Color and sound are connected by their movement through space as wavelengths, which have both a visual and a material component. This movement can easily be demonstrated visually when light passes through optical prisms or water particles and separates into wavelengths, producing a rainbow effect. Similarly sound, an energy produced by vibration, can travel through different mediums and be detected by our hearing or by a transducer, and also observed as the popular Chladni resonance patterns. Artists who creatively transform materials naturally present the wavelength phenomenon in their practice.
In this exhibition, we present Melissa Staiger’s wavy spectrum with Chaconne Klaverenga’s black pool and Cindy Sherman “on ice.”
Abaton Project Room
11 Broadway, Suite 965
Friday, Saturday & Sunday 12-6.
(917) 227-6357
[email protected]
“Organic No. 11”, 2023-2024, acrylic on panel, 72 x 24 inches
Rainbow Room at Equity Gallery's Wing Project Space, October 3 - 26
Join me for an opening reception at Equity Gallery for “Rainbow Room” on Thursday, October 3rd from 6:30 - 8PM.
BOS Sept. 28-29, Noon - 6PM
Please join me for Bushwick Open Studio’s on September 28th & 29th at my shared art studio space located at: 274 Morgan Ave, 5th Floor. We will be open from Noon - 6PM both days. It is a 5th Floor walk-up, so if you want to visit on another day when the freight elevator is running (M-F), just let me know.
Finding the Sun at The Old Bailey Gallery
Brain Candy, curated by Iris Jaffe at Peep Space in Hyperallergic (link)
Brain Candy at Peep Space, Opening on May 4th, 2024, 7-9PM
La Banda at Tappeto Volante
La Banda at Tappeto Volante, Brooklyn, NY
Jan 20 - Mar 3, 2024
Featuring works by:
Inna Babaeva, Michael Barton-Sweeney, Joshua Bienko, Lorenza Boisi, Sharon Butler, Karin Campbell, Jaque- line Cedar, Nurya Chana, Yan Cynthia Chen, Nicholas Cueva, Jared Deery, Georgia Elrod, Allison Jae Evans, Ashley Garrett, Ann/Drew Gayle, Catherine Haggarty, Elizabeth Hazan, Chris Joy, Pete K Landis, Hein Koh, Leonora Loeb, Lauren Luloff, Jon Lutz, JJ Manford, Susann Minton, Anthony Miler, Beatrice Modisett, Bascha Mon, Alexander Nolan, Rachel Portesi, Erika Ranee, Elisa Soliven-Gerber, Joel Soliven, Melissa Staiger, Deirdre Swords, Ian Swordy, Christina Tenaglia, Alessandro Teoldi, Lumin Wakoa, Jesse Willenbring, Brian Wood, Boyuan Yang, Alice Zinnes
Tappeto Volante proudly announces the third edition of La Banda, 2024, an expansive group show of works on paper, paintings, and sculpture, featuring the works of 43 artists, stems from the commune interest of the Tappeto Volante founders in building and supporting the art community, and strengthening the heterogeneous, multicultural, cross-generational, multidisciplinary art network connected to our practices as gallerists, artists, and curators.
In 2021, TV Projects hosted the first edition of La Banda to catalyze the rebuilding of our community and mitigate the pandemic-related challenges. This initiative involved each member of TV Projects selecting a group of artists to participate in the exhibition. The success of this event led to the organization of La Banda Vol. 2 in 2023, and given the positive impact of these exhibitions, TV Projects is proud to present La Banda Vol. 3, continuing to promote community-building.
The name La Banda is a playful reference to the movie The Blues Brothers, where the protagonists reunite their band to save an orphanage they grew up in after being released from jail. The metaphor encapsulates TV Projects’ mission to provide a safe space for underrepresented artists, performers, and emerging curators to bring their projects and productions to life. Tappeto Volante’s art programming aims to celebrate the resilience of our art community and affirm our values of inclusivity, gender equality, and BIPOC empowerment.
Pulse Chromatic at Peep Space, Opening Saturday, Oct. 28th, 6-8PM
Review in B'More Art
“Reversals” 15, 12 x 9 inch panels painted with acrylic paint, 2023
Resonant Space at Mono Practice curated by Patricia Zarate
MONO PRACTICE is pleased to announce Resonant Space, a group exhibition featuring the work of Jacob Cartwright, Joanne Freeman, Karen Schifano, Jim Osman, and Melissa Staiger.
