2022 Green Kill Exhibition Program
2022 Exhibitions each run for a two-month period. Here's a sneek peek.
In 2022 the exhibition program at Green Kill will be bimonthly. Openings will not be on a first Saturday schedule, but rather will be on evenings in coordination with exhibiting artists and curators requests.
Artistes in the pool were all qualified. Exhibitors were chosen by date of submission. Artists not exhibiting are on the list for 2023 Exhibition year.
The biographical information for these exhibitions is incomplete and will be updated in January.
January 8-February 26
Opening party is February 12 from 5-7. Exhibition hours are 3-5 PM, Tuesday through Saturday. Write to firstname.lastname@example.org to reserve a of hour visit time.
Works from the Flat File
This is an exhibition of works from the flat file at Green Kill, including Scott Michael Ackerman, Sergey Bespamyatnakh, Deirdre Day, Fred Duignan, Alexa Floresta, Terry Huber, Stephen Lewis, Philip De Martino, Gary Mayer, Will Nixon, Dorothea Osborn, Bret De Palma, Margaret Still, and Sarah Vogwill.
March 5 to April 30
Opening party on March 5, 5-7 PM. Exhibition hours are 3-5 PM Tuesday through Saturday. Write to email@example.com to reserve a of hour visit time.
Apollo & Dionysus, Ricardo Woo Paintings
This is a solo exhition presenting figurative/abstract dyptichs of the Brazilian artist Ricardo Woo.
Ricardo Woo was born in São Paulo, Brazil, and lives and works in Brooklyn, New York and South Bahia, Brazil. His installation is composed of drawings within circles that cover the wall. Woo refers to the circles as “emoji.” Playing upon the notion of these familiar icons, he presents his own “abstract sketches.” Woo has a B.Arch. in Architecture and Urbanism from the University of São Paulo FAU USP and an MFA from NYU. Ricardo Woo explores different fields of art such as printmaking, drawing, installation, performance and ceramics. His work has been exhibited at Museu de Arte Moderna de São Paulo; Museu da Imagem e do Som, São Paulo, Brazil; DEOA Foundation, Taipei, Taiwan; KonzeptionArt, Munich, Germany; and other institutions.
May 7 to June 25
Opening party on May 7, 5-7 PM. Exhibition hours are 3-5 PM Tuesday through Saturday. Write to firstname.lastname@example.org to reserve a of hour visit time.
Permeable Boundaries: Inner & Outer Nature
Curated by Joel Silverstein, featuring the works of Alan Falk, Julie Seidman, and Joel Silverstein.
Permeable Boundaries examines the idea of nature and its complex relationship to humanity. Nature may be perceived as an exterior force separate from humanity, and as the core of an ancient psychological identity framing us as a species born in the physical world. The three artists in this exhibition represent nature in a myriad of styles and conceptual philosophies. Specific landscape is rendered as an autonomous system separate from humankind, as an environment conceived and augmented through digital means, and as the source of individual, or personal myth. While Julie Seidman and Alan Falk deal with forests in environmental and autobiographical terms, Joel Silverstein sees internalized nature as personal myth shaping humanity as its core through essential stories. Permeable Boundaries is the zone where the foot hits the road, and the outside meets the inside in describing our relationship to the world in the 21st century.
Alan Falk's work is a quest to define the sublime, the ineffable, and the harmonious. He has a passion for landscape employing light, nature and the interaction between humanity and the environment imbued with mysticism. His process begins with sketches and photographs assembled into digital compositions. These compositions are then interpreted into watercolor, acrylic, and crayon on canvas. Born in the U.K., Alan has taught extensively, and was represented by major galleries in London. He has participated in many group exhibitions including the National Academy of Arts & Letters, Albright-Knox Gallery, Buffalo, and Marlborough Fine Art, New York. He was represented by New York galleries including A.M. Sachs and Katarina Rich Perlow. His work is in numerous private, corporate and museum collections.
Julie Seidman’s is a graduate of Pratt Institute (BFA) and New York University (MA). She is concerned with ecology, veganism and animal rights. Her series, The Four Seasons series is a meditation on man’s historical and evolving relationship with the natural world. The works are created in watercolor, acrylic and colored pencil on watercolor paper. Animals and flora in lush dream-like landscapes are rendered next to abandoned and lost artificial objects. The paintings are purposely void of human figures, displacing human beings as primary protagonist in the visual narrative. This effectively reframes the natural world as the center of a sustaining, vibrant and resilient system, one however that is scarred by the effects of human civilization.
