Michael Caines
New York book launch for
Revelations and Dog

Reception @ Mark Batty Publisher, 68 Jay St. Suite 210, Brooklyn
Thursday, March 3rd, 5-9pm

Link: http://markbattypublisher.com/books/revelations-and-dog/

Mark Batty Publisher's second installment of the Revelations series pairs Michael Caines with the Book of Revelation. Stunningly imagined and masterfully executed artwork populates this graphic story of end times with cute dogs, lions with snake tongues and beasts morphed from contemporary political figures like Sarah Palin, Rush Limbaugh, and Kim Jong Il.

Revelations and Dog
Page Count: 96 page
Size: 7.2 x 9.5 inches
Format: Flexibound
Publication Date: March 2011
Mark Batty Publisher
Distributed by Random house in Canada & the US
Distributed by Thames and Hudson outside Canada & the US

UPCOMING SHOW AT MULHERIN POLLARD PROJECTS

Jared Clark, "Orbital"

Opens Wednesday, March 2, 2011 6-8PM

(with a re-opening Thursday, March 3rd, 7-9pm)

at Mulherin Pollard Projects , 317 10th Avenue between 28th and 29th, NYC
exhibition runs through Saturday, March 26

Jared Clark’s varied and idiosyncratic art practice encompasses sculpture, drawing, collage and video, playfully transgressing the boundaries between these modes of production. While the act of making is performed explicitly in Clark’s time-based work, there is a lingering suggestion of performance threaded throughout his oeuvre.




Clark’s ‘bilds’ are constructed from materials that are both familiar and odd - cutting boards, luggage, soap, craft paintings, ceramic figurines, map pins, painted rocks, Styrofoam, fruit, and glass - and appear to be simultaneously carefully constructed, balanced and casual. Whether fixed in place with adhesives, or stacked between trees, there is a sense that these structures are provisional, a pause in an ongoing, mutating, stream of creation. Clark approaches history as a material, and much like the objects he picks up and manipulates, it is transformed through his deft touch. His elegant mash-up of minimalism, action painting and pop art shows a striking grasp of color and form, and his delight in materiality is conveyed equally through his use of natural substances, manufactured objects, the old and the new.




Clark’s sculptures and wall pieces are like small islands, gatherings of ceramic figurines and other thrift-store objects huddled together. The poured resin joining them serves as both base and picture plane, confounding our expectations of front and back, or top and bottom. Through his work, Clark pokes at our assumptions, encouraging us to reconsider both art history and the everyday. His actions, and the objects that he offers, are a liberating force that are sure to delight as he invites us to consider how the world can be remade.

228 West Broad Street, Richmond, Virginia 23220

804.644.0100 info@adagallery.com www.adagallery.com

Presents

ADA GALLERY is pleased to announce that we will be exhibiting a solo booth of work by George Kuchar at VOLTA NY, March 3-6, 2011. We will be featuring never before seen 3D images, photographs, video stills, drawings and paintings by the legendary filmmaker.

The Armory Show & VOLTA, in conjunction with ARTPROJX Cinema, have included George Kuchar in this year's ARTPROJX Cinema 2011 taking place at the SVA Theater.

2 screening events
Legendary Potboilers and Melodramas (16mm films!!), Friday, March 4, 6:40 - 7:40 PM
New Travel-ettes and Thrills Saturday, March 5, 5:00 - 6:00 PM
SVA, 333 West 23rd St between 8th and 9th Avenues, NYC

Another don't miss...

The Armory Show: Open Forum 2011 presents

"In Conversation: Ed Halter and George Kuchar"
at VOLTA NY, Club 7W Talks Lounge, 7th Floor,
Sunday March 6, 2011 2:00 - 3:00 PM

Artist George Kuchar's remarkable oeuvre of over 200 films and videos holds a unique place in 20th century cinema. Theorist Gene Youngblood named him one of the great artists in the history of the moving image, and he is admired by many notable filmmakers including Todd Solondz, Gus Van Sant, David Lynch, and Brian De Palma. John Waters considers Kuchar and his brother Mike to be his biggest influence, "more than Kenneth Anger or The Wizard of Oz".

Kuchar's "Hold Me While I'm Naked", ranked one of 100 Best Films of the 20th Century by the Village Voice, continues to delight with its mixture of good-natured vulgarity and tawdry humor. His equally impressive graphic work reflects his involvement in the underground comic scene of the 1970's, where he rubbed shoulders with Art Spiegelman, Bill Griffith and Robert Crumb, publishing in the infamousunderground comic "Arcade".

George Kuchar's films and videos have been recognized through countless awards and grants, including The National Endowment for the Arts, The Eureka Fellowship Program, and a Ford Foundation Fellowship from United States Artists. He is the recipient of the prestigious Maya Deren Award for Independent Film and Video Artists from the American Film Institute, and the Los Angeles Film Critics Award for Independent/Experimental Film and Video. His most recent, major work, "Secrets of the Shadow World" received full funding from the Rockefeller Foundation. Kuchar's work has screened around the globe in cinemas, festivals, and major museums, including The Museum of Modern Art in New York and the Pompidou Center in Paris.

