Thursday, May 26, 2011

Seeing Red: New Works by Frank Badur

[“#11-09” (2011), oil & alkyd on canvas. “#D08-23” (2008), pencil & gouache on Chinese paper. “11-10” (2011) oil & alkyd on canvas.]

“Mostly Red + works on paper,” an exhibition of new work by Berlin-based artist Frank Badur—known for his gracefully intuitive and minimalist compositions—will be up at Margaret Thatcher Projects through June 25, 2011. Drawing one into the subtlety of his work with an interplay of surface and color, his viewers experience delicate transition of shade, tone, and texture of each band in a newly heightened way, the veils of reds laying down bands of varying widths and opacity across the canvas. Far from clinical or mechanical in their sensibility, Badur’s paintings create a vibrant and almost tectonic sensation on their surfaces. Carrying this deep emotional weight, each level of surface reveals Badur’s hand.

Badur’s aesthetic language is clear: While tracing from Fauvism and Constructivism through the Color Field paintings of the Abstract Expressionist movement, his work relies on formal restraints combined with control of materials and intuition. Though aware of this evolution, it is also distinct—if not independent. While self-aware, his work—at the same time—seeks a pure and primeval meaning.

A selection of works on paper is also featured in this exhibition. Referred to by Badur as “scrolls,” these long vertical sheets—divided by subdued and delicate graphite and gouache lines, bands and grids—build a visual harmony achieved in his paintings. While of impact, these quieter works carry a gentle stillness. A minimalist who works through series of abstractions, Badur’s meditative paintings, drawings, and prints convey a uniqueness that subsumes any generic outcome. Lines in his drawings and prints are often lyrical and austere, while his paintings show a deployment of color both intense and unexpected. The latter sometimes suggests partial views of unspecific objects. This meditative minimalism—usually found installed in architectural settings—emphasizes an awareness of physical being and spatial experience.

Badur is acclaimed for a cycle of drawings called “Reflections on the Eisenman Grid.” Consisting of 24 small-scale drawings—presented in close proximity to each other on one wall, in four rows of six—they reference Peter Eisenman’s “Monument to the Murdered Jews of Europe” (located close to Berlin’s Brandenburg Gate). Badur’s reaction to this emotionally fraught site is modest and personal—exhibiting no desire to exploit this charged subject. Injecting meaning into a work otherwise potentially neutral, Badur’s drawing in this instance serves as a mental note, topographic memory, and reflection. Over the years, Badur has influenced a number of younger artists including Tim Stapel, Rebecca Michaelis, and Katinka Pilscheur who have sustained an interest in abstraction.

Working in Finland and Berlin, Frank Badur is a professor for painting at the Universität der Künste (Berlin). His work has appeared in such venues as: Malmö Kunstmuseum (Sweden), Moderna Museet (Stockholm), Mondriaanhuis (The Netherlands), Neue Nationalgalerie (Berlin), the Neuer Berliner Kunstverein, Museé de Cambrai (France), MoMA, the Neuberger Museum (Purchase), and the Museum of Fine Arts (Houston).

Mostly Red + Works on Paper
Frank Badur
Through June 25, 2011
539 West 23rd Street, NYC 10011

Tuesday, May 24, 2011

New Sculptures: Richard Dupont

[“Consumptive Head” (2011), cast archival polyurethane resin with studio & personal detritus, found, salvaged, recycled objects & waste. “Pink Head” (2011), cast archival polyurethane resin with studio & personal detritus, found, salvaged, recycled objects & waste. “Convergent Head” (2011), cast archival polyurethane resin with studio & personal detritus, found, salvaged, recycled objects & waste.]

Departing from previous installations, Richard Dupont’s second solo exhibition at Carolina Nitsch Project Room presents a series of new sculptural works taking a more experimental approach to process and materials. With physiognomy giving way to the sculptural process in this show—up at Carolina Nitsch Project Room through June 25, 2011—Dupont has upended the historical motif of the self-portrait bust. Material content within each piece varies dramatically: Seen collectively the work represents a dense, contradictory, and paradoxical compression of time and meeting.

With the social landscape and Dupont’s own body as his works’ starting points—what results are sculptures, prints, installations, and public projects merging the individual and collective. Culminating from his previous deconstruction of the body vis-à-vis works derived from his politically notable 3-D laser scan at General Dynamics, Dupont’s new sculptures subsequently reconstruct body forms out of material residue. Art and non-art materials (including a 10-year accumulation of studio and personal detritus as well as daily waste), salvaged objects, and foodstuffs have provided fodder for his work—molded and bonded together permanently using an archival polyurethane resin.

In addition to the “busts,” this installation includes new sculptures based on casts of various bag shapes. Also cast out of archival resin, their clear, transparent surfaces mimic today’s ubiquitous garbage bag. Within these solid castings are the same accumulations of detritus on finds in the head sculptures. Permanently frozen in time, these objects portray the body/machine of late capitalist consumption—defined by the waste product of that consumption in all its internal contamination. Echoing the body both formally and conceptually, these vivid, gem-like works give permanence to everyday ephemera and waste and reveal a sculptural strategy of transformation, regeneration, and renewal.

Reviving aspects of figurative sculpture, Dupont has taken an anthropological approach emphasizing the interdependence of social and individual processes in a “co-construction” of meaning. To achieve this emphasis, Dupont immerses archaic and classical figurative forms in a “stew” of contemporary concern. In doing this he underlines the present influence of historic precedent. At the most benign, processing ever-increasing information in the digital age affects our view of the physical world. Conversely, this wealth of data—surveillance, tracking, statistical quantification, genetic testing results—have the potential for more ominous results. Dupont’s work in this show is informed by this reality.

Dupont’s work has been shown internationally and has been acquired by such institutions as MoMA, the Whitney Museum of American Art, the Cleveland Museum of Art, and the New York Public Library.

New Sculptures
Through June 25, 2011
534 West 22ndStreet NYC 10011

Out of the Boxes: Photos of Wolfgang Tillmans, Part 1 (Curated by Beatrix Ruf)

Andrea Rosen Gallery has initiated a series of presentations in which they invite distinguished curators to select works out of the archival boxes of Wolfgang Tillmans’ small and medium c-prints kept in the gallery. This first presentation—curated by Beatrix Ruf, director of the Kunsthalle Zurich—is on view in their Gallery 3 through June 11, 2011. Spanning 1991 to 2010, these 60 small and medium c-prints have been carefully selected by Ruf.

Encompassing a wide array of genres, Tillmans’ photographic practice—portraits, still-life compositions, sky photographs, astrophotography, aerial shots, and landscapes—has been motivated by aesthetic and political interests, particularly in relation to homosexuality and gender identity. Tillmans’ comprehensive and diverse body of work is distinguished not only by an attentive and insightful observation of his surroundings but also by an on-going, systematic investigation of the photographic medium’s foundations. In his own view, Tillmans takes pictures, in order to see the world.

In the last decade, Wolfgang Tillmans has looked to the very chemical foundations of photographic material as well as its haptic and spatial possibilities. Created in the darkroom without the use of a camera and largely accidental such works present photography as a self-referential medium that could lead the way toward a new type of image structure. How different from the nearly documentary images created with a monochrome laser copier at his first exhibition in 1988! While both are compelling, Tillmans’ work shows ever more manipulation and play with materials and compositions—bringing his photos toward a sculptural sensibility.

Considered one of the most important of today’s contemporary artists, Tillmans was the first photographer and also the first non-English artist to be awarded the Turner Prize (2000). (His installation for the Turner prize show showed hundreds of photographs in a dizzying number of formats such as Polaroids, photocopies, inkjet prints, and cibachrome panoramas in saturated colors!) In 2001, he was awarded first prize in the competition for the design of the AIDS-Memorial for the City of Munich—eventually erected according to his “vision” at the Sendlinger Tor. Meanwhile, Tillmans was awarded the Kulturpreis der Deutschen Gesellschaft für Photographie (The Culture Prize of the German Society for Photography) in 2009. Viewing each exhibition as a site-specific installation, Tillmans often addresses the exhibition space as a larger composition. This year, he travelled to Haiti with the charity Christian Aid to document progress in reconstruction after that nation’s devastating earthquake.

