Exhibitions
Anne Daems – Parsnip Peel Ochre Grated Radish Pink Sap Green Polka Dots Lava Cake Black
Opening Feb 28th, 6-8 pm
Gallery Hours: Friday 11 – 4pm, Saturday & Sunday 2 – 4pm, and by appointment.
On a first view Anne Daems’ series of watercolor paintings look like colorful impressionist landscape paintings inspired by for example Monet or Bonnard. But those ones believing that Anne Daems turned to abstract painting, might come back from a naked trip. Her series is an ethnographic detailed study of the garments on a Gustave Serrurier-Bovy chair in her bedroom. The for the most part invisible art-nouveau chair covered with clothes is turned into an endless composition machine for random color charts and patterns of contingent landscapes. In the viewers’ daily, petty annoyances about absolutely nothing Anne Daems triggers important questions like: Who is dressing the chair every day? Does the chair witness the mood of the undressed on that day? Or on which moments do smelly cloths leave the chair and end up in the washing machine?
by Maria Bovy
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Opening: Sunday, December 15, 6–8pm
Gallery Hours: Friday 11-4pm, Saturday & Sunday 2–4pm, and by appointment.
Max Schumann, Tonight Where You Live, 2024
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September 20th to November 2nd, 2024,
Opening on Friday, September 20th at 6-8 pm
Gallery Hours: Saturday, Sunday 2–5pm, and by appointment. Please email.
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When I was a child, my American symbols were Marilyn Monroe, James Dean, and Norman Rockwell’s illustrations. However, Kate’s drawings invite me to an earlier period in American history. Finally, my mind goes on another trip, and I think of Ed Ruscha’s big mountain paintings.
In Kate Harding’s second solo exhibition with 3A Gallery, she will be showing an installation of works that are the result of an intensive period of exploration integrating drawing, painting, and digital embroidery on draped and sewn linen.
I hope people enjoy seeing her works and their imagination would travel to many periods of American feeling.
Mieko Meguro — Aug 2024
*For images and additional information, please contact at info3agallery@gmail.com
Food Show 3 – June 2nd to July 7th, 2024, Opening June 2nd, 6-8 pm
Gallery Hours: Saturday, Sunday 2–5pm, and by appointment. Please email.
Cristopher Williams, RISTRETTO, 2024
Rafael Delacruz, Satoru Eguchi, Barbara Ess, Wineke Gartz, Dan Graham, Erika Landström, Satomi Mastuzaki, Quintessa Matranga, Laura Medellin, Mieko Meguro, Yuki Okumura, Trevor Shimizu, Michael Smith, and Christopher Williams
One bite of Madeleine took you back to all the memories of Proust’s life; I understood this sensation.
It is not easy for me to eat raw tomatoes because of my memories of my mother and her mother. My mother’s family were farmers; they grew vegetables. One summer my mother and her mother went out to their land to pick some tomatoes as souvenirs. The two ladies were so happy and innocent; chatting, laughing and picking tomatoes. I was a little girl, and following them, I observed them with affection. This summer was the last summer when they were happy. After then, my grandmother’s health declined. When I eat salad, the smell of the tomato still brings me back to the time on the farm. For this reason, it is not easy for me to eat a fresh tomato, but I still love tomatoes.
Food gives us pleasure and memories. I still eat food every day.
—Mieko Meguro, April 2024
Frances Scholz – The Chicken Truck
February 8 to March 10, 2024
Opening: Friday February 8, 6–8pm
Gallery Hours: Saturday & Sunday 2–5pm and by appointment. Please email.
Frances Scholz, Chicken Truck , 2016. Watercolor on paper, 7.5 x 11 in.
Frances’s “Uncombed” images in their varied repetition figure something in a peripheral sense, like a séance or laps of photographic developer fluid running over their surfaces. In the aftermath of an iridescent oil-rain puddle drive-through, we catch glimpses of what went by. Her recent “Non-portrait” operate similarly; spilling, blotting, and taking away fragments of partial view. The nine new pictures in this show, which relate to those larger bodies of work, are tethered to memories, or to a film still distorted, an evaporated image projected onto a model of a room, or a painting scaled down and re-configured into a watercolor. Swipes, dissolves, and recollections of a glance are exchanged—between a visitor and a West Texan horse, a passerby and a desert food stand. Three dimensions seep and fold in and out of the space of these small pages, and the sun hits one majestic face of the chicken truck.
In transitioning fluidly between film shooting and painting, Frances strings narrative into formal means and vice-versa. Not to endlessly defer in the sense of vapid/reflexive abstraction, but rather to work at something more genuinely or stubbornly noir. In one of her earlier videos that could also be dubbed a non-portrait, Wir kennen uns übrigens (We know each other by the way), 1998, the artist’s bag is emptied out in its entirety multiple times over, a cover of or take on Jane B. par Agnes V.. In these small works on paper, we get tangles again from sources inverted.
—Annie Ochmanek
Frances Scholz was born in Washington D.C. and studied at the College of Fine Arts, Berlin. Since 2002 she has been a professor at the Braunschweig University of Art/HBK (DE) and lives and works in Cologne. Her work has been the subject of solo exhibitions at venues including Abteiberg Museum Moenchengladbach (DE), CCA Wattis Institute San Francisco (US) and the Chinati Foundation, Marfa, (US). Further on institutions like the KunstMuseum, Bonn, (DE), Museum Ludwig, Cologne (DE), Chisenhale Gallery, London (GB), CAPC Museum, Bordeaux (F), Witte de Witt, Museum Rotterdam (NL), MOCA, Museum Los Angeles (US), Galeria Studio, Warsaw (PL), ICA, London (GB) or Artists Space and The Kitchen, New York (US) screened her films and presented her paintings.
Annie Ochmanek is a writer and editor based in New York. She is currently in the Art History Ph.D. program at Columbia University.
Barbara Ess
November 11, 2018 to January 20, 2024 (The exhibition has been extended)
Opening: Sunday November 11, 2018, 6–8pm
Gallery Hours: Saturday & Sunday 2–5pm and by appointment. Please email.
Holiday Closing Dates: December 22,23,29 and 30.
