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Amy Williams, Sanctuary
September 17 - October 18, 2015
Reception: Sunday September 20, 4-7pm

440 Gallery is proud to present Sanctuary a series of new photographic works by Amy Williams. This solo exhibition marks Williams' sixth and final exhibition at the 440 Gallery, presenting photographs that were shot at the Okefenokee Swamp located in the Southeast of Georgia. Sanctuary explores abstraction in an ecologically pristine environment where swampy black swirls melt into lily pads and appear to dance on the surface. Throughout, the artist shows her continued work in an analog process, shooting with a Holga medium format film camera and hand printing each image in collaboration with master printer, Gunar Roze.

Amy Williams studied painting and photography at the University of Texas, Austin. She has been enamored with the photographic medium since she made her first pin-hole camera from an oatmeal box in the 5th grade. She taught herself how to print her own photos in the darkroom at the young age of 16 and has never stopped loving the smell of chemistry, and the amber glow of a safelight. Amy Williams has exhibited her work in both New York and Paris and is featured in private collections throughout the United States and Europe.

440 Gallery was named "Best Gallery" by The L Magazine in their February 27, 2013, issue featuring The Best Stores in Brooklyn. More recently, 440 Gallery and Shanee Epstein's solo exhibition were reviewed by Art in Limbo in their series on Brooklyn galleries.

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David Stock, Unintended
October 22 - November 22, 2015
Opening Reception: Saturday, October 24, 6:00pm - 9:00pm

440 Gallery is pleased to announce "Unintended>," an exhibition of photographs by David Stock. In this new series, the city's chaotic visual layers resolve into moments of unexpected narrative and unplanned beauty.

"One of the things photography does best," Stock says, "is to reveal overlooked aspects of our everyday environment. The city is full of dramas, allegories, and visual puns hidden in plain sight. Finding them and making them into photographs is a deeply satisfying process." In his view, the tension between the objective and subjective is what gives photography its power. "Photographs are actual, physical traces of objective reality. But they also reflect a very personal point of view, expressed through a photographer's choice of subject and moment, framing, technique and processing."

Stock brings his images to life with meticulous printmaking. Formerly a long-time darkroom artisan, he now prints from carefully processed digital files onto fine art papers, using permanent pigment inks. Foto/Text Magazine has described him as a "digital master printer."

Stock started making photographs in Manhattan in the 1960's and then studied with Arthur Siegel and Aaron Siskind at Harvard University. He lived in Boston and Los Angeles for long periods before returning to New York.

Over time, Stock created several groups of work, with a variety of subjects, approaches and techniques. But regardless of his other projects, he always practices his first photographic love-walking city streets with a camera, looking for moments of unintended consequence.

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Off the Press
August 13 - September 12th, 2015
440 Gallery presented its summer exhibition Off the Press, a group show featuring hand-pulled prints that span a variety of media, both old and new, juried by Kathleen Caraccio and Roni Henning.

Participating Artists: Jo-Ann Acey, Linda Adato, Audrey Anastasi, Michael Arike, Zahra Banyamerian, Neil Berger, Samantha Buchanan, Sadikisha Saundra Collier, Regina Corritore, Erin Cross, Mary DeVincentis, Leslee Fetner, Gabriel Garcia Roman, Darcy Gerbarg, Sheila Gritte, Mary Hood, Crystal Johnson, David Klein, Melissa Maske, Nathan Meltz, Florence Neal, Adam Pitt, Marilyn Propp, Roxanne Faber Savage, Lorena Salcedo-Watson, Julia Samuels, Christine Staehelin, Peach Tao, Mary Teichman, April Vollmer, Ellen Weider, Harold Wortsman, Mary Therese Wright

About the Jurors: Kathleen Caraccio is the Founder and Director of the K. Caraccio Printing Studio and Gallery in NYC. Since 1977, Caraccio has been Master Printer for artists such as Romare Bearden, Mel Bochner, Louise Nevelson, and Sol Le Witt. She has taught at Columbia University, NYU, Parson's School of Design, Pratt Institute and the National Academy School. Contact Kathleen Caraccio at
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Tom Bovo - The Other Side of Summer
July 9 – August 9, 2015
440 Gallery presented a show of Tom Bovo's recent photographs, "The Other Side of Summer." For his third solo show at the gallery, Bovo turned his attention away from cityscapes and still lifes, and focused instead on the Santa Barbara Harbor. During a recent visit, he worked by wandering the waterfront at dawn and again at dusk. The city was quite a change for Bovo, who was born and raised in Brooklyn, and he found the location fascinating.

"Santa Barbara is dominated by the ocean, and the harbor is at the very core of the city. Everything revolves around fishing, pleasure boating, surfing, and deep sea diving. Even the building codes are designed to give everybody living in the hills around the harbor, which locals call 'The Riviera,' a clear view of the beach, harbor, and Pacific Ocean. Santa Barbara is all about the ocean."

Bovo's interest in photography started in childhood when his father, a photography enthusiast, gave him a camera. He later studied painting and printmaking at Columbia University and this training is deeply felt in his photography. For decades, Bovo worked in the commercial photo industry in New York City, but has focused on his own work in recent years. His photographs are in private collections in the U.S. and Europe. Please visit the website for more information about the exhibition and related events.

Bovo was featured in 2 articles leading up to the exhibit: Tom Bovo Photography: Seeing Brooklyn Through a Different Lense, and Talking with Photographer Tom Bovo About “The Other Side of Summer.
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Susan Greenstein - Memoryweave
June 4 – July 5, 2015
Memoryweave, Susan Greenstein's third solo show at 440 Gallery, represented a dramatic departure from her earlier pastel and watercolor cityscapes. These vibrant monotypes derive from an early fascination with patterns. Greenstein's childhood home was filled with vivid patterns - including Moroccan djellabahs, Egyptian stamped metalwork, Indonesian batiks, and Guatemalan textiles - collected by her parents. This imagery has influenced the artist throughout her career and offered a rich source of ideas and endless possibilities for her recent foray into printmaking.

Greenstein's process is reductive. It involves inking up a plate and then removing ink to expose the white of the page or the color from an earlier layer. Greenstein also uses Chine-collé in her work, the addition of collaged paper allowing fields of color to breathe through the patterns.

"One of the most interesting aspects of focusing on pattern is its meditative quality. As a pattern repeats itself, it changes slightly and steadily, revealing the artist's hand. Sometimes you can almost feel the artist breathing in and breathing out in the subtle variations."

Greenstein studied painting and drawing at Pratt Institute. For a decade she worked as an illustrator for magazines and children's books. She has been teaching art for many years and she greatly enjoys working with young children. She feels that their enthusiasm helps her to stay focused on what has always been exciting about art-making for her. Greenstein enjoys painting and drawing on-site around New York, but is currently preoccupied with her newest passion - printmaking.
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Shanee Epstein - States of Mind
April 30 – May 31, 2015
For her fifth solo show at 440 Gallery artist Shanee Epstein exhibited spatial give and take, the shifting between the simple and the complex, the narrative and the abstract, and the geometry of shape with the sensuality of color and texture. This body of work consisted of collages using handmade paper and fragments of earlier work. Some of the new pieces are extremely simple, some layered and complicated, some remain within the boundaries of the rectangle, some have edges that push beyond those boundaries and create new shapes.

In her last exhibit at 440 Gallery Epstein pushed into a newer dimension and experimental forms when she exhibited photography and sculptural work made from transformed wooden cigar boxes. This current work was a return to a more familiar medium but the body of work is informed by those diversions; it has expanded beyond its earlier limits. The edges of these pieces were undefined, they jut in unexpected ways and suggest the sculptural attitude of the boxes. She is physically expanding the edges of the work; which are not pre-defined but develop organically. The work incorporated past drawings, paintings and photographs into current layers of paint, handmade paper, bits of string and embroidery. The juxtaposition of old work and new work added an autobiographical element to her mark making.

"I am trusting the sensibility of the process. Learning to be quiet with each piece and allowing it to develop mirrors my own state of mind as I am working, whether it be simple, quiet or complicated."

Shanee Epstein received her MFA at Pratt Institute, where she was awarded the Pratt Institute Award for Painting. She studied art at the University of Massachusetts, Amherst and received early training in sculpture, pottery and painting at her uncle's studio on Cape Cod and traditional figurative classes at the Worcester Art Museum. She has exhibited extensively in the United States and her work is in private collections in North America, Israel and Europe. In 2005 she co-founded the 440 Gallery in Park Slope Brooklyn.
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Nancy Lunsford - Recalculating...
March 26 - April 26, 2015
"My path as an artist has been a constant reassessment, recalculation and re-direction. There are roads not taken that are never encountered again. There are things I cannot control, patterns I understand and can even predict, but they are still disruptive." Nancy Lunsford

440 Gallery proudly presented Recalculating..., a solo exhibition of new work by one of the founding members of the gallery, Nancy Lunsford. Lunsford was also participating in the Affordable Art Fair with 440 Gallery (booth 2.10) the weekend of March 25 - 29.

For her fifth solo show at 440, Lunsford invoked the GPS voice that automatically recalculates the route when you make an unexpected turn. She has long been fascinated with patterns and their repetition, but lately this interest has turned toward disruptive life patterns, with a specific focus on pregnancy, death, religion and art, as agents of change. Personal narrative remains a central theme, and her family and Appalachian upbringing figure prominently in this new work. Just as certain themes recur, so does Lunsford's adaptive and multifaceted use of many media and styles - from collage and printmaking, to photography and video.

Lunsford's artistic career began in Nashville doing portraiture, courtroom sketching and mural painting. After a stint as a singer/songwriter, she moved to Brooklyn in 1976, and earned a degree in art history and English literature from New York University. She then spent ten years abroad, in Indonesia and Turkey, where she made art, wrote art reviews, and studied traditional shadow theater and court dance.

Upon returning to New York, Lunsford ran Wisteria Art Space in Brooklyn, curating exhibits and producing theater pieces. She also collaborated on installations at the Brooklyn Waterfront Artists Coalition and the Williamsburg Art and Historical Center. A weekly sketch group that met in Lunsford's studio was the catalyst for a group exhibition that eventually led to the founding of 440 Gallery with Shanee Epstein in 2005.
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Katharine C. Hopkins - Titanicae
February 19 - March 22, 2015
440 Gallery proudly presented, Titanicae, a show of new work by artist Katharine Colona Hopkins. For her third solo show with the gallery, Hopkins has created an installation that explores the patterns and phenomena of organisms that survive in extreme environmental conditions. The show's title refers to a bacteria found on wreckage from the Titanic, a species that has adapted to feed on the ship's metal surface. The show opens Thursday, February 19th, with an artist reception on Friday, February 20th.

Hopkins began with the creation of small cups, crafted from paper pulp, which as singular objects are delicate and fragile. When combined with well over a thousand others, however, the effect points to the power that individual organisms can have when they form large collectives, as witnessed in Halomonas titanicae's ability to consume a massive man-made ship. Individually painted in deep browns and vibrant blues, the cups create a sprawling mass across the gallery wall. On the opposite wall Hopkins plays with the idea of containment. When placed within the confines of a frame - pattern, form, and repetition pay homage to natural processes and organisms while highlighting a deeply engrained human need to control and contain.

