Current Show

"long lost"

“new” sculpture by David McQueen

September 30-October 21, 2016
Opening Reception: September 30, 6-8pm


It starts with a slip.
My attention drifts and…shhht.
It’s gone.

It lingers on my periphery, flutters, and leaves.
Then it dances back, days later, to remind me,
not of what I’d forgotten but that I’d forgotten.

I begin to hate it, swatting and grasping until in my clenched fist,

I have it...

I check only to see it fly away,
mocking me for my delicate hands and lack of confidence.

I don’t need this idea.
I have hundreds more…
Dozens at least…
One of them will surely be along…
Any minute now…


long lost” is a collection of re-imagined sculpture. Each piece is a memory of an idea of what I hoped it might become. They are brave, fragile failures refusing to concede. They are convinced that they can reveal what I had forgotten and find themselves in the process.



"Lucid Vacancy" by Allison Putnam

The work in Lucid Vacancy is snapshot into a story between two characters, Robert and Laura.  The photographic process offers a connection to real material life, but the editing process can manipulate and formulate beyond the moment of capture.  Many of the images were not shot in the same sitting and are not connected in time or place. However, the juxtaposition and placement of these prints suggests an untold drama, a tension between Robert and Laura.  Something happened here. 

POP UPS Coming Up:



havens. Hangars

havens. Hangars

David Shaugnessy and Maureen O'Leary
curated by James Brittingham

opening Friday, October 28, 2016, 7-9 pm
on view October 27-29, 1-5 pm

It has become that time of evening
when people sit on their porches, 
rocking gently and talking gently
and watching the street
and the standing up into their sphere
of possession of the trees,
of birds' hung havens, hangars.
People go by; things go by. 
A horse, drawing a buggy, 
breaking his hollow iron music on the asphalt:
a loud auto; a quiet auto; 
people in pairs, not in a hurry, 
scuffling, switching their weight of aestival body,
talking casually,
the taste hovering over them of vanilla, 
strawberry, pasteboard and starched milk, 
the image upon them of lovers and horsement, 
squared with clowns in hueless amber.
 - excerpt from Knoxville: Summer of 1915, Samuel Barber

These paintings contain a cascade of beautiful impressions - of lawns, of the presence of people, at first mostly men, working on them, watering them and a sense of pleasure and safety that provides a foundation for deeper mystery. They recall Barber's song, which is through the eyes and voice of a child, and after a few minutes, as the music gets louder and more abstract, the lyrics describe moving towards the city center and seeing traffic, metal and stone, banging against each other - horses.  It's all very threatening and exciting, the noise and hordes of people who leave their marks in the subway. The materials mentioned anchor the singer's memory just as there is a constant play in the paintings here between feeling oneself isolated and whole - defined against one's surroundings versus connected and immersed. 
James Brittingham
David Shaughnessy received his BFA from the Mason Gross School of the Arts at Rutgers University and has recently shown work at Bruce High Quality Foundation University and Green Point galleries Brooklyn, New York, and City Without Walls, Newark, New Jersey.
Maureen O'Leary received her BS from Yale University and is a prior recipient of the Harriet Hale Woolley fellowship in painting.  She has recently shown work at New York Arbor gallery, Rockaway Beach, Queens, New York, the Lewis Art Gallery at Millsaps College, Jackson, Mississippi, and City Without Walls, Newark, New Jersey.
James Brittingham received his MFA from Rutgers University and his BFA from Cooper Union. He has recently shown work at I-20, La Mama and Soloway galleries in New York and is a prior recipient of a Rema Hort Mann Foundation grant.  He is on the faculty of Mason Gross School of the Arts at Rutgers University and the Bruce High Quality Foundation University.


Marcos Rosales selections from “The Interiors”

Sunday October 30th, 7-10 pm

This one day pop-up show includes photographic work and sculptures from Rosales’s installation “The Interiors” which was originally presented at Steven Wolf Fine Arts in San Francisco on June 5, 2008 - June 28, 2008.

"Bondage is a way that many people test their limits, experience psychological liberation and at times out-of-body experiences. I wanted to take photographs capturing their psychological or even spiritual transformations. The photos are created from banal images of people laughing, crying, some posing nude before the camera. These images were manipulated by hand. The small images were cut out and wrapped with delicate jewelry cords, paper clips and beads and rephotographed in low light. The resulting images seemingly captured from dungeons depicting S/M scenarios. In addition to the photos, are a selection of large black macrame sculptures looming within the space evoking harnesses, whips and sex swings."

-Marcos Rosal


Past Exhibitions