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Things are not always what they seem to be. There’s the thing. There’s perception and thought. But in The Expression of Emotion in Man and Animals published in 1871, Charles Darwin quotes Dr. J. Crichton-Browne’s theory that “an empirical confirmation exists in insane people between the state of the their hair and the state of their minds.”
*music by Slayer
Arvid Logan – Repellent
October 7–14, 2018
Opening: Sunday October 7, 2018, 6–8pm
DIZZY Magazine Issue 4 Launch: Sunday, October 14, 2018, 6–8pm
Gallery Hours: Monday 8th to Sunday 14th, 2–5pm
The SMET group is beginning construction of their new rail lines, however the Insectoids have become a liability to their transit expansion plans. The SMET group forms CTON, an anti-insect task force subsidiary. Stage 1 of the CTON initiative is to start misting their newly developed PX-Sprëj, a repellent specially formulated to exterminate the Insectoids.
Using installation, video, painting, and sculpture, Arvid Logan pieces together an alternate world that pulls from the imagery of his childhood. Logan re-imagines the conflicts of living in an increasingly privatized and authoritative city as a war between insects and exterminators.
Jeff Preiss – Title
July 15 to September 9, 2018
Opening: Sunday July 15, 2018, 6–8pm
Performance by Andrew Lampert on Sunday September 9, 2018, 2–5pm
Gallery Hours: Saturday & Sunday 2–5pm and by appointment. Please email.
TITLE for Adolfas Mekas
Jeff Preiss 2018
16mm film transferred to DVD on Eight 4” LCD monitors and a projection of:
An Interview with Ambassador from Lapland by Adolfas Mekas 1967 (titled version 2018) 16mm film transferred to Bluray.
Pola
March 27, 2018
50 years after Adolfas Mekas’s original act of protest, his facsimile of found-footage is reframed as memorial by the act of posthumous titling, and this reframing is framed again by a schematic mapping back to the physical space of production, evoking through its fractured mise-en-scène an homage to the under-recognized master filmmaker and teacher.
“A complex fellow was Adolfas, kept erect by his fine clothes so as not to become a puddle of feelings”
—Ken Jacobs
This is not me, Andy Warhol
Appropriations, Unauthorised Editions & Fakes…
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Flowers (Sunday B Morning – Modern Edition), Silkscreen on Card, 36 x 36 inches
Courtesy of the Andy Warhol Foundation for the Visual Arts
In 2013 Daniel Brant of A&D Gallery in London curated, This is not me, Andy Warhol, an exhibition of appropriations, unauthorised editions & fakes. As a tribute to Daniel, who died on the 19th January 2017 from complications caused by Scleroderma, 3A Gallery is delighted to be able to recreate part of that show with the assistance of his partner, Helen Clarkson.
Even before he embarked on his fine art career, Andy Warhol was happy to appropriate the work of others, mainly his mother Julia.
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After his move into fine art, appropriation continued to be a mainstay of Warhol’s practice. Although Gene Kornman, who took the photograph of Marilyn, felt no hostility, Warhol was sued by the photographer of the image used for his Flowers paintings. Warhol was inspired by Larry Rivers’ portrayal of Lenin in the 1973, New York Collection for Stockholm portfolio in both the subject and the artistic approach which he modified for his Lenin (1987).
Warhol took a laissez faire attitude when his own work was appropriated. Once, asked in an interview, about his technique he replied, ‘I don’t know, ask Elaine’. Elaine was Elaine Sturtevant to whom he had given one of his Flowers silkscreens so she could produce her own. Richard Pettibone, whose miniature versions of painting by Warhol and Lichtenstein have been the cornerstone of his career, found both artists to be supportive (apparently, Frank Stella was less enthusiastic).
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Nicolás Guagnini – The Walrus
April 8 – May 6, 2018 – Opening: Sunday April 8, 2018, 6-8pm
Gallery Hours: Sunday 2-5 pm and by appointment. Please email.
Nicolás Guagnini, Walrus #7, 2017, Pen on paper, 9 x 12 in / 22.9 x 30.5 cm
Courtesy of the Artist and Bortolami, New York
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“ I am he as you are he as you are me / And we are all together ”
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In the studies for this piece, and the piece itself, I attempt a direct, schematic and somewhat stupid representation of a walrus type art friendship.
Nic
Harlem, February 2018
This exhibition has been made possible thanks to the assistance of Bortolami, New York.
Frances Scholz
February 11 to March 11, 2018 – Opening: Sunday February 11, 2018, 6–8pm
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Frances Scholz, uncombed, 2017
The act of painting lies somewhere between the transformative Process of various materialities and its forthcoming contextual impact. The way we paint, as well as how we tend to understand, categorize and grade that exact painterly Procedure.
Frances Scholz’s work addresses that kind of post-painting Problematic, bringing in the forefront a series of vibrant critical questions about the very fabric of Painting itself. A series of white canvases are covered with what seems to be manipulated brushstrokes of color, foil wall pieces adorned with magnified horse hair prints, as well as an intriguing video projection complete a cohesive, yet truly pluralistic, critical commentary on the histories, conventions and vocabularies of the medium. The “horse hair motive”, carrying its’ own long-lasting history is broken down, turned inside out and repurposed in order to unveil new contextualizations and meanings.
The key element of the show, or at least one of the most carefully constructed ones, plays with the way Scholz decides to articulate her refined and at the same time sharp language. The viewer finds herself/himself almost trapped in liquid spaces, between abstraction and figuration, material and immaterial, illusion and honesty. What seems to be obvious at first glance becomes something suspended and dubious; like a perfectly smoothed surface, which conceals much more it is willing to give away, or the persistent memories of the „Old Masters”, smirking around the corner, while Scholz defaces their iconographical pedigree. The space becomes in itself a crucial piece of the puzzle, interacting, contradicting and in many ways challenging each work, making the case for a witty white cube invasion.
Frances Scholz manages to orchestrate an almost ironic meta-narrative about our very own perceptions, as well as about our direct compliance, regarding the limits and framework of what it means to keep on painting in 2018.
Haris Giannouras
Happy New Year 3A Gallery
January 12 to February 4, 2018 – Opening: Friday January 12, 2018, 6-8p.m.