This show marks a departure for Hopkins from representational painting and drawing. However, the themes of decay and renewal remain constant throughout her body of work. In her last show at the gallery, That Perfectly Arranged Mouth (2013), she exhibited paintings of dead animals, in vibrant unnatural colors. The effect was less grim than elegiac. Whereas Rite (2010) was an exploration of sacred spaces and featured an animated film of an imaginary underground passage.
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10th Anniversary Members Show
January 15 – February 15, 2015
440 Gallery opened its doors as a pop-up gallery in Park Slope, Brooklyn in January of 2005. Within a few months this temporary gallery developed into an artists collective under the guidance of founders Nancy Lunsford and Shanee Epstein. Now the gallery celebrates its tenth anniversary with a group show featuring the current membership. The opening reception is Thursday, January 15th, from 6 - 9pm. The show runs through February 15th.

This celebratory exhibit, curated by members Gail Flanery and Amy Williams, will showcase a variety of styles and techniques including sculptural reliefs by Fred Bendheim, photography by Tom Bovo and David Stock, and paintings by Katharine Colonna Hopkins, Ellen Chuse and Karen Gibbons. Laurie Lee-Georgescu will exhibit woodcuts and Vicki Behm will present drawings and collage. The work of Susan Greenstein, Jay Friedenberg, founders Lunsford and Epstein, as well as curators Williams and Flanery will also be shown.

As a collective, the members run the gallery in its entirety. 440 has grown slowly and organically, dedicated to the exhibition and sale of artwork with the goal of facilitating a lively exchange, both within the neighborhood and the artistic community at large.Currently the gallery mounts eight solo shows each year and 10 group shows, including two national juried exhibitions. In a decade, this unassuming little storefront gallery has shown the work of well over a thousand artists as well as hosted hundreds of performances including readings, dance, music and theater.
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Tenth Annual Small Works Show
December 11, 2014 - January 11, 2015
440 Gallery celebrated the tenth year of hosting its annual small works show. This juried exhibition featuring small artwork always draws a big crowd. Nearly eighty artists are represented with artwork in a variety of media including painting, collage, sculpture, photography and more.

Juror: For over twenty-five years Bill Carroll has been involved in the New York art world in a variety of roles. He was the Director of the Charles Cowles Gallery, then in Soho, for nine years; and the Elizabeth Harris Gallery in Chelsea for eight years. Bill also worked in non-profit at the Dia Art Foundation, the Brooklyn Museum, and the Nancy Graves Foundation, and is presently the Director of the Studio Program of The Elizabeth Foundation for the Arts. (see our Curators Page)

The artists chosen for the show are: Jo-Ann Acey, Kristin Adamczyk, Lianne Alcon, Arshes Anasal, M.P. Armelin, Eric Banks, Christina Baril, Stephen Basso, Joshua Beliso, Stacy Bergener, Sue Blanchard, Adisak Chiwhanung, Frieda Christofides, Casey Concelmo, Milan DelVecchio, Tom Duimstra, Rina Dweck, Joan Easton, Jim Ebersole, Richard Estrin, Janice Everett, Donna Festa, Debra Friedkin, Alan Gaynor, Gail Ghezzi, Sean Grandits, Susan Greene, Susan Greenstein, Rachel Heinold, Barbara Hessel, Doug Holst, Owen Karrel, Jamie Kay, Matthew Kirby, Roz Kochman, Tara Kopp, Marina Korenfeld, Taeko Kuraya, Matthew Langland, Camille Laoang, Kathleen Erin Lee, Jeanette Levy, Robert Lobe, Chris Lucius, Brian Madonna, Sabina Magnus, Tali Margolin, Spencer Merolla, Isabelle Milkoff, Todd Molinari, Ellen Moses, Kellie Murphy, Ronald Peters, Cindy Press, Anna Redwine, Mari Renwick, James Rose, Mark Rosenthal, Evan Schwartz, Natasha Shapiro, Jenine Shereos, Stephan Sieg, Ross Smirnoff, John Sousa, Elizabeth Sowell-Zak, Marcy Sperry, William Tarnowski, Preston Trombly, Lisa Tubach, Dominique Vitali, Jeanne Marie Wasilik, Amy Weil, Jeanne Wilkinson, Dale Williams, Divine Williams, Cindy Zaglin, Dganit Zauberman, Erin Zelley.
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Ella Yang: Look Again
October 23 - November 23, 2014
One might wonder why an artist like Ella Yang, whose passion for plein air painting was ignited in the lush countryside of Italy's Umbria, would want to paint disintegrating pilings in the Gowanus Canal, or a local bodega that has seen better days. Yang, in fact, has painted many such views over the past several years. As trite as it is, the saying "beauty is in the eye of the beholder" holds true for Yang, who finds aesthetic appeal in the commonplace, often overlooked structures and scenes in her surroundings. Her second solo exhibition at the 440 Gallery, Look Again, showcased a selection of these paintings from October 23 to November 23, 2014.

Yang finds poetry in the way sunlight strikes and reflects off surfaces, whether a man-made object or a natural one, and in the patterns shadows create. Her paintings have a timeless quality, as she selects views that focus on the old, especially the architectural elements that pervade her compositions. This selection of works also has poignancy - some of the paintings, such as Eagle Clothes, depict aspects of Brooklyn neighborhoods that are disappearing gradually.

Yang takes great pleasure in traditional methods of oil painting. Typically, she starts a painting on-site and returns multiple times to develop the composition, build up masses of colors, and correct tonal values. Back at her studio, she often applies glazes to heighten the translucency and a sense of light in specific areas of a painting. She states that "at best my paintings pay tribute to the abundant benefits of attentiveness."

Ella Yang, a native New Yorker and first-generation Korean-American, is mostly self-taught. Yang shows her work at the 440 Gallery and in solo and group exhibitions at other galleries in New York City and environs. She also sells directly from her studio near the Gowanus Canal in Brooklyn. Her paintings are in private collections in the United States, as well as in Hong Kong, Italy, France, and Austria. In August, the renowned ART in Embassies program honored her with the selection of three paintings for the U.S. Embassy in Geneva, Switzerland. In 2006, she spent a month at the internationally recognized artist residency program the Vermont Studio Center. She is proud to be included in the book 100 New York Painters, by Cynthia M. Dantzic (Schiffer Books, 2006). Yang is a graduate of Yale College with a B.A. in architecture.
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Gail Flanery: Coloratura
September 18- October 19 , 2014
Coloratura, literally "coloring" in Italian, is a term that refers to elaborate operatic melody. Gail Flanery's solo exhibition at 440 Gallery exemplifies both those senses of the word. This new collection of works on paper sings with the exuberance of a virtuoso. Flanery's forte is color: rich and nuanced, reveling in bold contrasts or subtle juxtapositions. Primarily a printmaker, the artist creates one-of-a-kind monotypes by manipulating the inks and printing plates and later adding pastel or pencil to the print. In her recent work she has also added elements of Chine-collé and collage, usually strips of handmade paper. Coloratura, Gail Flanery Works on Paper, will ran from Thursday, September 18 through October 19, 2014.

Flanery's work seduces with an initial impression of simplicity and formal purity. Yet it holds our interest with a depth that tugs beneath the surface. The artist has cited her yearly painting and fishing trips to Montana as a source of inspiration and we sense the vast, desolate beauty of western skies in the work. Yet, the tilted horizons and intense colors infuse the landscapes with an energy that is rooted in an urban sensibility. Flanery has stated "I believe all art forms are found in nature. My artwork is inherently suggestive of landscape, although the geography is not specific." The work is not a literal rendering but is instead the emotional impression of earth and sky, a sensory memory of a landscape.

An artist with a consistent practice and exhibition history over several decades, Flanery was a denizen of the 1970's downtown art scene when Soho was the rough and tumble Bushwick of its day. The then low rent district was rife with struggling artists, and Flanery gained an invaluable education in the intrigues of the art world. Her agent suggested she try printmaking in order to meet the demands of a booming '80s art market. Hooked on the medium, she eventually became entranced with the process of creating unique monotypes as opposed to the creation of many reproductions of a single image.
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Food for Thought
August 21 - September 14, 2014
Ever since our ancestors depicted the hunt for dinner on the walls of caves, cuisine and its culture have always met in the visual arts. 440 Gallery hosted their annual summer theme show Food for Thought, a national juried exhibition exploring food in all its manifestations. For many of the selected works the cliche "starving artist" has less to do with physical hunger and more to do with the disconnection between nourishment and the food we eat: a photograph of a blue-tinged chicken carcass, a mosaic made up of brightly colored cereals, and a cake made of cement. They suggest metaphysical starvation in a land of plenty. The following 26 artists were selected by the juror Jennifer Coates: Elizabeth Albert, Alan Alejo, Sarah Allen, Eric Banks, Zel Brook, Mitsuko Brooks, Bill Cullen, Patricia Denys, Mary DeVincentis, Andrew Francis, Lauren Garfinkel, Neal Levin, Brooke Marcy, Tali Margolin, Laura Murray, Lucas Novaes, Gun Roze, Toni Silber-Delerive, Frances Sniffen, Dani Steele, James Strong, Meagan Thompson, Lisa Tubach, Melissa Walker, Hyeonkyeong Yeo, Rachel Youens.

The juror for this show was Jennifer Coates, a painter, musician and writer living in New York City. She has written reviews of art exhibits for publications such as Time Out New York, Art in America and The Brooklyn Rail, and has taught in art programs around the country. She has also widely exhibited her work in numerous group shows and has had solo shows at Feigen Contemporary, Kevin Bruk Gallery and Luxe Gallery.
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Jay Friedenberg : Digital Dreams
July 17- August 17, 2014
In his inaugural solo exhibit at 440 Gallery, Jay Friedenberg's digital images vibrate with a neon intensity. His photographs of New York City scenes are digitally manipulated, the colors and details pushed into surreal landscapes. In one image an inky black cityscape glows with electric daubs of light, and in another the encroaching twilight casts the city into a blue fantasy. Some of his induced effects suggest other techniques such as pointillism, cartoon or graphic imagery.
Friedenberg's artistic style has many influences including the Impressionists who utilized optical blending techniques and use of intense color. He also favors the work of the modern Japanese woodblock print artists, who were experts at laying down adjacent colored areas to produce interacting effects. Some of his work has attempted to replicate the mosaic patterns seen in their prints. The Fauvists Vlaminck and Derain hold some appeal for him as well in terms of their use of primary colors. Friedenberg's subject matter is both banal but stylized, with aerial perspective views of Manhattan and rush hour commuters whose shapes are stretched thinly into space.
Jay Friedenberg is atypical in the art community as he is both an artist and a vision scientist. For the past 15 years he has been investigating topics in human vision related to art perception. He has published numerous scientific articles and uses his understanding of human aesthetic perception to inform his artwork. His photographic images have won him honorable mention in The Artist's Magazine All-Media Competition in 2012 and he also placed as a contest winner in the 2013 Digital Arts California International Photography Contest. In addition to the 440 Gallery he has exhibited his works at the Tivoli Art Gallery in Tivoli, New York and at the Urban Passage Gallery at Manhattan College in Riverdale, New York. He is a member of the Mystic Art Association, the Pastel Society of America and the Connecticut Pastel Society. His landscape images have been published in The Pinyon Review, and The Poughkeepsie Journal newspaper. He has authored four books on graphic design.
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Fred Bendheim: Shapings
June 12 - July 13, 2014
In his inaugural solo exhibit at 440 Gallery, long-time Brooklyn-based artist Fred Bendheim brought a bolt of energy, bright color and visual bravado to the world of art. Bendheim constructed abstract, shaped paintings on cut-out surfaces. These "shapings" are usually made of wood and often painted in exuberant primary oil colors. Their geometric lines possesd a formal restraint, a coolness that balances the heat of their electric hues. Bendheim's technical execution is orderly and meticulous, but the curves and jutting angles convey a visceral freedom.