George Kuchar is represented by ADA GALLERY & Mulherin Pollard Projects.

Winnie Truong at Volta New York

March 3rd-6th

We'll be at BOOTH # A6.

VOLTA NEW YORK

BOOTH #A6

7 West 34th Street, 11th Floor

(between 5th and 6th Avenue)

New York, New York, 10001

HOURS are:

THURSDAY, 2 -7pm

FRIDAY- SUNDAY, 11am- 7pm

Comely Welcome Homely, pencil crayon on paper, 72 x 48 inches Winnie Truong's larger-than-life portraits feature a drawn cast of characters displayed in all their hairy, heroic, glassy-eyed, gap-toothed glory. Executed with pencil crayon on paper, this work generates a dialogue on the beautiful and the beastly amidst contemporary concerns of the continued relevance of figurative art and portraiture, hyperrealist sculpture, and the impact of hair ornamentation. The inspiration for the portraits is taken from magazine images. Reinventing the figure from a position of ambivalence and imagination, Truong adapts the sharp contrasts and vivid colouring of the printed source. By planting her characters onto the page stripped of their mise en scène details, exaggerated hair replaces the narrative authority of pose, dress and environment. Ruff, pencil crayon on paper, 72 x 48 inches At once anthropomorphic, expressive, and self-ornamenting, hair becomes a significant extension of character. Manes are overgrown in unexpected places, causing its wiry, coarse unkemptness, to elicit a sense of the grotesque. On the other hand when the hair waves, curls and cascades, not unlike a powdered wig, it evokes expressions of elegance and majesty. Truong exploits the non-verbal communicative power of hair, socio-historically loaded as it is with notions of identity, gender and social status. Her monumental exaggeration of both the portrait and hair produces images that are mostly human while evoking animalistic associations. Cleft Wing, pencil crayon on paper, 48 x 36 inches This work has developed itself in stages, each new portrait informs its predecessor, contributing to the discourse of the whole. Whether contour or cross hatch, the incremental layering of line produces evidence of time and labour. The marks are visibly meticulous and repetitive gestures. In this sense, hair is not just an extension of the body within Truong's work; its physical relationship with drawing is also important. To depict hair in her drawings is to treat every strand as an act of insertion. The repetitions of lines define the dimensionality of the drawing. Hung in conversation with another, Truong's monumental drawings are characterized by their imposing presence. Yet, however decorated their visage or nuanced in their expression, they are ambiguous characters. They act within a private round table discussion, a tête-à-tête-à-tête-à-tête of monumental heads in conversation with one another, collaborating on their own ideas of the beautiful and the beastly. A Vision of Clarity, pencil crayon on paper, 14 x 11 inches Winnie Truong lives and works in Toronto, and is a recent graduate of the Ontario College of Art & Design's drawing and painting program. Producing large-scale, labour-intensive drawings and using only pencil crayon and chalk pastel on paper, her portraits exploit the drawn line to manipulate hair, flesh and blemish, exploring notions of beauty and discomfort. Winnie is the recipient of numerous awards, including this year's W.O. Forsythe award and the 401 Richmond Career Launcher prize.

Etchings by Oscar de Las Flores

In addition to the new series of work on display in the gallery by Oscar de Las Flores, several prints are also available. These etchings and silkscreen prints are as dense and masterful as the drawings.

subcutaneous encounters: Opening Night!

Oscar de Las Flores' show opened last Thursday with great success! Oscar provided artistic insight and inspiration with gallery visitors as numerous people piled in to see his unbelievable work. Below are some photos from the night's party! Make it a point to visit the gallery before the end of the month, the images don't do his work justice!

Oscar de Las Flores: subcutaneous encounters

Oscar de Las Flores: subcutaneous encounters

February 3-26th, 2011

Bigorexikos, Anorexiko y Bulimikos

Ink on Japanese kozo paper, framed, 15” x 20”, 2010

Aesthetes on Springbreak

Ink on Japanese kozo paper, framed, 15” x 20”, 2010

El Gran Tren de la Muerte

Conte on paper, 92” x 87”, 2010

The Critical Artist Begging to Make a Sale

Ink on Japanese kozo paper, framed, 15” x 20”, 2010

Los Ultimos Dias de Montezuma en Mexico Tenochtitlan

oil on canvas, 55” x 85”, 2010

Working mainly with traditional pen and ink on paper, Flores generates masterful figurative works, elaborately layered, that incorporate grotesque imagery with the beauty of sinuous lines. His drawings depict figures, both real and imagined, that tell the story of an unending battle between society's powerless and powerful. With a dark sense of humor that is Flores' own, his work also shows the influence of generations of artists, integrating the grace and detail of early masters with the imagination of the Surrealists.