One finds a simple common thread between the three exhibitions of women artists in Andrew Edlin Gallery this fall 2021: spiritual internal guidance in the artistic process. The work of German artist and known medium healer Agatha Wojciechowsky (1896-1986), curated by Aurelie Bernard Wortsman, is in Spirits Among Us at the entry and main gallery space, while the work of French artist Margot (b. 1982) is in Margot’s Cosmic Sanctuary at the back gallery. The solo presentation of American artist Karla Knight (b. 1958) was at the recent Independent Art Fair in New York City, which briefly overlapped with these two fall season starters at the gallery. Led by their individual connection to the otherworldly, the artists make work that invites viewers to ponder the source of creation and artistic agency.
Continue reading “Trusting Hands at Andrew Edlin Gallery”Remade in Brooklyn by the Birdhouse Gallery
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Back in about 2009 friends invited artist Sunny Chapman to a gallery opening in their apartment, a gallery of tiny art in an about 1 x 2 foot rectangular inset in one of their apartment walls. Sunny Chapman loved the idea and wanted to do one in her own apartment too but since they lived close by she thought it would be disrespectful. Yet, the idea of making a tiny gallery was always nagging at her.
Continue reading “Remade in Brooklyn by the Birdhouse Gallery”Fred Gutzeit Retrospective at Catherine Fosnot Art Gallery
Previewing – with gallery founder and curator Catherine Fosnot

Fred Gutzeit (2021) Future Life Puzzle, Acrylic on paper on canvas, 72” x 72”
The Opening Fall Season at the Fosnot Art Gallery will showcase Fred Gutzeit’s body of works from 1966-2021. Although he began as a painter of found objects and landscapes, Fred Gutzeit has never been satisfied with capturing the realism we “see“ in nature. He has continually sought a realism through abstraction that would capture the hidden complexity of nature juxtaposed with a human search for structure. Musings about complexity and chaos theories, string theory, mathematics modeling, and current scientific speculation about “multiverses” are employed as he explores consciousness, interaction, identity, and searches for structure. His bold use of color and dimensionality are wonderous and aesthetically pleasing allowing us to travel into the cosmos of his world.
Continue reading “Fred Gutzeit Retrospective at Catherine Fosnot Art Gallery”Louisa Pancoast at Main Window DUMBO
Previewing – Pinch Back

Louisa Pancoast will perform her movement-based art installation Pinch Back at Main Window in DUMBO September 10th at 7:30pm. This will be the final performance on view at this non-profit public art space in Dumbo. The performance was commissioned by Main Window as a companion piece for Evan Paul English’s Inexterior.
Continue reading “Louisa Pancoast at Main Window DUMBO”Earthscapes: Emerging to a Brighter World: Pamela Casper at Wisner House
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Installation view
In her solo art exhibition at Reeves-Reed Arboretum, Pamela Casper invites the garden-loving public to reconcile a personal relationship of guardianship that goes beyond admiring nature’s beauty. The artist says that the trajectory of the work in this show follows her own path of transformation—from observing beauty and imagining nature “above ground” to exploring the endless networks hidden below. The show is curated by Executive Director Jackie Kondel and runs through October 31tst, 2021.
Continue reading “Earthscapes: Emerging to a Brighter World: Pamela Casper at Wisner House”Generations of Public Artists Converge at Welling Court Mural Project

Daze and Crash for Welling Court Mural Project. Photo by Joe Iurato
A few weeks back, an intergenerational group of five iconic NYC graffiti and street artists descended on Welling Court Mural Project (WCMP) in Astoria, Queens. The latest batch of mid-sized murals to grace this otherwise unassuming treasure trove of paint at the intersection of Main Avenue, 30th Avenue, and Welling Court includes Chris “Daze” Ellis, John “CRASH” Matos, JM Rizzi, Queen Andrea, and Joe Iurato, a world-class lineup whose collective come-up eras span the 1970s into the aughts.
Continue reading “Generations of Public Artists Converge at Welling Court Mural Project”Guzman Revisits Kurt and Courtney

