Flowers and Skulls…


Lawyers fight to keep Auction Sellers Anonymous

This group show will exhibit the personal work of some of Gowanus Print Lab’s talented teaching artists and staff. In addition to screen prints, the GPL staff will exhibit their paintings, photographs, textile and mixed media work.


From 2012-03-21 To 2012-04-23

Opening Reception on 2012-03-23 from 18:00 to 20:00

Website (venue’s website)



Venue Hours

From 10:00 To 22:00
fridays closing at 19:00, saturdays closing at 19:00, sundays opening at 12:00, sundays closing at 19:00


Address: 54 2nd Ave., Brooklyn, NY 11215
Phone: 718-788-3930

Between 7th and 8th Sts., Subway: F/G/R/M to 9th St and 4th Avenue.

Google map

Photo and review courtesy of NY ART BEAT.

When you visit, why not mention you found this venue on New York Art Beat?

Behind The Veil, 65" x 72," Acrylic on Canvass, 2011

Behind The Veil, 65" x 72," Acrylic on Canvass, 2011

We perceive the world through edges. Edges give boundary and shape to our universe. Lines punctuate one object in space from another. The horizon line keeps us in balance. Lines communicate tones like calmness or frenzy. Lines can be hard. Lines can be soft. Lines can be wispy and firm, energetic and rhythmic. Everyday we experience a sea of mechanical lines– Maps, letters, signs, text messages, stock scrolls, wires, highways, spreadsheets, skyscrapers, and of course representational art. Our typical experience with the drawn line is swamped by representational and symbolic uses.

I want to get past line just looking like something or literally saying something.

The emotional quality, the essence of the line, the compositional relationships of line – is what my work is about.

Artist Statement, John Borys, American Contemporary Artist: With upcoming shows in Dallas at Illume GALLERIE: and Authenticity: Austin Texas this spring.

This is the first major museum exhibition devoted to the full scope of the career of Willem de Kooning, widely considered to be among the most important and prolific artists of the 20th century. The exhibition, which will only be seen at MoMA, presents an unparalleled opportunity to study the artist’s development over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s. Bringing together more than 200 works from public and private collections, the exhibition is the first to occupy the Museum’s entire sixth-floor gallery space, totaling approximately 17,000 square feet.

Representing nearly every type of work de Kooning made, in both technique and subject matter, this retrospective includes paintings, sculptures, drawings, and prints. Among these are the artist’s most famous, landmark paintings—among them Pink Angels (1945), Excavation (1950), and the celebrated third Woman series (1950–53)—plus in-depth presentations of all his most important series, ranging from his figurative paintings of the early 1940s to the breakthrough black-and-white compositions of 1948–49, and from the urban abstractions of the mid 1950s to the artist’s return to figuration in the 1960s, and the large gestural abstractions of the following decade. Also included is de Kooning’s famous yet largely unseen theatrical backdrop, the 17-foot-square Labyrinth (1946).

[Image: Willem de Kooning “Woman” (1950) Oil, cut and pasted paper on cardboard, 14 3/4 x 11 5/8″ The Metropolitan Museum of Art, New York. From the Collection of Thomas B. Hess, Gift of the heirs of Thomas B. Hess, 1984. © 2011 The Willem de Kooning Foundation/Artists Rights Society (ARS), New York]  Photo and review courtesy of NY ART BEAT.

Joan Mitchell (1925-1992) moved from Chicago to New York in 1947. Early in her career, she was included in the historically significant 1951 Ninth Street Exhibition. Organized by Leo Castelli, the show was renowned for its championship of Abstract Expressionism, and positioned Mitchell with older, mostly male painters: Willem de Kooning, Jackson Pollock and Franz Kline among them. Mitchell met de Kooning early on-inspired by his painting, she sought out an introduction-and was a rare female participant in artistic debates at the notorious Cedar Tavern. In 1952, she had her first solo exhibition at the New Gallery.

