November-December 2014 … The Global Online Magazine of Arts, Information & Entertainment … Volume 10, Number 6
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Short Takes

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(L-R) Pablo Caviedes (artist), poets Bina Sarkar, Christie Devereaux, Jose Rodeiro, Alan Britt, Vivian O’Shaughnessy, Alex Lima & Paul Sohar. Mike Foldes photo.

Photos from the Reading

Six & Three

Saturday’s reading at Jadite Galleries, 660 10th Ave. between 46th & 47th streets, drew a  welcoming audience to the gallery in Hell’s Kitchen, where the exhibition Six & Three was on display. Joining the scheduled poets at the reading was surprise guest Bina Sarkar Ellias, who was on her way through from Kansas City on the return leg of her visit to the States from Mumbai. Sarkar-Ellias is the publisher of International Gallerie, the socially conscious magazine of art and ideas. Also on hand to read were: Diogenes Abreu, Alan Britt, Alex Lima, Vivian O’Shaughnessy, Paul Sohar and Mike Foldes.

Poets, artists and guests at Jadite, from left, Jose Rohde, Diogenes Abreu & guest, Alex Lima, Sebastian Aurillon, Bina Sarkar Elias, Alan britt, Vivian O'Shaughnessy, Scott Kahn, Paul Sohar & Mike Foldes.

Poets, artists and guests at Jadite, from left, Jose Rohde, Diogenes Abreu & guest, Alex Lima, Sebastian Aurillon, Bina Sarkar Elias, Alan britt, Vivian O’Shaughnessy, Scott Kahn, Paul Sohar & Mike Foldes. Pablo Caviedes photo.

Jadite Galleries, established in 1985 contributes to the ever-changing contemporary art scene in New York. Exhibitions cover the spectrum of art form created by myriad talented artists from the United States, Europe, Latin America, and Asia. With three exhibition spaces, Jadite Galleries has fostered a number of promising artists and attracted many serious collectors over the years.

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Neo Latino Artists

The Neo-Latino exhibiting artists gather at the opening.

A “Second Wave” of Neo-Latino Art

hits new CCM Visual Arts Gallery

by  Tara  Dervla

On December 3, at County College of Morris’s brand-new CCM Visual Arts Gallery, the Neo-Latino Art Movement inaugurated its extraordinary “Second Wave.”  Highlighting works by sixteen major Northern New Jersey and Metropolitan New York artists, the “Neo-Latino:  21st Century Latino Artists”exhibition in the Sherman H. Masten Library runs from November 24, 2014 until January 30, 2015.



NeoLatino 2

These are photos from the opening of the Neo Latino exhibit Dec. 3

[img src=]80Jose Rodeiro and Isabel Nazario
Jose Rodeiro and Isabel Nazario preview show
[img src=]180Christie Devereaux
Christie Devereaux stands by her installation.
[img src=]190Julio Nazario, Isabel Nazario, and Nancy Mark with images by Julio Nazario.
Julio Nazario, Isabel Nazario, and Nancy Mark with images by Julio Nazario.
[img src=]130Christie Devereaux and Monica S. Camin with Gabriel Navar's Selfie 4, Ultralove.
Christie Devereaux and Monica S. Camin with Gabriel Navar's Selfie 4, Ultralove.
[img src=]110Rita Villarreal conversing about her new life in Florida
Rita Villarreal conversing about her new life in Florida.
[img src=]100Christie Devereaux and Nikolai Buglaj
Christie Devereaux and Nikolai Buglaj
[img src=]100Marisol Ross's Mariano Rivera
Marisol Ross's Mariano Rivera.
[img src=]140Monica S. Camin
Monica S. Camin and her work.
[img src=]140Art of Nicola Stewart Fonseca and Fermin Mendoza
The cutting edge art of Nicola Stewart Fonseca and Fermin Mendoza
[img src=]140Todd Doney and Raul Villarreal
Villarreal being honored by CCM for his years of service. Todd Doney (Gallery Director, CCM Gallery) presents Villarreal with a parting gift. Villarreal is relocating to Florida.
[img src=]130A successful opening
A successful opening.
[img src=]140Dr. Virginia Butera, Dr. Edward J. Yaw, Professor Clay Allen and Dean Keith W. Smith.
= Dr. Virginia Butera, Director, Fine Arts, College of Saint Elizabeth, conversing with Dr. Edward J. Yaw, <br />President, County College of Morris (CCM), and Professor Clay Allen (Chair, Art. Dept.) and Dean Keith W. Smith (Dean, CCM's Liberal Arts Division). <br />
[img src=]140Jose Rodeiro and Mariella Chavez Villamizar
Rodeiro with art collector Mariella Chavez Villamizar, standing in front of Rodeiro's Bodegon Azul
[img src=]160Nicola Fonseca with Clay Allen
Nicola Fonseca with Clay Allen
[img src=]140Dr. John Marlin, Raul Villarreal and Richard Ferrara
Dr. John Marlin, Associate Dean of Humanities, Hudson County Community College (Jersey City) talking with Raul Villarreal and Richard Ferrara.
[img src=]130Raul Villarreal with Julio Nazario
Raul Villarreal with Julio Nazario
[img src=]130Dr. Jose Rodeiro with Dr. Edward J. Yaw
Dr. Jose Rodeiro with Dr. Edward J. Yaw, President, CCM
[img src=]160Josephine Barreiro with Dawn Delikat of "Pen & Brush"
Josephine Barreiro with Dawn Delikat of "Pen & Brush"
[img src=]130Olga M. Batista and Sergio Villamizar
Olga M. Batista and Sergio Villamizar
[img src=]120Sergio Villamizar
Sergio Villamizar and his duende-filled photographs.
[img src=]150Josephine Barreiro painting
Josephine Barreiro painting
[img src=]180Josephine Barreiro and Michael Cruz
Josephine Barreiro and Michael Cruz
[img src=]150Bruce Rice (painter) talking to Dr. Elaine Foster (jewelry designer).
Bruce Rice (painter) talking to Dr. Elaine Foster (jewelry designer).
[img src=]180Dr. Barry Katz
Dr. Barry Katz standing infront of a powerful painting by Josephine Barreiro.
[img src=]140Olga Mercedes Bautista with Nicola Stewart Fonseca
Olga Mercedes Bautista with Nicola Stewart Fonseca.
[img src=]140Rita Villarreal with Monica S. Camin
Rita Villarreal with Monica S. Camin
[img src=]210 Angelica Munoz Castano
Angelica Munoz Castano with her work


Cuban artist Raúl Villarreal is credited with naming the “Neo-Latino” movement in 2003; art historically, it’s the first major 21st Century global art movement initiated in greater New York City.  The exhibit includes works by Villarreal, and “First Wave” artists Josephine Barreiro,  Olga Mercedes Bautista,   José Rodeiro and  Sergio Villamizar.   Included from the “Second Wave” are Isabel Nazario and Julio Nazario, instrumental in organizing the 2004 The Center for Latino Art and Culture’s  arts-initiative, “Transcultural New Jersey.”  The above are joined by Monica S. Camin,  Christie Devereaux,  Nicola Stewart Fonseca,  Ricardo Fonseca,  Fermin Mendoza,  Lisette Morel,  Angela Muñoz Castaño,   Gabriel Navar, and Marisol Ross.

Photo credits: Todd Doney (Director, CCM Visual Arts Gallery); Sergio Villamizar,  Christie Devereaux and Josephine Barreiro.

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Gabriel Navar, Selfie 4, Ultralove

Gabriel Navar, Selfie 4, Ultralove


Neo-Latino Art Exhibit:

A Blend of Paint & Culture


Dr. Nicomedes Suárez-Araúz, the Bolivia aesthetic theorist, poet, and “Father of Amnesis Art” has argued that contemporary culture is marked by “hybridization,” the blending of cultures through globalization and integration, rupturing distinctions between low art and high art, and contributing to postmodern cultural fusion.  Suárez-Araúz attests that all this “hybridization” will ultimately result in cultural renewal, and he acknowledges that no 21st Century art movement has done more to ignite a Hispanic Renaissance than NYC’s/NJ’s Metropolitan-area Neo-Latino group, whose revitalized and resurgent “second-wave” is led by Raúl Villarreal, the acclaimed Cuban American painter, who, in 2003, christened the movement: “Neo-Latino Art.”