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Wineke Gartz
Kate Harding
Trevor Shimizu
Tracy Dillon Timmins
Antoine Catala / Dan Graham
Trevor Shimizu, Dan Graham’s Assistant, 2008
3A Gallery relocating灯蓝专业版免费 安卓
3A Gallery is pleased to announce that the gallery has relocated to 629 East 6th Street #1, New York, NY 10009 in September 2017.
Satoru Eguchi – Daymare Hangout: 3A Gallery (3rd floor)
June 11 to July 9, 2017
Opening: Sunday June 11, 2017, 3-6p.m.
satorueguchi.com check list
Dan Graham: I want to know why you do fountains.
Satoru Eguchi: why I do fountains?
DG: It reminds me a lot of some of Bruce Nauman’s work.
SE: He does fountains too, right?
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Peaceful, uneasy postures, flowing moves of soft black pencil lines, two look alike couple images, water energy that shoots up in the air that creates unemotional almost objects like portraits of me. Often situated in a room or in an open space the figures are interacting each other sometimes in harmony sometimes in conflict like my internal self.
I grew up near mountains and sea in Japan. After moving to New York in 1998, I often think about bringing nature elements home. It’s my child-like desire to possess miniature river, lake or mountains into my drawing.
When I made Fountain sculpture in Elizabeth Street Garden in 2014, I felt the garden was missing the water element. I am interested in re-creating nature element that you cannot grasp such as air, water, shadow into an object. My material for sculpture has been primarily paper. It was a challenge to make it work in an outdoor condition. It rained one day and the shape of fountain had changed.
Dan Graham, an artist and an astrologer, once asked me that if my fountain that relate to Bernini’s fountain in Rome or peeing figure in Antwerp. I think mine is more like peeing figure in Antwerp because it’s not monumental like Bernini’s. I feel my fountain also refers to human body because of the scale relative to one’s body, which makes me think of urination. Both my drawing and sculpture involve my own body and its relationship to the space. My body can be a sculpture.
Kate Harding – Uphill Downhill Conversation, (Sister): 3A Gallery Annex (4th floor)
June 11 to July 9, 2017
Opening: Sunday June 11, 2017, 3-6p.m.
kate-harding.com check list
Kate Harding lives and works between New York, rural Missouri and Los Angeles. Harding examines the specificity of site and the local to explore concepts of landscape, perception and inter-subjectivity. Seeing her practice as a continuation of purposeful ramblings in the woods that began in early childhood, she undertakes engagement with site as a resonant field and collaborator without hierarchy. Structured “field experiments” wherein her body becomes a tool of measure and site of projection are recorded and mined for information, to shape into discreet objects (paintings, diagrams, drawings, projections on/through varied surfaces) and environments. Interdisciplinary in material and approach, Harding’s background in garment design and construction often provides a metaphoric structure to her work, as does science, history, critical philosophy, folklore, and the colloquial phrase.
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Josh Thorpe / Joe Beginner – Willows and Palms: 3A Gallery
Opening and Book Launch: Sunday April 30, 安卓灯蓝专业版下载
April 30 to May 28, 2017
www.joshthorpe.com www.joebeginner.com
3A Gallery is pleased to present the work of Josh Thorpe, an itinerant Canadian artist, writer, experimental music composer, and rock musician.
Willows and Palms will be an informal presentation of several recent drawings and screenprints. The drawings are hasty and ham-fisted scribblings of nocturnal scenes in rich pastels, the screenprints more pristine representations of similar scenes in one or two strange colors.
“Some of Thorpe’s work reminds me of Saenredam’s paintings of empty churches,” Dan Graham said, “But it’s all about fantasy.”
As part of the exhibition, Thorpe will be introducing his latest piece of writing, Beginner’s Microbiome, published as alter-ego Joe Beginner. This semi-autobiographical novella is dedicated to the memory of New York writer Harry Mathews. Written in the form of a daily journal, the work is a tribute to the constant strangeness of daily life.
As described by Malcolm Sutton, fiction editor for Toronto’s BookThug press “Joe Beginner is a detective of the everyday, a genius of the senses.”
~
Note: 3A Gallery has been closed since the summer of 2016 due to the recent illness of Executive Producer Dan Graham. Dan is feeling much better, and we are happy to be back to work.
Tracy Dillon Timmins – Into The Fold: 3A Gallery annex (4th floor)
Opening: 灯蓝专业, 3-6 p.m.
April 30 to May 28, 2017
tracydillontimmins.com
3A Gallery Film Festival: opening reception June 29th, 6-8pm
3A Gallery Film Festival
June 29th to August 28th 2016
Opening reception: June 29th 6-8pm
Ericka Beckman: Tension Building
Yoji Kondo: Parasol
Tom Morrill: Justice Coin Gold
Akiko Maruyama & Philippe Roy: Koropokkuru
Rebecca Naegele: Cyclops
Trevor Shimizu: Yawn
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Ericka Beckman: Tension Building
Film Type: Stop Motion Animation
Genres: Experimental
Runtime: 8 minutes, 30 seconds
Completion Date: 2014
Country of Origin: United States
Shooting Format: 16mm to HD (Prores 1080p, 24fps)
‘Tension Building” is a composite of linked architectural spaces, some are real and some are models. I combine stop motion and live action filmmaking shot at the Harvard University Coliseum in Boston (1935) and the Municipal Stadium in Florence (1932), built in by Luigi Nervi. The motive for this film came from the question: How can I make a stadium an interactive platform for a game?
Credits:
Ericka Beckman- concept, camera, edit.
Richard Flanagan- Boston Symphony Orchestra, percussion.
Minute Man Marching Band
Funding in part by the LEF Foundation of New England 2007
Born in Hempstead, NY in 1951, Ericka Beckman is an artist and filmmaker, living and working in New York and Boston. Graduating from Cal Arts in 1976, she started to exhibit in the mid-1970s in such renowned independent spaces as The Kitchen, Artist’s Space and Franklin Furnace in New York. Since then her work has shown in museums in the U.S. and abroad: the Whitney Museum of American Art, New York; The MET, New York; Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; The Hirshhorn Museum, Washington D.C.; The Walker Art Center, Minneapolis, MN; The Tate Modern, London, UK; Kunsthalle Bern, Switzerland; Le Centre de Georges Pompidou, Paris, France; The Museum Moderner Kunst, Vienna, Austria; Institute of Contemporary Art, London, UK; and Le Magasin, Grenoble, France. In addition, she has been included in four Biennials at the Whitney Museum of American Art, New York.