Joel Silverstein is an artist/curator who paints expressionist paintings relying on direct observation, history painting, comics, movie stills and collage. His work uses mythic narratives, bright colors and direct brushwork to describe modern life, the transcendent, and psychological states on mind. Joel is a Founding Member of the Jewish Art Salon, NY and has curated or advised on 15 exhibitions, as well as exhibiting his own work nationally and internationally. Recent exhibitions of his work include the H.U.C. Bernard Heller Museum, NY, Art Basel, Miami, the Amstelkirk Gallery in Holland, and the Jerusalem Biennale. His work and curated exhibitions are cited in Ori Z. Soltes’ Tradition and Transformation; Three Millennium of Jewish Art & Architecture and Matthew Baigell’s Jewish Identity in American Art, a Golden Age Since the 1970s.
July 2 to August 27
Opening party on July 2, 5-7 PM. Exhibition hours are 3-5 PM Tuesday through Saturday. Write to email@example.com to reserve a of hour visit time.
Gary Mayer, Brett De Palma and Bea Ortiz
Curated by Gary Mayer, featuring the works of Gary Mayer, Brett De Palma and Bea Ortiz.
“I have arrived at a new or at least different way of working . I’m trying to express that getting to a fresh place is not a clear path. That there are obstacles to block one to trip over most of all oneself and the comfort of working in a way that feels familiar that gets a fairly certain result. One can of course fall backwards and be in a familiar place but falling forward is arriving in a new spot. During the pandemic I made a lot of large paintings some pretty successful that were based on many drawings I had made for years of forms some wildly different all invented from their source in nature - trees, plants , animals and human but the paintings always maintained a figure ground relationship. Some might call these forms abstract but they were always rooted in a place or ground what was really a landscape setting some sort of sky and a place for the forms to rest or sit upon. I was thinking based on a conversation with a friend that I had never made any fully abstract work I had clung to the figure ground thing. Anyway I made some studies exploring that notion which were made of a web of forms on top of forms including birds and figures and all the shapes I had come up with for years and overlaps and intersections were full of new and unpredictable shapes. I chose new shapes and areas for calligraphic invention and I saw there was a lot of freedom and freshness to it. I didn’t really have any clear notion of what would come out where areas previously I always did. I found this very stimulating and exciting. I’ve been working this way for a year the show is full of these little and not so little adventures…” —Gary Mayer
Brett De Palma
I’m making visual puzzles of a sardonic, satirical. psychedelic, arcane nature with a psycho-social synthesis. Once solved, they reveal images conjuring familiar universal truths, found in everything from nature to music and ultimately reaching to the human condition.
People, places and things are the subjects of my art. They need no explanation in order to exist; that would be like having to explain jazz. Ideas such as these are best apprehended in experiencing the thing in all of its inexplicability, much like a person's existence.
My work is a reflection of the world filtered through myself, and as such, has no rules as pertains to ways of proceeding. Artistic freedom is introduced to enable different modes of thinking, thus advancing the cause of aesthetic evolution through diversity of expression. My goal is to open possibilities rather than restricting freedoms, not to do this as opposed to that. I am to discover and express the depth of character and thought that makes for a richer domain from which springs a more authentic view of life.
Because art is a form of truth-telling, it has the power to reveal eternal and universal mysteries. I am continually learning how to proceed into the unknown and new. As a result, the awkward and somewhat primitive look that my work contains is an extension of confronting doubt, rather than avoiding it. My art is intentionally funky in order to represent improvisation and the stretch towards unformulated solutions. It is the embracing of the impure and even failure itself. I prefer the raw as well as the refined. Each composition is a composite of contradictory elements. I am allowing the conflicting hard edges and soft forms, sensuality and roughness, humorous and dark to coexist; to stand-in for real life in all its quirkiness.
I make anxious abstractions from the tension between the physical body interacting with the space it inhabits and the objects it encounters. I feel that these material combinations and their symbolic ramifications represent the current moment in America with all of its constant influx of information and lack of solidity. The fragmentation of current experience, the lack of uniform context, the end of traditions and creation of new ones, is the content of contemporary education. If anything, I am learning through my art to open doors onto my own interior treasury of perceptions about living in the world. My work ultimately addresses cognition and learning in order to think of art as a visually symbolic language with cultural significance and inherent value. —Brett De Palma
Throughout her career, Bea Ortiz has explored the fertile intersection of place and connection in personal expressions, as well as large installations and multidisciplinary collaborations. After studying fine art at the University of Salamanca in her home country of Spain, Bea Ortiz permanently relocated to New York City in 1998. Currently she resides in the Catskills.