Tillmans held his first exhibition at the Daniel Buchholz Gallery (Cologne). That was followed by large solo exhibitions at such institutions as Kunsthalle (Zürich), Museo Nacional Centro de Arte Reina Sofía (Madrid), Museum Ludwig in Cologne (2001), Castello di Rivoli (Italy), Palais de Tokyo (Paris), MoMA PS1 (New York), Armand Hammer Museum (Los Angeles), Museum of Contemporary Art (Chicago), Hirshhorn Museum and Sculpture Garden, (Washington D.C.), and the Hamburger Bahnhof (Berlin). Tate Britain’s 2003 retrospective of Tillmans’ work was the first time the museum had devoted an exhibition to the work of a single photographer. He was included in the 2005 and 2009 Venice Biennales.

Having organized exhibitions, written essays, and published catalogues on artists such as Jenny Holzer, Urs Fischer, Liam Gillick, Marina Abramovic, Peter Land, Emmanuelle Antille, Angela Bulloch, Ugo Rondinone, Richard Prince, Keith Tyson, Monica Bonvicini, Rodney Graham, Isa Genzken, Doug Aitken, Rebecca Warren, Carol Bove, Oliver Payne, Nick Relph, Dominique Gonzalez-Foerster, and Sean Landers, it is no wonder that this curator, Beatrix Ruf, is called “the anointer” and the curator commencing this series. Appointed director of the Kunsthalle (Zürich) in 2001, Ruf has served as judge for the Prix Lafayette, and the Enel Contemporanea and LUMA prizes.

To see Tillmans' work through the eyes of eminent curators is to understand his insight in terms of his journey through the photographic medium’s very foundations. Opening at the end of June, the next presentation will be curated by Stefan Kalmar, director of Artists Space.

Out of the Boxes: Photos of Wolfgang Tillmans, Part 1
(Curated by Beatrix Ruf)
Through June 11, 2011
525 West 24th Street NYC 10011

Sunday, May 22, 2011

Jasper Johns: New Sculpture and Works on Paper

[“Numbers” (2007), aluminum. “Untitled” (2010), acrylic & collage on paper. “0-9”(2008), silver.]

Featuring nine sculptures completed over the past five years, “New Sculpture and Works on Paper,” up at the Matthew Marks Gallery on West 22nd Street through July 1, 2011, is Jasper Johns’ third one-person exhibition of recent work at the gallery since 2005. Included pieces represent the largest body of work Johns has completed in his career spanning more than five decades.

With one exception, the sculptures featured in this show are Johns’ classic grid of numerals 0 through 9. Making these sculptures in wax first, Johns works their surfaces in a complex pattern of textures. He then often adds collaged elements such as a key, newsprint impressions, a cast of Merce Cunningham’s foot, or a cast of his own hand. Casting them in bronze, aluminum, or silver, he then finally, applies a unique patina to each. The exception is a double-sided relief titled “Fragment of a Letter,” which incorporates part of a letter from Vincent van Gogh to his friend, the artist Émile Bernard. Using blocks of type, Johns pressed the letters of van Gogh’s words into the wax. On the other side he spelled out the letter in the American Sign Language alphabet with stamps he made himself. Finally, he signed his name in the wax with his hands in sign language.

This exhibition also features a room of 20 recent works on paper, including a series of drawings and prints based on three small works Johns made early last year on Shrinky Dinks, a plastic made for children to draw on that shrinks approximately 60 percent when heated. Accompanying the exhibition is a fully illustrated hardcover publication including a conversation with Jasper Johns and Terry Winters.

Johns has been a central figure in contemporary art since the early 1950s when he arrived in New York and became involved—over the years—with such cultural movers and shakers as Robert Rauschenberg, John Cage, Merce Cunningham, Frank O’Hara, Robert Morris, Andy Warhol, Samuel Beckett, and Bruce Naumann His paintings—appropriating popular iconography such as the American flag, targets, numbers, and letters—quickly became icons themselves. MoMA purchased three pieces from Johns' first one-person exhibition at the Leo Castelli Gallery in 1958. As his career has developed Johns has added crosshatching, marks made by his body, and, more recently, the catenary curve to his collection of motifs. Such motifs constitute a very personal vernacular that Johns has introduced across his entire body of work—painting, sculpture, print, and hybrids combining elements of each. At every step of his career, Johns’ body of rich and complex work has evidenced a concern for process as well as rigorous attention to themes of popular imagery and abstraction and set the standards for American art.

Johns work has been exhibited throughout the world, at institutions including The Museum of Modern Art, The Metropolitan Museum of Art, the National Gallery of Art (Washington, D.C.), the Centre Pompidou (Paris), and the Kunstmuseum (Basel). Having represented the United States at the 1988 Venice Biennale, where he was awarded the Grand Prize. Johns received the Presidential Medal of Freedom from President Obama.