Art historically, Neo-Latinoism stands as the 21st Century’s first Hispanic art movement.  Thanks to Villarreal’s enlightened revival of Neo-Latinoism, the possibility of an artistic community linked by cultural solidarity is growing. Under Villarreal’s curatorial leadership, the second wave of the Neo-Latino art movement is being launched in winter 2014-2015 within County College of Morris’s new CCM Art Gallery, featuring cutting-edge images of social significance, imaginative visions, and strong visual vitality that are both archetypal and intrinsic to contemporary Latino community(ies) in the metropolitan area.


Neo-Latino Art Show

“Neo-Latino CCM Edition” --- Todd Doney, Gallery DirectorAn Exhibition of 21st Century Latino ArtistsNovember 24, 2014 – January 30, 2015Artist Reception: Wednesday, December 3 from 5:30-8:00 PMThe CCM Visual Arts GallerySherman H. Masten LibraryCounty College of Morris

[img src=]90Sandy, Olga Mercedes Bautista
Sandy, Olga Mercedes Bautista, branches & petals found in Perth Amboy, Keyport, South Amboy, after Sandy. 10" x " x 5". 2014.
[img src=]90Basket Babies, Olga Mercedes Bautista
"Babybasquet", Rush, Cane, Bamboo, 40<br />x8"x5", 2006; Baby Dolls made of Porcelain Slip on Stoneware, 5" x 5" x 7", 2012. Olga Mercedes Bautista
[img src=]60El Pan de la Vida Cotidiana, Raúl Villarreal
Raúl Villarreal, "El pan de la vida cotidiana", oil on linen 48: x 36", 2012.<br />
[img src=]110The Twins, Raúl Villarreal
Raúl Villarreal, "The Twins", oil on linen 48" x 36", 2013.<br />
[img src=]100Angélica Muñoz Castañoj, "Esperando Por Mi Sabia Interior
Angélica Muñoz Castañoj, <br />"Esperando Por Mi Sabia Interior - <br />(Awaiting for My Wiser Inner Self"),<br />Color Film Light Jet, Printed on Fujicolor Crystal Archive Paper. <br /> <br />
[img src=]150Angélica Muñoz Castaño, "Tres Generaciones
Angélica Muñoz Castaño, <br />"Tres Generaciones - Three Generations", Color Film Light Jet, <br />Printed on Fujicolor Crystal Archive Paper. 2014.<br />
[img src=]90Nicola Stewart Fonseca, "Home"
Nicola Stewart Fonseca, <br />"Home", Mixed media assemblage, Printmaking, collage and painting, <br />8 1/2"x 11", 2013.<br />
[img src=]80Nicola Richard Fonseca, Chained Borders
Chained Borders, Richard Fonseca, Mixed Media, 24" x 36". 2013.
[img src=]90Monica S. Camin, Passport 2000
Monica S. Camin, Passport 2000,<br />Oil on canvas, paper 60" x 48". <br />
[img src=]80Overcoat, Monica S. Camin
Monica S. Camin, 'Overcoat", silk embroidery, screen printed fabric, found wool coat, 51" x 34", 2014.<br />Silk embroidery, screenprinted fabric, <br />found wool coat 51" x 34"<br />
[img src=]80Before and Happily Ever After, Sergio Villamizar
Before and Happily Ever After, Sergio Villamizar
[img src=]80Prisioneros del Imperio, Sergio Villamizar
Prisioneros del Imperio, Sergio Villamizar (Prisoners of the Empire)
[img src=]100Saint Patriot, Sergio Villamizar
Saint Patriot, Sergio Villamizar
[img src=]140Espiritu Maya 1, Christie Devereaux
Espiritu Maya 1, 2013, Acrylic on Canvas, 16" X 20 "
[img src=]140Espiritu Maya 2, Christie Devereaux
Espiritu Maya 2, 2013, Acrylic on Canvas, 16" X 20 "
[img src=]110Espiritu Maya 3, Christie Devereaux
Espiritu Maya 3, 2014, Acrylic on Canvas, 16" X 20 "
[img src=]130Espiritu Maya 4, Christie Devereaux
Espiritu Maya 4, 2014, Acrylic on Canvas, 16" X 20 "
[img src=]90Nicaraguan Bodegon, Jose Rodeiro
Nicaraguan Bodegon. 27 ¼” x 31 ¼,”(counting frame as part of the work). (2014), Oil-on-canvas. <br />
[img src=]100Flowers, Jose Rodeiro
Garden Flowers
[img src=]70Seated Woman, Jose Rodeiro
Seated Woman, 39” x 34,”(counting frame as part of the work). (2014), Amazar-materials.
[img src=]80Four Cats Bodegon, Jose Rodeiro
Four Cats Bodegon. 41 ½’’ x 34 ½”(counting frame as part of the work). (2014), Acrylic-on-cardboard, <br />
[img src=]80Selfie 4, Looney Times, Gabriel Navar
Selfie 4, Looney Times, Gabriel Navar
[img src=]90Selfie 4 Sun, Gabriel Navar
Selfie 4 Sun, Gabriel Navar
[img src=]80Selfie 4, Ultra Love, Gabriel Navar
Selfie 4, Ultra Love, Gabriel Navar
[img src=]100Cat Devouring Bird, Josephine Barriero
[img src=]70El Toro, Josephine Barriero


Neo-Latinos generally emulate consequential art movements from the previous century (e.g. Dada, Surrealism, and other art movements), that preferred clear, transcendent socio-cultural aesthetic principle(s), and wide-ranging artistic aspirations, to mere stylistic uniformity.  In short, Neo-Latino art is not driven by one universal or consistent style.  Rather, Neo-Latinoism explores six styles: Neo-Informalism, Neo-Pop, Amnesis, Metaphorical Realism, Primordialism and Folkloricism, while adhering to core Neo-Latino cultural values and ideas. Ultimately, they believe that art is the unity in diversity of all things.  Generally, Neo-Latino art assimilates or combines aesthetic traits from Africa, Europe, and the Americas.  In Neo-Latino art, multicultural and multiethnic viewpoints prevail, engendering transcultural amalgams consisting of three elements: 1).  Pan-American  artistic fertilization, 2). Incessant cultural and artistic evolution, and 3). unlimited syncretic fusion in the arts, reinforcing cultural bonds by focusing on aggregate Latina(o) ethnicity and identity.

Since 2003, in their artworks, this Neo-Latino art cell has consistently gauged the cultural impact of full-blown US-Latinization [(a term invented in 1992 by José Rodeiro, the Cuban-American painter)], which describes the current ascent of Ibero-American culture in North America.  In terms of art, aesthetics, and culture, the Neo-Latino art movement is a manifestation of contemporary US-Latinization, as well as indicative of transcultural currents that are simultaneously dispersing and imploding within the New York-New Jersey metropolitan-area Hispanic communities.

“Second wave” Neo-Latino artists include: Josephine Barreiro, Olga Mercedes Bautista, Monica S. Camin, Christie Devereaux, Ricardo Fonseca, Nicola Stewart Fonseca, Fermin Mendoza, Lisette Morel, Angélica Muñoz Castaño, Gabriel Navar, Isabel Nazario, Julio Nazario, José Rodeiro, Marisol Ross, Sergio Villamizar and Raúl Villarreal. The Latin American and Iberian countries represented are Argentina, Ecuador, Colombia, Cuba, Dominican Republic, Mexico, Panama, Portugal and Spain.

“Neo-Latino CCM Edition:” an Exhibition of 21st Century Latino Artists will run from November 24, 2014 – January 30, 2015, with an Artist Reception on Wednesday, December 3 from 5:30-8:00 PM. The reception is is free and open to the public.  Both the art show and reception will take place at the CCM Visual Arts Gallery, (Sherman H. Masten Library), County College of Morris, 214 Center Grove Road, Randolph, NJ 07869-2086. Tel. 973-328-5000; Contact: Todd Doney, Gallery Director.

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Future assured

for Franklin Furnace

The following letter was emailed earlier this week to friends and subscribers of Franklin Furnace, a landmark arts organization founded in 1975 in TriBeCa. Much has happened over the years, including the migration of FF from Manhattan to Brooklyn. This latest update on the organization’s splendid history reveals that its future will likely be assured for the next 100 years — or more. Great news, at that.