Bendheim states that his work is "based on principles, not precedents. It is about the immediacy of the forms, lines and colors and their relationships to each other and the spaces that they inhabit." He cites the shaped canvases of Elizabeth Murray as an influence as well as the vibrant simple cutouts in the late work of Matisse. The rhythmic repetition and geometry of forms in some of the work recall the patterning of Islamic art or Navaho weaving. The Native American theme recurs in Bendheim's totemic vertical constructions and in the motif of his use of the four cardinal directions.

Fred Bendheim has exhibited widely, including at the Museum of Arts & Design, NY; The San Francisco Museum of Modern Art; The National Gallery of Costa Rica; The Instituto Veneto di Scienze, Lettere ed Arti, Venice, Italy; The Plotkin Museum, Scottsdale, AZ; The Brooklyn Public Library, NY; Denise Bibro Fine Art, NY; Bradley International Airport, Los Angeles, CA; The Mayo Center for Humanities, Scottsdale, AZ. His commissions include sculptures for Frank Lloyd Wright buildings and paintings for the Waldorf Astoria Hotel, among others. His past art has taken the form of large room-sized installations, outdoor billboards with children's art, sculptures and fountains made of many materials and mural-sized drawings. He has written many articles about art for the British journal The Lancet and teaches art classes at the Art Students League in New York City.
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Karen Gibbons, Domesticated
May 8- June 8, 2014
An unbridled horse towers over a house; a bear lumbers through a vague unnatural landscape; a child and large bird nestle with one another: animal imagery suggests passions or instincts often subdued by our social mores. In Domesticated, Karen Gibbons' fourth solo exhibit at 440 Gallery, these images dominated her paintings and collages, subtly provoking the tension between the tame, contained aspects of our culture and the natural animal impulses of the individual. Gibbons' work recalls aspects of both Twombly and Chagall; as here she uses animal imagery to create an emotional narrative about self-transformation.

The painting that marked Gibbons' pivotal foray into this series is a tribute to her late cousin. It depicts a large white horse superimposed on a house. The artist mixed photographic collage with layers of transparent acrylic paint to create a shifting, ghostlike impression. Her practice of incorporating found objects and painting over found canvases introduces the elements of chance and discovery into the work. In this series, Gibbons used enlarged prints of old family photographs, mingling memory and emotion with the surreal and mystical. The animals - birds, horses, dogs - in all the works are symbolic, but they also refer to actual events in the artist's life. The horse is more than a mythological symbol of freedom or passage to another world, it is the animal that fascinated and carried the artist and her cousin on its back in their childhood.

Karen Gibbons has been living and working in Brooklyn for more than 30 years, she holds a BFA from Pratt Institute, an MFA from Hunter College, and has shown her work regularly throughout New York City. Related professional experience includes painting murals, curating exhibitions, bookmaking, and teaching. Karen's creative inspiration is informed by her other work as an art therapist, a certified yoga instructor, and as a mother of three.
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Laurie Lee-Georgescu Unresolved Conflict
April 3 - May 4, 2014
At first glance, Laurie Lee-Georgescu's prints seduce you with vibrant color and exquisite draftsmanship, but a closer look takes you into an unsettling realm of human discord. In her inaugural solo exhibition at 440 Gallery, the artist showed her recent woodblock and linocut prints. The work was replete with scenes of war or disaster: a home scene disrupted by a soldier in a living room; tanks escorting school children; a house slanted and partially destroyed by some natural disaster posed against a bucolic landscape. Lee-Georgescu colors her finely rendered narratives in bright reds, deep indigos, lemon yellows and lush russets. These artistic choices play up the uneasy juxtaposition between beauty and tragedy, innocence and horror, and the sanctity of family life breached by external upheaval. Unresolved Conflict opens at 440 Gallery on April 3 and runs through May 4, 2014. There will be an opening reception on Friday, April 4, 6:00-9:00 PM. Several events related to the exhibition are planned, including a hands-on workshop for children.

Lee-Georgescu's source material is primarily drawn from the evening news. She alters images from newspapers and photographs, editing out the defining elements or details that identify the where and the when of the event. With the specific context removed, she says "The images become both more mysterious and more universal: one sees only the relationship between unknown figures placed within an action." In Welcome the Abyss, for example, men hang desperately from the undercarriage of an ascending plane, the quintessential image of refugees fleeing every war.

Lee-Georgescu employs several printmaking techniques with both Eastern and Western origins. She uses Japanese moku-hanga (wood block printing) best known for the ukiyo-e genre associated with Hiroshige and 17th -19th century Japanese masters, and obakashi, a technique of blending colors into gradients on the carved wooden printing plate. She also applies Western techniques making linocuts and woodcuts, as well as experimental modes such as acrylic and watercolor washes painted on the paper before printing.
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Ellen Chuse Finding the Root
February 27 - March 30, 2014
Every artist has themes and threads that run through their work over a lifetime. Finding The Root, Ellen Chuse's 4th solo exhibition at Park Slope's 440 Gallery, explored several that have been a powerful force in her work for decades. Spanning almost 30 years, these drawings and paintings reflect her engagement with nature and landscape in ways both abstract and representational but always personal. "The energy of trees rising and rooting simultaneously, and the vitality of leaves and plants as they reach for light and air have always fascinated me. The shapes and edges that define them and the spaces in between have been my muse for years," says Chuse.

Finding The Root presents charcoal and chalk drawings from the 1980s and 1990s, as well as more recent paintings on paper from 2012 and 2013. These lively works, always bold in either color or black and white, come naturally from Chuse's previous life as a sculptor. Her focus on line and edge creates images that seem almost carved into the paper. While seemingly diverse in scale and subject matter, they all spring from a singular source. Inspired by pine and shad trees from Block Island to Rome and plants from places in between, the work reflects her continuing exploration of organic forms. These forms reflect and echo one another constantly throughout this vibrant exhibition.
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Vicki Behm New Drawings: Mexico and New York City
January 16 - February 23, 2014
Vicki Behm views fragments of daily life in detail, noting idiosyncrasies and ironies with warmth and gentle mirth. In her second solo exhibition at 440 Gallery, New Drawings: Mexico and New York City, Behm presented her latest set of lively black ink drawings on hand made paper and collages. Her works comprised of images she encountered in her hometown of New York City and Oaxaca, Mexico, where she spends her summers: old bicycles, Volkswagen beetles, antique typewriters, denizens of Union Square Park, neighborhood cafés, plates of tarts, cheese displays, bottles of tequila, cowboy boots at a flea market. She incorporates labels from food packages and bottles, and 1920s postage stamps from Oaxaca. The drawings have a flattened and tilted perspective; the negative space competing for interest with the subject. Behm demonstrates an expressive line quality and lyrical style. The inclusion of incidental components reflects a meticulous attention to her surroundings, while keeping a light playfulness at the heart of each image. )
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Ninth Annual Small Works Show
December 12, 2013 - January 12, 2014
They say great things come in small packages. As 440 Gallery presents its Ninth Annual Small Works Show this December, this adage may just prove true. The 80 pieces of artwork in the gallery, each piece no larger than 12", represents a strong Brooklyn artistic presence, but also showcases artists from all over the country. The show includes a variety of media—painting, photography, sculpture—chosen by this year's juror, Jessica Porter, art consultant and director of Porter Contemporary, a gallery in the Chelsea arts district of New York City. (See our 440 Gallery Curators page.)

The much anticipated exhibition regularly opens with an overflow crowd spilling onto Sixth Avenue. There are three awards given each year: the Curators Award, the 440 Award, and the popular People's Choice Award which is determined by the number of "likes" received by the works in the show posted on 440 Gallery's Facebook page. Installed through the holiday season, the show attracts tourists, visitors in the neighborhood, as well as the many stalwart supporters of the local art scene.

The eighty artists accepted into the show were: Torey Akers, Diane Allison, Kiley Ames, Audrey Anastasi, Efrat Baler, Beatrice Bardin, Nicole Brauch, Zel Brook, Melitte Buchman, Lloyd Campbell, Arthur Celedonia, Jana Charl, Erin Cross, Corinna D'Schoto, Steve Davis, Andrea DeFelice, Christine Dengel, Phil DeSantis, Anthony DiMaggio, Monica Emmons, Brian Everett Miller, Michelle Farkouh, Chloë Feldman Emison, Benjamin Ferguson, Donna Festa, Jane Foley Ferraro, Gail Ghezzi, Peter Goldwater, Johanna Goodman, Carlo Grassini, Leslie Green Guilbault, K. Gretchen Greene, Susan Greenstein, Anna Haczkiewicz, Tighe Hanson, Eric Hartley, Micòl Hernández, Aimee Hertog, Jen Hillman, Martha Ives, Dana James, Elizabeth Keithline, Richard Kessler, Bernice Sokol Kramer, Lisa Kurt, Susan La Mont, Kerry Lange, Matthew Langland, Garam Lee, Kristie Lee, Yu-Chun Ma, Tali Margolin, David Marion, Hildy Maze, Lee Meltzer, Steve Messenger, Kate Missett, Laura Murray, Michael Nelson, Raisa Nosova, Ronald Peters, Julia Ponzek, Barbara Rubensohn, Kathryn Shriver, Rebecca Simon, Frances Sniffen, Pamela Stein, Carlton Sturgill, Wonil Suh, Ilona Szekely, Lois Teicher, Yeachin Tsai, David Vega, Yuki White, Dale Williams, Divine Williams, Meghan Willis, Sangeun Yu, Hope Zaccagni, Abby Zonies.
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Genius Loci, by Tom Bovo
October 24 - December 1, 2013
You pick them up off the ground, marvel at their colors, perhaps pocket a couple hoping by some off chance they might stay pretty for a while longer. They never do. In fact, the speed at which autumn leaves shrivel and brown never fails to surprise you. In his long walks around Brooklyn with his beloved beagle Augie, Tom Bovo played out this scenario often as the seasons changed. He was intrigued not only by how leaves changed over time, but also by how they differed from street to street. Each street had a particular collection of plants and trees that resulted in its own palette and variety of leaf shapes, just as neighboring countries might have different languages and modes of dress. As a photographer, Bovo found a way to capture the unique qualities of color, shape and pattern of the leaves he collected over time. These luminescent, almost painterly portraits of leaves will be shown together for the first time in Genius Loci, his second solo exhibition at 440 Gallery.
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Paesaggio, by Susan Greenstein and Phil DeSantis
September 12 - October 20, 2013
As a fitting tribute to the end of summer, 440 Gallery hosted Paesaggio, a series of lush landscape paintings by two artists. In this show, her second at 440 Gallery, Susan Greenstein teams up with her husband Phil DeSantis to highlight the relationship between each others works. Greenstein and DeSantis have been painting side by side for over 25 years. Most recently, they clambered out onto the roof of a 15th century building in Siena, Italy; captured the Dutch-style architecture in gritty Red Hook, Brooklyn; and painted en plein-air at a pastoral New Hampshire dairy farm. Their styles are similar in spirit, but distinctly different in application and palette. Paesaggio celebrates their journey together as landscape painters.

Each artist draws their inspiration from a moment in time at a certain place. Greenstein finds intriguing subjects in her local community gardens and neighborhoods, as well as at destinations shared with DeSantis. She explores the landscape using a rich tapestry of color and texture created with oil pastels on a dark ground. At other times, she uses mark-making with watercolor to capture the essence of a scene. Greenstein's sketchbooks of painted studies and line drawings, which are also on view, provide a window into her process. She frequently uses these sketches to develop larger works.

