contemporary in Sydney, and Galerie Ulf Larsson in Cologne. For more on her work see her website at To watch video performances of Jaanika Peerna, see

—Jaanika Peerna

Monday, August 17, 2015

Susan Schwalb: Redefining Traditions

Metalpoint, Drawings and Painting, 2013

My drawings use the classical Renaissance technique of metalpoint in ways which challenge all the traditional concepts. Juxtaposing a wide variety of metals (silver, gold, brass, copper, platinum, pewter, bronze and aluminum) I obtain soft shifts in tone and color reminiscent of the luminous transparency of watercolor. Horizontal lines and tone evoke an atmosphere of serenity, and the shimmer of light on the surface, created by the metals, is quite unlike any of the usual effects of metalpoint.

Toccata #75, 2013, 14x14in
copper and aluminum wool pad on clay coated paper


Madrigal #47, 2014. 12x12in,
silverpoint, copper/aluminum/brass wool pads,
grey gesso on paper

I have been working within a square format almost exclusively since 1997. An even grid of narrow horizontal lines forms the basic structure of my drawings and paintings. But unlike the work of Agnes Martin, with whom I am often compared, this geometric regularity serves as a spatial context for irregular events on the surface.

 Tone and line are the most important features of these works. In my wood panels I began by carving thin lines into the surface after which I applied several layers of paint or gesso. Then, after lightly sanding the surface, I enriched the surface with bronze tones and metalpoint drawing. The works seem to vibrate as the eye moves around the painting.

Many of the drawings, particularly those entitled Madrigal, create a counterpoint between fine lines drawn with a stylus and broad swatches of bronze or copper tone. Those entitled Toccata have a stronger linear presence, and on occasion I have actually used fine pencil lines as a dark black contrast to the metalpoint.

There is considerable variety in these works. A ground of black gesso alters the tones and colors of the metals in the drawings entitled Aurora. A particular variant of the linear texture characterizes the three-dimensional drawings entitled Toccata or Intermezzo, where lines wrap around the edges of the panels. And finally, the panels and drawings entitled Polyphony feature multiple square units, often arranged in layers so that an illusion of depth, in sharp contrast to my other works, frequently seems to emerge.




Polyphony II, 2013, 24x24x2in
aluminum/gold/copperpoint, black gesso on panel

Polyphony II (additional view) 



    Polyphony XII, 2015, 16x16x1.75in,
    silver/gold.copperpoint, carmine gesso on panel

Intermezzo #17, 2015, 12x12in
silver/goldpoint, aluminum wool pads
graphite on terra skin paper

About the Artist
Susan Schwalb was born in New York City and studied at the High School of M&A, and at Carnegie-Mellon University. Her current work juxtaposes a wide variety of metals (silver, gold, brass, copper, platinum, pewter, bronze and aluminum) to obtain soft shifts in tone and color. Schwalb’s oeuvre ranges from drawings on paper to artist books and paintings on canvas or wood panels.; many of these panels are carefully beveled so that the imagery seems to float off the wall. Her work is represented in most of the major public collections, including the Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, the National Gallery, Washington DC, The British Museum, London, The Brooklyn Museum, NY, The Fogg Art Museum, Harvard University, Kupferstichkabinett - Staatliche Museen zu Berlin, Germany. She has had over 35 solo exhibitions and has exhibited nationally and internationally.

In 2015 the historical metalpoint exhibition entitled, “Drawing with Silver and Gold: From Leonardo to Jasper Johns”, will open at the National Gallery of Art, Wash. DC and then travel to The British Museum, London. Schwalb will be one of a very few living artists included in the show.

See more of Susan Schalb's work at

Tuesday, August 11, 2015

Matt Spahr and Valerie Molnar: Collaborative and Time Based Installation

Vibration Rate

Vibration Rate

Matt Spahr and Valerie Molnar, collaborative team since 2012, investigate the transfer of energy and the dynamic exchange within nature with color, form, and complex time based installation. Through plants, residual haunting, sculpture, and painting they experiment and debate on both real and romantic ideas of the inherent and potentially inherent attributes of naturally occurring phenomenon in our universe.

Above two images: Vibration Rate

Matt and Val’s most recent and ongoing project, Vibration Rate, is centered around four Ficus trees that they have given aspirational names of Billy Jean King, Steven James Anderson, Nee Moffitt, and AndrĂ© RenĂ© RoussimoffThe Ficus reside in an indoor environment that takes care of the plants’ both physical and metaphysical needs.
They start their care of the plants with water, light, food, and go beyond to bounce off of the fringe scientists of the 1970s with music, meditation, tesla plates and spirit walks.  Inside their home base the plants receive regulated spring water, light, humidity, a hand knitted simulated sunrise and sunset, curated music through their watering system, a tesla plate for healing vibrations, and mirrors with images of mature trees for inspiration.  As an extension, Matt and Val project what these potentially sentient beings might want or need in order to be happy.  The plants are taken out to see things like sunsets from mountain tops and moss gardens on boulder streams.  A system is currently being built to give the plants a voice. In order to tell if these measures are amounting to happiness or growth in the plants Matt and Val will track the four’s success though precise computerized monitoring. 
Vibration Rate

Friday, August 7, 2015

Chris Burnside: Transposing and Mapping

Installation at Alpan Gallery, 2007
Tape directly on the wall

My work consists primarily of cut/panel pieces in wood, installations, murals, works on paper and photography. The imagery alludes to architectural spaces, without literally depicting them, creating lines that simultaneously obscure and dissolve connections to the world while maintaining a link to physical realities of ornament, texture and most importantly a viewer’s changing position.
Around the city, layered accumulation of surfaces, paint, graffiti, scrapes, marks, and stains create vivid, unexpected formal relationships that reveal the history of their making and are an important source for my work. Transposing the process that formed these chance discoveries is a mapping activity within individual works as well as across the cut plywood panels, works on paper, and installations. Often, as in cartography, distortions, elaborations, and vandalism are coaxed into the work recording my dialogue inside the making.
Installation at Camel Art Space, 2009
Acrylic on Walls and Windows





Installation at Small Black Door, 2011
22 ga. wire

Installation for Storefronts Seattle, 2012
acrylic, strand board, fluorescent light, metal studs, wire mesh


Chris Burnside lives and works in Seattle. He has shown at the National Academy Museum, New York, Gross McCleaf Gallery, Philadelphia, Camel Art Space, Brooklyn and Nexus Foundation, Philadelphia. His has created site-specific installations in Brooklyn, Philadelphia and Seattle, most recently for Storefronts Seattle and the NEPO 5k Don't Run in Seattle.

Chris Burnside completed a BFA in painting at the University of Washington in 1996 and an MFA in painting from the University of Pennsylvania in 2001.

More at

Work on paper, 2011
acrylic and ink on paper, 12 x 9 inches

Work on paper, 2014
acrylic and ink on folded paper, 10 x 7 x 1/2 inches

2014, acrylic and ink on paper, 10 x 7 inches

2011, acrylic and ink on paper, 12 x 9 inches