In 1959, Mitchell moved to Paris, France. She relocated to Vétheuil (outside of Paris) in 1967, and it was there that she spent the last few decades of her life. The French countryside was a strong influence on her work. Mitchell translated its natural beauty into radiating lines and abstract knots of color-her compositions reference water, trees, and floral motifs, and channel the area’s unique quality of light and atmosphere. Mitchell’s late paintings are especially emblematic of her relationship to her environment-her physical surroundings were linked to an emotional landscape, as if her observations of nature were filtered through an internal sieve. As she said, “My paintings [are]…about a feeling that comes to me from the outside, from landscape…My paintings have to do with feelings.”

Though Mitchell abstracted nature, gleaning only its essence, her advocacy for the natural world as a subject finds precedence in the plein air and Impressionist painters a century before. As Marshall elucidates in his essay, Mitchell admired Cézanne, Monet and Van Gogh; their interpretations of the same landscape originated from similarly sensitive perceptions of their surroundings. Non-traditional palettes, and, especially in Monet’s case, a decisive deconstruction of the image, brought attention to brushstrokes and paint itself, a concern that was to be paramount for Mitchell and her contemporaries. Van Gogh’s sunflowers were also an inspiration. The motif (represented by two paintings in this show) is linked not only to Van Gogh, but also to an allegory of mortality. As in Sunflowers, 1990-91, she chose to paint the flowers in a state of decay, reinforcing her desire for the work to “convey the feeling of a dying sunflower.”

The last years of Mitchell’s life were marked by the deaths of friends and family. Her own health struggles began in the early 80s with the appearance of cancer. Painting became a refuge and an ally. While the late work still evinces a distinct confidence of gesture and mark-making, it is further characterized by an increased sense of freedom. In his essay, Marshall notes a loss of “restraint,” an “abandon,” a “paring down.” Often presented in diptych format, Mitchell’s expansive late canvases remain evocative of the landscape, but also provide room to explore a more liberated mark. Brushstrokes are energetic and colors vivid. Punctuated by airy, unpainted areas of canvas, the paintings express a sensation of urgency and immediacy, as if in rejection, denial and resistence to her failing health. Through her late work, she strived for immortality, for a merging with the timelessness and formlessness of nature: “I become the sunflower, the lake, the tree. I no longer exist.” Photo and review courtesy of NY ART BEAT.

John Borys, Popsicle, 24.5” X 44.25,” acrylic on canvass, 2011

The opening party on the 14thwas a great success with over 400 people attending – part of the proceeds went to The Resource Center and Belvedere Vodka was kind enough to pour for the evening. Illume GALLERIE hosted the event and the artists that make up the ModART Show are Marilyn Biles, John Borys, Robert Diago, Frankie Garcia, John Knott, Bonnie Liebowitz, Carmen Menza, Michelle de Metz, Christina Neuser, Gary Perrone, Nan Phillips, Steve Prachyl, Elle Schuster, Jerry Skibell and Ron Radwanski. The flow within the gallery was spectacular, and Ron Radwanski did a great job of combining all of the fifteen very different artists works to somehow complement each other and look great next to one another. The ModART concept is Jeff Levine’s idea, publisher of Mod Media, Inc. Jeff wants to showcase the artistic talent from the various cities that his e-magazine focuses on. Currently Mod Media, Inc. is in Dallas, Houston, and Austin. The different websites focus on all things contemporary for that given city. Real estate, architects, art, calendar of events, furniture, home, interior design, lighting and outdoor are categories that one can search and find the best in contemporary offerings. The ModART show is destined to travel to Houston, and Austin and will donate part of the proceeds to a worthy cause for that particular city. The energy from this recent show, the artistic bonds that have formed between the ModART artists, and the upcoming city dates to Austin and Houston will make this new venue worth keeping an eye out for. The show in Dallas runs from October 7th thru the Jeff Levine’s Contemporary insights for Dallas can be found at: in Houston at: and in Austin at: The works of John Borys can be found at: