LIEVE D'HONDT

http://users.pandora.be/lievedhondt

Lieve D'hondt lives and works in Belgium. Her audio-visual installations and graphic works draw on the classical processes underlying sculpture, drawing and architecture, transposing them to the media and virtual environments and blurring the boundaries between the different disciplines. Forming, de-forming and re-forming, constructing, de-constructing and re-constructing, presence and absence, fragmentation and integration, transposition and relocation, association and dissociation, all play a key part in the artist's reflection on perception, a process that also activates the viewer, triggering physical and mental movement and participation. For several years now most of her projects have focused on the occupation of space, experiencing its meaning and content and that of the surrounding areas and places.

STACY LEVY

As a sculptor, my interest in the natural world rests both in art and science. I work within the two fields using art as a vehicle for translating the patterns and processes of the natural world into the language of human understanding.


http://www.stacylevy.com

GENCO GULAN

self portrait

TOM MC GLYNN

Tom McGlynn is an artist, writer and educator based in the NYC area and in Vermont. His work encompasses both abstract painting and time based video installation. He is represented in the collections of the Whitney Museum, The Museum of Modern Art, and The Smithsonian Design Institute. His work has been reproduced for the cover of Artforum magazine and featured in articles in the New York Times. Mr. McGlynn is currently teaching design, painting and drawing as an Assistant Professor at Castleton State College in Vermont, and he has taught design and color theory as a Visiting Artist/ Professor at the Mason Gross School of Fine Arts of Rutgers University in New Jersey.

TENESH WEBBER

Tenesh Webber is a New York City based photographic artist.
Her work is in the collection of The Brooklyn Museum of Art, and many corporate and private collections. Ms Webber has exhibited her work nationally and internationally, including solo exhibits in New York, Boston and Toronto.

TOM MCGLYNN

Tom McGlynn is an artist, writer and educator based in the NYC area and in Vermont. His work encompasses both abstract painting and time based video installation. He is represented in the collections of the Whitney Museum, The Museum of Modern Art, and The Smithsonian Design Institute. His work has been reproduced for the cover of Artforum magazine and featured in articles in the New York Times. Mr. McGlynn is currently teaching design, painting and drawing as an Assistant Professor at Castleton State College in Vermont, and he has taught design and color theory as a Visiting Artist/ Professor at the Mason Gross School of Fine Arts of Rutgers University in New Jersey.

MARLIES DAVANS

Marlies Davans (°1977) lives and works in Ghent, Belgium.

She had a degree in Sculpture at the St-Lucas School of Arts, and then she moved to Antwerp and had a four year course of Jewellery Making. After studying she began making small sculptures that hover between life and death, and look like a kind of near-beings. Hairy objects, existing of alienating fabrics, tempt the viewer till the verge of the dislike; they move you to the dilemma between caressing and avoiding…

Marlies also made different installations where she sewed death volumes onto plants so they could have a taste of the illusionary life as parasites holding on a living organism. The photographing of the work is a quite important part of the whole process and often the picture stands on its own as a work of art.

Galerie A8
Abrahamstraat 8
9000 Gent
België

0477/689438
marliesdavans@yahoo.com

STEVE FAGIN

Steve Fagin

http://stevefagin.net/

Steve Fagin, the recipient of several NEA grants, is Professor of
Visual Arts at the University of California, San Diego. He has produced
a series of feature length videos including: The Amazing Voyage of
Gustave Flaubert and Raymond Roussel, The Machine That Killed Bad
People and TropiCola. They have featured prominently at museums and
international festivals and have been screened on Bravo International
in Latin America, Canal + in Europe and PBS in the United States. His
work has been featured at a retrospective at the Museum of Modern Art,
New York and is the subject of a book from Duke University Press,
Talkin' With Your Mouth Full: Conversations with the Videos of Steve
Fagin. Recently, the Museum of Modern Art and the Whitney Museum of
American Art featured his work at shows on the art of the 20th Century.

Steve Faginís video piece Oliver Kahn, (2003, 55 minutes) is named
after the Bayern Munich goalkeeper who lead the German national team in
the World Cup last year in Japan and Korea. This piece is loosely based
on the 1958 one-act play by Samuel Beckett, Krapp's Last Tape, in which
an old man plays back audio tapes he recorded while young and
reconsiders his early passions and ambitions.

