Saturday, August 6, 2016

Sunday Salon TRANSFER Download

Join us in the afternoon on Sunday, August 14th for a Sunday Salon  
with TRANSFER artists sharing their studio practice:

Claudia Hart
Rosa Menkman
Harvey Moon
Mary Ann Strandell

Salon conversations run 30 minutes each, hosted on the steps of Minnesota Street Project's indoor atrium. 

Presentations begin with a look into the artists studio, followed by conversation –open discusion 
from the audience is encouraged.

First salon starts at 4PM, come early for a seat! Drinks and snacks in-between each conversation.

Sunday, August 14th from 3-6PM
Minnesota Street Project
1275 Minnesota Street
San Francisco, CA 



Mary Ann Strandell_Tromploi. 3-Channel,  Video Installation, 2016
Mary Ann Strandell_Tromploi. 3-Channel  Video Installation, 2016

ABOUT THE EXHIBITION:
This summer, TRANSFER installs an outpost in San Francisco inside the media gallery at the Minnesota Street Project – the NYC-based gallery presents a hyperlinked immersive three-channel audio-visual exhibition, designed to engage the newly launched Dogpatch-based contemporary art space.

///////////////////////////////////////////
July 30th – September 9th, 2016 in San Francisco

Minnesota Street Project
1275 Minnesota Street
San Francisco, CA
Open Tuesday – Saturday from 11am-6PM and by Invitation

http://minnesotastreetproject.com/visit

Sunday, July 10, 2016

Transfer Download

Transfer Download
TRANSFER at Minnesota Street Outpost 

JUNE 30 TO SEPTEMBER 9, 2016 

Opening Reception July 30, 6-10 pm
closing recpetion september 9th  

THIS SUMMER, TRANSFER INSTALLS AN OUTPOST IN SAN FRANCISCO 
inside the media gallery at the Minnesota Street Project– the NYC-based gallery 
presents an immersive three-channel audio-visual exhibition, designed to 
engage the newly launched Dogpatch-based contemporary art space
-Kelani Nichole, Director
The ‘TRANSFER Download’ features a selection of new and existing works 
spanning themes of technology and the body, architectural space reimagined 
through moving images, and urban/glitch landscapes.


Mary Ann Strandell, Tromploi, GIF to video, 2016


 







Artists Include:
CLAUDIA HART – ‘Empire’
MARY ANN STRANDELL – ‘Tromploi’
ROSA MENKMAN – ‘DCT: Syphoning’
PHILLIP DAVID STEARNS – ‘Polar Visions 002’
RICK SILVA – ‘Vibes Accelerationist’
ROLLIN LEONARD – ‘Spinning Pinwheel of Death’
LATURBO AVEDON – ‘Pardon our Dust’

Minnesota Street Project
1275 Minnesota Street
San Francisco, CA  94107 

Open Tuesday – Saturday from 11am-6PM and by Invitation 

http://minnesotastreetproject.com/visit 

From July 30 – September 7th TRANSFER welcomes groups and parties for private viewings in the MSP media gallery and the surrounding great hall. Contact the director@transfergallery.comto arrange a private evening or weekend tour for your friends or colleagues.

TRANSFER _located at 1030 Metropolitan Avenue in Brooklyn, NY 11211 . The NY gallery is open Saturdays from 12–6PM, but you can make an appointment anytime by emailing the director@transfergallery.com

Tuesday, July 5, 2016

Raid Envy

Lichtundfire presents: RAID ENVY
Curated by D. Dominck Lombardy
July 13 - August 12, 2016 Opening Reception: July 13, 5:30 - 8:30 pm

Exhibition Artists:
Todd Bartel
Ross Caudill
Karlos Carcamo
Augustus Goertz
Bodo Korsig
D. Dominick Lombardi
Mary Ann Strandell
Joan Waltemath

Mary Ann Strandell, Orange Float, 3D Lenticular on Sintra, 32x32", 2012
by D. Dominick Lombardy 

LICHTUNDFIRE
Gallery address:
175 Rivington Street
New York, New York USA 10002

Director: Priska Juschka 
Gallery Hours:
Wed-Sat: 12-6 pm | Sun: 1-6 pm
917-675-7835
info@lichtundfire.com

 

Tuesday, May 10, 2016

Embedded Landscape

Embedded Landscape  
June 4 - August 26, 2106
     Opening Reception: Saturday, June 4th, 5 to 8pm
April Price Project Gallery 
Artists include:
Cindy Dominguez
Elaine Roy
Mary Ann Strandell
Susan Zimmerman
Mary Ann Strandell, "Bamboo Forest", 32" x 225", 3D Lenticular, 2016








April Price Project Gallery is pleased to present an exhibition 
with four artists whose work brings together the visual 
language of embedded space. Implying a mechanism or 
position with in a framework that is both active and passive,
distant and intimate, yet integral as a discourse.  
Artists Cindy Dominguez, Elaine Roy, Mary Ann Strandell,  
and Susan Zimmerman work with painting,
drawing, photography, along with printing, and mixed media.
The spatial intersections of these artists work come 
together in the exhibition Embedded Landscape.

     Co-curated by April Price and Mary Ann Strandell
April Price Project Gallery 
201 Third Street NW 
Suite GHyatt Regency Hotel Lobby
Albuquerque, NM 87102 
Hours: 12:30 to 5:30 Tuesday -Saturday or by appointment.
Courtesy parking in the Hyatt Garage on Copper Street
Ph- 505-573-0895
april.designstudionm@gmail.com          
http://aprilpriceprojectsgallery.blogspot.com

Monday, March 28, 2016

From the pages of Carrier and Company

"From the pages of Carrier and Company's new tome
comes an UWS apartment brought respectfully up to date"
page 47, March 2016  @ www.aspiremetro.com 
Text Jennifer Qual, Photography Eric Piasecki/Otto,
Interior Design Carrier and Company,
Architect Gordon Kahn, Artwork Mary Ann Strandell





















Mary Ann Strandell, "Koenig / Oracle II", 48" x 33.75", ink, conte,
gouache on pigment print on somerset velvet, 2011-13


Saturday, February 6, 2016

Review #2 on Shaky Ground Exhibition

New York’s Lesley Heller Workspace, ‘Shaky Ground’: Seeing Nature in New Ways 
Jeanne Wilkinson :
Curator D. Dominick Lombardi uses the work of fourteen artists to form a narrative of 
anxiety and contemporary malaise: that is, we’re all on ‘shaky ground.’ Collectively, 
the work is neither illustrative nor does it serves as propaganda for any particular issue 
or message—it’s subtler than that. In his catalog essay, the curator explains how each 
piece fits within the premise, but it’s an interesting challenge to consider the artwork, 
deciphering the “shaky ground” message on its own merits...
An excerpt:  
Mary Ann Strandell in Trestle, Rock, Dam (2011) gives us a picture book blue sky 
world of chirping birds and butterflies surrounding a railway trestle that appears 
to be tilting, disconnected to anything of substance, as if the story-book lives we 
make up for ourselves maybe aren’t all that stable. That, in fact, they might topple 
and dissolve into fragments at a moment’s notice.


Read the full article here:

Mary Ann Strandell: Trestle, Rock, Dam,
48 x 36", oil on canvas, 2011

Shaky Ground
Curated by D. Dominick Lombardi
Lesley Heller Workspace, NYC
January 8–February 14, 2016
54 Orchard Street, NYC 10002
212-410-6120
Gallery hours Wed. – Sat. 11-6, Sunday 12-6 

Sunday, January 24, 2016

Review #1 of Shaky Ground in Culture Catch

 
"High Anxiety" By Bradley Rubenstein
Review: Shaky Ground in Culture Catch 

Shaky Ground
Curated by D. Dominick Lombardi
Lesley Heller Workspace, NYC
January 8–February 14, 2016
It is traditionally assumed that the art object is a record of history, whether the history of the artist, of its time, or merely an object left over after the fall of a civilization. While the writing of a period is open to the influence of retelling, interpretation, or the vagaries of translation, the visual object, by its very nature, promises us the stability of meaning inherent in its "objectness." How, then, in an age where perpetual war, disintegrating environmental conditions, and rapidly accelerating technologies, do we expect our artworks to function? What kinds of anxious objects will best represent to future generations our story? D. Dominick Lombardi poses these questions, and a group of artists at Lesley Heller’s Workspace seek to answer them in the exhibition Shaky Ground.

Lombardi’s choice of artists is interesting. There is no sense of Orwellian dystopia here, no flickering video monitors, chattering sound installations, nor intercessional performance art; rather, painting, sculpture, and handmade objects dominate. If there is an iconic piece to this exhibition, it is Arcady Kotler’s Painless Necklace (2006), a chain of prescription drugs strung like pearls, reminiscent of Damien Hirst, but with a twist. Fashion for the “ladies who lunch,” who, indeed, never eat but socialize dazedly with Klonopin-soaked eyes while their husbands raid our retirement funds.
Painting plays an important role in our understanding of any historical period -- our understanding of Robspierre’s Terror would be less rich if David hadn’t stage-managed it. Lombardi’s choices of painters suggest Margaret Atwood more than Orwell. In The Handmaid’s Tale Offred surveys Fred’s office, noting of the varnished, faux-naïve Americana portraits that “the art of the future resembled nothing so much as the art of the past.” One piece in the show by Roman Turovsky, Stadt 24 Pulaski Skyway” (2011), (image top) pictures an eerie dystopian landscape of decay. Though the paint handling resembles Kossoff or Auerbach, artists who indeed revel in decay, Turovsky imbues this painting with a sense of horror. It calls to mind Cormac McCarthy’s The Road; one can almost see the teeming lines of refugees crossing the bridge to Jersey City.

Another painter in the show, Dennis Kardon, has always focused on the body as the site of his painterly explorations. His The Consultation (2005) (image above right) is a meditation on the body and perhaps also the body politic. With nods to Peter Saul and Jim Lutes, a group of people sit around an Eames table. A man in a black business suit, his head an elephantine mass propped up by a bamboo sick, is surrounded by mysterious figures: a Julian Schnabel-like man in pajamas, a woman who is tentatively touching the grotesque face, and a blue track-suited figure who turns its back to us. The creepy mysteries of the action are belied by the banality of the scene; a cat brushes the Elephant Man’s leg, the mysterious figure pisses, and a scatter of notes lies on the table.
Other notable works which present variations on a theme are Lombardi’s Call of Nature (2015), a trip scene of a one-eyed tree and a deer; Anna Ortiz’s Coast (2013), which shows a plume of smoke à la SoCal’s methane leak; and Mary Ann Strandell’s Trestle, Rock, Dam (2011), a beaten-up, post-apocalypse landscape painting.
Lombardi’s show poses interesting questions, and his artists provide, on the whole, thoughtful responses. Anxiety may be the current state in which we live, but then again, these artists suggest, When wasn't it? - Bradley Rubenstein
domMr. Rubenstein is a painter, story teller, and smart culture aficionado.