You’re sent on a mission. The objectives are clear. You are to locate the target and set yourself up in a comfortable position within which to take aim, fire and then to disappear as quickly as possible. You follow all orders and procedures to the letter. Everything is proceeding as planned and as smoothly as could be hoped for. You’re set up in an optimal location. You raise up your weapon to take aim. You put your eye to the telescopic lens, and when you look through it you see yourself.
This work was begun in anguish. There are things that I remember, so when I read about them or see the pictures, I think I know what they mean. Everyone wants a piece of suffering. It colors our existence with intensity. We seem to think it qualifies us and gives credence to our claims. I come from a people who have monopolized pain, who think they patented suffering. But I’m not supposed to say that.
In the semiotic minefield two soldiers from opposite sides make the perfect structural text. Each one can kill or be killed. The “other” is perfectly parallel to you – a sign that mirrors you completely. With a certain degree of sweat and dirt you begin to smell the same. Slowly you lose your identity; in fact yours becomes entwined with his. If a bullet rips through your guts you have the time to recollect that you were somebody else.
I use the photographs in lieu of being there. Otherwise you can imagine a painter with a French easel looking that Apache right in the eye. It’s difficult to be ambiguous yet think you know what’s wrong and right. It’s a thin line between bitterness and self-pity. At moments it just feels good to paint. When I was in the army I used to shave my head. A woman on the bus thought I looked sexy.
Finally, a joke:
They hung a man. In the beginning he shook and swung from side to side. Then he got used to it.
February 27 2002
|1961||born in Pittsburgh / USA|
|1985-90||New York Studio School, New York / USA|
|1983-85||Bezalel Academy of Art and Design, Jerusalem / IL|
Currently lives and works in New York, USA.
|2014||Modified to Fit Your Screen, Elizabeth Harris Gallery, New York / USA|
|2012||You Have Been Pre-Selected, Quinnipiac University, Hamden CT / USA|
|Segment, New Arts Program,Kutztown, PA / USA|
|2011||Fagin‘s adventures, Elizabeth Harris Gallery, New York / USA|
|2009||Form & Function, Kudlek van der Grinten Galerie, Cologne / D|
|2008||In the Mood for Love, Elizabeth Harris Gallery, New York / USA|
|2007||National and International Projects, PS1, Long Island City / USA|
|2002||Full Frontal, A.R.T. Inc., New York / USA|
|2000||Works on Paper, A.R.T. Inc., New York / USA|
|1999||In memory of the Revolution, Herbert Lust Gallery, New York / USA|
|1996||Recent Works, Virginia Lust Gallery, New York / USA|
GROUP EXHIBITIONS (selected)
|2017||New Gallery / New Work, Elizabeth Harris Gallery, New York / USA|
|2013||How You Gonna Get Back to Jersey, Planthouse, New York / USA|
|Silhouette, EFA/Blackburn 20/20, New York / USA|
|Walking the Line V, Martin Kudlek Gallery, Cologne / D|
|2011||Walking The Line III, Kudlek van der Grinten Galerie, Cologne / D|
|2010||Wall to Wall, Daniel Weinberg Gallery, Los Angeles / USA|
|2008||Text Messaging, Islip Art Museum, New York / USA|
|Walking The Line, Kudlek van der Grinten Galerie, Cologne / D|
|2007||New Prints 2007/Spring, International Print Center, New York / USA|
|2006||There’s The Rub, Islip Art Museum, East Islip, New York / USA|
|Brooklyn, Westport Art Center, Westport Connecticut / USA|
|2005||Paperworks, Martin Kudlek Gallery, Cologne / D|
|2004||WMD, The Front Room, Brooklyn / USA|
|2003||Passion-Creation & Rencontre, Espace Evenement Prestige, Paris / F|
|Ancient Traditions/Contemporary Visions, Ethel H. Blum Gallery, College of the Atlantic, Bar Harbor / USA|
|2002||27 Emerging Artists, inaugural exhibition, Spike Gallery, New York / USA|
|The Joseph Show, ten artists-one man, 20th Century Gallery, Hudson / USA|
|2001||Rags to Riches, 25 years of Paper Art from Dieu Donne Papermill, Maryland College Institute of Art; touring exhibition, 2001-2003 / USA|
|2000||en garde, Burton Marinkovich Fine Art, Washington, DC / USA|
|Remember, Ernest Rubenstein Gallery, Educational Alliance, New York / USA|
|CON-TEXT, Dieu Donne Papermill Gallery, New York / USA|
|1999||Hit and Run 1, curated by Edward Winkleman, New York / USA|
|Raw Seeing, New York Studio School Gallery, New York / USA|
|1997||Four Painters, 123 Watts Gallery, New York / USA|
AWARDS & GRANTS:
|2009||The Lower East Side Print shop Key holder award|
|2005||New York Foundation for the Arts fellow in Printmaking/Drawing/Artists’ books|
|1987||The Ludwig Vogelstein Foundation Award|
Artcritical.com November 2008
The Brooklyn Rail, November 2008 issue. Review page 54
The Brooklyn Rail, July/August 2004 issue. Review page 17
The New Yorker, Goings On About Town, January 17, 2000
Rags to Riches: 25 Years of Paper Art from Dieu Donne’ Paper-mill. Exhibition catalogue.