Molly Soda talks with Office Magazine about NADA NY
Molly Soda's NADA NY booth in ARTNEWS
Molly Soda's NADA booth mentioned in Art Newspaper
Amy Brener and Haley Josephs at Material Art Fair
Phoebe Collings-James and Precious Okoyomon talk with Gabby Bess
Amy Brener and Lucas Blalock up on Art Viewer
Barb Smith's show reviewed in The Brooklyn Rail
Phoebe Collings-James talks with i-D
Molly Soda up on Artsy
Partner Work up on Purple
Partner Work up on Opening Ceremony
New York Time's What to See at New York's Fairs
Brooklyn Magazine's best in show at NADA
Cecilia Salama and Amy Brener at NADA NY 2017
Amy Brener and Cecilia Salama on Hyperallergic's most memorable art from NADA
Amy Brener at NADA
NADA preview up on Artspace
Check out the NADA NY 2017 Exhibitor List
Beholder's Share on Brooklyn Magazine
Beholder's Share on Daily Lazy
it started with a rose feature on Artsy
it started with a rose on The Creators Project
it started with a rose on O FLUXO
it started with a rose on Art Viewer
it started with a rose on Blouin
it started with a rose on Daily Lazy
it started with a rose on Art F City's Must See Art Events!
it started with a rose on Brooklyn Magazine's The Best Art Things to See This Weekend!
Christine Navin's MCMLXXXVIII placement at Stone Hill Quarry Art Park—go check it out!
Check out images on Art Viewer!
I'd Rather Be Here Than Almighty on aqnb
Images from the closing event for:
I'd Rather Be Here Than Almighty
Thanks for the shout out Brooklyn Mag!
Images from the opening reception of:
I'd Rather Be Here Than Almighty
Opening Saturday, July 16, 4-7pm
Images from the opening reception of:
Though You've Hit a Bump
Join us at our new Brooklyn location!
Images from Highs & Lowe's
Photos by: Jake McNulty/ jakemcnulty.com
Please join us this Friday!
Images from the opening of Home Center:
Images from the opening reception of Music for Chameleons
Upcoming: Opening reception for Music for Chameleons, Thursday, March 3 7-9pm.
Images from the opening of In Time
Upcoming: Opening Thursday, January 7th
up through February 13th
You Should When to Laugh on the Sculpture Center's SculptureNotebook
Images from our Nov. 6th opening:
Opening Friday, November 6th
up through December 19
We made a short video for our upcoming show:
Lesley Dill's show featured in the Nov. 2 issue of the New Yorker
Images from a conversation between Lesley Dill and Sur Rodney
Images from Lesley Dill's Opening
Opening reception: Thursday, September 24, 2015 from 6-8 pm
Images from evans editions
signed single photogravure related to:
"Untitled" (Sand), 1993/1994
Portfolio of photogravures on Somerset Satin paper in silk covered archival box
Eight parts: 12 1/2 x 15 1/2 in. each
Edition of 12, 6 APs
Published by Edition Julie Sylvester, New York
© The Felix Gonzalez-Torres Foundation
Courtesy of Andrea Rosen Gallery, New York
Images from Richard Polsky's Opening
Abby Leigh at The Brooklyn Rail
Images from Abby Leigh's, Pause
Nancy Manter: An art of environmental intelligence
Patricia C. Philips
Recently NOAA (National Oceanic and Atmospheric Administration) announced the launch of DSCOVR in collaboration with NASA (National Aeronautics and Space Administration) and the U.S. Air Force. DSCOVR is a space weather observing satellite to provide “continuous environmental intelligence.” It will orbit 1,000,000 miles from the earth (or four times beyond the orbit of the moon.) “Space weather” frequently is caused by “sporadic solar flares [and] electrically-charged blasts of gas exploding from the sun at up to 6,000,000 miles per hour.” Often occurring in “roughly 11-year cycles, these events [also] can be random.” These solar incidents can create havoc with telecommunication systems, power grids, and sensitive GPS applications. Arguably, this essential infrastructure is increasingly vulnerable to space weather. 1
Nancy Manter creates materially dynamic and embodied registers of the physical world. She is a passionate and intrepid witness of the meteorological and geological, the commonplace and exceptional. A voracious observer of phenomena and active explorer of physical sites such as Maine mudflats and other distinctive environments, her work evokes the ethereal, quixotic qualities of weather, the deep time embedded in vast geological formations, as well as existing and emergent data set and environmental intelligence that she transposes into evocative visual forms and symbols. Twenty years ago, writer and critic Lucy Lippard wrote “Looking Around: Where We Are, Where We Could Be” which cited imminent ecological crisis as a prompt for our significant “preoccupation with place and context”. It represented a generative and consequential change in her remarkable work and career as a cultural critic and locational observer. She wrote then (1995) and it remains resonant now: “The notion of the local, the locale, the location, the locality, the place in art, however, has not caught on in the mainstream because in order to attract sufficient buyers in the current system of distribution, art must be relatively generalized, detachable from politics and pain.” 
There is rapt and expectant attention to the “translational” in science, cross-disciplinary and inter-cultural communication, and research in general. How do artists help us make information and new developments in different fields vivid and authentic in other areas and in our lives? How is this indispensible process of “translation” of ideas and experience undertaken and represented? Nancy uses abstraction not as something objective and dispassionate but as a register of a deeply felt intelligence that is active and animate in the natural world. Dieu Donne has offered her and so many artists opportunities to engage in an extravagant and evocative materiality that requires a special kind of insistence and patience. With handmade paper pulp, distemper, color, washes, and resourceful material experimentation, Nancy continues to invoke the visuality and virtuality of “cognition in the wild” embodied experiences.
