(New York, NY) Cynthia-Reeves (Booth #C5) is pleased to participate in the 8th edition of PULSE New York, opening on Thursday, May 9 and running through Sunday, May 12, at the Metropolitan Pavilion at 125 West 18th Street (between 5th and 6th Avenues) in New York City. Running concurrent with Frieze New York, PULSE will showcase over 60 leading international contemporary art galleries.
Cynthia-Reeves will feature works by international artists Jaehyo Lee, George Sherwood, Dawn Black, the Michael Mulhern Estate, Jeffrey Stockbrigde, Jonathan Prince, and Sarah Amos, among other distinguished gallery artists.
Cynthia-Reeves presents a new functional artwork by Jaehyo Lee, a table done in his signature style of charred wood and stainless steel nails and bolts. The gallery recently installed Lee’s eighteen-foot tall public artwork, Lotus, comprised of meticulously carved pine. The work is on view at the Union Square Triangle through October. Lotus continues the artist’s work in monumental sculpture: last summer, Lee’s work was featured in the Korean Eye exhibition at the Saatchi Gallery in London.
Memory of Zeno is the newest work from the George Sherwood studio, continuing his inquiry into wall-based kinetic works. His stainless steel sculpture is comprised of concentric circles of individual elements, all of which move with the slightest current of air. Sherwood just opened Wave Cloud, an eight-foot tall outdoor installation at the Christian Science Plaza in Boston; his work Mandala was recently acquired by the Dana Farber Cancer Institute for their newly dedicated 20th and 21st Century Contemporary Art Collection in Boston.
The gallery is featuring a newly commissioned work from the lauded Conceal Project by award winning artist, Dawn Black. The Conceal Project is an assemblage of 7½ x 5½ inch panels, each featuring a singular character beautifully rendered in watercolor, ink and gouache. These figures are iconic images of costume, ritual dress, and religious finery. Black examines the role of clothing and costume for its transformative nature, and as signifiers of identity, ritual, power, and sexuality. The Columbus Museum, GA, recently acquired 12 panels from their exhibition of the Conceal Project, and the Museo della Carta e della Filigrana acquired Oubliette 2, after her inclusion in their recent group show. Black was recently nominated for a Joan Mitchell Foundation Grant.
Cynthia-Reeves will present Ampersand 31, a signature medium-scale color work from the estate of Michael Mulhern. A minimalist abstract painter based in New York, Mulhern practiced his art for more than forty years. An ardent proponent of minimalism, he pursued a dynamic series of paintings utilizing only black and aluminum paints for decades. It was in his latest work, The Ampersand Series, that he returned again to the use of color, yet still hewing closely to his roots as a gestural abstract painter. The National September 11th Museum has recently acquired two of Mulhern’s Ash Road paintings, the monument monochromatic work referenced in the following comment by art critic Karen Wilkin:
despite the gritty beauty of his pictures and despite their sensuous painterliness, Mulhern’s blanketing grays have still other connotations for anyone who saw the smothering layers of grey debris in Iower Manhattan after September 11th …The way the wrinkles in Mulhern’s large paper works simultaneously function as drawing incidents and as records of a difficult history reinforces such connotations. Yet none of this explains or determines the power of Mulhern’s recent paintings. That they are richly associative is undeniable, but it is their raw, physical "abstractness" that carries these associations, the nuances of color and surface, the shifts of gesture and line, and the adjustments of interval and density that engage your eye and allow, mysteriously, a wealth of wordless ideas to assert themselves.
CYNTHIA-REEVES is exhibiting a photographic series by Jeffrey Stockbridge, which includes his survey of the interiors of abandoned houses in Philadelphia. Of his work, the artist writes:
A house is a container for life. It protects and provides for its inhabitants both physically and spiritually. A house is not just a physical structure; it is much like a living person. It is born, it ages and it passes away. My work aims to transcend the content it records. The spaces I photograph are technically abandoned but in reality it’s quite the opposite. The memories of past occupants echo down dark hallways and shadowed rooms. As the sun stretches far inside it breathes life into the stillness and reveals a bond that exists between human beings and their shelter.
Stockbridge is a New York Times Magazine photo contributor and recent recipient of a Pennsylvania Council on the Arts Grant, an Independence Foundation Fellowship in the Arts Grant and a Center For Emerging Visual Artists Fellowship. His work has been exhibited nationally and internationally, including at The National Portrait Gallery London, The Wapping Project Bankside, and The Philadelphia Museum of Art.
Torn Steel artist, Jonathan Prince, expands his vernacular in stainless steel with a new work in red anodized steel, Ruptured Column. Fabricated with aircraft grade aluminum, the interface between each of the sculpture’s five segments is hand-wrought steel, a figured surface that plays elegantly against the pristeen, high-polished red exterior. The piece pays homage to the masterpiece The Broken Column (1944) by Frida Kahlo. Prince’s Vestigial Block I, a Torn Steel sculpture measuring six by six by six feet, was recently acquired for the permanent collection of the Eli and Edyth Broad Art Museum in East Lansing, Michigan; another of his works is on permanent view at the IBM Building Lobby on Madison Avenue in New York City.
Australian master printmaker, Sarah Amos, started making ‘mural scale’ works almost ten years ago. A seminal 2005 work, Dream Hole (Yellow), encompasses hallmarks of the artist’s work—masterful collagraph printmaking techniques, astute understanding of palette and rhythmic pattern, and careful over-painting done by hand. The title “Dream Hole” is a reference to a medieval term—a dream hole was a natural occurring hole in a castle’s stone wall where the inhabitants could look through and see a better world outside, or so the expression went. The artist writes, “For me, this was a metaphor for what my dream hole looked like—really bright, busy, and in constant agitation.” Amos’ work appears in numerous private and corporate collections, including: The DeCordova Sculpture Park and Museum in Lincoln, MA; The Katonah Museum in NY; LaTrobe University Museum in Melbourne; and the Time Warner permanent collection in NY. Amos’ work was featured in the Oscar-award film, Black Swan, in 2010.
Sarah Amos, Dawn Black, Jaehyo Lee, Danielle Julian Norton, Michael Mulhern Estate, Jonathan Prince, Shuli Sade, George Sherwood, Jeffrey Stockbridge, & Claire Watkins.