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Film Type: Short Movie
Genres: love story
Runtime: 16 minutes 13 seconds
Completion Date: 2014
Country of Origin: Japan
Shooting Format: DV
ヨージ・コンドーの作品はしばしば、「/(スラッシュ)」と関連付けられる（「/」は、分割や連結を示す記号である）。 彼は、ある関係を隔てたり繋げたりする媒体「/」を、通常とは異なる仕方で採用することで、かつては無関係だった２つの、新しい関係性を仄めかそうとする。今回の展覧会では、『PARASOL』という映像作品を出品する。これは、人間の感情を失ったすべての人たちへ向けたラブストーリーである。このショートムービーにおける「/」はパラソルだ。それは単なる日傘ではなく、ある男女の関係を間接的につなげるメディアとしての「/」である。彼の「/」によるその間接性は、 現代社会における私たちの不可能性と可能性を伝えてくれることだろう。
Yoji Kondo’s work is often connected with “/(slash)”; it gives a sign of division or conjunction. By adopting the media “/” that separates or connects a relationship in a different way from the ordinary use, he tries to allude a new relationship of the two unrelated ever. In this exhibition, he presents a video work titled “PARASOL”. This is a love story for all who had lost the human emotion. The “/” in this short movie is the parasol. It is not just a parasol but “/” as a media for connecting with a man and a woman indirectly. The indirectness by his “/” will convey our impossibility and possibility in contemporary society. www.yonderartsparty.com/YojiKondo.html
Tom Morrill: Justice Coin Gold
Film Type: Collage loop
Genres: Experimental
Runtime: 3minutes 55seconds
Completion Date: 2016
Country of Origin: United States
Shooting Format: HD Digital Video
Tom Morrill is an artist and composer from Florida. He lives and works in Brooklyn. He received his BFA from Rhode Island School of Design in 2008. Recent collaborations include the site-specific project No Notice, original music for The Law of Averages, a film by Lizzie Rose, and No Angle of Attack, a two-person show with Rebecca Naegele.
Akiko Maruyama & Philippe Roy: Koropokkuru
Film Type: Animation, Experimental, short
Genres: Experimental, Animation, Abstract
Runtime: 4 minutes 9 seconds
Completion Date: July 8,2015
Country of Origin: United States
Shooting Format: 16mm
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Akiko is a filmmaker and educator originally from Fukuoka, Japan. She graduated from Massachusetts College of Arts and Design with a Film/Video degree. She is currently teaching Film, Video and Animation in the NYC area.
Philippe is a digital artist and animator who studied at the School of the Museum of Fine Arts, Boston. Originally from South Florida, he now lives and works in the NYC area. Some of his digital work includes GIF art which is the source for projected imagery in this film.
Rebecca Naegele: Cyclops
Film Type: Surveillance, documentary
Genres: Experimental
Runtime: 5 minutes
Completion Date: 2015
Country of Origin: United States
Shooting Format: Digital
A remote-controlled video drone (toy helicopter) was flown within a confined area, crashing into each of the fence walls and concrete surfaces. Without an escape, the machine captures its own destruction.
Rebecca Naegele was born in 1990 in Queens, New York. She received a BFA in Sculpture from Washington University in St. Louis in 2012 and is a 2016-2017 Whitney Independent Study Program participant.
Trevor Shimizu: Yawn
Film Type: Digital Slideshow
Genres: New Age
Runtime: 1 minutes 5 seconds
Completion Date:
Country of Origin: Japan
Shooting Format: Screenshots
Trevor Shimizu was born March 30, 1978 of Japanese born Americanized parents. Like president Obama, he is from humble Hawaiian beginnings. Hawaii, a tourist destination in the mid 50’s, was popularized by the TV personality, Arthur Godfrey. Godfrey also introduced to the American public, the ukulele. American pop culture was fixated on Hawaii in the 50’s. “Hawaii became an American cliché.” Pop culture is very important to Shimizu. He is an aficionado of film and considered becoming a filmmaker or actor. Francis Ford Coppola, the Aries filmmaker had a big influence on San Francisco, where many films were made, and where Shimizu was introduced to media and performance. Here, he was introduced to the work of William Wegman, Ernie Kovaks, and Andy Kaufman.
He eventually found a very idealistic situation in New York at EAI. The great women artists, Carolee Schneemann, Shigeko Kubota, Dara Birnbaum, and Joan Jonas have been important in his development. He also worked as Dan Graham’s technician. His studio work is separate from his professional work, however.
Trevor Shimizu’s work has a conceptual, laconic humor. This element of humor is especially important in his work. Shimizu’s Japanese background informs his practice, relating to Japanese Manga and Anime. When he discovered he shared a birthday with Vincent Van Gogh and Francisco Goya, he wanted to paint. Trevor Shimizu’s goal in life is to have fun.
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March 4th to May 29th, 2016
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March 4th to May 15th, 2016
Opening reception: March 4th, 2-8pm at 3A Gallery (3rd floor)
WUNDERLUST/WANDERKAMMER book launch: March 4th, 6-8pm at 3A Gallery annex (4th floor)
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modern cabinet of curiosity. –Dan Graham
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Patrick Jackson and Asha Schechter: organized by Trevor Shimizu
Jan 24th to Feb 21st, 2016
Opening reception: January 24th, 2016 6-8pm
Patrick Jackson
Untitled
2015
plasticine, polyurethane, plaster, epoxy
28 x 37 x 7 inches
Edition 1 of 2 + 1 AP
This untitled wall relief is part of a new series of work, based off of drawings Patrick Jackson made over the past 15 years. He looks through old sketchbooks for repeating images, and takes from them to develop his own personal iconography. The imagery varies, but often contains body parts: mouth, ear, hands, fingers, neck, teeth, tongue, etc. Each relief is sculpted using a soft clay called WED, which stands for Walt E. Disney (Disney imaginers came up with the recipe for this particularly malleable clay). Molds are taken of the original works, and the final pieces are cast in a hard pink plasticine, a type used to create design prototypes.