SHEILA ROSS

Sheila Ross is a Canadian born artist who has been living in New York for 12 years. She received her BFA at the University of Western Ontario and an MFA at New York University. Upcoming projects include a collaborative project, Yurt City II, to be included in FLOAT, a biennial event at Socrates Sculpture Park in Astoria, New York in August 2007. She has exhibited her work in several two person, collaborative and group exhibitions at Dam Stuhltrager Gallery in New York. Her work has also been exhibited throughout the US and Canada, including in New York at Holland Tunnel Gallery, Workspace gallery and at Aljira, in Newark, NJ, A-1Art Space Lab, in Knoxville, TN, and at the Koffler Gallery, Workscene and Prime Gallery in Toronto, Canada. Sheila was a recent participant of Aljira’s Emerge, a professional development program for New York and New Jersey area artists. She has been a recipient of an Ontario Arts Council grant. For more information, see www.sheilaross.com

SALLY LELONG

The earliest written records found to date are Mesopotamian stone tablets containing an inventory of possessions. As a possible starting point, it seems logical that accounting should be the springboard for the written word. After all, what is the point of quantifying something, if it can’t be described? How systems of writing further developed to describe our thoughts and feelings is a matter of evidentiary speculation. However, as our current age demonstrates, these advances did not forgo our other need to communicate via sound, form and image. Indeed, as in the past, if you consider the various ways we communicate each other, it has become an economic necessity to translate our thoughts into as many formats as our culture is producing. I present mass-produced items, found objects, large-scale prints and entertainment gadgets in unexpected ways to play with viewer expectations and suggest those moments of comprehending the changes that are ever occurring. It takes a moment to recognize constituent parts. Then, one discerns the connections. The experience is exploratory, much like an archeologist’s.

RENE LYNCH

Rene Lynch, "Tug of War", watercolor on paper, 24x18 inches


Rene Lynch, Secrets (Wonderland), 2006, watercolor on paper, 24x18 inches

www.renelynch.com

These watercolors are from an ongoing series titled Wonderland which
directly refers to that sensual dreamworld which connects one to the
deeper universe of nature, both psychological and physical. It is where
children live and where adults visit. It is falling through the rabbits
hole into a world transformed by the heightened reality of a
butterfly's wing and the balance between beauty and decay or innocence
and experience.

Rene Lynch 2007

GLENN GARVER

My paintings are a depiction of my perceptions, both conscious and subconscious.

My work is not preconceived with preparatory steps such as sketches or studies, as these would only encumber. Rather, I experience the conception of each painting in the process of its creation. Each painting begins with the excitement of what will happen; some come quickly, others take the long way 'round, lingering and haunting until they come to completion.

Each canvas is singular, yet all have evolved from the paintings that preceded them. Over the past 25 years my work has transformed from representational to minimalist, to my current paintings. Yet there has always been a common thread, with the familiar feeling of clarity I experience while painting the basis for this commonality.

HANS VAN HEIRSEELE

Edit Posts

mailart
Istanbul project
Mail art covers a vast territory, fanning out from its very beginnings in the late fifties. In this universe,
the mailart correspondence by Belgian artists Sjoerd Paridaen and Hans van Heirseele started on December 31, 1996 and made a distinct mark. Sjoerd Paridaen and Hans van Heirseele chart a complex world, far beyond the formalities of mail art. Paridaen's interest in mailart dates from the early eighties. At first he had many correspondents. Only later became his involvement with Hans van Heirseele - a search for the roots and remains of modernism, blasphemic but also beautiful and witty - a major mailart project.
KAUZALE SUZAMMENHANGE is a series based on photographs from newspapers. The usual scheme is (a) a picture chosen by Hans van Heirseele and (b) the picture completed by Sjoerd Paridaen. Some of the pictures involved a nursing to and fro.
The main subject of the series is hands and gestures.


http://whataboutcroxhapox.blogspot.com/2007/01/paridaen-van-heirseele_13.html

LALE TARA

Lale Tara contemplates that communicating with dull things and objects
comes from the
need of isolated and lonely city-dweller's own world and it becomes a
consolation for them.