New Sculpture & Works on Paper
Jasper Johns
Through July 1, 2011
522 West 22nd Street NYC 10011

Ali Smith: Exploring the Unknown

[“Merge” (2011), oil on canvas. “Superstructure (2010), oil on canvas. “Civil War” (2011), oil on canvas. “Shard” (2011), oil on canvas. “Waves” (2011), oil on canvas. “Gut Glum” (2011), oil on canvas. “Shape Be Sweet” (2011), oil on canvas.]

Five centuries ago, Portuguese explorer Ferdinand Magellan (1480-1521) embarked on a three-year world voyage, crossing the Atlantic and continuing through to the Pacific—naming the latter in discovering previously uncharted territory. The world was Magellan’s blank canvas, absorbing his narrative as his ship cut its swath through history. Since then, our world has been mapped and charted in minute detail via today’s satellite, internet, and GPS technologies—leaving little to be pinpointed, described, and investigated. What remains is the terrain of imagination inhabited by artists, writers, dancers, musicians, actors, filmmakers, and scientists—many of whom continue to probe “uncharted waters.” While cynics attempt, on occasion, to declare painting’s demise, Smith uses her brilliant medium to explore the unknown.

In this show—her second at Freight + Volume (up through June 18, 2011)—Smith’s journey on canvas is a culmination of stray thoughts, fleeting moments, utter curiosity, and the tenuous line between fact and fiction. Her chosen medium girds her empty landscape and allows her resultant abstract terrains punctuating celebratory and Rococo-like excess and abundance.

Picking up where Arshile Gorky (1904-1948), Willem de Kooning (1904-1997), Philip Guston (1913-1980), and Roberto Matta (1911-2002) left off, Ali Smith delves into deep and near space on her canvases—each painting a window into an unseen world. Her thick and thin brushstrokes, dazzling color, and sculptural relief and flat background—contrasted with muted monochromes—create an unfolding and theatrical mis-a-scene tableau. Such painting titles as “Territory,” “Luxe Life,” “Into The Deep,” and “To Here Knows When” offer clues into the twists and turns of her journey. Smith’s recent paintings sort through daily life’s very complexity of daily life and relate this through a direct, raw language of abstraction at once lyrical and rough. Each painting is created in the moment, intuitively creating and laying bare the world Smith would like to visit or inhabit—while remembering their dimensions of complexity and contradiction.

Through these exuberant works, a viewer is offered a glimpse and gift of the quest in which Ali Smith has long been immersed. Her private and invented utopia is as much compelling as escapist. While the canvases in “Merge” have allowed Smith to make sense of conflict and cacophony, they offer solace and inspiration to those who absorb her works.

Living and working in Long Beach, California, Ali Smith has exhibited her work internationally in such venues as: Mark Moore Gallery (Santa Monica), Rhys Gallery (Boston), Pulse (Miami), DNA Galerie (Berlin), Smith’s work has been reviewed in such publications as Artus, the Los Angeles Times, NYArts, and Artweek.

Meanwhile, inter-disciplinary artist Suko Presseau exhibits her multi-screen installation “Love and Ceremony” in Freight + Volume’s video room. Concerned primarily with nature and ritual in her performance and video, Presseau utilizes eco-consciousness, kinesthetics, humor, and spiritual practice in her work. In “Love and Ceremony,” she has combined several vignettes such as “Vernal Fire Moon,” "Love and Ceremony,” and “Fish-Skin" to form a whole. Presseau explores agricultural, trade, and spiritual themes—taking cues from changing seasons, astronomical markers of time, and natural or man-made environments. She conflates memory and meaning, fact and fiction, and reality and fantasy in her suggested narratives to make sense of the individual within the world.

Ali Smith
Through June 18, 2011
530 West 24th Street NYC 10011

Saturday, May 14, 2011

Jack Smith: Beyond the Demimonde

[Miscellaneous untitled mixed media works on paper (1964-1985). Miscellaneous untitled black & white gelatin silver prints (1958-1962). “No President” (1967-1970), 16 mm transfer to DV. “Diva” (2011), Blue Ray disc by T.J. Wilcox.]

