SUSPENDED DISBELIEF — featured on artdaily.org

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Von Lintel Gallery is pleased to present Suspended Disbelief, a group exhibition featuring work by Marco Breuer, John Chiara, Yvonne Estrada, Dana Melamed, Antonio Murado, Mark Sheinkman, Joseph Stashkevetch, Allyson Strafella and Melanie Willhide.

Suspended Disbelief asks its audience to put its disbelief aside. Assembling works by nine contemporary artists, the exhibition challenges its viewers to accept a basic, though unlikely, premise about each piece in the show in order to fully engage in the work. Dana Melamed's wall piece uses unconventional materials to create a sprawling urban landscape that couldn't possibly exist in reality. Marco Breuer's one-of-a-kind photographs are made without a camera or negative, while Joseph Stashkevetch's detailed drawing is difficult to imagine as anything but a photograph. John Chiara and Antonio Murado offer their own unique take on landscape as Yvonne Estrada and Allyson Strafella's intricate, abstract drawings are created using tools not often associated with the medium. Mark Sheinkman makes paintings with graphite, further blurring the medium's boundaries with his subtractive, rather than additive, process. Melanie Willhide's photographs of 50s pinup girls which once read like straight photography are now digitally sliced, mirrored and repeated in a playful demonstration of photography's capacity for the inauthentic.

Dana Melamed is newly represented by Von Lintel Gallery. Von Lintel is thrilled to have her work on view in the gallery. 

MARCO BREUER | ArtDaily: Four artists who puncture, penetrate, scratch and even recreate the photographic image at Foley Gallery

NEW YORK, NY.- Foley Gallery announces its first exhibition of 2012. Inspired by artists who interrupt and otherwise compromise the integrity of the precious negative and paper used in photography, Penetration showcases several approaches that reveal the presence of the artist’s hand in their photographic work. The result is a concept of its own, represented by four artists who puncture, penetrate, scratch and even recreate the photographic image.

Danielle Durchslag looks back at her own ancestral history through photographs of family whose names and identities have been forgotten with the passing of time. With hundreds of pieces of cut paper, she recreates these portraits in a layered mosaic to acknowledge their disappearance and elevate the original photographs from anonymous objects to revered memorials of those whose actions and decisions ultimately affected her.

Joseph Heidecker marries vernacular photography with ornamental beads and sewing thread. In these theatrical and often humorous portraits, Heidecker constructs contemporary identities of anonymous subjects by masking parts of the original figure. His infused portraits ponder who we present ourselves to be and raise questions on just how our own identities are made and shaped in the age of multi-platform social media and invasive technology.

Marco Breuer's unique method of creating photographs without a camera is often completed by making abrasive scratches or scrapes on light sensitive paper. His approach produces dimensional, conceptual and abstract images that challenge the viewer’s basic assumptions about photographic image making. Photography has underlying principals by which its subject can be judged, but Breuer asks us to experience the nature and the capabilities of the paper itself.

The exhibition will remain on view until March 3, 2012. 

Read more @ ArtDaily

Driven to Abstraction | Art Critical Featured Review

Driven to Abstraction, A Group Show at Von Lintel Gallery

by Christina Kee

Catherine Howe, Night Painting (Phoenix), 2011. Oil and beeswax on linen, 40 x 40inches.

"This sampling of contemporary incarnations of abstract painting by eight artists, all of whom are women, evokes a wide range of painterly associations. Strikingly, however, almost all of the works forego the traditional (for abstraction) flat treatment of the picture plane in favor of the kinds of depth inherent to illusionistic space – implying, whether tacitly or overtly, an engagement with depiction.

In the warp-and-woof play of Canan Tolan’s work, for example, a plaid pattern is destabilized by contrasting surface yellows and recessive darks. Carrie Yamaoka’s resin-slick surface of even deeper blues and blacks is alternately inky, cosmic and oceanic in effect. Amy Ellingson and Lisa Corinne Davis employ diagrammatic sensitivity in their constructions of geometric forms. Dannielle Tegeder’s fresh take on Suprematist forms has them ascending towards the extended field of a secondary canvas while Rebecca Smith’s metal wall sculptures suggest forms slipping off the grid in an almost liquid gesture of melting and submersion.

The chaotic underpinnings of abstract process are visible in the wrestling-with-formlessness evident in both Andrea Belag’s big-stroke chromatic transitions and Catherine Howe’s deliciously sloppy tableau of ill-contained areas of color and bursts of materiality.

The exhibition remains on view through Friday, July 29.  There is a closing reception for the show as part of Chelsea Art Walk 2011 on Thursday, July 28, 5-8 PM."

Read original review @ artcritical

JOHN CHIARA & MARCO BREUER | SF Gate Review | Group Exhibition: Science of Sight: Alternative Photography

Exhibitions skirt mainstream via photo technology

Kenneth Baker, Chronicle Art Critic

"When the San Francisco Museum of Modern Art hosted a symposium last year titled "Is Photography Over?" I thought it a premature, if not gratuitous, provocation. But several current Bay Area exhibitions have me wondering.

The Haines Gallery's "Science of Sight: Alternative Photography" assembles work by 13 artists from three continents. Each participant deliberately deviates from the methods, tools and rationales conventional in the photographic mainstream.

RayKo Photo Center has in its gallery "No Mirrors: A Juried Show of Camera-less Photography," another sampling of work by people both local and international.