Asha Schechter
Coffee Scene
HD Video 13:57 2016
“Coffee Scene” juxtaposes footage of Charles Babinksi in the semifinals of the 2015 US Barista Championship with footage of Slovakian 3D modeler Milos Jakubec making a 3D model of Charles’ winning cappuccino. This model is available for free download at:
http://www.turbosquid.com/3d-models/coffee-scene-max-free/993622
Charles went on to win the US championship and placed 2nd in the World Barista Championship.
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Jef Geys: Some Paintings From Belgium:
March 26th to July 23rd, 2015
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Dan Graham collection!
Opening reception: November 19th, Wednesday, 6-8pm
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THAT OBSCURE OBJECT OF DESIRE
September 8th to October 11th, 2014
Opening reception 6-8pm, September 8th, 2014
Betty Beaumont, CRUSHED 001, 2012, Chromogenic print, 26 x 21 x 1.5 inches (framed).
3A Gallery is pleased to announce a solo exhibition of New York based artist Betty Beaumont.
Beaumont has for years produced thoughtful and provocative work in a variety of media including photography, installations, public interventions and new media. Her work challenges global social awareness, as well as socioeconomic and ecological practices. Beaumont has investigated such issues as energy and species diversity and is also involved with solution-based sustainability strategies, which reflect contemporary, historic and cultural perspectives and environmental and social conditions.
Beaumont’s exhibition That Obscure Object Of Desire takes the idea of the object of desire and all of the myths that surround it and puts into three works ideas which deconstruct the fetishized icons of beauty and the branding of identity.
With the tools of deconstruction and notions of sexuality and representation, Beaumont uses three elements. First, the language of narcissism; second, questioning the idea of beauty in a crushed shopping bag first presented in two dimensions as a photograph, then as a moving object on a pedestal; and finally, the motor, which is simultaneously functional and a symbol of the machine behind advertising, branding and the loss of autonomy and identity.
The photograph Crushed 001 (2012) takes the three-dimensional bag out of reality and puts it in a frame, flattening the image of the bag (the photographed object), becoming the symbol of the symbol, that which we desire to possess. The bag remains pristine, inviolate, removed from our ability to touch or grasp.
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I’d Rather Be… (1991) is a full-length mirror work that borrows a quote from Donna Haraway’s Cyborg Manifesto “I’d rather be a cyborg than a goddess,” and prints it horizontally near the top of the mirror. When one looks into the mirror while contemplating beauty of the self, one is struck by a statement across one’s body that poses the question, What forms the lens you see yourself through? This deconstructive comment cuts the myth of beauty in two.
The sculpture Untitled (Crushed, yellow with black) is indeed on a pedestal like an object of desire. That Obscure Object Of Desire.
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Wineke Gartz, Frank Stürmer, Trevor Shimizu,
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The concept for “We Are All Cats” began one day when I was on an airplane, sitting across from a little boy. The flight was seven hours long, and the entire time he was deeply engrossed in an encyclopedic-style sticker book about animals. I was envious of the boy. I wanted that book. After I returned to New York I bought several of my own sticker books.
From them I learned that Lion is a cat. I was shocked. I had believed that he was a dog. His features make me think he is a dog. However, it turns out that most, infamous, beautiful beasts are cats. Cheetah is a cat. Cougar is a cat. Tiger is a cat. This revelation was the inspiration for my book “We Are All Cats.”
That book brought me another surprise: it was popular. Cats became a common topic of discussion among friends, and soon there were others eager to make cat-related work. From a little lion sticker there grew a large group show, featuring work by incredible artists with a variety of styles. The work ranges from video installations by Frank Stürmer, to paintings by Daniel Brant, to snap-shot photographs by Dan Graham that capture moments of discoveries made by cats.
In the corner of the gallery, sits a patient hunter, sculpted by Satoru Eguchi. The fur is quietly moved by the wind on this delicate paper sculpture, as the little cat stares dedicatedly ahead, absorbed in its private game of cat and mouse. Wineke Gartz, a versatile Dutch artist, has a small, quirky drawing series she created, inspired by google searches for “How to draw a cat.” Trevor Shimizu is showing small photographs of a cat dear to him.
The show is intimate, and fun. Each of the artists is a cat-lover, and the earnest enjoyment each artist takes from his/her subject fills the show with a delightful warmth. “We Are All Cats” is a wonderful fit for the cozy atmosphere of 3A Gallery.
The exhibition will be on view from July 14th, 2014 through August 16th. The opening reception will be held on July 14th, from 6pm to 8pm, and will be open to the public.
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Justin Lieberman & Devon Costello, Mega Japan
June 5th to July 5th, 2014
The opening reception: June 5th, 2014 6-8pm
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Fuji Photo Film Co., Ltd. was established in 1934 with the aim of being the first Japanese producer of photographic films. Over the following years, the company produced photographic, motion picture, and X-ray film. In the 1940s, Fuji Photo entered the optical glasses, lens, and equipment markets. After the Second World War, Fuji Photo diversified, penetrating the medical, printing, electronic imaging and magnetic materials fields. In 1962, Fuji Photo and UK-based Rank Xerox Limited (now Xerox Limited) launched Fuji Xerox Co., Ltd. through a joint venture. From the mid-1950s, Fuji Photo accelerated the establishment of overseas sales bases. In the 1980s, Fuji Photo expanded its production and other bases overseas, stepping up the scope of its globalized business model. Meanwhile, Fuji Photo developed digital technologies.
Like its rival Eastman Kodak that dominated in the US, Fuji Photo enjoyed a longtime near-monopoly on camera film in Japan. By becoming one of the title sponsors of the 1984 Los Angeles Olympics (an opportunity that Kodak passed on), offering cheaper camera film, and establishing a film factory in the US, Fuji gained considerable market share in the states while Kodak had little success in penetrating Japan. In May 1995, Kodak filed a petition with the US Commerce Department under section 301 of the Commerce Act, arguing that its poor performance in the Japanese market was a direct result of unfair practices adopted by Fuji. The complaint was lodged by the US with the World Trade Organization. On January 30, 1998, the WTO announced a “sweeping rejection of Kodak’s complaints” about the film market in Japan.