Incorporating painting, installation, performance, dance, music and video, Ortiz’ work is an immersive field upon which both artist and viewer become co-creators in the search for underlying order and stillness among the chaos of gesture and movement. The intimacy created by both the scale of her work and the interpersonal engagement of her process brings the viewer into the consciousness of the artist, even if momentarily. She gives her audience a glimpse into the myriad possibilities within patterns and shape, and reveals entire universes hidden within macro- and micro-cosmic systems. Sometimes she adds sound or movement to sculpt spaces, creating multi-dimensional experiences.
September 3 to Oct 29
Opening party on September 3, 5-7 PM. Exhibition hours are 3-5 PM Tuesday through Saturday. Write to firstname.lastname@example.org to reserve a of hour visit time.
Edward Berkise, Karen Capobianco, and Wayne Montecalvo
This exhibition features the works of Edward Berkise, Karen Capobianco, and Wayne Montecalvo
“I am a full time painter in Woodstock NY and a member of the Woodstock Artists Association and Museum.
My work is intuitive and imaginative with abstract modern expressionism. Passion ofthe process brings me to paint daily.
Instagram-Edward.Berkise and EdBerkise.net
I studied at the Woodstock School of Artwith Staats Fasoldt mentor and friend.”
“I work with image, process, and a variety of materials in order to push the confines of art making to reinvent, rather than reproduce an image. Allowing an idea to emerge organically through curiosity, I manipulate the materials to create unexpected results that distort and redefine. I start with something expected, and end up with something mysterious, aiming for singular or unique outcomes within a defined image. Taking a painterly approach gives me the option for discovery by welcoming chance occurrences to create a new way to see a familiar object.” —Wayne Montecalvo
Wayne’s awards and honors include the Awagami Artist-in-Residence Program at Awagami Paper Factory in Tokushima, Japan; NYFA MARK ’09; Two Full Fellowship Awards for residencies at the Vermont Studio Center, Johnson, VT; Two Residencies at the Frans Masereel Zentrum voor Grafiek, Kasterlee, Belgium; John Michael Kohler Foundation Arts/Industry Artist-in-Residence, Sheboygan, WI; Women’s Studio Workshop Artists’ Fellowship; and an Artists At Work: New York State Council on the Arts.
November 5 to December 31
Opening party still to be determined. Exhibition hours are 3-5 PM Tuesday through Saturday. Write to email@example.com to reserve a of hour visit time.
Vito Desalvo’s World of Music Productions and Literary Works
Vito desalvo will be presenting his world of music productions and literary works in November/December 2022. He will also be exhibiting various other items from his daily art making life. In this very rare evening he will be making a public appearance with his friend Stan Klein. He will be willing to talk with folks in exchange for cigarettes and drinks.
Originally from Pittsburg, Vito went through art training at Carnegie Mellon University. He lived in Chicago starting in the late 1970’s and in 1998 moved to Maine for ten years. He returned and has been creating artwork in Chicago ever since.
His current work, International People in the Know, is his reflection on interpersonal relations in today’s world. He has chosen both fictitious faces as well as actual subjects of people in his life. The backgrounds suggest no clue as to place, identity or nature of the conversation. The artist only offers the finality of the implied statement. In some of the faces is a lingering hint of relating the knowing implication of their comments. Others possess only a sense of innocent use of common use phrases. Vito has made comments related to these pieces that all serious conversations eventually lead to a confirmed answer form of ‘no’.
Stan Klein (no relation to Paul Klein) directs Firecat Projects, an independent, for-profit gallery that takes no commission from artists and is co-directed by Stan Klein and artist Tony Fitzpatrick. He discusses the innovative model for Firecat Projects as well as building relationships and business partnerships.
“This is your show, you’re in charge. This is your business––work it. I’ll give [artists] some tips, I’ll give them some guidance, but when I bring over a collector to meet them, it’s not about going through me. It’s about you developing a relationship with this person for the rest of your life.”
Stan Klein grew up in Cleveland and is a longtime Chicago resident. He is the co-director of Firecat Projects with artist Tony Fitzpatrick, his business partner. Previously, he had founded, owned, and operated MCM Fine Framing, a frame shop in Chicago, for over twenty years, and he had been a studio assistant for Andrew Wyeth and Ken Noland. Currently, Klein is focusing on developing innovative ways of funding Firecat Projects, including inviting collectors to sponsor solo exhibitions for emerging and mid-career artists. He believes in placing artists in control of their sales and careers rather than relying on representation. Klein studied art at Carnegie Mellon University in Pittsburgh, PA. He is an artist, actor, and playwright.