Marco Breuer, who also appears in "Science of Sight," has a solo show at the de Young Museum titled "Line of Sight" that sets photographic works among other light-sensitive objects and things drawn from the museum collections with associative connections to the camera and photographs.

Suddenly artists everywhere seem to be looking for things to do with photographic technology besides shooting pictures."

Read full review @ SF Gate

JOHN CHIARA | ArtSlant Review | Group Exhibition: Science of Sight: Alternative Photography

John Chiara, 15th at Noriega, 2011
Dye Destruction Process
Unique Photograph, 33 x 28 inches

Science of Sight: Alternative Photography

Group Exhibition

Haines Gallery

49 Geary St., Suite 540, San Francisco, CA 94108

June 9, 2011 - July 16, 2011

Otherworldly Production

by Kara Q. Smith

"Certainly science is central to the methodical processes witnessed in Science of Sight: Alternative Photography at Haines Gallery. This is a science of chemicals, of alchemy, of an Otherworld. Light reacts: transgressing the limits of minuscule holes, meeting new levels of exposure.

More than the fundamental techniques needed to produce a photographic image, Science of Sight seeks to expose something less literal:  the mental faculties of sight, a vision evocative of memories and dreams. And it is here, where past techniques capture a contemporary social ethos. Perhaps then, this Science is less a re-creation than it is a re-imagining: an anachronistic rebellion of sorts.

Begging for a soundtrack when one views them, John Chiara's work defies any existing presentation standard I know of with his jaggedly cut photographic prints, stained with uneven chemistry and black smudges. Nonetheless, his images float (from lack of matting) in their white frames as well as on the gallery wall to remind us of a sort of Whistler-esque nocturne that pastorally reminds me of dreams or memories. Emerging from his self-made large-scale camera that he hauls around on the back of his truck, his work embodies a special space in landscape imagery that is emotional and deep, shadowy and reminiscent. Once taken, there is no way to recreate the exact moment of capture."

Read full review @ ArtSlant

"Driven to Abstraction" | TimeOutNY Review

Andrea Belag
Shift, 2011
oil on linen
22 x 30 inches

"Eight contemporary women artists—mostly painters—offer differing approaches to a kind of abstraction that seems to make no distinction between geometry and gesture, or for that matter, between recognizable imagery and pure form. Works by Andrea Belag, Dannielle Tegeder and Carrie Yamaoka, among others, are included."

TimeOutNY

DRIVEN TO ABSTRACTION | GROUP SHOW: Opening Photos S-Z

REBECCA SMITH:

DANNIELLE TEGEDER:

CANAN TOLON:

CARRIE YAMAOKA:

DRIVEN TO ABSTRACTION | GROUP SHOW: Opening Photos A-H

ANDREA BELAG:

LISA CORINNE DAVIS:

AMY ELLINGSON:

CATHERINE HOWE:

DRIVEN TO ABSTRACTION | GROUP SHOW: Installation Shots

Driven to Abstraction | NY Sun Review & Art Pick of the Day

Contemporary Abstract Painting at Von Lintel

Catherine Howe
Night Painting (phoenix)
2011, oil and beeswax on linen, 40 x 40 inches

By FRANKLIN EINSPRUCH

"A reception opens at 6 PM this evening at Von Lintel Gallery for "a group show of eight contemporary abstract artists who represent a diverse range of entry points into abstraction," according to the gallery. The artists included are Andrea Belag, Lisa Corinne Davis, Amy Ellingson, Catherine Howe, Rebecca Smith, Dannielle Tegeder, Canan Tolon, and Carrie Yamaoka."

Read more @ The NY Sun

DRIVEN TO ABSTRACTION | GROUP SHOW: CARRIE YAMAOKA

 

Carrie Yamaoka
30 by 13, 2010
mylar, urethane resin and mixed media on wood panel
30 x 13 inches



Driven to Abstraction
 Featuring work by

Andrea Belag

Lisa Corinne Davis

Amy Ellingson

Catherine Howe

Rebecca Smith

Dannielle Tegeder

Canan Tolon

Carrie Yamaoka

June 9 – July 23, 2011

Opening reception: Thursday, June 9, 6 – 8 PM

CARRIE YAMAOKA

STATEMENT

My work runs a certain gamut of form, riding a fine line between painting and sculpture. I have been working with a ground of reflective silver mylar film, encapsulated in layers of resin for the past 15 years. The resin is sometimes tinted with color, sometimes clear. A piece may hang on the wall like a painting; at other times it may start on the wall and drape down onto the floor, extending into the room—becoming more of a sculptural entity. My interest in the almost alchemical qualities of process, chemistry and photography have led me away from traditional painting media and towards the use of unconventional materials.

Process and a controlled negotiation with chance play a central role in the way that I make the work. Air bubbles, and tiny bubbles created by the curing resin form a layer of incident forged in the making of the piece. Imperfections punctuate the surface and become information to be taken in. I am interested in the mutability of materials, color and light.

Photographs of the work can be misleading– there is no painted image. My work is emptied of pictorial content, but full of incident. Because I am working with a reflective ground, the image or picture arrived at, in any given moment, is contingent upon the viewer’s stance in relation to the work, and her/his navigation through the space that the painting occupies and reflects. The picture is not static; it is constantly shifting. The viewer makes and re-makes the picture(s) from the conditions that I’ve set up. The viewer becomes both subject and object. Or, the viewer within the space in which the piece is being viewed, becomes the subject. To extend that idea further, the exigencies of how one views and interacts with the work becomes the subject.

 

CARRIE YAMAOKA
Bio