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PETER HUTCHINSON DAVID ASKEVOLD Article Projects at 532 Gallery 532 West 25th Street, 2nd floor 917.701.3338 www.532gallery.com March 27 - April 20, 2007 Opening Reception: Thursday, March 27, 6-9 PM We are pleased to announce an exhibition featuring two pioneer conceptual artists, David Askevold and Peter Hutchinson, who have established the connections between language, the found photographic moment; and an interaction with nature and the intricacies of the mind between actual and intellectual experience. Though Hutchinson has an ecologic sensibility and Askevold a metaphysical one, both of their oeuvres has added something distinct, useful, and inspired to the practice of Conceptualism. The actual works, on close inspection, are as different as they can be. Askevold has crafted, in his “Ambit” series, a group of images that combine visual and linguistic meaning—that is, photographic images that evoke phastasmagoria (lights blinking; the shadow of an art being slowly waved; w...

It has been a very long time since I last blogged. I have been too preoccupied with so many other engagements that hitting the keyboard for anything other than work has become a rarity. But, here I am. It is Good Friday. Early in the morning 4.08am. Hong Kong. Busy preparing for my lecture at 10am. done with that. But, now I have decided to do some mindless surfing... that mindless surfing led me to recall this blog... so, here I am. I wonder... How is it that there are so many bloggers out there that seem to have all the time in the world to do nothing but blogging. surely there must be a life they lead outside the confines of cyberspace. How the blog do they do it!

(Dean Monogenis) Courtesy of Stux Gallery FEBRUARY 4-MARCH 4, 2008 Erik Benson, John Berens, Romain Erkiletlian, Michelle Hailey Laura Harrison, Elizabeth Huey, Rebecca Kolsrud, Jeff Konigsberg Michelle Mackey, Dana Melamed, Dean Monogenis , Asya Reznikov Kristen Schiele, Kimberly Sexton, Mary Ann Strandell “Lost Horizon” represents a critique of themes related to the professional practice and socialized ideal of architecture, its enveloping culture of construction, and the ironic ideals that emerge from assumptions of progress. I perceive these concepts through various artworks, mostly two dimensional and related to the practice of painting, which is mainly illusory in nature, and achieves a visual mythology of the constructed landscape in which the organizing principle of the natural world, its separation of time and place, is denied the chance to manifest in a proper manner. The discursive levels of such imagery aid us in approaching the larger themes at hand. All of the artis...

532 West 25th Street, New York, NY 10001 Marcy Brafman, Jenny Carpenter, and Mary Murphy MARCY BRAFMAN "Flying Kewpie" (2006) Oil enamel and spray paint on canvas, 36 x 48 inches JENNY CARPENTER "Ampangorinana, Nosy Komba" (2007) Oil on cherry panel , 40 1/8 x 30 1/2 inches MARY MURPHY “The Pool Boy Left His Shoes” (2007) Oil on linen, 59 x 46 inches

How should one deal with reviews and critiques that don't all agree? Books dealing with the issue Many years ago I.A. Richards wrote "Practical Criticism" (Routledge and Kegan Paul, 1929) in which he analysed the comments of a group of students who blind-read poetry. I think P. Hobsbaum in "Theory of Criticism" also covered this issue. He suggested that a good poem can support many interpretations (indeed, benefits from them) whereas a bad poem can't. Influence of critics' experience It may be that better critics agree with each other more than worse critics do Alternatively, "Lesser critics try to normalize, to chastise the poem for straying outside the expected parameters. Bad poets want to be certain more than they want to explore where a poem might be going" - Mike Alexander. Critics vary because there are Inarticulate critics - people who can't find the right words for what they feel. I think in general critical languag...

The Sameness In Us by Juri Morioka Curated by David Gibson The Educational Alliance 197 East Broadway, New York [One block East of where Canal and Essex Streets meet] September 18-November 23, 2007 Shelly Bahl (Canada/India) Ula Einstein (Switzerland) Nancy Friedemann (Colombia) Tine Kindermann (Germany) Chang-jin Lee (Korea) Juri Morioka (Japan) Hannes Priesch (Austria) Flavia Souza (Brazil) Yona Verwer (Netherlands) The ‘ USA ’ of the title is a more rarified territory than one might think. Its area is measured in blocks, not square miles. But more than that, it is measured by the variety of nationalities that make residence here, and the tradition, however altered in recent years, of emigration. This exhibition explores the nature of idiosyncrasy in consideration of ideological and cultural definitions of identity. Who is the individual and how do many disparate entities become a single community? -- How does that community come to embody a meaningful representation of Americ...