Read on …

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Dear Franklin Furnace Aficionado,

Franklin Furnace has made the decision to “nest” at Pratt Institute.  Here is the back-story:

In 1975, along with a bunch of other artists, I signed a 10-year lease on a loft building at 112 Franklin Street in TriBeCa.  At the time, I remember thinking ten years was forever.  But a decade turns out to be short in real estate terms, so by the early 1980s I was trying to figure out where Franklin Furnace would move.  (This is when William Wegman’s 1983 drawing, “Visit the New Facility,” was created.)  Could we relocate to the block in the East Village where Claes Oldenburg once had his Store?  (Not fireproof.) Should we move to a disused bank building that would project the value of our archives?  (Too expensive.)  What about space in the Federal Archives Building developed by Rockrose?  (Residential plumbing overhead.)  In the end, Franklin Furnace hired the late, great attorney, Paul Gulielmetti, whose expertise in the Loft Law kept us in our TriBeCa storefront for ten years after the expiration of our lease.  When the landlord died, his daughter offered the tenants of 112 Franklin Street the opportunity to buy the building.  This we did, raising the down payment through an art sale generously hosted by Marian Goodman.


At first, our plan was to renovate the loft to make it a downtown art emporium; star architect Bernard Tschumi prepared an innovative design that brought the space up to code while remaining respectful of its location in a historic district.  Then we recognized that the artists’ community had largely left TriBeCa for the outer boroughs; and that the Internet presented a new, free zone in which artists might create unforeseen works.  We held a Board retreat; convened several town meetings; and ultimately decided to “go virtual” to provide the artists we present with the freedom of expression they had enjoyed in the loft from 1976 to 1996.

Again in 2014, we are approaching the end of our 10-year lease; again, about two years ago, the Board of Directors of Franklin Furnace commenced a planning process-but this time we asked not only where we would move, but also how Franklin Furnace might maintain cultural influence in 100 years’

time.  As a result of a strategic planning process supported by the Rockefeller Brothers Fund and managed by Dunch Arts, Franklin Furnace has made the decision to nest at Pratt Institute.  Pratt is an art and design school founded over 125 years ago in Clinton Hill, Brooklyn, with the mission to educate artists and creative professionals to be responsible contributors to society. We will keep our separate corporate structures, while  collaborating to provide public and pedagogical access to the emerging artists we support; as well as to ensure accessibility and preservation of our archives.  Franklin Furnace has signed an organization-in-residence agreement, and plans to be fully installed at Pratt Institute by the close of 2014.

Now you might be asking yourself, if Franklin Furnace has been so smart as to figure out a sustainable model for the next 100 years, why should you continue to support us?  Because by collaborating with a formidable educational institution, we will be able to undertake ambitious long-term preservation and documentation projects that will have cultural impact in the future.

Additionally, by nesting at Pratt, Franklin Furnace may serve as a model for the field.  Important art space archives have been destroyed or are languishing in basements; some organizations with similar collections charge fees for online viewing; others have chosen not to publish their archives online; and still others have opted to donate or sell their records:  In early 2014, the Kitchen, the storied New York art space founded in 1971 by Steina and Woody Vesulka, announced it had made the decision to sell the first thirty years of its archives to the Getty Research Institute.  It is our opinion that no third-party institution, separated by time and lack of institutional memory, can adequately capture the intentions of the contemporary avant-garde artists who invented Postmodernism.

Thank you for your warm support in the past; your continued support at this critical juncture will ensure that Franklin Furnace will have the capacity to make the world safe for avant-garde art for a long time to come!  Please visit this link to join:

Very truly yours,

Martha Wilson

Founding Director

Franklin Furnace Archive, Inc.

80 Arts – The James E. Davis Arts Building
80 Hanson Place, #301
Brooklyn, NY 11217-1506

T 718 398 7255
F 718 398 7256



Martha Wilson, Founding Director
Harley Spiller, Deputy Director
Michael Katchen, Senior Archivist
Jenny Korns, Program Coordinator
Mary Suk, Financial Manager

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Constructive Interference:

A Collaboration

Duda Penteado, paintings …

Luiz Ribeiro, photography


The juxtaposition of painted and photographed images is not new, having been with us for around a century. So one is always interested if an old idea can be given a new vitality, a new aesthetic expression. I propose that this has been achieved in Constructive Interference.

So just how has this come about? I think the success of this collaboration rests on the expressive content inherent in the approach to art-making of each of these artists, and in the nature of a Brazil that earnestly is being scrutinized in relation to its inherent, natural   transcendence and the apprehension that its survival is at risk. Because of this combination of unease and beauty these images are unsettling. And they are simultaneously particular to Brazil and universal. Yet the sense of a reinvented spirit of tropicalismo would seem to render more of a regional effect.


The artistic devices used to obtain this effect are the flat surface of the photographic plane that relies on our memory to recall three dimensional reality; and by contrast the viscous, low relief projection of pigment from this flat surface that actually recedes away from the eye in natural aerial perspective. This ostensible disconnect is held in check by the mystical, spiritual, cosmic sensibility that Penteado and Ribeiro are able to project.

In two of these works the lower trunks of trees and their exposed roots dangle above the landscape photographed in soft focus. In one picture, a child and a dog — obvious images of innocence and guiltlessness — are perched in a tree suspended in the same uncertain future of Brazil as its flora and fauna. The scene is completed by fluttering, falling, leaf shaped lozenges of cerulean blue sky.

A few years ago, I asked Penteado if he would consider being more of a Brazilian artist − as in artist using Brazil as a point of reference. I had mentioned that Brazil is on the ascendent despite some ominous aspects for its natural habitat.  It appears that these images speak of the unusual juxtapositions, extreme contradictions and peculiar harmonies that make up Brazil. I imagine that the title the artists have chosen for their exhibition refers to the insights that are manifest in their way of seeing Brazil  − and beyond Brazil.

− George Nelson Preston, Ph. D.

Emeritus Professor, Art History, City College of CUNY
Co-Founding Director, Museum of Art and Origins, NYC

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Throckmorton VALDIR CRUZ  TROPEADA I pigment on paper 30 x 30 6 of 25 susan@susanpr_ 02 - TROPEADA, I-1990





 at Throckmorton Fine Art 

September 18 – November 1

“Over many years Valdir Cruz and his master printer, Leonard Bergson, have developed a proprietary printing process by which to create exquisite large-format pigment on paper artworks. The emotional nuances and exceptional quality of these original prints catapults them into a niche all their own.”            

Spencer Throckmorton


It has been said that Cruz’s interest in photography began when he first viewed some of George Stone’s THROCKMORTON Valdir Cruz GYPSY WOMAN Mulher cigana Guarapuava series 1991 pigment on paper 40x40 8 of 15  susan@susanprphotographs in National Geographic magazines in the 1970s. “Stone was a master teacher and it is thanks to him that I became a photographer.”  Cruz adds that it was George Tice who helped him become a good printer. At the Germain School he studied photography, but he gained technical skills from George Tice at the New School for Social Research, in New York. He later collaborated with Tice in the authorized production of two important Edward Steichen portfolios, Juxtapositions (1986) and Blue Skies (1987) before focusing largely on his own works.  Valdir Cruz developed a deep understanding of how 20th century photographers such as Edward Steichen and Horst P. Horst expressed their creativity in photography. He says, “Mr Horst was not only a great photographer, but a gentleman.  I remember the 80’s with affection.  Those were years of learning and growing tremendously in my vision –  and photography – and in my life!  Those were the years dedicated to New York City…and learning photography.”  Valdir Cruz’s work has been the subject of more than fifty solo exhibitions.

Cruz was born in Guarapuava, in the Southern State of Paraná, in 1954. Although Cruz has lived in the United States for more than thirty years, much of his work in photography has focused on the people and landscape of Brazil. He was awarded a Guggenheim Fellowship in 1996 for Faces of the Rainforest, a project documenting the life of indigenous people in the Brazilian rainforest from 1995 to 2000. Cruz shares his time between his studios in New York City and São Paulo.


For 25 years Throckmorton Fine Art has specialized in vintage and contemporary photography of the Americas with a primary focus on Latin American talents.  The gallery’s founder, Spencer Throckmorton, has also pursued a long held interest in Chinese Jades and Pre-Columbian Art and Throckmorton has staged important exhibitions and published numerous publications on these subjects.  Throckmorton Fine Art is a featured exhibitor at the world’s leading art fairs.  Spencer Throckmorton and Kraige Block are also recognized for their extraordinary photography collection including strong works of museum quality by luminaries such as Tina Modotti, Manual Alvarez Bravo, Edward Weston and Martin Chambi, among many talents they have supported in the past quarter century. 