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Hokusai’s date of birth is not known for certain, but is often said to be the 23rd day of the 9th month of the 10th year of the Hōreki era (in the old calendar, October 31, 1760) to an artisan family, in the Katsushika district of Edo, Japan. His childhood name was Tokitarō. It is believed his father was the mirror-maker Nakajima Ise, who produced mirrors for the shogun. His father never made Hokusai an heir, so it is possible that his mother was a concubine. Hokusai began painting around the age of six, possibly learning the art from his father, whose work on mirrors also included the painting of designs around mirrors.
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At the age of 12, he was sent by his father to work in a bookshop and lending library, a popular type of institution in Japanese cities where reading books made from wood-cut blocks was a popular form of entertainment for the middle and upper classes. At 14, he became an apprentice to a wood-carver, where he worked until the age of 18 before being accepted into the studio of Katsukawa Shunshō. Shunshō was an artist of ukiyo-e (a style of wood block prints and paintings that Hokusai would master) and head of the so-called Katsukawa school. Ukiyo-e, as practiced by artists like Shunshō, focused on images of the courtesans and Kabuki actors popular in Japan’s cities at the time.
After a year, Hokusai’s name changed for the first time, when he was dubbed Shunrō by his master. It was under this name that he published his first prints in 1779, a series of pictures of Kabuki actors. During the decade he worked in Shunshō’s studio, Hokusai married his first wife, about whom very little is known except that she died in the early 1790s. He married again in 1797, although this second wife also died after a short time. He fathered two sons and three daughters with these two wives, and his youngest daughter Sakae, also known as Ōi, eventually became an artist.
Upon the death of Shunshō in 1793, Hokusai began exploring other styles of art, including European styles he was exposed to through French and Dutch copper engravings he was able to acquire. He was soon expelled from the Katsukawa school by Shunkō, the chief disciple of Shunshō, possibly due to studies at the rival Kanō school. This event was, in his own words, inspirational: “What really motivated the development of my artistic style was the embarrassment I suffered at Shunkō’s hands.”
Hokusai also changed the subjects of his works, moving away from the images of courtesans and actors that were the traditional subjects of ukiyo-e. Instead, his work became focused on landscapes and images of the daily life of Japanese people from a variety of social levels. This shift was a breakthrough in ukiyo-e and in Hokusai’s career. Fireworks at Ryōgoku Bridge (1790) dates from this period of Hokusai’s life.
Devon Costello and Justin Lieberman have installed an exhibition referencing the cultural legacy of Japan. Both born in the US, Costello and Lieberman use cameras, hats, ceramics, and paint to synthesize a Japanese American experience. Although neither Costello nor Lieberman have visited Japan, the works on view in this exhibition generate questions about cultural fetishism and the tourist’s perspective or interpretation of a place from an appropriated history.
Food Show 2: March 21st to April 18th, 2014
Understanding food is a function of intelligence.
Dan Graham, Marc Joseph Berg, George Skelcher, Isabel Schneider, Mieko Meguro
The opening reception; March 21st, Friday, 6-8pm
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October 25th to November 22nd
Opening Reception: October 25th, 6-8pm
3A Gallery; 179 Canal Street, #3A, New York, NY 10013
(On Canal Street between Mott and Elizabeth Street)
Phone; 1-212-219-7523 or 1-347-542-0811
www.bau0fj.wcbzw.com
Gallery is open Thursday, Friday 2-5pm and by appointment
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Aura Rosenberg and John Miller
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Opening Reception: September 19th, 6-8pm
A Klee painting named ‘Angelus Novus’ shows an angel looking as though it is about to move away from something it is fixedly contemplating. Its eyes are staring, its mouth is open, its wings are spread. This is how one pictures the angel of history. Its face is turned toward the past. Where we perceive a chain of events, it sees one single catastrophe, which keeps piling wreckage and hurls it in front of its feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing in from Paradise; it has got caught in its wings with such violence that the angel can no longer close them. The storm irresistibly propels it into the future to which its back is turned, while the pile of debris before it grows skyward. This storm is what we call progress.
The true picture of the past flits by. The past can be seized only as an image which flashes up at the instant when it can be recognized and is never seen again.
–Walter Benjamin, “Thesis on the Philosophy of History”
The angel of history is the inspiration for Aura Rosenberg’s film. Compressed into five minutes, this film animates the ruin and progress of history, starting with formation of planets from gas clouds through to the present. The pile, culled from an online pictorial archive, depicts Benjamin’s single catastrophe. A flash of original paradise interrupts the cataclysmic momentum and reminds the viewer of the dialectic of history in which the past can be recalled only in relation to the demands of the present.
The installation will include Symmetrical Arrangement by John Miller
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May 31st – June 28th 2013
Opening Reception Friday, May 31st 5 – 8 pm
3A Gallery 179 Canal Street, #3A, New York, NY bau0fj.wcbzw.com 212.219.7523
Gallery Hours: Thursday, Friday 2-5 pm, or by appointment 347-542-0811
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Josh Thorpe makes installations, paintings, drawings, music, and texts. He teaches writing at University of Toronto and works at a heritage architecture firm called ERA. Recent work includes exhibitions or special projects at Toronto Sculpture Garden, Museum of Contemporary Canadian Art, Plug In ICA, Printed Matter, and David Roberts Art Foundation, UK. Articles and interviews have been published by Canadian Art, Border Crossings, and the Power Plant, and in 2009 Art Metropole published Thorpe’s book, Dan Graham Pavilions: A Guide. In 2011, Thorpe was a finalist in the Toronto Friends of the Visual Arts Artist Award and was elected to the Sobey Art Award Ontario Long List.
For images and information, please go to www.joshthorpe.com.