The distinct two and three-dimensional work of the artists in Resonant Space is enriched by the reverberant tone they invoke in each other. The affinity of these artists—Jacob Cartwright, Joanne Freeman, Jim Osman, Karen Schifano, and Melissa Staiger—can be seen in a lexicon of marks: lines, scribbles, scratches, smudges, dots, dashes, patterns, geometric and organic forms, textures and color, even as each stands firmly and uniquely in their approaches to art making.
Reaching beyond the boundaries of form, these works call out and comment on each other's ideas about the ongoing exploration of abstraction. Joanne Freeman does this in the way saturated color shapes overlap, converge and angle for footage within the edges and surface area of the raw linen canvas, while Melissa Staiger’s organic shapes of radiant and trippy color combinations jostle between foreground and background. Jacob Cartwright's highly organized compositions of geometric forms, combined with dense patterns, solid and translucent color, allude to an architectural space, man-made or natural. Like a theater set, Karen Schifano populates the stage with simple, provocative shapes and solid expanses of color that come in and out of the picture plane. And Jim Osman's ideas, with the addition of a third dimension, flow throughout the spaces and colors of his carefully constructed multi-leveled abstract tableaux of cut-out, exposed, and painted wood.
The artists in Resonant Space are all current members of the American Abstract Artists (AAA). AAA was founded in 1936 in New York City at a time when American abstract art was met with vigorous critical and popular resistance. AAA is a democratic, artist-run organization that promotes and fosters understanding of abstract and non-objective art.
Summer Time Rolls on view at Equity Gallery, Opening June 20 at 6PM
On Balance at Art Cake
ON BALANCE
New Work by American Abstract Artists
Curated by Mary Birmingham
April 15–May 14, 2023
Opening Saturday, April 15, 4–8pm
ART CAKE
214 40th St., Brooklyn, N.Y. 11232
Hours: Fri., Sat., Sun., 12–6 pm
a clearing at NIAD curated by Mel Prest
a clearing - opens April 1 at NIAD
Walking down a narrow path, you're surprised as you reach a clearing.
This sudden openness makes you stop short and catch your breath as you begin to absorb the change in landscape.
Works in a clearing beckon, inviting you to enter.
a clearing artists include: Carlotta Rodriguez, Debra Ramsay, James Heartsill, Jeremy Burleson, Melissa Staiger, Prajakti Jayavant, Shante Robinson and Scott Malbaurn.
Each artist composes forms evolving from intuitive, rather than predetermined, thinking. In these works, the initial pattern elements break down and fall away, creating an opportunity for something unknown to arise. Overlapping and unpredictable shapes and colors create conversations, inviting viewers to come closer, soften their gaze, release expectations. Through a variety of materials, these artworks attain a color energy using vibrant hues and textures. Optical vibrations and textures rumble as deeper looking opens to a clearing.
Open Studio Holiday Party 2022
Technic/Color at John Molloy Gallery
TECHNIC/COLOR
Paintings:
Stephen Maine and Melissa Staiger
Sculpture: Naomi Cohn
October 8 - November 12, 2022
Opening reception with the artists
Sat, Oct 8, 2-5 pm
John Molloy Gallery is excited to present TECHNIC/COLOR, featuring the work of three abstract artists who investigate the interplay of materials, procedures, and chromatic sensation. Attentive to surface and scale, alert to the possibilities of visual humor, each of these artists has developed both a distinctive palette and an idiosyncratic approach to the mechanics of their studio process.
Stephen Maine has shown widely for the past thirty years. Having adapted the techniques of relief printmaking to the pictorial aims of painting, he forgoes the loaded brush in favor of paint-laden surfaces that function as printing plates. The resulting ‘residue paintings’ balance calibrated color relationships against the chance effects of the artist’s intentionally imprecise technique. Maine lives and works in West Cornwall, Connecticut.
In the past decade, Brooklyn-based Melissa Staiger has had numerous exhibitions in the New York area and beyond. Her compact, dense paintings strongly suggest an iconic figural presence that transcends their robust physicality. Her purposeful geometric layers of color complement the apparently arbitrary quality of Maine’s ‘residues.’
Saturated color and active surfaces are also primary in Naomi Cohn’s ceramics, which embody elements of painting and sculpture in a personal take on gestural abstraction. The ambivalence of heft and lift are rooted, perhaps, in the artist’s training and experience as a dancer. For Cohn, the spirit of play is ‘the organizing principle of my practice.’ She lives and works in Bedford, New York.