DeSantis works predominately in strong layers of jewel-like watercolor washes with an emphasis on describing landscape and architecture through light and shadow. These paintings reveal his deep fascination with industrial structures, and he attempts to preserve them through his paintings as they continue to disappear from our landscape. DeSantis also finds much of his inspiration locally, from the wide open spaces of Brighton Beach to the brownstone-lined streets of Park Slope.

Susan Greenstein grew up in Astoria, Queens, and has lived and worked in Brooklyn since she was a college student at Pratt Institute, where she received her BFA in Fine Arts in Drawing and Painting. She went on to receive her MSE from Queens College in 1983. Greenstein has exhibited her works regularly in New York City. Early in her career, Greenstein illustrated children's books and editorials for newspapers and magazine articles. Since 1994, she has taught art to children in elementary & high schools, and has found that teaching keeps her excitement and wonder of art fresh.

Phil DeSantis grew up near Coney Island. DeSantis holds a BFA in Painting as well a Masters in Art Education from Brooklyn College. His works have been exhibited in Brooklyn, NY, and New Hampshire. DeSantis has always been interested in the sights and sounds that are particular to Brooklyn. While he primarily works in watercolor, but DeSantis also has a passion for photography and film. Currently, DeSantis teaches high school art.
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Everyone in the Pool
August 1 - September 8, 2013
Come in where it is cool and take the plunge, literally and figuratively! 440 Gallery was pleased to present Everyone in the Pool, a group show of diverse artwork from each of its fourteen members. Ours is an artistic gene pool where ideas meet, hybridize, evolve, and powerful synergies constantly occur. As a collective we are in this together, sink or swim. This exhibit expressed this theme through "conversations" among the artwork while celebrating the summer season through paintings, photography, sculpture and video.

This was a rare opportunity to contemplate together the works of all of our members: Vicki Behm, Fred Bendheim, Tom Bovo, Ellen Chuse, Shanee Epstein, Gail Flanery, Jay Friedenberg, Laurie Lee-Georgescu, Karen Gibbons, Susan Greenstein, Katharine Colona Hopkins, Nancy Lunsford, Amy Williams, Ella Yang.
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June 27 - July 28, 2013
Activists, politicians, and scientists promote being green and sustainable, and argue about fracking and climate change, 440 Gallery hosted Earth, a group exhibition for artists to present their side of the story. A vast landscape, the fragile environment, a speck in the universe or an intimate dance between insects: however you see it, it is our home, and the theme of the summer group show.

Earth explored the shifting nature of terrain - its current state and possible future ones. The thirteen artists and their artwork selected for this show raised questions, made provocative statements, and let you reach your own conclusions. The artists were: Chris Arabadjis, Eric Banks, Kim Carlino, Ernest Concepcion, Lisa Cooperman, Aimee Hertog, Leah Oates, Harry Newman, Silvana Ravena, Gregg Rosen, Norman Sarachek , Jeanne Marie Wasilik, Ejay Weiss.

The juror Jill Conner is the New York Editor of Whitehot Magazine, Editor of On-Verge as well as a contributor to Afterimage, ArtUS, Art in America, Interview Magazine, Performance Art Journal and Sculpture Magazine. She is also an AICA-USA Board member. In 2003 Conner received a Master's degree in Art History and Criticism from the State University of New York, with Donald Kuspit as advisor. Her curating and art criticism draws upon the framework of Aristotle's "Poetics" and Norbert Elias' "The Civilizing Process". Conner has taught at Parsons in the New School and Montclair State University with additional presentations at the College Art Association, Pace University, the New York Summer Studio Program of Florida Atlantic University and the New York Studio Residency Program in Brooklyn.
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Off the Wall by Shanee Epstein
May 16 - June 23, 2013
Off the Wall, was a stark departure from her four earlier shows at 440 Gallery. This installation consisted of large architectural photographs hung above small, collaged cigar boxes. One's initial impression might be that the work was made by two different artists. In a way, this is true. Almost every working artist struggles or experiments with conflicting impulses. Most leave that conflict in the studio and choose to show work that "hangs together". Epstein instead embraced this conflict. The abstract formal aesthetic of her photographs appear to be the antithesis of the colorful collaged boxes, but together they create a balanced whole.

This work came from a visit Epstein made to the Tel Aviv Art Museum's new building designed by the architect Preston Scott Cohen. Epstein was inspired by "the amazing experience of being in a space that at any moment I could stop and be within beautiful angles or views of gorgeous abstractions of line, shapes and tone. The light is poetic and dramatic. I found the beauty breathtaking in a formal aesthetic sense, but also moving in an emotional artistic sense."

Epstein's photographs captured the elegance of the architecture, but it was in the boxes that she incorporated and personalized the experience. Epstein is a collage artist with an ongoing interest in the painted boxes of Richard Diebenkorn. With an affinity for the physicality of the materials, Epstein juxtaposed paper, fabric, photos and found material to created a unique three-dimensional space in each box. Incorporating images from Tel Aviv Museum with other collage elements, she created depth, a sense of looking through exposed and concealed areas. In this spatial give and take, there is also the tension between the simple and the complex, the narrative and the abstract, and the geometry of architecture with the sensuality of color and texture.
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That Perfectly Arranged Mouth by Katharine Colona Hopkins
April 4 - May 12, 2013
Fueled by her efforts to find resolution with death and suffering, Katharine Hopkins has appropriated artistic traditions of the 17th century in a fresh, contemporary manner. Her latest series of large paintings depict big game and Western animals, incongruously elegant in death and each in brilliant blues, greens, or purples. This new body of work, That Perfectly Arranged Mouth, Hopkins' second solo exhibition at 440 Gallery, opens to the public on April 4 and runs through May 12, 2013. The opening reception will be held on Friday, April 5, 6:00-9:00 pm.

As a Colorado native, Hopkins was drawn to images of iconic Western animals, such as deer and wolves, for their mythic quality in the history of the American West. In choosing these animals as symbols of mortality and suffering, she follows in the tradition of Vanitas, a genre of still life painting at its height in the Netherlands during the early 17th century. These paintings used symbols of death to remind viewers of the transience of life and the vanity of earthly achievements. For Hopkins, however, painting this subject provides a process of finding acceptance and peace with mortality, and that all suffering is transient, as well.

Hopkins' painting technique is heavily influenced by her academic training in printmaking. Her keen interest in surface quality is evident in the way she applies and manipulates oil paint on paper. She places each subject on a field of stark white without a context. The intense colors are unexpected and evocative given the subject matter. The combination of pure color and expansive white background creates an abstraction; it is Hopkins' attempt to capture a dream-like detachment that comes in moments when confronting tragedy, shock, or mourning. The results are images that hover over the boundary between beauty and the repulsion normally associated with death.
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Another Landscape Show
February 21 - March 31, 2013
New works by Jennifer Williams and Jason Varone, Another Landscape Show featured work operating outside the canon of the traditional landscape. Working with imagery and media that investigate the underlying anatomy of a landscape, Williams and Varone emphasize the engagements, interactions and the culture of change that naturally take place in a landscape; revealing these to be more indicative of a place's identity than its formal structure. As a means of understanding the fundamental makeup of a place, Williams and Varone each combine traditional techniques with new media in innovative ways: utilizing large-scale photography, collage, Twitter feeds and various digital processes. Each resulting work provides a unique exploration of the evolving relationships between a place, its essence and its ideal.

Jennifer Williams holds an MFA from Goldsmiths College in London and a BFA from The Cooper Union in New York City. Notable recent shows include: The Hunterdon Art Museum, Pittsburgh Center for the Arts, A.I.R. Gallery, Muriel Guépin Gallery, La Mama Gallery, The West Collection, and Brown University. She is a former 2011-2013 Center for Emerging Visual Artists Fellow, 2008-2009 A.I.R. Gallery Fellow, as well as a 2009 Visual Studies Workshop and 2011 NARS Foundation International Artist Residency Program resident. "My site-responsive projects are populated with recurrent structural systems evident on a macro and micro level. I use self-generated photographic imagery as found objects in the construction of two and three-dimensional large-scale collages. By activating transitory, passive, and seemingly negative space, my installations allow the photographic subject to interact with structural idiosyncrasies and social context within an exhibition space. I use photography not as a tool to stop time, but to create a semblance of controlling the passing of time. Presenting an unembellished representation of an object, the work is removed from much of the rhetoric associated with photography, allowing it to engage in a cross-disciplinary dialogue. My work engages traditional photographic languages while simultaneously questioning the ability of photography to accurately represent truth, exploiting photography's ability to represent what is both true and what is false simultaneously."

Jason Varone is a graduate of New York University. Varone's artwork has been exhibited in many venues including the Los Angeles County Museum of Art, The Boston Center for the Arts, The British Film Institute, The International Center of Photography, Art in General, and Hendershot Gallery in New York City. He currently works as an artist assistant to Peter Campus, a seminal figure in the history of electronic media art. Varone's work is inspired by Western civilization's simultaneous complexity of technological advances and imminent decline from lack of natural resources. He combines video and painting with appropriated news footage and electronic data, removing any distinctions or boundaries between them. His "videopaintings" underline the impermanence and constant bombardment of transmitted information to a society that is fixated on alternately obsessing over or ignoring electronic messages.

"Although my work is heavily invested in video and data collection, it is also deeply rooted in landscape painting. My installations exhibit a dialectic of materiality and an illusory experience that results from combining technology with traditional materials. I use hundreds of clips of appropriated video and digital content gleaned from the internet as elements to combine and collage, then project these displaced images onto objects or paintings. This process is analogous to how our shared landscape is besieged by technology, and the content of my projections concern important political events, history, and scientific exploration. My experiences with technology have informed my relationship to the natural landscape, and by extension to painting. I treat the landscape not as something you look at, and then, depict in a painting, but rather as something that can only be defined by the data flowing through it."
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Elements of Recall by Gail Flanery
January 10 - February 17, 2013
An indigo sea, a yellow plain, purple mountains and a salmon sky: the vivid colors and painterly contours of Gail Flanery's monotype prints may bring these landscape images to mind. However, this body of work, Elements of Recall, comprises studies in abstraction, each piece derived from a thoughtfully conceived palette of bold, yet harmonious hues. Flanery, well known for her adept application of unabashedly beautiful colors, takes her work to a more complex emotional level with these pieces. The exhibit features four large monotypes, which display a generous use of handwork, not only in the print-making process, but also in Flanery's subtle addition of pastels. There are also several smaller prints including a group of deftly rendered bare tree trunks and branches, inspired by the discarded photos of a fellow artist. These monotype prints are informed by Flanery's longstanding habit of sketching from life, as evidenced by the strong, confident lines and understanding of structure inherent in these images. This was Flanery's second solo exhibition at the 440 Gallery.
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Eighth Annual Small Works Show
December 6, 2012 - January 6, 2013
They say great things come in small packages. As 440 Gallery presents its Eighth Annual Small Works Show, this adage may just prove true. The artwork on the gallery walls, each piece no larger than 12", represented a strong Brooklyn artistic presence, but also showcased artists from all over the country. The show includes a variety of media— painting, photography, sculpture— chosen by this year's jurors, Michelle Segre and Steve DiBenedetto. Both are well-established New York City artists with extensive experiences in exhibiting their work, as well as in teaching. Segre is a sculptor who has exhibited her work widely since the mid-1990's. DiBenedetto is a painter who has been showing his work in the United States and Europe since the mid-1980's.