Guzman, Kurt Cobain In Bed, Los Angeles, 1992, Archival Ink on Mulberry Paper, 32 x 22 inches
Portraits are collaborations between the sitter and the artist. Sometimes the artist can be overwhelming or patronizing but in most cases the sitter’s vision of how they would like to be seen now and in perpetuity wins out. This is particularly seen in cases of well known personalities. Prime examples are the portraits of Andy Warhol exposing his scars after being shot to both Alice Neel and Richard Avedon. In these vastly different images Warhol clearly wanted the world to know what had been perpetrated against him and how his suffering lingered. When the portraits are images of celebrities, particularly those in the last few decades, the public has a strange sense of possession, teetering on full-blown obsession. The success of the portrait hinges on several factors from the artist including generosity, intelligence, empathy, skill, and creative facility. Fortunately this is what is on exhibition at LABspace in Hillsdale NY, Kurt and Courtney, by collaborative photography duo Guzman. Guzman is made up of Constance Hansen and Russell Peacock. In their 30+ years of photography they have solidified a reputation across all genres from conceptual and documentary work to bringing cool, enlightened, humanizing aesthetics to the commercial worlds of fashion, advertising, and celebrity portraits. As summed up in a recent discussion about their work, Constance Hansen said the intent is not to make a mean photo, but a photo that embraces the person.
Continue reading “Guzman Revisits Kurt and Courtney”Wei Jia: The Remembrance of Ink

Wei Jia, No. 19238, 2021. Gouache, Ink and Xuan Paper Collage on Paper, 31 ½ x 44 ¼ inches. ©Wei Jia, courtesy of Fou Gallery and Chambers Fine Art
At a certain point in one’s life, they stop making new marks or registering new memories. All that remains is a fluid, ever-changing assemblage of the fragments from the past. I would call it no stagnation: it is rather a moderate manner of growing at a different pace.
Continue reading “Wei Jia: The Remembrance of Ink”I Wish I had a River, The Underground Lobby Garden: Keren Anavy at ZAZ10TS
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The artist in front of the billboards featuring her work, I Wish I Had a River, The Underground Lobby Garden.Photo credit:ZAZ10TS
Keren Anavy’s site-specific multi-media installation I Wish I Had a River creates a sense of a painted garden made of paintings, drawings, laser cutouts, sculptures, and video within the confines of the lobby of 10 Times Square. The artist draws on the history, architecture, and ecology associated with her installation site–the center of the bustling garment district; and Art Deco architecture of the building. Moreover, merely 40 years before its completion, New York’s biggest reservoir and supplier of all of Manhattan’s drinking water in the 19th century was decommissioned and torn down one avenue to the East. This relationship between nature, particularly water, functioning as a cultural agent and an important element of consumerism is of particular importance for Anavy, who grew up in a desert region of conflict, where the water resource was scarce. The show is curated by Lauren Powell and runs at ZAZ10TS through August 31, 2021.
Continue reading “I Wish I had a River, The Underground Lobby Garden: Keren Anavy at ZAZ10TS”Overflowing Skies: Stephanie Eche at High Line Nine
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Agua/Cielo, 2021 Cotton, wool, indigo, wire and steel. Photo by Brian Schutza courtesy of the artist.
“…I try to follow the threads where they lead in order to track them and find their tangles and patterns crucial for staying with the trouble in real and particular places in time.”
– Donna J. Haraway, Staying with the Trouble: Making Kin in the Chthulucene.
The undulating asymmetry of Stephanie Eche’s weavings in her solo exhibition Handmade Landscapes: Ocean Meets Sky that ran through July 26th, 2021 at High Line Nine, leaves space for you to interpret. The first work that your eyes encounter, Agua/Cielo, mirrors staring out at an ocean horizon that becomes the air above, a direct embodiment of the show’s title. The loosely woven piece speaks to the cyclical nature of water; its evaporation and transformation into rain that returns it to earth.
Continue reading “Overflowing Skies: Stephanie Eche at High Line Nine”