IF YOU GO:  “Guarapuava”

at Throckmorton Fine Art
September 18th – November 1st, 2014
145 E. 57th Street, 3rd fl. New York, NY 10022
212. 223. 1059 F. 212. 223. 1937    


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* 70.ChainNude1thumb* *

Ralph Gibson’s MONO

at the Leica Gallery, Los Angeles

The Leica Gallery Los Angeles presents for the first time in the United States photographer Ralph Gibson’s newest body of work MONO shot exclusively with the M Monochrom Camera. The exhibition of 50 black and white digital prints focuses on structures, elegant shapes and lines. Gibson will also be signing his new book MONO at the gallery along with giving a talk on his work on Sunday, September 28, 2014. Gibson’s new book “MONO,” which features images taken with the Leica M Monochrom, was released on December 11, 2013 at the Leica Store Lisse. (

An artist reception, gallery talk and book signing is scheduled from 2 pm To 5 pm on Sunday, September 28, 2014. The exhibition runs from September 13 and continues through October 26, 2014. Hours: Leica Gallery Los Angeles (located at 8783 Beverly Blvd, West Hollywood) is open Monday through Saturday, 10 AM to 6 PM and Sunday from12 PM to 5 PM. For more information, call 424-777-0341.

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“Clouds of Sils Maria” (Director: Olivier Assayas • Switzerland, Germany, France): Juliette Binoche stars in this mesmerizing and superbly acted psychological drama about an older actress who agrees to re-stage the play that launched her career 20 years earlier. From the acclaimed director of “Summer Hours,” this fascinating “All About Eve” update co-stars Kristen Stewart as the actress’s faithful assistant and “Kick-Ass”‘s Chloë Grace Moretz as her beguiling young rival.

Olivier Assayas’ “Clouds of Sils Maria,” starring Juliette Binoche.



First  20 Films for 50th Anniversary Celebration

CHICAGO, IL (August 21, 2014)The Chicago International Film Festival, the oldest competitive film festival in North America, has announced the first selection of titles to be screened during its 50th anniversary year. Featuring more than 150 feature-length and short films, the 50th Festival is scheduled to run October 9 – 23, 2014.

“This sampling includes both innovative new work from around the globe as well as films that pay tribute to our history,” said Founder and Artistic Director of the Chicago International Film Festival Michael Kutza. “For 50 years, it has been my great pleasure to bring the most exciting work in contemporary international cinema to our audiences. This year, we also take a look back and shine a spotlight on some of the groundbreaking work that has helped to make the Festival the enduring institution it is.”

“Each year, we are privileged to view thousands of new films as we seek out those that will be selected for the Festival,” added Programming Director Mimi Plauché. “The submissions this year have been particularly impressive. These first titles offer audiences a preview of what they can expect during our 50th anniversary celebration: a thought-provoking, thrilling program replete with the work of auteurs and innovators alike.”

Moviegoer (10 regular admissions): $100 for Cinema/Chicago members, $130 for non-members. Passport (20 regular admissions): $190 for Cinema/Chicago members, $240 for non-members. Passes can be purchased online at or by calling 312.683.0121.

Festival screenings will be held at the AMC River East 21 Theater (322 E. Illinois St.). The full schedule will be announced at a later date.

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Woman from Axel, Loura van der Meule

Woman from Axel, Loura van der Meule


Curated by Anne Trauben
180 Grand St.
Jersey City
Gallery Hours Th/Fri 4-7 Sat/Sun 2-6
7/10/14 – 8/17/14


Nine Artists’

Personal Cultural Odysseys


Artists: Taiwo DuVall, Kyung Jeon, Leona Strassberg Steiner, Roshanak Elmendorf, Monica Camin, Ibou Ndoye, Loura van der Meule, Aliza Augustine, Gerardo Castro.

by Anne Trauben

Our New Jersey metropolitan area is a place where people from all over the world gather to build new lives. They carry with them the past experiences of their native lands. Often personal or family histories reflect the larger cultural/political situations of their countries. In this exhibition of drawings, paintings, video and animation, nine talented artists chronicle their experience of “there to here”,  creating a visual, personal narrative of their cultural histories. The selected artists have a unique eloquence and ability to convey what they and their families have lived, through their art.

Featured Artists:

Loura van der Meule – Oil pastel drawings – Reflections on her Dutch childhood.

Ibou Ndoye – Senegal, W. Africa-Paintings on glass, carpet and fabric that capture the frantic urban bustle and mythic sense of his home city.

Leona Strassberg Steiner– An American who’s videos and photographs tell of her long sojourn in Israel where she moved as a young adult and the relationship between women in Israel and Palestine.

Roshanak Elmendorf’s moving drawings and animations tell of women’s experiences growing up in Iran.

Aliza Augustine‘s Dollhouse Photographs confront family history concerning the Holocaust, Gender, and Race.

Monica S. Camin– Argentinian of German descent, she says “History is in my bones.” Her large “Ancestral Portrait” paintings take us to another place and time.

Taiwo DuVall– In beautifully crafted wood-block prints and a painted mural, this veteran artist and renowned drummer’s work reflects his upbringing in Washington DC, life in Harlem and African heritage.

Kyung Jeon’s work draws inspiration from traditional Korean folk paintings and challenges the stereotypes of feminism; “historical accounts, personal experiences, and contemporary political and social issues weave together to create imaginary worlds.”

Gerardo Castro’s paintings are inspired by the cultural threads of his heritage: Afro-Cuban religions and symbols, spiritual beliefs, Christian iconography and powerful narratives.


James Pustorino, Director  201 823 9393/ 201 208 8032

Anne Trauben, Curator  917 523-5168



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Fountain Street Fine Art gallery on the right, in the Bancroft Bldg. Mike Foldes photo.

Fountain Street Fine Art Gallery

We Are You Project Event:

It’s a wrap!



Fountain Street Fine Arts hosts We Are You Project art show and poetry reading, 6/22/14

[img src=]140Alan Britt
Alan Britt reading poems next to works by Sergio Villamizar and Monica S. Camin
[img src=]110Flavia Cosma
Flavia Cosma reading poems in front of works by Joe Pena and Monica S. Camin
[img src=]100Gloria Mindock
Gloria Mindock reading poems in front of works by Joe Pena and Monica S. Camin.
[img src=]160Michael Foldes
Michael Foldes reads a poem by Lilvia Soto.
[img src=]90We Are You Project Art Show
We Are You Project Art Show at Fountain Street Fine Arts, Saturday's opening.
[img src=]80José Acosta and Raúl Villarreal
José Acosta and Raúl Villarreal
[img src=]70Jose Rodeiro
Jose Rodeiro explains something of his painting to a guest at WAYP opening.
[img src=]100Jose Acost and Jose Rodeiro
We Are You artists José Acosta and José Rodeiro flanking artworks by Sergio Villamizar and Joe Peña.<br />
[img src=]130Raúl Villarreal
Raúl Villarreal next to his artwork Ambos Mundos
[img src=]170Agua Dulce Oshun
Jose Rodeiro's painting, Agua Dulce Oshun
[img src=]130At the Fountain Fine Arts Opening
A sculpture by Nelson Alvarez surrounded by the artist, as well as José Rodeiro, Miss Craig, Raul and Rita Villarreal.

Marie Craig, co-director, Fountain Street Fine Art

Thanks to Marie & Cheryl!

Jose Acosta and Cheryl Clinton, co-director of Fountain Street Fine Art

For more photos and information about the art exhibit opening, visit the WAYP website.

 * * * * *



Fountain Street Fine Art presents:

“WE ARE YOU INTERNATIONAL” is a traveling art show organized by the We Are You Project spotlighting Latino contributions within America’s history. The show, to take place at Framingham’s Fountain Street Gallery, places Latino cultures within the context of an ongoing socio-political struggle for civil rights, tolerance, and freedom.  This  landmark artistic initiative presents key Latino artists and artworks in a group show representing 36 major contemporary Latino artists with heritage of more than a dozen Latin American nations.