Artists accepted into the show were: Nina Allen, Seth Apter, Carla Aurich, Beth Barry, Victoria Batey, Zoe Bellot, Josephine Bentivegna, Stacy Bergener, Anne Bernstein, Ashley Blanton, Jim Boden, Melissa Capasso, Giora Carmi, Leo Casteñeda, Luis Coig Reyes, Paul Collins, Ernest Concepcion, Mary K. Connelly, Christopher Conry, Charlotte Corini, Gerard Daley, Beth Duerr, Colin Edgington, Anne Elliott, Jon Epstein, Janice Everett, Elizabeth Fiedorek, Daniel J. Figliozzi, Mayuko Fujino, Jodie Garrison, Daniel Genova, Todd Germann, Sally Gil, Leslie Green Guilbault, Monica Haak, Kinuko Imai Hoffman, Ashley Kesling, Fumiko Kitada, Yan Kong, Hannah Lansburgh, Richard Lapham, Alise Loebelsohn, Tony Luib, Gaspar Marquez, Laura Mosquera, Francesco Palombi, George Papadimas, Kimberly Patino, Ronald Peters, Nickola Pottinger, Joseph B. Raskin, Brooke Ripley, Maggie Carson Romano, Mark Rosenthal, Kimberley Ross, Rena Rubin, Roxanne Faber Savage, Ryan Schroeder, Natasha Shapiro, Broderick Shoemaker, Marcy Sperry, Sandy Taggart, Loring Taoka, WIlliam Tarnowski, Daniel Terna, Kit Warren, Charles Wilkin, Fletcher Williams III, Meghan Willis, Paul Yanko, Ward Yoshimoto, Joe Zarba.
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The Art of the Coney Island Hysterical Society
October 18-November 25, 2012
Richard Eagan, one of 440's original founding members, is also a co-founder of the Coney Island Hysterical Society, which became active in 1982. In this exhibit (October 18 through November 25), Richard invited his Hysterical Society co-founder Philomena Marano to join him in showing work they have done both individually and collaboratively through the years, including documentation of the Coney Island on-site projects for which they became well-known.
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Brooklyn Seen by Ella Yang
September 6- October 14, 2012
Most likely, without a second glance, you pass right by the local sidewalk cafe, a dilapidated truck, an empty lot, a row of brownstones. They are all everyday Brooklyn. But when seen through the eyes of local artist Ella Yang, time is slowed down, judgment is suspended, and a distilled image emerges. In her first solo show at 440 Gallery, Brooklyn Seen, Yang's radiant, harmonious paintings offered a visual balm for the dissonance of data and images in our multi-media world. This exhibition featured Yang's signature intimate, light filled cityscapes of charming tree lined streets as well as the gritty industrial beauty of her Gowanus studio neighborhood.

In addition, the show included a new series of paintings Yang began in 2011, which are inspired by the colors and patterns of water lilies in their reflective ponds at the Brooklyn Botanic Garden. After cataract surgery six months earlier, Yang was overjoyed to rediscover the vivid light and luscious colors around her. She excitedly took up larger brushes and a couple of six feet tall canvases to capture the water lilies at a scale she had never attempted before. The results were stunning, and need to be appreciated in person.
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Mice to Monsters
June 28 - July 22, 2012
Stroller gridlock at coffee shops, children's hair salons, Spanish and German language kinder-care and a Bean Sprouts pre-school - all are within a few blocks surrounding the 440 Gallery, clear evidence of Park Slope's adoption of a child-centered culture. It's not a surprise, also, to note that this neighborhood is home to many aspiring as well as award-winning children's authors and illustrators. The time came, at last, for 440 Gallery to host From Mice to Monsters: Illustrations for Children, its annual juried theme exhibition.

This exhibition featured children's book illustrations, published and unpublished, and any work which focuses on children as an audience. The 41 artists selected for this show are from all over the country, and Brooklyn is well represented: Tenaya Anue, Tatiana Arocha, Susan Blanchard, Bonnie Branson, You Mee Cho, Jeffrey Chuang, Theresa Coulter, Kristin deNeeve, Nancy Doniger, Missy Hammond Dunaway, Lisa Falkenstern, Michelle Farkouh, Magge Gagliardi, Sarah Gramelspacher, Melissa Guion, Abigail Hanlon, Kievan Havens, Eri Honda, Allyn Howard, Michelle Kratchman-Garcia, Boris Kulikov, Joyce Leipertz, Kelly Light, Li Ma, Sine Morse, Kristen Orr, Kristiana Parn, Edie Pijpers, Carolyn Schallmo, Corey Solinger, Christine Staehelin, Mariko Suzuki, Hala Swearingen, Peach Jin Tao, Cathie Urushibata, Ani Volkan, Sara Woolley, Junko Yamada, Bill Zeman. The juror is Buket Erdogan, a Park Slope resident who has illustrated children's books for Orchard Books, Simon and Schuster, and Harper Collins. Three of Buket's "Mouse's First" series were New York Times Best Sellers.
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Petits Fours by Amy Williams
May 24 - June 24, 2012
Opulent, decadent, rich, over-the-top are just some of the words used to describe the French Ancien Regime Palace of Versailles. With Petits Fours, Amy Williams' solo exhibition at the 440 Gallery, the artist examined the extravagance of King Louis XIV's famed palace. On "learning" that the peasantry had no bread to eat, the young Queen Marie Antoinette famously proclaimed "Let them eat cake!" and so we shall through this exhibit, Petits Fours.

Petits Fours was a site-specific installation of gilt-framed photographs, gilt-framed mirrors, and a dramatic color of wall paint -- all chosen to reflect and amplify the theme of the exhibition. The gallery itself became a petit four: a small, but rich confectionery. The show represented a stylistic breakthrough for Williams, whose principal focus has been on nature.

Williams hand-printed the photographs in Petits Fours and mounted them in vintage frames, which she meticulously hand-gilded. Williams continues to work with the traditional photographic darkroom techniques that predate digital imagery. Each photograph in Petits Fours was printed specifically for its frame creating of each a unique artwork, an unusual result from a medium that traditionally lends itself to the production of editions.

The photographs themselves explore the lush Baroque, Rococo and Neoclassical interiors of Versailles filled with marble, crystal chandeliers, hand-stenciled walls, luxurious textiles. The inevitable presence of tourists at the site has been avoided in the photographs, leaving only the elements of the palace itself to be isolated and examined by the camera lens. These elements were captured by Williams in a state of pristine, golden "object-ness".
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Recent Work: Mexico and New York by Vicki Behm
April 12 through May 20, 2012
Every successful artist hones a few survival skills in the course of their career and Victoria Behm has amassed quite a few. Her exhibit was an eclectic display of Behm's multiple artistic obsessions. There were several distinct bodies of work, all highly developed aspects of her complex practice. Behm's elegant grid paintings, in encaustic and oil on canvas, constitute one element of her work. Her mother was a master quilt maker and Behm says she "grew up among the geometry of cut fabrics and the history of patterns." These abstract color blocks, distilled from traditional quilt designs, constitute a series of paintings popular with designers and architects. Related to these paintings are wood-cut prints she made on an old press at a Mayan paper cooperative in San Cristobal de las Casas, Mexico, where there is a strong textile tradition dating back 400 years. Many of their woven and embroidered symbols and designs resemble American quilt patterns.

This work faced a wall of quirky pen and ink drawings covering a range of subjects, reflecting Behm's broad life experiences and intimate daily encounters. Humorous, poignant and engaging, stylistically the drawings resemble the artist's most recent commercial coup: a national Cole Haan ad campaign that has been popping up throughout New York City and online. Giant skeleton figures, resembling Day of the Dead imagery, bridge the two diverse styles. Crafted from styrofoam plates and printed on yellowing 50-year old, hand-set newspapers from San Cristobal de las Casas, the figures possess the same graphic energy as the drawings. They hold in their hands mysterious panels, scribed with geometric patterns that could be folkloric textiles, the floor plans of Mesoamerican pyramids or Behm's elegant quilt paintings.
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A Cup of Air by Karen Gibbons
February 23 - April 8, 2012
"I'm going out for A Cup of Air," Brooklyn artist Karen Gibbons's mother would say to her five children as she stepped outside for a reprieve from the stresses of parenting. The free-standing sculpture and sculptural wall pieces in this exhibit, A Cup of Air, expressed that whimsical metaphor. They were playful, curious and evocative. This new body of work drew inspiration from three sources: the pastoral landscape, the Gowanus Canal neighborhood of Brooklyn, and the artist's recently rediscovered family photo archives. Gibbons ingeniously integrated photographs and found objects with an eclectic approach that combines sculpture, painting, drawing and photography in surprising ways. Delightful, unexpected contradictions arise out of the mixture of these elements. The pieces have an air of both reminiscence and anticipation, they combine the ephemeral with the enduring, and they mingle the cherished and the forbidden.

This was Gibbons's third solo show at the 440 Gallery. Over the past several years Gibbons has been developing a unique approach of combining different artistic processes. This method unites her formal training as a painter, her years of practice as a sculptor, and a more recent foray into photography. Gibbons's penchant for incorporating found elements into her work continues in this show, with found objects now taking center stage. The notion of "found" applies to photographic images, which are layered onto "found" objects. In each piece, shape, form and color are distilled until a singular image emerges from the tension between the found and the deliberate. Gibbons consolidates layers of color and texture in each piece until its shape becomes iconic, nearly symbolic. Its disparities take on a new life, and its ambiguities allow associations and references to surface for each viewer.
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Imagined Light by Ellen Chuse
January 12 - February 19, 2012
Is it possible to revive an old love affair? Almost forty years after living in Italy for a year as a Fulbright Fellow in Sculpture, Ellen Chuse returned to Rome for several months in 2010. She not only rekindled her love affair with the city, the country, and its culture, but also reconnected with the unique light, shapes and colors she encountered during her daily outings. Chuse brought these impressions to life in a series of acrylic paintings on paper. This new body of work springs directly from her walks in the parks and gardens of Rome where the pines in particular came to represent the city for her. These new paintings, including several very large, bold pieces, reflect Chuse's decades-long fascination with tree forms as well as her continuing exploration of the emotional resonance of color and line.

This was Chuse's third solo show at the 440 Gallery. On display were five 61" by 42" acrylic paintings on paper, together with five small studies and two companion pieces. Working with organic forms in nature, both representational and abstract, the work reflects the intensity of her experience of form and place. Chuse said, "I prefer to paint on paper, which engages me with its texture, flexibility and abundance. Painting on paper has renewed my connection to drawing where the paper itself often creates the line. The larger scale works convey the monumentality of the forms and the intensity of the light and atmosphere surrounding them. I bring my experience of light, place and time to the viewer through these paintings, which I think of as landscapes of the mind."
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Seventh Annual Small Works Show
December 8th, 2011 - January 8th, 2012
440 Gallery presented the Seventh Annual Small Work Show with a selection of work by artists from Brooklyn and all over the country. The art work, all under 12 inches, included painting, sculpture, printing, drawing and photography.