John Molloy Gallery is located at 49 East 78 St., suite 2B, New York, NY. Gallery hours are Wednesday through Friday, 12:00 to 5:00 and Saturday, 12:00 to 5:00. TECHNIC/COLOR continues through November 12, 2022
STREAMING at Stand 4 Gallery, Closing July 10, 12 -3PM
In the Belly of the Empress at Equity Gallery
"In the Belly of the Empress" is an ongoing series, started in the winter of 2021. It is influenced by the memories of art created outdoors. These small works on paper allow me to move and experiment freely through the drawing and painting process. I’ve used caran d’ache or watercolor pencil for the line and gouache and acrylic paint for the bright solid and sometimes washy colors.
The abstracted forms are organic, and have a sense of a figure present. They feel like botany in an internal space. The colors are lush, rich and regal - with shiny silver color, fitting for an Empress. Many of the paintings have a central composition with forms that grow and radiate outwardly in wave-like patterns.
In the tarot, the Empress card depicts a peaceful woman who has every luxury she needs. In this series, I was imagining what she might be eating. Are there flowers on her meals? What is she digesting? The Empress card can also stand for pregnancy in the physical sense, ideas you are harboring, or, what projects you are giving birth to?
The ‘Empress’ can take ‘mental health days’ whenever she needs. Her life is balanced and free. During this stressful pandemic time, I was worried about family and friends, like everyone. I find myself creating art projects in new places. I started arranging a seashell garden around the trees by the curb, or a two-floor mirrored textile work in the airshaft of my building, and a rustic rooftop garden.
The title of this exhibition was inspired by and pays tribute to Niki de Saint Phalle’s photograph in the ‘Belly of the Empress’ It features a lavish mirrored mosaic dining room she built in her Tarot Garden in Italy.
Online Exhibition
Curator Rebecca DiGiovanna's Lecture on Blurring Boundaries
Happy to be included in Rebecca DiGiovanna’s lecture for the exhibition Blurring Boundaries that is part of the American Abstract Artists traveling exhibition series.
"Captivated by Collage" by Michael Gormley
Farrago
Linnea Paskow, Melissa Staiger and Marianne Gagnier
Curated by Linnea Paskow and Gina Mischianti
Oct. 8th — Oct. 31st
BY MICHAEL GORMLEY
Equity is currently hosting a show of works by three artists that privilege collage as their overriding tool of expression. The results are indeed compelling--both because the artists are astute practitioners of the media and because the media speaks directly to the times we live in.
Its founding impulse, advanced by Georges Braque and Pablo Picasso to depict deconstructed subject matter by piecing together pictorial compositions from disparate components, echoes the interpersonal, political and economic fault lines radiating out past our lives, our homes and our communities and circling a whole world both divided and joined by these selfsame fissures.
Paskow’s work takes on this epic intent with noteworthy scale and, as it eschews the formalist taboo against narrative and representation, assumes a double life by also posing as history painting. “Ballast” for example, appears to show an exploding cylindrical form(be that a decapitated egg or perhaps a downed blimp) spilling forth the detritus of our collective aspirations and memories. “Vamp” similarly bursts forth with explosive and near hysterical color whilst depicting an upside-down figure intimating the suspended animation, surrender and metamorphosis of the Tarot’s Hanged Man. Pointing to a pandemic life on hold, “Vamp” may also be viewed as the divine fool---a figure symbolizing blind leaps into the void without the assurance of safety nets. “Lodge” with its darkly hued swirling masses abutting constricting bands of horizontal and vertical stripes continues the narrative of time and space and recalls the sudden appearance of a chasm or a portal to be traversed. In seeming contrast to the sublime psychological space depicted in “Lodge”, “Quarantine House phase 2” offers an updated Barbie Dream House ---a safe respite to which one repairs.
As does Paskow, Melissa Staiger digs deep with automatic assemblages comprised of paintings and colored papers that reveal an untainted, primitive and naïve engagement with the natural world. Staiger’s collages dance between abstract and representational effects creating scenes more evocative of dreams or memories. One imagines “Grass View” to be a summer night of careless play in an open field aglow with an August moon. “Sway” is a make-believe dive into a tropical fish aquarium and “Shark Fin” a fauvist’s nightmare warning of the shock of too much pink in a carefully composed parlor.
Marianne Gagnier is an alchemist—her collages hard won distillations of color, form and texture deployed in a Hofmann-esque triumph to compositional tension. Aptly titled “Repair Series”, Gagnier’s collage surfaces are battle fields; layers upon layers, torn and stacked, pasted and re-pasted and painted all over again. Their very making, the great effort to pull together opposing parts (however fractured) into a compelling and greater whole, embodies what collage does best and why it calls to us so loudly on this day.”