WAYProj 20140531

[img src=]20An Act of Love
Ricardo Fonseca<br />An Act Of Love, 2014<br />Digital Photography Manipulation<br />24" x 36"<br />by Ricardo Fonseca
[img src=]30Alone
Alone, 2013<br />Acrylic and mixed-media work <br />by Josephine Barreiro
[img src=]30Ties
2005, 48"x 36,"<br />Oil on Canvas <br /><br />Monica S. Camin<br />Ties, 2005<br />48"x 36,"<br />Oil on Canvas <br />by Monica S. Camin
[img src=]20Strength in Numbers
Acrylic on Canvas, 26” x 30” <br />2012,<br />by José Acosta.
[img src=]20High Encounter
2013, Acrylic on canvas <br />29” x 29” <br />by Pablo Caviedes
[img src=]10Jornada de dos lenguajes
Jornada de dos Lenguajes<br />
[img src=]
Acrylic, pencils, ink & oil on paper,<br />15" x 20", <br />2012,<br />by Gabriel Navar.
[img src=]10Concebido en el colonialismo de Espanola,
2012, Oil on canvas<br />24" x 24," <br />by Laura L. Cuevas
[img src=]10Fraulein French Fries
2002, Lithograph, <br />signed and numbered in pencil <br />17 3/4 " x 17 3/4" <br />by Mel Ramos
[img src=]20The Healer
EfrenAve<br />The Healer, 2013.<br />Gouache on paper, 10" x 14", by Efren Ave<br />
[img src=]30Fish Patterns
Monoprint, <br />18" x 24", <br />2013, <br />by Isabel Nazario
[img src=]60Map of Mexico
2012, encaustic and oil on wood<br />by Roberto Marquez
[img src=]150Xicana Birth
2014, acrylic and ink on wood<br />23.5" diameter<br />by Elizabeth Jiménez Montelongo
[img src=]80Envy 11
Acrylic- mixed-media on canvas<br /> 5"X7"<br />2008,<br />by Hugo W. Morales.
[img src=]70Vietnam Service
Mixed media, painted photo on handmade paper, <br />20" x 25", <br />by Julio Nazario<br />
[img src=]40All Faces, All Colors
by Duda Penteado
[img src=]140The Mother That Is The Other Brother
Oil on panel, 26” x 24” <br />2013, <br />by Joe Peña
[img src=]110She killed him with Huevos Rancheros
Ink and Acrylic on Paper<br />22.5” x 30” <br />by Rolando Reyna
[img src=]200Agua Dulce (Ohun Asleep)
Oil on canvas, <br />16" x 20",<br />2013,<br />by José Rodeiro<br />
[img src=]60Terra Nostra
(Part of a series), 2013<br />Mixed media on paper,<br />26" X 32"<br />by Patricio Moreno Toro<br />Terra Nostra
[img src=]40Saint Patriot
Digital Hatch Drawing Printed on Aluminum Dibond<br />24” x 30”,<br />2012,<br />by Sergio Villamizar
[img src=]30Ambos Mundos, detail
Oil on linen,<br />36" x 48", <br />by Raúl Villarreal
[img src=]40Tlacuilo Link
Lithograph, 8” x 7”, 2013,<br />by Ana Laura Rivera.
[img src=]30Mi Raza Vive
Oil on Canvas,<br />2012,<br />by Carlos Chavez.
[img src=]20Brisenia the Dessert Flower 2
Part two of a diptych 18”x 24"<br />watercolor pencil on transfer,<br />2011,<br />by Marta Sanchez-Dallam, <br />

The Gallery program, under the direction of Cheryl Clinton and Marie Craig, includes a poetry reading by We Are You Project poets on Sunday June 22, from 1-4 PM. A number of nationally and internationally acclaimed poets will recite poems written specifically on We Are You Project themes, such as Latino struggles against alienation, and for ethical inclusion in U.S. society. Poets include: Alan Britt, Michael Foldes, Flavia Cosma, Gloria Mindock, and  Duda Penteado.


Hugo X. Bastidas, BEARING GIFTS, Oil-on-canvas, 24″ x 36,” 2009.

A screening of the We Are You Project Documentary film will be held at AMAZING THINGS ARTS CENTER, 160 Hollis St,  Framingham  MA  01702 on Wednesday June 25th at 7 p.m. Directed by Brazilian Duda Penteado and produced by Jinsing Productions, the film examines current Latino culture through the eyes of prominent U.S.-Hispanic visual artists, cultural leaders, and educators.

Artists represented in the exhibition include: José Acosta, Efren Alvárez, Nelson Alvárez, Hugo X. Bastidas, Josephine Barreiro, Monica S. Camin, Jacqui Casale, Carlos Chavez, Pablo Caviedes, Laura L. Cuevas, Maritza Davíla, Ricardo Fonseca, Roberto Marquez, Elizabeth Jimenez Montelongo, Hugo Morales, Lisette Morel, Patricio Moreno Toro, Gabriel Navar, Isabel Nazario, Julio Nazario, Joe Peňa, Duda Penteado, Marta Sanchez, Mel Ramos, Ana Rivera, Jesus Rivera, José Rodeiro, Rolando Reyna, Sergio Villamizar and Raúl Villarreal.

June 19 -Aug 3, 2014
Reception Saturday June 21, 5 – 7 PM
Poetry Reading Sunday June 22, 1-4 PM
FILM SCREENING: Wed. June 25th at 7 p.m., at AMAZING THINGS, 160 Hollis St., Framingham  MA  01702

GALLERY HOURS Thursday-Sunday, 11:00 AM-5:00 PM; or for an appointment, call 508-879-4200.  FOUNTAIN STREET FINE ARTS Gallery, 59 Fountain Street, Framingham, Massachusetts, 01702.


* * *

Pure Slush Vol. 8


This themed issue, a volume of 32 vignettes by as many authors, provides interesting anecdotal evidence that as we Barcodelive and breathe, we also drink and socialize, even if not always in a civilized way, let alone for the same reasons. I was apprehensive about reading the stories, inasmuch as I half wanted (half didn’t), to find myself staring back at Charles Bukowski clones. Not the case at all, as I discovered jumping from one story to another, happily engaged with relatively pain-free and often ironic events turned out as fictional and semi-fictional tales told from table to stool as if they were best kept secrets, or at least confidences shared over two fingers. A good volume to put in your pocket so the next time you’re the only one at the bar, you won’t be completely alone.

And don’t forget to raise a glass to Matt Potter, Pure Slush editor, who pours a stiff highball with this collection.

The current Pure Slush project is 2014: The Year in Travel, a series of anthologies that take readers to all parts of the available world, and then some. Pure Slush itself is a great little publishing house based in Australia featuring “writers from all over the English-speaking world.”   Check out their site: You’re certain to find something to catch your fancy.


* * * * *Bastidas_-_[flooded_interior]_80_x_54

Flooded Interior, 80″ x 54″, Oil on Linen


Artist’s Statement:

“The approach behind the artwork is firstly visual and secondly conceptual. I apply paint to the surface with quick even short strokes that build and amount to the image. The result is that of a blurry monochrome photograph encouraging closer inspection. Purposely generating a journalistic photographic appearance is used to capture the attention for the narrative. By considering perhaps what is being viewed as actually having happened or just accepting it for what it is, the account/conclusion of the context becomes personal. The situations in the pictures seem innocuous at first, but very much the same way the formal quality slowly reveals itself, the aim is that the conceptual allegorical riffs on cultural malaise and environmental disruption begin to unfold as well.

“There is a deadpan irony to them that is dismissed after the initial introduction. The conceptual arrangements are presented in a polemical fashion and left open ended. Mark making refers more to the simplest human declaration of existence after speech, thus I gravitate to this idea to record the current state and mark both personally and historically our condition. The scenes are rendered in their most appealing strength allowing for example the re-contextualized landscape or stressed mental environment to be embraced comfortably… Inevitably presenting what we want to see and if we want to see it left in plain sight.”

Bastidas’ work is on view now at Nora Haime Gallery in New York City. For more information, click HERE, or call  (212) 888-3550, for more information.

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Minotaur's Dream

Richard Claraval, “Minotaur’s Dream,” charcoal.

Pittsburgh Calling

Richard Claraval writes about his work:

Mythological subjects have been a rich source of subject matter for artists for centuries. Each has interpreted these stories both in the idiom of their time and in their own personal style. I continue this tradition with my own unique approach of fusing the human figure with Abstract Expressionist. My large charcoal drawings focus on Greek, Christian, Egyptian and other mythologies, as well as the modern day the mythology of J.R.R.Tolkien

The highly imaginative “supernatural” and archetypal elements of myths, which are, in a sense, abstractions, as well as the exotic chimeras, lend themselves to an abstract mode of interpretation. As well, the ability of many of the characters to do impossible things such as fly and become invisible fit well my interest in depicting the figure in very dynamic and sometimes impossible poses.