The artists chosen by the juror, Sara Mintz, are: Noura Al-salem, Nina Allen, Carla Aurich, Aveli, Jill Bell, Ann Cofta, Diane Englander, Leslee Fetner, Lori Fletcher, Ilene Godofsky, Gina Grandi, Irene Greenberg, Howard Heyman, Robin Jordan, Jiye Kim, Brooke Lanier, Laurie Lee-Georgescu, Eunkyung Lee, Marion Lerner Levine, Sara Lovas, Phaedra Mastrocola, Lauren Matsumoto, Gwenn Mayers, Margarita Mileva, Christie Neptune, Roger Newell, Helena O'Connor, Christine Palnik, Lewis Schwartz, John Seitz, Jacqueline Silberbush, Terry Urban, Diana Williams, Kyle Wong

Sara P. Mintz, the juror for this year's show is an Associate Director at Cynthia-ReevesContemporary Fine Art Gallery in New York. In her role at Cynthia-Reeves Ms. Mintz facilitates exhibition programming, collection management, artist representation and estate management. Most recently, she worked with the gallery's innovative off site projects presenting Torn Steel: Sculpture by Jonathan Prince at the 590 Madison Ave Building's Sculpture Garden, and in the Marketplace: Paintings and Works on Paper by William Segal, at the 8th Floor. Mintz has written for Saint Gaudens National Historic Site Museum.
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One Jupiter Mass by Dan Weiner
October 20th - November 27, 2011
440 Gallery presented an exhibition of new work by Dan Weiner. One Jupiter Mass (Mjup) was his third solo exhibition with 440 since February of 2008. Though influence of California Assemblage can be detected in all three of Weiner’s exhibitions at 440 Gallery this new work broke the direct line of descent from Wallace Berman and ventures into the application of paint and theories of color. At the same time, Weiner loosened the excruciating standard of finish he absorbed in a craft heavy graduate school out West.

The result was a striking group of works which succeed both as paintings and as an affront to painting itself. Adopting a persona more brazen in the face of the burden of the past, Weiner, for the first time, allowed optical and process related issues to enter his work as subject matter. This precipitates an emotional withdrawal and the new formal qualities characterize a “painter” who sees his work as the solution, mathematical or otherwise, to a problem which is not articulated.
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September 8th - October 16, 2011
440 Gallery, located in Park Slope at 440 Sixth Avenue, launched the season with Convergence, bovoed by Daniel Weiner. This premier, members-only exhibition brings together the inventive energy from fourteen unique artists, yet visitors will be struck by the harmony and dialogue cropping up between works. The show presented a diverse range of styles – abstract, conceptual, representational, and media – painting, drawing, photography, printmaking, sculpture, mixed and new media.

The exhibiting artists were: Vicki Behm, Tom Bovo, Ellen Chuse, Richard Eagan, Shanee Epstein, Gail Flanery, Karen Gibbons, Susan Greenstein, Katharine Hopkins, Nancy Lunsford, Daniel McDonald, Daniel Weiner, Amy Williams, and Ella Yang.
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June 30 - July 24, 2011
A book, words, calligraphy, graffiti on a wall: They are all TEXT. The juror for "Text" was Susan Fleminger, an artist, educator and curator and the Deputy Director for Visual Arts and Arts-in-Education at the Abrons Arts Center of Henry Street Settlement. She has made her choices for artists exhibited in the "Text" theme show at 440 Gallery. The work included painting, drawing, book arts, printmaking, sculpture, collage, textile and video.

The artists in show are: Aveli, Beatrice Bardin, Len Bellinger, Aleksander Betko, Martin Brief, Ellen Chuse, Marcia Cooper, Mia deBethune, Andréa DeFelice, Porter Diteman, Naeem Douglas, John Kesling, Minjoo Lee, Marion Lerner Levine, Doni Dusan Lucas, Kristina Martino, Daniel McDonald, Toby Needler, Alison Nguyen, Svetlana Rabey, Susan Reedy, Roxanne Faber Savage, Claudia Sbrissa, Miriam Schaer, Carole Turbin, and Marlene Weisman.
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May 19th - June 26th , 2011
Nancy Lunsford's fourth solo exhibit at 440 Gallery. The show consisted of recent work and a kind of retrospective of her work over the last two decades. The anchor of the show is an installation and performance piece consisting of a desk with the artist present, working on a written memoir, drawing, painting or engaging visitors in conversation. Lunsford's work has incorporated traditional Appalachian quilt patterns in her collage and assemblage. This performance piece was described by the artist as a "living quilt" composed of remnants her past experience, both personal and artistic. Events scheduled during the run of the show included a reading of her memoirs and a slide show, utilizing her vintage Kodak Carousel projector, of her early work and influences.
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Urban Tapestry
April 7 – May 15, 2011
Susan Greenstein
The 440 Gallery presented "Urban Tapestry" - watercolors and pastel drawings on paper by Susan Greenstein. In her first Solo exhibition with 440 Gallery, the artist presents work derived from observing architecture and nature. Working with numerous layers of paint and pastel, Greenstein looks for the rhythms and patterns in the urban landscape. She gravitates towards building facades, and other architectural elements such as Lampposts, water towers and smokestacks that are frequently peeking through a floral framework.
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4 on the Verge
Curated by Daniel Weiner
February 24 – April 3, 2011
The 440 Gallery presented "4 on the Verge", a special invitational show of young artists (under 35). In an effort to highlight promising talent by artists not yet represented by galleries, the members of the 440 artist collective selected 4 artists to feature in a group exhibition from Feb. 24 – April 3, 2011.

The artists selected for the exhibition are Porter Diteman, Lisa Elmaleh, Laurie Lee-Georgescu, Cecilia Rembert.

Lisa Elmaleh, printing from collodion (wet plate) negatives she exposed in the Everglades employing a portable darkroom, makes large scale photographs in the catacombs of the Center for Alternative Photography. The rich blacks and high overall contrast that result seem to depict the environmental urgency at the forefront of her thinking and make even a bright tropical sun ominous.
Porter Diteman, operating in quarters reminiscent of the 70's Lower East Side, cramped, smoky and multi use, produces finely modeled charcoal drawings which are dark both visually and spiritually. These nudes seem to address the link between classicism and pornography.
Laura Lee Georgescu demonstrates a remarkable facility in two modes. Her abstraction hovers near expressionism, but never quite abandons the landscape from which it is derived. While her representational works have a political edge her concern with color remains paramount.
Cecelia Rembert combines abstraction, representation and symbolism in her large scale oils which illustrate their own origins and transformation. Her permissive approach to subject matter generates images that are complex enough spatially to accommodate her private mythologies.

Daniel Weiner, the curator for "4 on the Verge", is the Associate Director of Contemporary Art at James Graham Gallery, in New York City, and has co-curated exhibitions with artist Joe Fyfe (Color Climax, 2008) and writer/art critic and painter John Zinsser (Blue, 2009) and has made art for more than 20 years.
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My New York
January 13 – February 20th, 2011
Tom Bovo
For his debut exhibition at 440 Gallery, Bovo presents a selection of recent photographs about his favorite, and most accommodating subject, New York City. Most images were created with a digital camera and all are printed on fine art paper by the artist. The results of the materials and techniques he uses are painterly photographs that challenge preconceived ideas of classic photography. Even the subject matter Bovo finds in his travels around the city is not what you would expect. As the artist says of his work, “I find, or create, moments where the usual meets the unusual,” which sets the stage for his playful, and at times surreal, vision. The photographs are not presented as didactic statements of some final truth—these photographs are an invitation to look, see, and ask. They are the opening lines of what could be an interesting discussion.

In addition, the exhibit featured a production of a short play based on work from the exhibit by dramatist Anne Phelan, Did You Hear the One About the Carp that Hailed a Taxi. The play was performed in the gallery space. There were also two bills of readings on other nights, of short plays based on work from the exhibit. These plays were written by students in Ms. Phelan's Playwriting class at the Chelsea Rep Lab under the auspices of The Acting Studio.
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Sixth Annual Small Works Show
December 2, 2010 - January 9, 2011
This annual juried exhibition featured the work of artists from all over the country, but with the majority of the participants from Brooklyn. All works of art are 12 inches or smaller and of a great variety of media and styles, including painting, photography, sculpture, collage and mixed media.

The jurors for the 2010 small works show, Julie Bills and Russell Calabrese, Directors at Gering & Lopez Gallery in New York have made their selections. The artists chosen were:
Tomoko Abe, Elyce Abrams, Jonathan Allmaier, Audrey Anastasi, Carla Aurich, Esther Babb, Ananda Balingit-LeFills, Rene Barkett, Vicki Behm, Brian Bishop, Jim Boden, Lynn Buckley, Rachel Burgess, Nan Carey, Dave Abe Cassis, Cat Celebrezze, Cathy Choi, Matthew De Leon, Carole DeBeer, Patricia Denys, Daniel Dueck, Gail Elkin-Scott, Annie Ewaskio, Andrew B. Feldman, Wayne Ferris, Tim Fisher, Wendy Fung, Daniel Gerwin, Sheila Goloborotko, Jason Gondo, Anna Goszczynska, Marshall Harmon, Stefan Hengst, Howard Heyman, YK Hong, Elizabeth Hoy, Laura Hughes, Rhia Hurt, Robert Johnson, Marc Kehoe, Matthew Kirby, Claudia Ledwith, Hwayoun Lee, Terri Lindbloom, Alise Loebelsohn, Georgia Marantos, Tod Mason, David W. Maxwell, Graham McNamara, Andy Mecca, Matthew Mecca, Margarita Mileva, Damali Miller, Josh Millis, Gabriela Molina, Sylvie Muller, Emmy Park, Dominic Quintana, Mark Rosenthal, Ryan Schroeder, Andrew Small, Ned Snider, Frances Sniffen, William Tarnowski, Yuko Uchida, Louis Watts, Daniel John Weiner, Cate Whittemore, Evan Zelermyer.

Russell Calabrese is the Founder and co-Director of Editions Fawbush. Calabrese has published editions with artists such as Kiki Smith, Karen Davie, Christian Marclay, Sol Lewitt and Jack Pierson. Editions Fawbush projects have been acquired by the Museum of Modern Art, the Whitney Museum, the Brooklyn Museum, the New York Public Library, NY; the Museum of Contemporary Art, and others.

Julie Bills, of Pomona College, writes critically about contemporary art. Ms. Bills serves as the Secretary on the Board of Directors of Friends of E.1027, a non-profit devoted to the restoration of Eileen Gray's villa in Southern France. She is curating a group exhibition at Gering & López next summer with Al Moran of OHWOW, Miami.
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October 21st– November 28th, 2010
Katharine Colona Hopkins
Rite”, the debut exhibition of Katharine Colona Hopkins. For the exhibition, Hopkins presents three large-scale works that encompass painting, wall- drawing, and animation. The artist creates an inexplicit entrance into a subterranean space accompanied by a diagram that illustrates its interior, while an animated drawing abstracts these spaces and takes the viewer on a claustrophobic journey through dark passages. The weight of the imagery is in contradiction to the lightness of the materials Hopkins uses; graphite and charcoal are drawn or projected onto the walls, panels of delicate Japanese paper serve as the canvas for the large-scale ink and watercolor painting.

Hopkins’ images derive from a longstanding interest in the archetypal relationship between humans and subterranean spaces. She states, “These spaces have the ability to fill our imaginations and penetrate our psyche in potent ways. They evoke foreboding and unsettling reactions. I am fascinated with the idea of confronting these dark corners—peering into them, walking into them, and perhaps, discovering the opposite in ourselves—a sense of lightness and peace.”
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September 9th– October 17th, 2010
Gail Flanery
“Horizon” - works on paper by Gail Flanery. In her first solo exhibition with the 440 gallery, the artist presented a series of monotypes. Flanery derives imagery from the natural world, using elements and structures in her composition that allude to landscape. Through the painterly process of monotype printmaking, she builds layers of pastel colors on top of a printed image, achieving a depth of texture and emotional resonance. Simplified forms and planes of expressive color contribute a mood and sensibility at once slightly abstract and highly atmospheric.

The artist said of her work: My artwork is inherently suggestive of landscape, although the geography is not specific. These landscapes are unpopulated. The work evolves and develops with a consideration of space and a use of color that suggests and refers to natural elements.
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440 Gallery Presents:
Amoeba to Zebra

July 1st, through July 25, 2010
We share our planet with other living creatures: they have been hunted, feared, revered, domesticated and recorded in humankind's earliest art. The theme for this year's 440 Gallery theme show is animals, from Amoeba to Zebra.

There were many excellent entries in response to our call for artists, and the Juror, Ylva Rouse, made her final selection. The artists were: Dave AbeCassis, Josephine Bentivegna, Jordan Bruner, Giora Carmi, Elsabe J. Dixon, Kathryn King Eddy, Sean Gallagher, collaborators Amy Chase Gulden and Kristin Baldwin, Erica Harris, Jason Kass, Nikki Katsikas, C.Owen Lavoie, Lisa Lotta Lindgren, Garrett McDonald, Ruth McKerrell, Lenore Fiore Mills, John Nickle, Dan Nuttall, Carolyn Oberst, PD Packard, Maya Pindyck, Kristian Rangel, Brooke Ripley, Dave Rittinger, Bekka Sage, Joyce Silver, Andrew Small, Steve Snell, Frances Sniffen, Maria Torffield.

The juror, Ylva Rouse was Deputy Director for Curatorial Affairs for U.S. Biennial, Inc., the producer of Prospect New Orleans, the largest international Arts Biennial in the U.S., founded by Dan Cameron in 2007. She has collaborated previously with Dan Cameron, such as for the El Jardin Salvaje (The Savage Garden) at the Caixa Foundation and Cocido yCrudo (The Cooked and the Raw) for the Museo Nacional Centro de Arte Reina Sofia in Madrid. As Exhibitions Curator at the Reina Sofia Museum, she organized touring retrospectives of work by Robert Ryman, Gerhard Richter, Agnes Martin, and Joan Miró, and presented work by Jeff Wall, Pepe Espaliú and Robert Gober among many others. As Director of the Javier López Gallery, she worked with artists John M. Armleder, Liam Gillick, Jenny Holzer, Alex Katz, Matthew McCaslin and Tatsuo Miyajima.
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Ezra, z"l, Zichrono l'vracha,
May his memory be a Blessing

May 20—June 27, 2010
Shanee Epstein
A year ago artist Shanee Epstein's young son Ezra died a month shy of his 17th birthday. This exhibit at 440 Gallery in Park Slope Brooklyn features work by Ms. Epstein as well as work by her son, Ezra Weidenfeld, a precociously gifted artist and musician. Together their work constitutes a powerful installation that chronicles a year of mourning and a painfully altered family life.

The show is a dialogue between not only a grieving mother and her son, but also a dialogue between two artists. Weidenfeld's sensitively rendered drawings of everyday objects, scissors, a water bottle, his bike helmet, give us a glimpse of his irretrievable potential. Epstein's paintings and collages using old photos, papers and stones are poignant, yet a restrained testament to intense grief and loss. Epstein says this work "gave me a way to process my grief and a way to get such intense pain out of my body." The work of both of these artists is compelling in its technical and formal qualities. Combined with the emotional intensity of the narrative, this show is not to be missed.
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“Sweet Home”
April 8—May 16, 2010
Karen Gibbons
Brooklyn artist Karen Gibbons presented "Sweet Home", her second solo exhibition at the 440 Gallery. The work included painting, sculpture, drawing and assemblage of mixed and varied media creating powerful physical and emotional surfaces. Sizes ranging from small drawings, mono-prints and wall sculptures to larger freestanding sculptures.

The work in this show was colorful, organic and seductive. "Split Second" was a free standing sculpture where three thin narrow strips of azure blue come together to support a green sphere; simultaneously delicate and stable. The color was bold, and the textural treatment of this piece made it feel like a painting come to life. "Gowanus Time # 2" mixed oil, collage and chalk on fabric-covered wood. The result was a textured painting where lines are heavy and areas of color seem to float. The square format and rough-hewn feel of this piece reinforced a muscular quality where quirky composition contrasts sharply with a bold palate. Blue, ochre and warm peach tones depict an intriguing, dream-like landscape. Gibbons stated, "This work explores passions and demons. My method is to play with these relationships, finding a way to be unafraid of insecurity."

A long time Brooklyn resident, the artist's neighborhood is inspiration for an exploration of "home" in its many guises. Gibbons takes a creative approach to life and her many endeavors. She holds masters' degrees in both painting and art therapy. She is a registered yoga instructor and a parent of three. She uses this show to gather the unruly elements of life under one roof and the result is rich with layering and allusion. See more work by Karen Gibbons at
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“Within You Without You”
February 25—April 4, 2010
Amy Williams
Williams exhibited a series of photographs mounted on aluminum; with no glass or protective surface obscuring the viewer's ability to see clearly and directly into the swirling, transforming patterns created by a swimming hole in Woodstock, NY.

Williams employs traditional photography, without the application of digital manipulation, to convey deep emotion combined with a sensitive use of technical skill bringing us effortlessly into her perception of the world. In doing so, she allows us to experience the magic of nature in a timeless setting. The drawings created on the water’s surface transform the images from realism to impressionism. Photography is generally a practice of straight documentation, photo realistic with crystal clear information. In these photos, the graininess and sparkle of light create a painterly effect that could be mistaken for a drawing or painting. She captures the glimmer of sunlight and the mystery of deep shadows that fade to black. Although the subject matter remains consistent, there is a diverse microcosm of visual effects at play within the natural setting: white foaming bubbles against a black background; magentas, blues, greens and yellows sparkling off a natural brownish gray streambed; pastel rainbows formed in bubbles that explode on the surface. Williams sets a different mood for each image with the subtle orchestration of light and darkness. The title of the show “Within You Without You” refers to the experience of personal reflection created while looking into water.
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“Fertile Ground”
January 14—February 21, 2010
Ellen Chuse
Chuse's paintings and drawings explored landscape and the body in deeply personal ways. She examined organic forms in nature and moves between representation and abstraction. Fertile Ground continued this process with images that emerge from her connection to the ocean and the spirit that inhabits it. “The ocean is the mother of us all,” said Chuse. “Life begins in water. There are deep mysteries within.”

The artist combined graphite and acrylic or oil on paper. The works varied in size: some were small oils on treated paper while the acrylics were larger. Some paintings had little indication of the graphite while others emphasize the drawing with both line and brush stroke. Working intuitively, the artist built both the form and the color over time, sometimes rubbing, scraping and even sanding the surface to create a layered texture and depth of color. Having worked for years in black and white, Chuse plunged into color with an intensity that she often finds startling. “Color has such deep emotional content which an artist must respect even as she balances formal considerations,” said Chuse. These strong, colorful and evocative paintings certainly demonstrated this balance.
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The Small Works Show
December 3, 2009—January 10, 2010
Group Show
This annual juried exhibition features the work of artists from all over the country, but with the majority of the participants from Brooklyn. All work is 12 inches or smaller and of a great variety of media and styles, including painting, photography, sculpture, collage and mixed media. The juror this year was Charles Long, internationally exhibited artist with work included in the Whitney Biennial, New York's Museum of Modern Art, MCA Chicago, Museo de Arte Moderno Mexico City, Mori Art Museum Tokyo, the Hirshorn in Washington and more. Long is represented in New York by Tanya Bonakdar Gallery. He is the recipient of a Guggenheim Fellowship, two NEA Grants, two Pollock-Krasner Grants and a Louis Comfort Tiffany grant. Long has taught at the California Institute of the Arts, Art Center College of Art and Design and Otis College of Art and Design and Harvard University.
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"No Parking Funeral Today"
October 22—November 29, 2009
Daniel Weiner
In this installation, Mr. Weiner aspires to work in the tradition of Wallace Berman, George Herms and Ray Johnson, making intimately scaled, highly personal assemblage and collage. In his 5th body of work since 2003, Weiner continues to seek out texts and objects with problematic correspondence to their intended context. He reads a college writing handbook as poetry, electrical diagrams as symbols of bad relationships and the nightstand becomes symbolic geography. The telephone is given especially dire significance because of its purported role in connecting people. The flexibility of contexts and outmoded methods of communication both reflect badly on the endeavor of self-expression. Weiner hopes to show that the act of communicating belies its purpose and is marked with the tragic solemnity of essential isolation. And this is the good news. The artist sees this condition as an ethical testing ground. He attempts to respond to the question of what can and should be said.
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"Painting and Printmaking"
September 10—October 18, 2009
Daniel McDonald
Based on an underlying grid pattern that contains expressive gesture and exuberant color, the work is notable for a sophisticated color palette, evidence of McDonald's more than 20 years as an instructor of color theory at Parsons School of Design and a Professor at Kingsborough Community College. His latest works are multi-paneled paintings on raw linen using a mixed media of oil, acrylic and pastel.
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The "Brooklyn" Show
June 25-July 25, 2009
Group Show
Trevor Brown, Nan Carey, Cat Celebrezze, Ann Cofta, Adrian Coleman, Ron Diamond, Richard Eagan, Shanee Epstein, Todd Erickson, Terence Finley, Karen Gibbons, Risa Glickman, Susan Greenstein, Hazel Hankin, Azmeer Hossain, Ellen Kahn, Evelyn Lampert, Marion Lerner-Levine, Richard Lubell. Philomena Marano, Ruth Marchese, Tod Mason. Joanne McFarland, Kathleen Migliore-Newton, Lenore Fiore Mills, Jules A. A. Peemoeller, William Sayler, Francis Sills, Christine Staehelin, Matthew Veiderman, Ella Yang