Galleria Massimo Minini’s 40th Anniversary Show: The Postcard Days – May 10th to May 24th, 2013
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Gallery hour; Thursday, Friday 2-5pm and by appointment
Galleria Massimo Minini “The Postcard Days”——————————————————————— Dan Graham
Massimo Minini, one of Europe’s most admired art dealers has been operating his gallery for 40 years and has become a collector, not only collecting fine art, but postcards. It’s not old-fashioned to collect postcards. 60’s artists had this passion, sometimes making art out of postcards, one example being On Kawara’s postcard piece: “I woke up at…” Minini, along with the 60’s generation of artists, collect and display in their private homes artworks of friends and postcards – postcards are cherished as both a kitsch-like art-form and an emblem of shared friendships. An exhibition of Minini’s personal postcard collection will be featured from Friday, May 10th to May 24th at 3A Gallery
Galleria Massimo Minini history; http://www.galleriaminini.it/contacts/
THE POSTCARD DAYS by Massimo Minini
Once upon a time the world was different, maybe no worse, maybe no better, who’s to say.
In any case that world was there, just waiting to be seen even by mere mortals like ourselves, tourists driven by curiosity: not dauntless African explorers, just earnest pilgrims in our humble red Fiat 500 “Topolinos”, Renault Dauphines, and Ford Anglias.
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Some truly adventurous souls even made it as far as Los Angeles.
We were travelling in the days before highways, before cell phones, calling home from pay phones that took tokens: in Italy, these were made of copper, with two grooves on one side and one groove on the other.
Back then you could count on fog in winter, fireflies in May, and swallows till the beginning of August.
The world was quite a discovery; though it had been discovered long ago, we were seeing it for the first time and just had to let our family and friends in on the joy.
So how did we tell our loved ones all about it? With postcards, of course!
Colorful little pictures of vacationland, beaches lined with umbrellas, mountains cloaked in snow, a lady on skis in Cortina doing a stem Christiana, the Swiss Alps full of cows, Tyroleans playing their long horns, Munichers swigging tankards of beer, Scottish men with hairy legs and red cheeks puffing bagpipes, airplanes flying the skies, ships sailing the seas, Emilio Comici climbing mountains, the Lake Garda of every German’s dreams...
Artists were no exception, and like maiden aunts, would send us pictures of newborn babies, absurd cards from some kitschy restaurant, overflowing soccer stadiums, very avant-garde postcards with very old-guard subjects.
Some artists not encumbered by modesty would send their own portraits or one of their works as a memento, lest we need reminding.
Then came the Internet, the web, Facebook, Twitter, and everything changed. The world is different now, maybe no worse, maybe no better, but the postcards have stopped coming.
And so we’ve gathered together those cherished old pictures and put them in a little book for posterity, presenting them in May 2013 at the New York gallery of our friend Mieko Meguro: one of those old-fashioned people who every so often will still fire off a postcard...
IL TEMPO DELLE CARTOLINE scritturata Da Massimo Minini
C'era una volta un mondo diverso, non peggio del nostro, non meglio, chissà.
Comunque c'era, quel mondo, ed era lì bello e pronto per essere visto anche da noi comuni mortali, turisti per curiosità, non eroici pionieri dell'Africa, ma onesti viaggiatori sulle topolino amaranto, sulle Dauphine Renault, sull'Anglia, sulla Cinquecento Fiat.
Vestivamo alla marinara e giravamo qua e là per l'Italia, poi l’ Europa e l’ America che, per noi era principalmente New York.
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Viaggiavamo prima della costruzione delle autostrade, prima dei cellulari, telefonavamo dalle cabine a gettoni che in Italia erano di rame con due scanalature da una parte ed una sola dall'altra.
Allora d'inverno c'era la nebbia, a Maggio le lucciole e le rondini fino ai primi d'Agosto.
Il mondo era una scoperta, anche se era già stato scoperto da tempo, ma noi lo
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Come potevamo far parte ai nostri cari di tutto questo? Ma con le cartoline!
Piccole colorate immagini di vacanza, spiagge con gli ombrelloni, montagne con la neve, una sciatrice a Cortina che fa lo Sten Christiania, le Alpi svizzere con le mucche, Tirolesi che suonano il grande corno, Tedeschi a Monaco che bevono birra a boccali, Scozzesi con le gambe pelose e gote gonfie mentre soffiano nelle cornamuse, aeroplani in volo, navi che solcano i mari, Emilio Comici che scala i monti, il lago di Garda sogno dei tedeschi...
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Qualche artista, senza modestia, ci mandava il proprio ritratto o una propria
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Poi è arrivato internet, il web, Facebook, Twitter, e tutto è cambiato. Oggi il mondo è diverso, non peggio, non meglio, ma cartoline non ne arrivano più.
Così abbiamo raccolto le vecchie care immagini e le abbiamo messe in un piccolo libro, a futura memoria, presentate a New York nel Maggio 2013, nella galleria di Mieko Meguro, nostra amica, una all'antica, che ogni tanto manda - ancora- cartoline....
Wineke Gartz; American Pain – March 22nd to April 19th, 2013
Opening reception Friday, March 22nd, 6-8pm
Gallery hour; Thursday, Friday 2-5pm and by appointment
Wineke Gartz ,“American Pain”
Wineke Gartz, an Amsterdam based artist, will show at 3A Gallery from March 22nd until April 19th, in an exhibition titled “American Pain(ting)”. This work combines video, drawings and collage with sound mixes. Gartz’s work was last shown in New York at 303 Gallery in 2009 in a group exhibition curated by the artist, Dan Graham. “American Pain” involves an investigation of the American dream landscape, linking historical 19th Century American “luminist” landscape painting (such as Thomas Cole) to the present-day Disneyotic Fantasyland in the suburban arcadia setting of the Native American operated “Mohegan Sun” casino-entertainment complex.
The casino’s theme-park-like setting can be viewed as a temple linking America’s Native American past to the promised future dreams of monetary success and a luxurious glamour “life style” for visitors who flock to “Mohigan Sun” ‘Country’ by bus from Chinatown. Gartz visualizes “Mohegan Sun’s” interior architecture as a Kafkaesque “Nature Theater”.