George Kuchar called Jack Smith (1932-1989) “the king of the underground." Laurie Anderson called him “the godfather of performance art." John Waters called Smith as the “only true underground filmmaker.” According to musician John Zorn, Smith was “the real Warhol.” The enigmatic Jack Smith—who inspired Charles Ludlam (1943-1987) of Ridiculous Theatrical Company fame and further inspired Hibiscus to found the Cockettes—was a multimedia artist before the term used formally. While creating films, sculptures, collages, and costumes—and shooting photographs—Smith was a major influence on Andy Warhol and included Federico Fellini among his fans. Following his arrival in New York in 1953, Smith became one of the most influential members of the American avant-garde and a central figure in the cultural history of the film, performance, and art of downtown New York.

Smith is probably best known for “Flaming Creatures” (1962)—a satire of Hollywood B movies and tribute to actress Maria Montez. Since some scenes were considered pornographic by the authorities, copies of the movie were confiscated at the premiere and it was subsequently banned. The movie provided traction for right-wing politicians during Congressional hearings. In 1998, PS1 mounted a retrospective of Jack Smith’s work that traveled to the Warhol Museum in Pittsburgh.

While Gladstone Gallery has represented the Estate of Jack Smith since 2008, this is the gallery’s first exhibition of his works by Jack Smith. Curated by the eloquent and iconoclastic Neville Wakefield, “Thanks for Explaining Me” presents 12 recently restored films, as well as a selection of drawings, collages, black and white photographs, color photographs never previously exhibited, and two seminal slide shows. A writer and commentator on contemporary art, culture and photography, Wakefield is author of “Postmodernism: the Twilight of the Real,” published by Pluto Press in 1988. Contributing editor to Another Magazine, Elle Decoration and Open City, he regularly writes for Artforum, Art and Auction, Art in America, I-D, Interview, The New York Sunday Times, and British and Italian Vogue.

Seeing his curatorial endeavor as a tributary approach to Smith’s creative practice and panoptic production, Wakefield writes: "More than almost any artist of the last century Jack Smith understood that within the prevailing cultures of success, art’s greatest role may have been to provide provision for public failure. To this end his actors and accomplices, props and lighting, drugs and desires were invariably wrong: wrong before the performance had started – before even the lights had gone down. The marathon of tourettic revisions, false starts and delays signaled to the world the impossibility of creating anything of value in a rectilinear lagoon where even the dedicated and willing were dragged to the bottom-feeding level of landlords and lobsters. Yet out of these impossible conditions was born the stuff of exquisite beauty, radical politics, lurid, caustic, pornographic and often hilarious evocations of the sexual and social strata in which we find ourselves. Much of this endures even in conditions Smith would have most likely have loathed. But the fact that the same frictions that heated and formed his work continue to frustrate curators as well as inflame and inspire artists—including those who have agreed to continue the spirit and legacy with works created for this show—is, I hope, testament to the enduring power and influence of Jack Smith’s extraordinary art."

Three collaborative works will also be on view, in which artists Ryan McNamara, A.L. Steiner, and T.J. Wilcox appropriate heretofore unseen Jack Smith film material to create contemporary meditations on Smith’s legendary life and work. Using video and performance, Ryan McNamara’s work centers around the body and the role it plays in establishing identity. Simultaneously playful and contemplative, McNamara’s highly physical works are informed by comedic sensibility and driven by a highly thoughtful inquiry of the body’s limitations and vulnerabilities. His performances have been included in Performa at X Initiative (2009), MoMA’s PS1 (2010), and the Moscow Performance Biennial at the Garage (2010). His work is in the collection of MoMA. A.L. Steiner is a Brooklyn-based artist who uses constructions of photography, video, collage, installation, collaboration, performance, writing and curatorial work as seductive tropes channeled through the sensibility of a cynical queer eco-feminist androgyne. A visiting faculty at UCLA and The School of Visual Arts, Steiner’s solo and collaborative work has been exhibited internationally. T.J. Wilcox has had solo shows at Stedelijk Museum (Amsterdam), and has had work shown at Museum Ludwig (Cologne), Tate Modern (London), and MoMA. In 2006, a monograph of his work was published in a multi-gallery collaboration.

A special film program will take place on Saturdays from 4-6 PM during the run of the exhibition, wherein newly restored Jack Smith prints will be screened on 16mm celluloid. The films will be introduced by film historians, scholars, friends and collaborators of Jack Smith. The Saturday series will present a rare opportunity to see these eleven film prints in the context of the artist’s larger body of work.

After Smith’s AIDS-related death in 1989, performance artist Penny Arcade and film historian J. Hoberman—along with others in the “downtown arts community”—bravely and tenaciously fended off attempts by Smith’s family to scuttle his artistic legacy. Thankfully, a horrendous decision on behalf of Smith’s estranged biological family by New York Surrogate Court Judge Eve Preminger–after a six-minute “trial”—was stymied by Gladstone Gallery’s purchase of his collection.

Smith, having been referenced by such artists such as Laurie Anderson, Cindy Sherman, Mike Kelley, David Lynch, Matthew Barney, Nan Goldin, John Zorn, Lou Reed, David Byrne, and Robert Wilson–across myriad disciplines–has had momentous, if unrecognizeded, impact on art internationally. Gladstone Gallery's show is a move toward rectifying this situation.

Jack Smith: “Thanks for Explaining Me”
Curated by Neville Wakefield
Through June 16, 2011
515 West 24th Street, NYC 10011

A Legacy Unfulfilled: Ted Stamm

[“Untitled” (1974), graphite & ticket stub. “Untitled” (1974), graphite on ticket stub. Four untitled works (1974), graphite on paper. “Untitled” (1976), graphite on paper. “Untitled” (1974), graphite on paper.]

Ted Stamm unexpectedly died at the age of 39 in 1984. In the 12 years preceding his untimely death, Stamm created a mature body of work—at once responsive to the past, reflective of his time, and telling of the future. Despite this impulse, viewing Stamm’s work calls forth his very process and medium: Stamm’s life, passions, and preoccupations are revealed with each geometric form and mark. When viewing Stamm’s work, one is immediately tempted to focus solely on its surface minimalism. Marianne Boesky Gallery is presenting its first exhibition of Ted Stamm with a Project show of works on paper through June 11, 2011.

Drawing was basic to Stamm’s practice: The graphite lent itself both to tight precise lines and emotive scribbles. After 1972, black dominated his work—both as an artistic investigation and for its popular connotations of nonconformity and rebellion. At the same time, Stamm explored reductive elements of line and form abstraction while seeking his sought-after and “perfect” flat and non-reflective shade of black. In so doing, he nodded to artists whose process he admired, like Abstract painter Ad Reinhardt (1913–1967)—noted for his “black” or “ultimate” paintings—and Frank Stella, significant for his place in minimalism and post-painterly abstraction.

Stamm dubbed his earliest black works “cancel” paintings—createing them by covering the surfaces of his colorful poured abstractions with a grid of black paint. Such gestural forms eventually yielded to more pronounced lines and geometry reflecting shapes striking Stamm in his daily environment. These shapes were given specific names with specific rules. “Woosters” combined rectangular and triangular shapes derived from forms he had seen on Wooster Street. Semi-circular “Dodgers” culminated in tilted rectangles. Named for the Brooklyn Dodgers, they were possibly derived from baseball field perimeters. “Zephyrs” referenced high speed trains, with their sleek, elongated cross shape.

An early experimenter with graffiti, Stamm discreetly stenciled his “Dodger” form on buildings that were meaningful to him. On subsequent visits, he added to the work until—in a fourth stage—his final work was carefully documented. In his “Tag Pieces,” Stamm further enumerated his life and art. Found tags were glued to identical sketch pads, with guests to his studio asked to mark the page as they wished. Stamm responded with his own mark in the other sketchbook. The resultant work memorialized this implicit “collaboration.”

While remaining true to minimalism’s basic tenets with his concern for space and the object, Stamm injected his own interest in advancement and movement, which reflected his boyhood fascination with cars, trains, and planes. Perhaps describing his own work best, Stamm said “it represents no beginning and no ending. This is my life.”

Stamm’s work is included in the collections of Brooklyn Museum, Carnegie Museum, (Pittsburgh), MoCA (Los Angeles), Phoenix Art Museum, The Aldrich Museum of Contemporary Art (Ridgefield, Conn.), MoMA, The Solomon R. Guggenheim Museum, and Western Australia Art Gallery (Perth).

Ted Stamm: Works on Paper
509 West 24th Street, NYC 10011
Through Jun 11, 2011