The show runs from June 1 to June 30 at the Spinning Plate Gallery, 5821 Baum Blvd., Pittsburgh, PA 15206. There will be an opening reception on Saturday June 14, from 7:00 to 10:00 PM. 

* * * * *




The project Street Art & Cinema was born in April 2013 as a study on how Street Art pays tribute to Cinema. It aims to be educational and cultural, multicolored and without borders, a meeting point between two visual expressions, Urban Art and what is happening on the big screen.

After several months of investigation, Street Art & Cinema became now an original database — a huge photography collection of street artists’ masterpieces, and commentary about motion pictures and iconic people of the film industry.

The web page, launched in January 2014, exhibits the work of hundreds of Street Artists around the world, inspired by the 7th art, and invites movies and street art lovers to (re)discover the films, actors, directors and actresses who are artists’ muses when they spray the corner of a street, the shutter of a shop or a canvas in their studio.

Project Manager Stéphanie Martin Petit, a student of Cinema history, grew up in Nantes, France, and has been living in different countries for the last 15 years (England, Australia, Spain and Mexico).  During her stay in Barcelona, she began to photograph art on shop shutters painted by urban artists and she has now more than 1400 images in her collection. (

In April 2013, she launched the project Street Art & Cinema, an initiative dedicated to the History of Cinema as seen by urban artists and  the encounter of her two passions: Street Art and Cinema.


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Kalvebod Waves

JDS Architects is pleased to announce the nomination of its project Kalvebod Waves for the Big Arne Award. The award is given to completed works and initiatives that have raised the architecture of the metropolitan Copenhagen area in the past year. Kalvebod Waves is nominated for the award because it contributes to reuniting the city of Copenhagen with its harbor. To create this urban spot on the waterfront, JDS Architects teamed up with KLAR, Future Experience, U-turn and White Water Adventure Park.

From Islands Brygge to Kalvebod Waves

At the turn of the millennium, the center of Copenhagen was given an incredible breath of fresh air or rather fresh grass by the opening of Islands Brygge Park. The project injected some 28.000 m2 of outdoor space for all. In 2003, we, as PLOT (now JDS and BIG) designed the harbour bath project, which introduced a new concept of bathing and water sports to the capital. The success was immediate and the first real signs of the city turning itself back to its waterways became evident.

Kalvebod Brygge is situated opposite this popular Copenhagen summer hang out. Kalvebod Brygge has the potential to be Islands Brygge’s more urban addition but has, until now, been synonymous with a desolated office address devoid of life and public activities. The new urban waterfront is the perfect hub for summer festivals and water related activities.

When addressing this infamously gloomy and desolated side of the harbour, we put our focus on two major design aspects: to create urban continuity and to locate new public spaces on the sunny parts of the water. What has doomed the Kalvebod area until now were the long shadows drawn by the imposing structures fronting it. We studied the course of those shadows throughout the day and the year and located two main pockets of shadow-free zones. We decided to program those areas as both resting islands on the water and actual programmed spaces, containing until now the facilities of a kayak club. From there on, all we needed was to find an active way to reconnect those islands to the urban network and to make them relate to the city’s infrastructure.

JDS Architects

Julien De Smedt’s numerous prize-winning projects have helped to re-energise the discussion of contemporary architecture. The Founder and Director of JDS/Julien De Smedt Architects & MWA/Makers With Agendas has offices in Brussels, Copenhagen and Shanghai. Among other awards and recognitions, JDS received the WAN 21 for 21 Award in 2011, the European Steel Design Award in 2011 and the Maaskant Prize for Best Young Architect in 2009.  In 2004, JDS received a Golden Lion at the Venice Biennale for the Stavanger Concert Hall and was nominated for the Mies Van Der Rohe award. JDS has recently completed several large international projects, including the Holmenkollen Ski Jump in Oslo (Architizer A + Award 2013) and the residential project Iceberg in Aarhus (Architizer A + Award 2013 MIPIM Award 2013).

Info Kalvebod Waves on JDS Architects:


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Adel Gorgy, My Meeting with Warhol …. Traces of Warhol © Adel Gorgy

Adel Gorgy:

Traces of Pollock, de Kooning and Warhol…

Abstract Photographic Works

at Able Fine Art NY Gallery

Review by Mary Gregory

Adel Gorgy, in his current exhibition, “Traces of Pollock, de Kooning and Warhol,”  at Able Fine Art NY in Chelsea, has brought keen observation, a graceful aesthetic and a unique vision and process to an impressive body of work.  In the current age of knockoffs and spinoffs, prequels and sequels, true originality of thought and expression, like Adel Gorgy’s,  is rare and worthy of attention.

In a series of photographic abstractions, both monumental in scale, and dense and complex enough to invite intimate, up-close viewing, Gorgy responds to the work of three earlier artists — Pollock, de Kooning and Warhol.  In his photographs we see, as the title implies, traces of their work, but they are recomposed and re-contextualized into completely new compositions.

There is a reference to the history of found objects that have informed and, in part, formed the art of the past century in works as historical as those of Duchamp and Picasso and as contemporary as Damien Hirst, Tracey Emin, and Mike Kelley.  But in Gorgy’s work, the found objects are brushstrokes and drips, lines, colors, and bits of canvas captured from the work of these earlier abstract painters.

Rather than just presenting what he has found, though, Adel Gorgy completely restructures the elements into compelling, new compositions.  Looping lines and splatters that escaped Jackson Pollock’s canvases and landed, instead, on the floor of his studio, have been reclaimed by Gorgy and recomposed into bright, colorful abstract photographic works, such as Traces of Pollock #3, rich with historical reference, and at the same time fresh and beautiful.  De Kooning’s brushstrokes have been repurposed and repositioned in Gorgy’s Meeting de Kooning AgainMarilyn…Persona and My Meeting with Warhol offer bits of Warhol through Gorgy’s eyes and at the same time offer  entirely different meanings.

One of the purposes of found art is to offer viewers an opportunity to see the ordinary in a new way.   Adel Gorgy, in these works, invites viewers to see art anew.  It’s an idea that has been presented in his work for several years.  Previously, he carried out visual dialogues with painters like Van Gogh, Matisse and Monet, using their palettes and lines to create his own compositions, abstracting realism.  Here, he has chosen to abstract abstraction, and in doing so, has opened new ways of looking at familiar work.  We may all be able to recognize a Pollock at first glance, but do we really look at it anymore?  Through Gorgy’s re-presentations, we do.  Warhol, who offered us flattened, commercialized, pop art where labels trumped essences, has been responded to by Gorgy, who gives depth, both visual and conceptual, to both Marilyn Monroe and Campbell’s soup cans. In an arresting work, Sum of Any … after Twombly (Untitled), Gorgy pares down a sprawling, amorphous work of Twombly to the concise, enigmatic textual scrawls for which his work is known.

Gorgy states that his goal is to engage viewers with the works of these previous artists, but mostly, to engage them with his own vision.  He encourages them “to abstract [his work] further, and discover the infinite and the limitless.”  He adds that “the final reality of an artwork rests with the viewer, and yet for the artist, his vision and his concept are unscathed.  They are different journeys, whose path may or may not cross, but neither is more or less true than the other.”

In offering the opportunity to see new work, and at the same time see familiar work with new eyes, Adel Gorgy is creating both visual and experiential art.  He allows the viewer to become the artist, creating new meanings for works by Pollock, de Kooning and Warhol, and at the same time, for his own.

How any artist relates to the art of his own and previous times is crucial.  At the same time, true art is always a mingling of content and intent.  In Traces of Pollock, de Kooning and Warhol, Gorgy’s  skill, talent and vision are the cornerstones that support the concept.   Adel Gorgy ‘s exhibition at Able Fine Art NY presents a thoroughly original idea (hard to do after so many centuries of recorded art) in a visually eloquent and elegant way.

Artist’s website:

About the reviewer:
Mary Gregory is a writer and reviewer. She lives in New York, and frequents galleries and auction houses that set the backdrop for her stories. 

* * * * *

DECEMBER 18, 2013


to Avery Irons,

winner of Ragazine.CC’s

“Speculative Fiction by People of Color” contest

for his original story

“The Chance”

Final Judge: Sheree Renée Thomas…


Thomas, is the author of “Shotgun Lullabies” and editor of “Dark Matter,” a collection of science fiction, fantasy, and horror produced by people of African descent. “Dark Matter: A Century of Speculative Fiction from the African Diaspora is a groundbreaking achievement by any measure and was the winner of the 2001 World Fantasy Award for Best Anthology.”

Thomas had this to say of Irons’ story:

“…Your near-future story was a provocative, frightening, and moving work that explored a socio-economic problem – and its intergenerational impact – that is rarely discussed frankly in American society and is certainly not often explored in literature.  As I read your story, I came to feel deeply for the family you depicted and their struggle.  Your writing was clear, evocative, and riveting at times, with natural dialogue that read like truth.  The ending of the story was surprising and inspiring…”

“The Chance” will appear in the January-February 2014 issue of Ragazine.CC. Don’t miss it!

Runners up (stories to be published in Ragazine in 2014):

Ely Azur’s “Never. Give. You. Up.” (moving but creepy adopted monster/baby/zombie? And a disclaimer, don’t usually care for zombie tales, but this family’s attempt to adopt and become parents during a biological epidemic was compelling)

Lisa Bolekaja’s “Don’t Dig Too Deep,”  (spooky children’s lore), and

Sharon Warner’s “The Color of Time” (short and sweet microfiction).

Honorable Mentions for Imagination and Lore:

“Jacob and the Owl,” by Shawn Frazier

“Ruth’s Garden” by Kyla Philips

Honorable Mentions for exciting locations/settings:

(Dogon tribe /Africa), Sacha Webley

(Brazil),  Adanze Asante

* * *

This was Ragazine’s first fiction contest and we received so many strong entries that I would seriously encourage all of you to send me work for subsequent issues. Our judge was also impressed with the quality of the work. We hope you will continue to read and submit to Ragazine. We are looking forward to doing more speculative and fantasy fiction in the future.

                                                             Joe Weil – fiction editor


* * *

We are most thankful to all the writers who entered our Speculative Fiction by People of Color contest, and offer our sincere congratulations to the winner and runners up, whose stories were critiqued by our final judge, Sheree Renée Thomas.  We trust you’ll stay tuned to future issues and will look for these stories as they appear throughout 2014.

Our attempt to promote this underserved genre was our first publishing fundraising venture, and we look forward to many more contests celebrating various genres in the future. We appreciate the support and effort by the judge, Sheree Thomas, who skipped the work to rule dictum to help spread the word about the contest. Thanks, too, to the many publications, venues and people whose time and energy contributed to providing an opportunity for these writers to be heard.

— Mike Foldes, Founder/Managing Editor


* * * * *



American Illustration 31, Dustjacket (above) & Cover (below)
by Zachary Zezima, Design by Paul Sahre and Eric Carter.

* * * * *

The Best Picture Books in the World

American Illustration 31

* * *

Year after year American Illustration features the finest illustrations that have appeared in print over the previous 12 months, or so, giving latitude to the time between concept and publication. This over-sized, table-top, hardcover tome includes work from the best of the best, taken from well known periodicals such as “O” and “The New Yorker,” to less well-known venues such as the United Nations Postal Administration and the Folio Society.

Remarkably, even the artist’s names are creatively placed around each full-page image, so as not to detract from the focal points. Each image is individually described in an index strategically placed on several pages in the middle of the book, which is also where the title page, list of contributors, and masthead appear. The index includes a thumbnail of the selection with a descriptive that includes concept and credits to the creative person, team and/or agency involved, as well the publication in which it appeared.

American Illusion 32 will be available soon, and if you’ve got eyes to see and mind to wander, get your order in now.  

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Other books available from the publisher:
American Illustration – American Photography
Latin American Fotografía and Ilustración
International Motion Art Awards

15 East 32nd Street, 7nd Floor
New York, NY 10016
917-408-9944 office

Latin America Fotografía and Ilustración
American Illustration-American Photography




Thanks to all who entered!

Results to be announced in December 2013.

 * * * * *



Titanic model. Larry Hamill photo.

The Silence of Sea and Space:

Where Titanic Meets Apollo

Upon entering the Great Lakes Science Center’s TITANIC: The ArtifactExhibition,  you assume the identity of one of the passengers, as you’re handed your boarding pass complete with family info, reason for travel and other passenger facts. You’re then drawn into darkened rooms filled with festive music, but soon you’re surrounded by the muted sound of an underwater world. … Read and see more about Hamill’s visit to the museum … 


* * * * *

We get these teasers every so often from Barry Healey, and figured we’d pass ’em along to those who enjoy mixing a bit of humor with their sarcasm….



Chapter 1 

Manley Discovers Barks

The beetle was stale, but Manley was hungry.  He swallowed it, pushed his snout into his hidey hole and sniffed again.  No beetles, worms — nothing.  He craved grubs, succulent grubs.  He sniffed along the tunnel floor — maybe some had dropped from above; maybe he would find, as he once had, a whole cache in a bit of rotting flesh.

Stoat, stoat!  The scent filled his feeler.  Where?  Near?  Ahead?  He scurried back down the tunnel, ran up the exit, sniffed and stopped.  Was the scent coming from above?  He was uncertain.  He hesitated, turned and burrowed downhill, but found his feet scrabbling at clumps of moist earth.  What?  Read more …


Chapter 2

Theobald Smells a Rat,
Or, More Precisely,
a Rat Smells Theobald

Theobald, enlivened by the smell of the decay, hummed a dying season tune to himself. Soon he would be gliding silently to the bottom of the pond, where he would re-discover deep calm as his body slipped into its winter’s sleep.
Hauling himself through the wilted ferns, the mud and the reeds, he was almost at pond’s edge when he became aware of an animal behind him. Craning his neck slowly, ready to snap, he could see out of the corner of his right eye, a tail and the hind end of an animal close to his rear claw. What was it and what was it up to? Was this animal — possibly a small, ugly fox — about to attack him?  Read more …



Chapter 3

Malcolm  Comes to an Understanding

Malcolm peered across the meadow. At almost any distance, his brother was a blur — but he could see the shape of Melwin’s rack and snout, and what looked like a rather large beaver.
No doubt Melwin was giving this poor beaver the benefit of his so-called wisdom. Malcolm was continually amazed that animals even asked Melwin for advice. Couldn’t they see through him? Obviously not. Occasionally, Melwin’s advice proved useful, but it didn’t make him sagacious. Lucky, maybe. Yet animals hounded the meadow to seek his brother’s counsel, even asking Malcolm where the ‘wise moose’ lived. Malcolm once told a chipmunk that he was the ‘wise moose’, and the chipmunk returned a day later to scorn him by raising his tail and thrusting his rear at him. Melwin wise? He had to laugh.   Read more …

 * * * * *


New, From ART & THEORY:

Play! Recapturing the Radical Imagination
The notion and nature of play has puzzled and inspired thinkers over the course of history. Interpreted as excessive, illusive, and unproductive, play and imagination have over time permeated cultural spheres and now emerge from the 20th century as two critical ingredients of today’s artistic and political discourse. Emphasizing productivity through spontaneity, risk, freedom and pleasure, the act of play and radical imagination have motivated not only significant research and experimentation within the arts, but also social and political change. As artist practices, curatorial models, and institutional frameworks continue to shift, each development makes visible the transformative impact of this critical investigation. This book reflects the conceptual backbone of the 2013 Göteborg International Biennial for Contemporary Art and illuminates an active discourse.

Editors: Stina Edblom and Edi Muka 
Writers: Edi Muka and Stina Edblom, Lars Bang Larsen, Franco Berardi, Ragnar Kjartansson and Andjeas Ejiksson, Katerina Gregos, Claire Tancons, Joanna Warsza 
180 pp 
87 pp ills 
Graphic design: Leon&Chris 
ISBN 978-91-980874-2-0 

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From Brazil…

Check this out… It’s short and easy to take! 

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Richard Buntzen’s “Newsprint Collage, A Journey”

at The Atlantic Highlands Art Council’s Gallery. 

by  Dr.  José Rodeiro, Art Editor 

 Atlantic Highlands Arts Council
Sept. 21-Oct. 19, 2013
Reception Sept. 21, 4:30-7:00 p.m.
Finelines Building
21 W. Lincoln Ave.
Atlantic Highlands, NJ.