 Lucy Lippard, “Looking Around: Where we are, Where we could be”, (editor Suzanne Lacy), Mapping the Terrain: New Genre Public Art. Seattle: Bay Press, 1995.
 Edwin Hutchins. Cognition in the Wild. Cambridge: MIT Press, 1995.
Review of Fritz Dietel's Show by Michael Randazzo
(see slide show images below)
For his first solo show in New York City, Philadelphia based artist, Fritz Dietel, is exhibiting 16 paper and wood sculptures at 315 Gallery, a new venture by Sue Gosin, founder of Dieu Donné Papermill. 315 Gallery is located in the storefront gallery of the Dieu Donné artist workshop.
Known for prolific experimentation in forms drawn from nature, Dietel’s work at 315 Gallery displays an unusual partnership of wood and paper as structure and skin that underscores his ability to create compelling artworks.
Shortly after receiving a Pew Fellowship in the Arts in 2007, Dietel—who has spent thirty years working primarily in wood—seized the opportunity to work with exotic, custom designed paper pulp, an entirely new medium for him. Though artists have used sheets of paper for more than 2,000 years as a support for drawing and painting, Dietel chose to explore handmade paper pulp as a means to continue his exploration of organic sculptural forms.
Over the past eight years Dietel has developed a unique paper casting process using handmade paper as a dynamic surface for organic wood sculptures and as the primary medium for stand alone pieces. His paper sculpture, often composed entirely of crenelated sheets of cast pulp, appears so authentically “nature made” and organic as to be devoid of any human intervention.
Along with Dietel’s paper/wood sculptures, the show also includes two wooden structures—Tufts (2006) and Thistle (2004)—that predate Dietel’s Pew Fellowship. Thistle, a wood and pigmented epoxy sculpture that measures 60 x 24 x 24 inches, underscores Dietel’s facility in bending wooden strips to almost impossible structural tolerances. The resulting form—long and lyrical—is juxtaposed with a complex shape that is simultaneously fascinating and menacing. This sculpture is installed vertically on the wall directly opposite the viewer and creates a provocative sense of balance and engagement.
Thistle both contrasts with and is a precedent for Cluster, a monumental construction from 2014 measuring 12.5 x 9.5 x 10 feet. Composed of Abaca—a translucent paper created from banana leaves—pigment, wood and copper, Cluster underscores Dietel’s ability to fuse steam-bent wood with delicate paper pulp. Elegant structural forms that emanate from the work’s circular base and fan out, reed-like, in the gallery’s center, reference Thistle’s tendrils. Long, narrow strips of wood are contained within sheets of Abaca, the handmade paper providing visual delight while softening the impact of what is a dominant sculptural work. In contrast to the forward reaching shoots of Thistle, the impact of Cluster is gently engaging, creating—in the tradition of contemporary sculptural practice—a work that can only be fully experienced by complete circumnavigation and careful contemplation.
If Cluster represents a transition from Dietel’s pre-paper sculptural practice to his experiments in paper pulp, Lumen V, a work from 2014 that consists of multiple tubes measuring 100 x 26 x 26 inches, is where Dietel’s expertise in bending wood to his will is completely integrated within his papermaking practice. A cluster of five tubes consisting of translucent cast Abaca, Lumen V exhibits a weightlessness that defies sculptural convention. Where Cluster requires a wooden armature to ground it, the arrangement of Lumen V, composed entirely of cast paper tubes, floats air-borne from the ceiling.
The surface of each tube is crisscrossed with a delicate paper lattice that provides both strength and beauty. Reminiscent of the paper tubes used as temporary supports in architectural construction with surfaces that evoke shed snakeskins, Lumen V defies categorization. Responding to air currents, the components of the piece relate to each other individually and as a group, clearly displaying the structural integrity of their inner core and their ephemeral surface.
Lumen V, along with the other work exhibited at 315 Gallery, demonstrate that a lifetime of continuous experimentation with wood in its many forms has enabled Dietel to extend his sculptural practice to include cast paper pulp work of uncommon beauty.
Fritz Dietel is a sculptor based in Philadelphia, whose wood and paper sculptures focus on organic structural forms. His work appears at the Kimmel Center for the Performing Arts, Johnson & Johnson Corporate Headquarters, The Vanguard Group, Milton Hershey School and the Perelman Medical Center for Advanced Medicine at the University of Pennsylvania. Dietel’s sculptures have been featured in shows at the Delaware Art Museum, Portland Museum of Art and Grounds for Sculpture. He is a past recipient of a Pew Fellowship in the Arts and Pennsylvania Council on the Arts.
Photos from Frtiz Dietel's Opening (2/5/15):
315 Gallery (315 W 36th St) will be hosting its first opening on February 5th, 2015, from 6-8 PM. We are pleased to present the work of Fritz Dietel. Dietel has worked with handmade paper pulp extensively to create dramatic sculptural pieces. The show includes several paper pieces as well as wood sculptures.
Fritz Dietel is represented by Schmidt Dean Gallery in Philadelphia.
View more of his work on his website: http://www.fritzdietel.com