The work in the show includes a broad range of styles and techniques including painting,drawing, photography, prints, mixed and new media that depict the borough of Brooklyn, NY.
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Shanee EpsteinREMARKS
May 14-June 21, 2009
Shanee Epstein
"Re-Marks" is a series of paintings and collage that combine earlier marks, juxtaposed with new painting. This new body of work indicates a return to collage for Epstein after four years of immersion in color exploration. Becoming conscious of the amount of the materials Epstein was using led her to reclaim and recover older work. This palette of mixed paint and earlier images creates a dialogue within the pieces between new and old marks. Epstein says "These newer pieces chronicle the passage of time through the history of my mark making. These works, in effect, become my visual autobiography."
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April 2 - May 10, 2009
Nancy Lunsford
“HEX” refers to the hexagon, a recurring shape in the work, and also suggests hex as a spell or a curse. The work is dominated by the geometry of traditional Appalachian quilt patterns: one large canvas is a honey colored maze of hexagons and some wall-mounted sculptures are constructed in the traditional "contained crazy" pattern. There are also drawings that represent the hexadecimal base 16 numeral system (hex) used in computer engineering, the artist's nod toward the blessing and curse of the digital revolution. Noting the universal recurrence of geometric patterns in nature, folk art and even the pixilation of contemporary image making, the artist states "It is not so much the content but the shape and patterns themselves that have the power to mesmerize."
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Alice Revisited
Feb. 19 - March 29, 2009
Ellen Kahn
Kahn’s paintings and works on paper focus on the psychological struggle that is involved with trying to break free from childhood and move out into the world to discover one’s own identity. As in the famous Sisyphus myth, where Sisyphus keeps trying again and again to push a heavy boulder up a hill only to be pushed back continually by its weight, Alice tries to journey forward and explore wonderland only to continually be pushed back again and again by all of the strange and unexpected barriers that try to stop her. The text in these works references two specific passages from the Carroll books: one from Through the Looking-Glass, in the chapter called “The Garden of Live Flowers,” where no matter which path Alice chooses it always twists back to her house, and the other from Alice’s Adventures in Wonderland, right at the beginning where Alice falls down the rabbit hole only to discover that she cannot get through the little doors into the garden beyond.
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Richard EaganObscured Offerings
Jan. 8 - Feb. 15, 2009
Richard Eagan
Eagan presents two strains of his characteristic constructed paintings, picking up themes from early work and bringing them forward. Two fairly large works are presented, each with a series of smaller “satellite” pieces that expand on the themes of the larger. In one series, Mr. Eagan’s familiar “bursting” elements are brought into play in pieces suggestive of the critical decline of the artist’s beloved amusement beach at Coney Island. In the second series, variations on the “target” theme are worked in an introspective, mysterious way, recalling the last days of the live-ammunition shooting galleries on the streets of Coney.
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 Tom Vega "Luz/Oscuridad" ("Light/Darkness")
Nov. 28 - Jan 4, 2009
Tom Vega
Duality informs the work of painter Tom Vega in his show “Luz/Oscuridad.” These abstract works are expressions of light and shadow, joy and sorrow, luminosity and opacity, delicacy and assertion. Contradictory and complimentary opposites are twinned in this intense colorist’s palette.
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Helene Mukhtar Veni, Vidi, Sgraffiti
Oct. 16 - Nov. 23, 2008
Helene Mukhtar
"Veni, Vidi, Sgraffiti", Helene Mukhtar's new series of mixed media paintings are based on photographs of graffiti and mural paintings she took in New York, Paris and Berlin.
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Drawing by Karen Gibbons In The Pink
Sept. 4 - Oct. 12, 2008
Karen Gibbons
"In The Pink" fills the gallery with bright color and vivid texture. Curious found objects become armatures for fanciful, painterly sculpture. Generous drawings blend boldness of form with delicacy of line and gesture. This abstract work is essentially organic in nature with a primitive sensibility. The work explores the tension between strength and frailty, confidence and cowardice, reverence and playfulness, divergence and union. Karen Gibbons weaves a fractured story of humanity in all its ragged glory. The result is a show with lively humor and imaginative power.
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Photograph by Nancy Lunsford 4th Annual Small Works Show
June 26 - July 27, 2008
Group Show
440 Gallery is pleased to announce its Fourth Annual Small Works Show. This unique exhibit features a diverse group of artists, many from the local Brooklyn community. This years’ juror is David Humphrey, a well known and respected New York artist and curator, represented by Sikkema Jenkins & Co. in New York City.
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Photograph by: Amy Williams Southern Breeze
May 15 - June 22, 2008
Amy Williams
On a recent trip to Savannah, I fell in love with the Spanish moss found everywhere. It was romantic, gothic and dreamy. My camera lens was perpetually pointed up looking for a new composition to be discovered within the trees, leaves and moss configurations. The title of the show, Southern Breeze, refers to the atmosphere created in the gallery. Standing before these images one can almost breathe the sultry Southern air.
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Photo by: Todd Erickson Light
April 3 - May 11, 2008
Todd Erickson
The 440 Gallery presents Light, an exhibition of photographs and paintings en plein air (in the open air) recording Todd Erickson's observations of time as the sun, moon and city lights radiate and illuminate his urban back yard and studio. This newest exhibit will also include the artist's recent unique photographs taken in the environs of the Gowanus Canal.
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Department of the Interior
February 21 - March 30, 2008
Daniel Weiner
In Dan Weiner's debut 440 show, the awareness of love, disease, regret and ambition is recorded with outdated office machines on out-of-print pages of textbooks and technical manuals. By using the written word as the physical foundation for his art, Daniel guides us into his technocratic, Kafka-esque world where "Reports are submitted and processed... contents are scrutinized and annotated... meanings are certified and enter into the record of thought... and become ethically binding."
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Recent Works on Paper
January 10 - February 16, 2008
Paintings by Ellen Chuse
This exhibition represents a body of work from 2007 combining graphite and acrylic on paper. Varying in size - some quite small and others large - some paintings have little indication of the graphite while others emphasize the drawing both with line and brush stroke.
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Coney Island: The Lost Horizon
November 29, 2007 - January 6, 2008
Color street photography by Lara Wechsler
Wechsler's color images of present day scenes from Brooklyn's fading fantasy emporiums were shot during the past summer and document the diversity of its laid back populace.
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New Sculpture
October 18, 2007 - November 25, 2007
New scupture by Jolie Guy
The seemingly ephemeral quality of Jolie Guy’s sculpture is, paradoxically, what makes it timeless. Her soft sculptures are gracefully arranged constructions of meticulously handcut lines of paper each creating different kinds of gray. There is a quiet, meditative sense and an echo of the ancient human propensity to gather and collect in discriminating groups; one is reminded of Monet’s haystacks and the seasonal process of harvesting. The subdued palette, however and the medium of paper suggests most vividly a graphic context: they are sketches in the third dimension, scupltural exercises in color and temperature. The work ranges in size from about 3 feet by 4 feet square, to smaller groups of 4 to 12 inches square.
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September 6 - October 14, 2007
A solo exhibition of sculpture by Martha Walker.
The exhibition focuses on pieces created in the past two years. Some of the sculptres are significantly larger scale than previous works, and there is a simplicitly that allows the viewer to appreciate the visual messages with greater clarity. Walker says, "I see my sculptures as a community, or family. They work well together or on their own. They are pieces of me, a place in time, and also, an expression of my deepest emotions and what is most important to me." Although Walker sees nature and feminism as being predominant themes in her work, the diversity of texture, dimension, and form on display in Undercurrents takes the audience on a journey that is constantly surprising.
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PhotoThird Annual Small Works Show
June 28 - July 29, 2007
440 Gallery hosts their Third Annual Small Works Show.Includedartists:Alyce Barr, Amanda Webster, Anujan Ezhikode, Barbara Sullivan, Bernard Klevickas, Bill Fink, Caterina Schemidt, Charles Basman, Chris Mateer, Dalton Rooney, Dawn Petrlik, Edina S., Emily Berger, Gerard Barbot, harriot marion, Hope Dector, Iza Szczepinska, Jamin An, Janine Nichols, Jason Orrel, Jenniver Bevill, Jessica Cohen, Jim Boden,Jodi Shenn, Joseph Barral, Judith Hooper, Mary Bullock, Kathryn Roake, Kimberly Simpson, Laurie Sheridan, Matt Lapiska, Laurie Lee- Geogescu, Merrie Koehlert, Michael J Berkowitz, Michael Pride, Molly Nadler, Paige Roberts, Patrick Barrett, Phillomena Marano, Rowena Dale Mohammed, Sara Lovas, Susan Handwerker, Tanya Taylor, Venessa Pineda, Victoria Lapin, Virginia Naughton, Shanee Epstein, Richard Eagan, Lara Wechsler, Todd Erickson, Nancy Lunsford, Ellen Chuse, Tom Vega, Jolie Guy, Amy Williams, Martha Walker
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Shanee Epstein Painting Polyphony
Painting by Shanee Epstein
May 17 - June 24, 2007
A solo exhibition of Shanee Epstein's new paintings. An abstract exploration of color works on paper breaking up compositional planes with intersecting blocks of texture and color. The paintings use varnishes to create a more layered surface while struggling for a deeper connection to the power of color and its harmonic and dissonand interaction. These paintings explore a wide variety of palettes that are affected strongly by outside seasons and the artist's inner moods.
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Photo by Amy Williams
The Muse

April 5 - May 15, 2007
Photography by Amy Williams', a continually evolving series of photographs or her eight year old niece, Allison.This series offers the viewer not only the opportunity to reexamine, and reimagine the narrative of childhood, but a rare glimpse into moments, selves on the brink of being lost. It is that crystalization of the ephemeral that draws, and holds the eye of the camera, and the viewer.
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Artwork by Richard Eagen Inside Out
New Constructed Paintings by Richard Eagan
February 22 - April 1, 2007
Inside Out presents further investigation of themes seen in Eagen's 2006 show Bursting Out. Wood, steel, reclaimed building material and objects combine in a refusal to be contained.
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Gallery Members Group Show
January 11 - February 18, 2007
Reception: Saturday, February 10, 7 - 10 pm

What happens when you put eleven artists in an empty gallery and tell them to make art on site for a month while the world watches? This month's show, Process at the artist-run 440 Gallery in Park Slope, Brooklyn is part performance, part demonstration, reflecting not only artwork, but the growth and evolution of true community.
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new work by NANCY LUNSFORD
Nov. 30, 2006 - Jan. 7, 2007
Opening Reception: Thursday, Nov. 30, 6-9 pm
Nancy Lunsford’s current work reflects a return to her Appalachian roots. Inspired by the patterned and embroidered quilts of her grandmothers, she creates collages and paintings based on traditional quilt patterns but using pages from her sketchbooks, found objects and ephemera. The work is playful, political and personal.
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Riffs on Color
Solo Exhibition of Paintings by Tom Vega
Thursday, October 19 through November 26
Opening Reception is on Thursday, October 19th from 6-8 PM.
Tom Vega’s vibrant acrylic paintings on canvas invoke the spirited riffs of a virtuoso jazz composition. This series of Vega’s signature expressions of sweeping color and emotional brushwork takes jazz as its inspiration.The works, in single-panel, diptych and triptych formats, are lush anthems with an improvisational energy.Vega, academically trained, is at heart a colorist.His body of work expresses both physical and emotional experience with concurrent sensations, earthy and delicate, rude and elegiac, quiet and strident.
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Tidal Channels
Photos, drawings, and sculptures by Todd Erickson
Thursday September 7th through Friday October 14th, 2006
Opening Reception Thursday, September 14th from 6-9 p.m.
Environmental Sculptor, Todd Erickson will present his latest installation and photo documentation depicting the Sunken Forest on Fire Island, NY. The exhibition, Tidal Channels. The audience is invited into the carefully constructed world that Mr. Erickson created after careful observation and study of the Islands topography and plant systems in the Sunken Forest.
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(up)State of Mind
exhibition of new works by Amy Williams
Friday, March 3 through March 26
Opening reception is on Friday, March 3 from 6-8 PM.
The photography of Amy Williams is at once personal and objective. Her images range from interiors to natural outdoor settings and intimate portraiture, but there is always a consistent quality. Using only available light, the images, regardless of content, evoke emotion--sometimes awe or trepidation. Amy inspires curiosity in viewers, so that they choose to explore and engage in her images.
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PAIRINGS:Experiments in Sculptography
exhibition of new works by South African born artist, Jeff Jaffe
Thursday, February 2 through Friday, February 24
Opening reception is on Thursday, February 2 from 6-9 PM.Sculptor Jeff Jaffe goes under the surface. And, although the surfaces he presents are enigmatic, beautiful and challenging, he aims deeper. In the exhibition of his recent works, PAIRINGS:Experiments in Sculptography, he presents a surface duality: gritty, concise welded-steel mask like heads are each hung paired with a photo. In the architectural long shots, the photos present a 'mask' of their own--the cityscapes.
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Untitled Document
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