W. Gartz, american pain, collage
Susan Grayson; Opening reception Friday, February 15th, 6-8pm
Gallery hour; Thursday, Friday 2-5pm and by appointment 
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Opening reception; Wednesday, December 12, 2012 6-8pm
Gallery hour; Thursday, Friday 2-5pm and by appointment
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Wednesday 12, September – Friday 19th, October
Opening reception Wednesday 12, September 6-8pm
Gallery hour; Thursday, Friday 2-5pm and by appointment
While photography is normally tasked with “capturing” its subject, the images in the photographically derived paintings in “Pardon Our Disappearance, Part One” seem to perpetually “come and go.” Painted on the reverse of raw cotton, the front side of the canvas appears blank. While a closer look gradually reveals a face, the residual image resists a fixed definition.
Conveying the relationship between aspiration and societal standards of beauty, these portraits of “makeovers” and “look-a-likes” employ a perceptual ambiguity which slows down the process of looking, removing some of the intentionality of the original images as they’re rendered more speculative.
In the second part of the exhibition, at Sometimes (works of art), the makeover process is considered in the context of urbanism, with photographs that reveal the significance of lifestyle culture in the reshaping of both the perception and reality of the built environment.
Peter Scott is an artist, writer, curator, and director of the non-profit gallery carriage trade. His work has been exhibited in the U.S. and Europe, including one-person exhibitions in the U.S., U.K., Holland, France, and Belgium. His writing has appeared in Artscribe, ArtUS, Zing Magazine, artnet, The Architect’s Newspaper, and Art Monthly as well as several exhibition catalogues. His projects have been featured in various publications including Artscribe, artforum.com, The New York Times, The New Yorker, The New York Observer, Time Magazine, Huffington Post, ArtCards, and artnet magazine.
image: Peter Scott Double Portrait (before/after), 2012, acrylic on reverse of canvas
Pardon Our Disappearance, Part Two will take place at Sometimes (works of art), 83 Canal Street 610, September 19-October 30. Opening September 19 at 6pm with a 7:15 pm performance by David Watson and Matthew Ostrowski. Gallery hours Wednesday and Friday, 10:30 am – 6:00 pm., and by appointment. 646-714-7470
Kurt Finsten-Paintings, August 2nd-26th, 2012
opening reception August 2nd, 6-8pm
(Sara Coleridge: from “Poppies” 1834)
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Kurt Finsten b. 1943. Artist. Director of Krabbesholm Højskole. Living in Western Jutland, a remote part of Denmark. http://www.krabbesholm.dk
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3A Gallery is glad to announce the collaboration with Galleria Massimo Minini.
Galleria Massimo Minini and 3A Gallery collaborate to present the exhibition Fine Art Photography,
inspired by Vision #5
http://www.leftmatrix.com/vision5.html
The artists involved in both Vision #5 and Fine Art Photography are known for working in mediums other than photography, mostly painting and sculpture.
The works are not just studies, but give visual clues into the artists’ conceptual processes.
Photography which is a universal medium nowadays but that for its immediacy can give us an immediate glimpse on the artist’s life and perception.
Francesco Clemente, Dan Graham, Sol LeWitt, Luce Wilson, Robert Barry, Lawrence Weiner, Peter Halley, Ghada Amer, Reza Farkhondeh, Paul P., Haim Steinbach, Gwen Smith, Betty Woodman, George Woodman,Gianfranco Gorgoni, Francesco Simeti, Thea Westreich Wagner, Lucio Pozzi, Gianni Pettena, Pamela Giaroli,
Massimo Minini, Sienna Shields, Chuck Close, Mieko Meguro.
This show will coincide with the participation of Galleria Massimo Minini at the Frieze Art Fair in New York, May 4th -7th 2012. This is a one night event for friendship. Galleria Massimo Minini welcomes America and their American friends.
Let’s get together for Drinks May 5th, 6-9 pm at 3A Gallery, 179 Canal Street, 3rd floor.
The show continues until May 20th 2012.
3A Gallery thanks Galleria Massimo Minini.
3A Gallery
179 Canal Street,
#3A New York, NY
10013 USA
T: +1 212 219 7523
www.bau0fj.wcbzw.com
GALLERIA MASSIMO MININI
Via Apollonio 68
25128 Brescia – Italy
T: +39 030 383034
F: + 39 030 392446
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HASEGAWA; ARCHITECTURAL DRAWINGS
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Japanese architect Itsuko Hasegawa’s architectural drawings from the Dan Graham collection.
Biography Hasegawa was born in Shizuoka, received her degree in architecture from Kanto Gakuin University (1964), trained with Kiyonori Kikutake. In 1969, Hasegawa entered Kazuo Shinohara’s lab at the Tokyo Institute of Technology as a graduate student. After two years, she became his assistant, a far greater honor and responsibility in Japan than the expression suggests in English. In 1979 she formed her own design firm, Itsuko Hasegawa Atelier, which has designed a number of award-winning buildings in Japan and abroad. Hasegawa is an Honorary Fellow of the Royal Institute of British Architects, and has received the Avon Arts Award, the Building Contractor’s Society Prize for the Shonandai Cultural Center, the Cultural Award for Residential Architecture (Fukuoka, Japan), and a Design Prize from the Architectural Institute of Japan.
FOOD SHOW December 18, 2011- January 22, 2012
The food show includes new sculptures by three Japanese/Japanese American artists:
Satoru Eguchi, 安卓灯蓝专业版加速器 and Trevor Shimizu.
A printed conversation between Asad Raza and Dan Graham, which gives great insight into food and some local restaurants, will also be available to take home.
* 3A Gallery is open intermittently and by appointment
* See also Trevor Shimizu’s Late Work solo show at 47 CANAL, (47 Canal Street, 2nd floor, NY, NY 10012 Phone 646-415-7712 www.47canalstreet.com/) Jan. 5 – Feb. 12, 2012.
ROCK MUSIC SHOW Sept. 25 – October 30th 2011.
3AGallery; 179 Canal Street, #3A, New York, NY 10013 Phone; 212-219-7523
Gallery is open intermittently and by appointment
DAN GRAHAM
RODNEY GRAHAM
MIEKO MEGURO
RAYMOND PETTIBON