Lale Tara cansiz nesnelerle ve esyalarla iletisim kurmanin icinde
yasadigimiz yalnizlasmis
kentlinin dunyasinda ihtiyac haline gelen bir avuntu oldugunu dusunuyor.

RAZİYE KUBAT

www.raziyekubat.com

RAY RAPP

theFirstCrusade (short version) is part of a series of video installations in which the electrical/electronic components of the installations become elements in a
wall drawing. The installations use consumer grade DVD players, LCD monitors,
extension cords as well as standard construction electrical boxes, outlets and conduit.
Small, disassembled LCD monitors are pinned to the wall. Power strips are created from electrical boxes, varied color plugs and extension cords to provide the outlets for DVD players and transformers for the monitors. The DVD players which play loops of digital video animation are attached directly to the wall or hung from electrical plugs called ‘pigtails’. theFirstCrusade (sv) features digital videos created from images of toy soldiers which have been animated in order to perform this virtual battle.


http://www.rayrapp.com

PINAR ASAN

Pınar Asan 1979'da Antalya dogdu. Marmara universitesi radyo- televizyon-sinema bolumunde okudu. Halen Sabanci Universitesi Gorsel Sanatlar Bolumunde yuksek lisansini yapiyor.

www.pinarasan.blogspot.com

PAVEL LEMBERSKY

Pavel Lembersky was born in Odessa, Ukraine and came to the United
States in 1977. He studied art at Queens College, School of Visual Arts
and UC Berkeley. He graduated from The University of California at
Berkeley with a degree in comparative literature, did graduate work in
film at San Francisco State University. Pavel Lembersky participated in
a number of group shows in and around New York City. He authored two
collections of short stories which have been anthologized and
translated into English, German, and Finnish and have appeared in
literary magazines in Moscow, St. Petersbug, New York, Munich,
Jerusalem and Helsinki. Pavel Lembersky also hosts a nightly radio talk
show in New York.

www.metpo.com
www.wordswithoutborders.org

MARY JUDGE

"I arrive at my imagery through the use of loose rules that guide the series and forms I work with. These limitations create a framework in which the myriad forms unfold. Materiality is important, drives the process, activates the senses and allows the viewer to engage the work. Transformation is created through the use of repetition and simple forms assume a new complexity. The viewer is presented with the endless possibilities of a defined pattern and participates in the thought process of the work and it’s underlying intelligence." Mary Judge 2007

Mary Judge is an artist who lives and works in New York and Italy. She is best known for her "spolvero" drawings (dust in Italian) which she first exhibited at
The Drawing Center in NY. She is Assoc. Professor of Drawing at Parsons the New School for Design and is represented by Metaphor Contemporary Art in Brooklyn NY. Her works can be seen in the collections of The British Museum and The Victoria & Albert Museum in London, The Philadelphia Museum of Art, and The Fogg Museum among others.

www.maryjudge.com

JULIAN JACKSON

Julian Jackson, The Dark Reds 2, oil on panel, 16" x 14"
2007

Painting for me has always been a means of approaching and understanding the natural world both as we find it and how we apprehend and reconfigure it. The rational construct of the framing rectangle provides limitless interpretive space in which to experience multiple realities. I am particularly interested in creating work with the power to suggest experience rather than define it, where engagement is, in a sense, physical and one enters the painting as one might enter a forest or take the first step on a path. My current work focuses on the ephemeral nature of light as seen through the lens of an abstract painting practice that is at once critical and meditative, formal and yet deeply rooted in the seen. I think of paintings as places that one can revisit often as one would a favorite mountain, tree, garden, or building.

- Julian Jackson

JUDITH PAGE

Judith Page

"Jane (7-28-06)" from "Portraits in Plasma"
acrylic, tar gel, photograph on canvas
9 x 12 inches
2006

www.judithpage.com


Judith Page is an artist living in the Williamsburg section of Brooklyn, New York. She received Individual Artist's Fellowships from the Gottlieb Foundation in 2002, from the Pollock-Krasner Foundation in 2005-06 and 1998-99, and from the State of Florida in 1992-93. Her exhibitions include The Photograph as Canvas, The Aldrich Museum of Contemporary Art, Ridgefield, CT; Disarming Beauty: The Venus de Milo in 20th Century Art, Dali Museum, St. Petersburg, FL; Peace Tower at the Whitney Biennial, Whitney Museum of American Art, New York, NY; Beauty and Beast, Luise Ross Gallery, New York, NY; and Memoirs of a Beast, Wake Forest University, Winston -Salem, NC. She is represented by Barbara Gillman Gallery, Miami; Ada Gallery, Richmond; Kasia Kay Art Projects, Chicago; Headbones Gallery, Toronto; and Amy Simon Fine Art, Westport. She will have a solo exhibition at Lesley Heller Gallery, New York, NY in September 2007. Her work was reviewed in Art Papers, Art News, TimeOut Chicago, The New York Times, Art on Paper, and Art in America. Page says that her "art emerges from a Gothic sensibility, a place where horror and beauty exist in close proximity, where innocence encounters depravity, where the spirit is consumed and revived from moment to moment."

WANDSCHAPPEN

Nicole Driessens & Ivo van den Baar WANDSCHAPPEN
WASTELAND: 2004 - 2007, foam, epoxy and pigments, black rope, 50 x 95 x 55 cm

Nicole Driessens and Ivo van den Baar are two Dutch artists who work together under the name WANDSCHAPPEN. Since 1999 they develope artworks and artprojects, in which they carry out concepts that connect elements of the surrounding, the needs of the constituent and their own images. Every location or situation can be the source of a new artwork. Sometimes the works are temporary, sometimes they are permanent, always connected to the fysical and social elements of the location.
Their work is firmly connected to techniques of handcrafts.
They often use natural forms such as altitude lines, growth of plants, blown up parts of the human body or scientific material and they translate these elements into a new context. The process of developing a work is as important as the resulting artwork.
Because of her autonomous position art is capable of inserting new visions and carry these out in universal images.
www.wandschappen.nl

GÜLÇİN AKSOY

‘Burma Bilezik’,

Fotoğraf, video yerleştirme, 2007



Burma bilezik geleneksel olarak evlilik törenlerinde geline takılan, zenginlik ve güvence simgesidir.. Bileziklerin sayısı, ağırlığı tarafların toplumdaki yerine işaret eder. Geleneksel olarak burma bilezik takılmalı, hatta gücünüz yetmiyorsa şimdilerde kredi alarak takılmalıdır.

Burma bilezik simgesinden hareketle kurumsal, ticari ve biraz da insani ilişkileri konu edinen bu yerleştirme, Kapalıçarşı’da seçilen bazı kuyumcu vitrinlerinde yer alacaktır. Özellikle sıra sıra burma bileziklerin yer aldığı kuyumcu vitrinlerinde. Proje fotoğraf ve videolardan oluşmaktadır.

Gülçin Aksoy

GARY PETERSEN

Gary Petersen is from the United States and works in New York City. He received a BS from
Penn State University and an MFA from the School of Visual Arts in New York.
His work has been in numerous group exhibitions in the United States including Diverse Works,
Houston, TX; Vedanta Gallery, Chicago, IL; The American Academy of Arts and
Letters, Nicole Klagsbrun, Winkleman and Frederieke Taylor in New York. He had solo
exhibitions with Genovese/Sullivan Gallery in Boston, Fusebox in Washington,
D.C. and Michael Steinberg in New York. His work is in several private and public collections including Johnson and Johnson Corporation, Jersey City Museum, and the Zimmerli Art Museum.



website: www.garypetersenart.com

EVRİM KAVCAR

evrim kavcar, 2007, "untitled", fallen leaves, thread

Evrim Kavcar, lisans eğitimini Mimar Sinan Üniversitesi Heykel Bölümü'nde, yüksek lisansını Fullbright bursuyla San Fransisco Art Institute' ta tamamlamıştır. Halen T.C. Beykent Üniversitesi'nde Grafik Tasarým Bölümü Öðretim Görevlisi olarak çalışmaktadır.

With Bachelors in Fine Arts on Sculpture, Evrim Kavcar graduated from Mimar Sinan University and attended San Francisco Art Institute as a Fulbright scholar for her masters in contemporary art. She currently is a resident lecturer at Beykent University Department of Graphic Design.

http://evrimkavcar.blogspot.com/

EUNG HO PARK

www.dmcontemporary.com/park1.html
http://ygallerynewyork.com/02artistseung01.htm


Eung Ho Park ponders the notion of identity and continuously questions racial and ethnic divide. Based upon his observations of social relationships and his personal experiences as an immigrant, Park transforms groupings of mundane objects--spoons, bottle caps or bowling balls--into installations that depict contemporary narratives of humanity. Eung Ho Park was born in Woonchun , South Korea and he received his BFA from Pratt Institute. He has exhibited at Exit Art, the Drawing Center in New York City , Sculpture Center , the Brooklyn Museum of Art, the Queens Museum of Art, the Long Island University , DM Contemporary, Maxwell Davidson Gallery, and Sabina Lee Gallery , Los Angeles . Park has created a permanent sculpture for PS 270 in Queens , New York . His work had been reviewed in The New York Times, The Los Angeles Times, The Baltimore Sun, and other publications. He lives in Jackson Heights Queens and maintains a studio in Williamsburg , Brooklyn .

DIANNA FRID

title: Untitled # 1 (Cloud, Mountain), from the series "The Vertical Shadows"
date: 2007
dimensions: 66 x 24 x 28 inches
materials: Cardboard, adhesives, cloth, Mylar, ink, plaster, encaustic, paper mache, metal.

Dianna Frid's works are material responses to existing images, shapes and things in the world. In making objects, she stresses the relationship of two-dimensional representation to the concreteness of sculpture and hybrid things. Frid explores this concreteness through a physicality that relies on process as a means to expand and hone a technique, and that fuses the hand-made with formal and thematic concerns. In her work, Frid points to the tensions that exist between the tools with which the world is described and the world that exists in spite of these tools. She sees her work as a way to release these tensions and evoke other possible ways of encompassing things and images: ways that include the complexities of desire, contradiction, metaphor, and attention to form and sense experience.

www.diannafrid.net

ÇİĞDEM KAYA

"the captive"

Çiğdem Kaya, işlerinde güç ve imaj arasındaki ilişkileri femininiteyi vurgulayarak araştırır. Çoğu zaman belirmekten geri duran imajların kalıntıları kişisel, sessiz ve kriptik bir alan yaratır. Text ve imajları bağlamlarından kopararak Kaya, onların güçlerini ve gerekliliklerini sorgular. Kırık parçalar işlerinde aralıklarla belirir.
Kaya, 2006 yılında San Francisco Art Institute’dan güzel sanatlarda yüksek lisans derecesi aldı. Sanatçı, halen İstanbul Teknik Üniversitesi’nde tasarım ve sosyal sorunluluk üzerine doktora yapmaktadır. San Francisco Art Institute’da iki yıl asistan olarak çalışan Kaya, İstanbul Teknik Üniversitesi’nde araştırma görevlisidir ve Fulbright bursiyeridir. Sanatçı ABD, Avrupa ve İstanbul’da işlerini sergilemiştir.
www.cigdemkaya.net

CHARLES YUEN

"Radar Poiuyt", oil on canvas, 48 x 40 inches, 2007.

Charles Yuen lives and paints in New York City. He is a recent
recipient of a Joan Mitchell Foundation Grant. One person exhibitions
in New York have been at Elizabeth Harris Gallery, Art in General,
Metaphor Contemporary Art, LeoTony Gallery, and the Asian American
Arts Center. Reviews of his work have appeared in numerous
publications including Art in America, the New York Times, Time Out,
and Art Papers. Being originally from Hawaii, and of a mixed ethnic
background (Chinese and Japanese) has influenced his outlook and art.
He has an interest in a poetics of the psyche, where association,
metaphor, and rationality deliriously coexist. With a rich mix of
compassion and humor, experience and innocence, criticism and
acceptance, his work has a dreamy complexity aimed at a mesmerized
uncertainty.

charlesyuenarts.com

CAROLANNA PARLATO

Carolanna Parlato

Carolanna Parlato holds a Masters in Fine Art from the San Francisco Art Institute, and now resides in Brooklyn, New York. She was included in a group exhibition, Open House, at the Brooklyn Museum of Art. She has been exhibiting mostly in New York, but also in Atlanta, Boston, and Los Angeles. Most recently, her exhibition at the Phatory Gallery in New York received a review in the May 2006 issue of Art in America. In Carolanna Parlato's organic works, oozing paint flows interact with biomorphic blips and blobs, creating a dynamic fusion of high-keyed color and subtle surface modulations. The sensuous compositions of these paintings morph between hybridized flowers and simulated anatomies. Mirroring the tension between the synthetic plasticity of popular culture and a natural, elemental biology. Parlato recent works establish their own particular beauty, filtering gesture through the saturated colors of cartoons. Parlato’s intensely colored canvases convey a vivid tension between the plasticity of her acrylic medium versus the amorphous organic forms that are created through the process of pouring paint onto the surface. Thick, elastic, and almost toxic looking colors are layered upon each other, creating some forms that are purely accidental and others that are intentionally controlled. Suspended between these polarities, Parlato raises questions about the nature of popular culture that streams between synthetic plasticity and organic naturalism, accidental and intentional occurrences.


www.carolannaparlato.com

ARZU PARTEN

1973 İstanbul'da doğdu.
1994 Trakya İniversitesi Güzel Sanatlar Bölümü¸ Seramik Meslek Yüksek Okulu'dan mezun oldu
2000 Marmara İniversitesi Güzel Sanatlar Fakültesi Heykel Lisans Program˝ndan mezun oldu.
2003 Marmara İniversitesi Güzel Sanatlar Fakültesi Heykel Yüksek Lisans Programı˝ndan mezun oldu.
2004 GenÁ Sanat Eleştirmenliği yarışmasını "Kuzgun Acar" başlıklı makalesi 1. liğe değer görüldü.
2005'den bu yana Kocaeli İniversitesi Güzel Sanatlar Fakültesi Heykel Bölümünde Öğretim Üyesi olarak görev yapmaktadır.

AMANDA CHURCH

Amanda Church is an artist living and working in New York, where she shows with Michael Steinberg Fine Art. Her last solo exhibition there was in the spring of 2006, and was reviewed in Art in America, Art Notes, and NY Arts. This summer she exhibited in a group show about various aspects of landscape at Luxe Gallery in NY, and will be included in a show in Labin, Croatia. at Gallery Alvona at the end of August. Upcoming solo shows include one at Julie Chae in Boston in spring 2008 and
another at Jancar Gallery in Los Angeles in fall 2008. She is also a freelance writer for Flash Art and Art on Paper, and has curated two shows in New York, the first titled "Tract" at Plus Ultra Gallery and the second called "Sunrise Sunset" at Smack Melon.

blog: www.amandachurch.blogspot.com

ALBERT MC GRIGOR

Photography is second-nature to me. I started taking pictures in my native Cuba before I was 10 years old, encouraged by a father who believed in photography as an art form. But I have spent a good part of my life in New York City. To this I can add that my world view was shaped by parents of different nationalities and cultural backgrounds and by my constant travels with them to different parts of the world since my youngest days. I have always been interested in the urban landscape and its people. For example, I have been documenting Coney Island for the past 50 years as an ongoing project, being always surprised by how much there is new to see every time I visit. But I photograph everywhere I go, with an emphasis on the vernacular, then come home to look at the world as seen by my camera.


ALBERT MCGRIGOR
August 2007

BILL DOHERTY

title: Untitled #3, 2007
Oil and gesso on canvas

Since abandoning portraiture in1972 after my involvement with it for two years, I ventured into a pursuit of painting in the purest way possible, deriving as much information as could be achieved in the least number of elements. This idea and interest developed out of my experimentation with Sumi. From this point to the present, I've always used conventional materials in conjunction with unconventional ones. Working abstractly in a more and more minimal way, I began deconstructing the picture plane and carried that through to the painting support itself.
Starting over again, this time working with abstraction collaboratively with Glenn Garver from 2002 through 2004, my paintings, independent of our collaboration, have become more intricate. Not only did our venture together propel my development greatly, it helped expand my vocabulary and presented me with challenges I could not have encountered continuing solely on my own. Since then to the present my work has sought it's natural expression and is minimal once again.

BILL DOHERTY
August, 2007

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invitation ENG .. for print out

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davetiye Türkçe - basılı davetiye - for print purposes