The Atlantic Highlands Arts Council (AHAC) is sponsoring a solo exhibition titled Newsprint Collage, A Journey, highlighting a unique fifteen-year aesthetic-exploration with newsprint collage meticulously developed by New Jersey visual artist Richard Buntzen. Buntzen’s distinctive collage methods have generated a body of work that reflects a 21st Century style concerned with expressing ‘Beauty.’  Buntzen’s works reveal throughout a keen awareness of the formal elements of art, as well as a deep understanding of classical principles of design.  Both manifest within each complex arrangement.


Pesca Luna

Collage spans from Pablo Picasso’s, Georges Braque’s, and Juan Gris’s early-20th Century Cubist techniques, extending through Dada, Kurt Schwitters’s Merz Art, Surrealism and Pop Art’s experiments with “new” forms of automatist collage (i.e., décollage, Bulletism, aerography, Cubomania, photomontage, Decalcomania, etrecissements, silk-screen collage, as well as assorted “visual” versions of the exquisite corpse game) and continuing through to the revolutionary invention of Amnesis amazars in the mid-1980s.

Buntzen felt that all these early collagists had only scratched the surface of what was visually possible with collage. Starting in 1998, he began experimenting with newsprint fragments and collage production through a process of retrieval and reuse, giving new life and significance to materials that would otherwise be discarded or recycled. Most intriguing is his method of selecting multiples from the same page of many identical newspaper pages, which serves to isolate the images from their news-story narratives.

Buntzen, recently retired from his visual arts teaching position within Alpine Public School District, is a freelance artist and a member of the Atlantic Highlands Art Council. He currently resides in Monmouth Beach with his partner Donald Coppola and works out of a studio in Asbury Park. An artist talk is scheduled for Wednesday, October 2, 7:00 p.m.


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SUNI trpitych0001

Vlachy Runs Off With Williams

Slovenian photographer Janez Vlachy has developed a running relationship with American NASA astronaut Sunita Williams, Expedition 33 Commander. Williams in May visited Vlachy’s studio in Ljubljana where this series was taken. An interview with the photographer appeared in the November 2011 issue of Ragazine.CC:

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Review written and translated
by Jean-Paul Gavard-Perret

 Jockum Nordström,
« Tout ce que j’ai appris puis oublié »,
Editions Hatje Cantz, Stuttgart,
208 pages.
Exposition (same title)  LAM (Lille Métropole Musée d’Art Moderne, France, Summer 2013 )
then Camden Arts Centre, London, Autum 2013).

Jockum Nordström’s fanciful art works can be described as an opportunity to encounter on the artist’s drafting table the minds of Lewis Carroll (Alice) and  Jonathan Swift (Gulliver). The artist is somewhat of a woodworker, as well, a Maestro Gepetto producing all kinds of puppets. The spirit of his work lies in creating worlds, as much as in producing stories.


Jointly created by Mamma Andersson and Jockum Nordström;
Color spit bite and sugar lift aquatints with aquatint and soft ground etching
Image Size: 15½ x 22″, Paper Size: 21½ x 28½”
Edition Size: 30
Publisher: Crown Point Press, Printer: Emily York

The artiste once said that he ran away from home when he was young by hiding under the seat of a bus. He wanted to become a cowboy or a sailor. But he came back home and worked several years in a post office, while developing an extensive fantasy world with drums, firearms, pianos, houses, birds, top-hatted men (he is a jazz fan), lots of sex, and so on.

However, it would be too easy to contrast the violence of the adult world and the powerful imagination of children. Jockum Nordström wouldn’t risk doing so. For this work, he incorporates the multiple dimensions of human realities. The research of harmony and a sort of happiness with our surroundings  is connected with a taste of adventure, of desire to do what we like in our own lives. Never mind if it ends in failure.

The experience is vibrant and emotive. In Jokum Nordström’s world, anyone can feel both in the grandest scale and in micro-detail. So one should never reduce the artist’s work to one single image, one single meaning or interpretation, but should look at them through a polyphony. Each ones of them invokes multiple interpretatino. In the artist, the inner world flutters quite close, just beneath his skin, at the edge of the senses. Sometimes, we even feel that he engraves in his works  his inner rifts with the grace of a guardian angel and the determination of a stowaway. In a way Alice, Gulliver and Pinocchio are never very far from the opus of the artist who John Hutchinson names “ A Cowboy Sailor”


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angie's diary

Catch up on other news, reviews and more at Angie’s Diary….

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 From simple to complex, as in:


No, that shit!

Or, from SURE SHOT:

You cubed the family

pet! Unglued train exhaling!

Always have never seen! I

mean heard! Highwire! One

“Hears” tripwire! seeing high-!

Whose “whose” Halt “halt!
Is “wants” That! “Ting!”


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Marsha Solomon –

Selected Works 

By Mary Gorgy

Marsha Solomon’s paintings invite the viewer to enter a different realm — a world in which color, line, form and shape combine to create a vision of serenity infused with energy.  The imaginary spaces she composes are quiet, yet buoyant.  There is no discord.  There are no conflicts.  Everything exists in harmony.  Lines do not come at one another; rather they dance around each other.  Colors are never opposing, they communicate.  It is a special place, created by the artist, where only harmony and beauty reside, and to which she invites the viewer to join her.

Solomon’s large, color-field abstractions are inspired by the early abstract expressionist painters.  Her work has been often likened to Helen Frankenthaler’s while also displaying echoes of the bold brushwork of Motherwell and the saturated tonality of Morris Louis.  Yet, Solomon, while gently referencing that era, is not afraid to step away from that path and find her own.  The paintings in her From Rhythm to Form series employ the use of a simple circular motif in the center, created by pouring pure color onto unprimed canvas and allowing it to soak into the fiber and infuse it with raw energy.  Around this vibrant yet diffuse center, she encircles the circle with vigorous, thick, impasto paint.  A circle inside a circle, thin and thick paint, positive and negative space, all combine to become a sublime, magical universe.  Intense colors float, making bold statements about the fundamental forms of art, and at the same time whispering in undertones of states of mind and the inner self.  These pieces, like Enso paintings (the Zen paintings designed for meditation), invite contemplation and reflection or just the simple joy of being in the presence of beauty.

Her still-life paintings from the series Tapestries also present her own unique vision.  For these, she uses intricately woven fabrics, objects collected from around the world, brightly colored glass, and antiques to create complex, patterned compositions reminiscent of Matisse, but inspired by sources as varied as Japanese woodblock prints, Dutch genre paintings and the still-life paintings of Cézanne.

Her painting, Timeless Rhythms, part of a series of Sumi Ink and Acrylic paintings of grapevines, displays her talent in weaving brushstrokes and tones to develop an overall pattern both simple and complex, creating an image that is equal parts Zen painting and Jackson Pollock.

Marsha Solomon at BAFFA:

Bay Area Friends of the Fine Arts Inc.

47 Gillette Avenue, Sayville, NY 11782

Phone: (631)589-7343

Contact BAFFA:

About the author:

Mary Gorgy is an art reviewer and critic. 




Vanessa Winship: American figures and landscapes

Vanessa Winship, “She Dances on Jackson”, Editions Mack, London, 144 pages, 40 Euros

Exhibition at Fondation Cartier Bresson, Paris, May 15 to July 28 2013.

By Jean-Paul Gavard Perret 

In turning away from the signs of popular culture, Vanessa Winship made the decision to focus on the figure and the landscape by taking walks through the USA from California to Virginia, from New Mexico to Montana. These walks have occurred in various remote and anonymous places. Whatever the geography, whatever the place she walks, Winship is  forever  in the act of perceiving.  In Winship’s case, it is always the details of the place that are indicative of a larger scope.

winship 2One might say that she is repeating the same concept – the walk – through all its different permutations, but it is always essentially the same walk in USA as in England. There is something about a commitment here, a commitment to an idea, a holding forth on integrity in the face of the overwhelming odds of popular culture. To speak of “grandeur” in the work of Winship is to understand that she functions on a level that represents a heightened form of intuition, a sensory form of cognition. Yet this intuition is always within the realm of figure and landscape’s language, a cultural trait that she never ignores.

“She Dances on Jackson” (the book and the exhibition), crosses a new threshold of experience. It is through the use of black and white photography that Winship invites the viewer to return to the wilderness and intimacy. For this reason, this opus offers a necessary antidote to all the spectacles that compete for our attention in this highly saturated era of information technologies and advertising. Vanessa Winship’s art suggest another way, another concept, both physical and mental, an interaction of mind and body where reality and photography strangely look  towards the future.