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Kathryn Markel Fine Arts

529 W 20th St, Suite 6W, New York
Tuesday - Friday 10am - 6pm, Saturday 11am - 6pm




Lisa Breslow: Recent Paintings
Oct 19-Nov 25
Lisa Breslows landscapes and cityscapes are an exercise in contrasts. Both the natural world and architectural grit have a place in her work, highlighting the pull of New York City created by these opposing forces existing side-by-side. Breslow distills her depictions of our surroundings down to their essence, creating atmospheric scenes activated by mood, energy, and light rather than a literal portrayal. Her streets and parks feel familiar, but not quite your own. Attentive to subtle moments of harmony, Breslows cityscapes are snapshots of fleeting beauty. We know these roads are busy, these sidewalks are bustling, these blocks are loud, yet in Breslows world they are quiet and meditative. The tranquility of Central Park is a natural fit for this instinct, and is a regular star of her landscapes. Sensitive to the subtle changes throughout the day and intrigued by the aesthetic overhauls from season to season, Breslow makes each return to the park feel new. The excitement she has while building the lush reflections in the lake is evident. In her latest work, Breslow expands on her tonalist sensibilities and emboldens her compositions with a more heightened and varied color palette. Her scenes revel in the interplay of light, color, and form, and capturing these elements with looser, broader brushstrokes has her work inching ever closer to abstraction. To resist being caught up in specificity, Breslow often turns her panels as she works to keep it fresh and less confined. Striving for a pared down simplicity, her paintings appear mirage-like. They do not represent the city as you see it day-to-day, but the city you imagine in your fondest memories. Lisa Breslow has exhibited extensively in the United States, including recently at the Heritage Museum and the Heckscher Museum. She has been awarded two Pollock-Krasner Foundation awards, as well as an award from the National Academy Museum in New York, and was an Invited Artist at the Center for Contemporary Printmaking. She lives and works in New York City.

Susan English: Intervals
Oct 19-Nov 25
An interval can signify the transition between places, events, or time. It is in these spaces that Susan English thrives. Her works are specifically calibrated sequences of intervals, activated by those particular moments of passage between color and surface. These narrative relationships can either evoke a sense of vastness or of intimacy. English begins with small watercolor studies inspired by the symbiosis of color and light. They are essentially landscapes reduced to their simplest forms, coastal horizons pared down to bands of land, ocean, and sky. Then, she proceeds to pour transparent layers of tinted polymer onto panels, tilting and shifting the surfaces as they spread and pool across the plane. These panels are assembled into a narrative sequence that resonates with English, and left to dry. Ultimately, this process is left up to fate. As those layers harden, English can barely predict how the colors may change, or where cracks, coagulations, or pools of paint appear. Sometimes, English will pour again, rearrange the panels, or cut them down until shes satisfied. Her final surfaces capture a delicate relationship between control and accident. An interval can also signify a pause, a moment to stop and take a breath between bouts of activity. With its tranquil palette and ability to draw you into a meditative space as you get lost in its layers, Englishs work represents an opportunity to take this breath. She creates a catalyst for the immersive experience she makes room for when finding inspiration a chance to solely get lost in observation. Susan English has exhibited widely throughout the United States. She has been a Saltenstall Foundation Fellow, and a Teaching Artist at Dia:Beacon. She has an MFA from Hunter College, and studied at the New York Studio School. She lives and works in Cold Spring, NY.

Nov 30-Dec 23
ECHOES A Group Show November 30th December 23rd, 2017 NEW YORK, NYOctober 3rd, 2017 Kathryn Markel Fine Arts is pleased to present Echoes, a group show of works that are manifestations of loss curated by Alyssa Alexander and Celeste Kaufman. An echo, at its core, is a distant version of what it once was. A sound reverberates, then fades. It can be a haunting memory, or instill a sense of wonder. An echo can also be a reminiscence, a nod to something that came before it. The present echoes the past. It is not a perfect replication of it, but an acknowledgement of its heritage. The works collected in this group show are echoes both in process and in concept. Their origins are transformed and concealed. The resulting piece appears to be its own entity, but still contains whispers of how it began. There is a loss of form, color, or imagery, but that does not detract from what remains. These artists are also investigating the loss of places, time, objects, and concepts as they create so that the work itself becomes an homage, an echo, to these distant sources. Peter Hoffers landscapes at first appear to be traditional serene and glossy representations of the world around us. However, upon stepping closer you discover that the paintings have drips and inconsistent marks, and the surfaces are scratched, cracked, and seared. He has manipulated them into different states of retrograde, as if they are antiquated works that have been abandoned and then uncovered. They carry a sense of nostalgia for both bygone times and the places that collect these kinds of memories, the attics and antique stores where you might stumble across an artifact akin to the one he has created. Sarah Irvins ink series reflects the shifting nature of memory, the evolution of language on an individual and societal level, and how the dependability of both can be lost over time. The series was initially inspired by her grandfathers loss of language due to Alzheimers disease, but developed further as she began to use the limited language skills of her baby daughter as a starting point, shifting her focus from the end of our relationship with words to the beginning. She begins with ink and non-absorbent Yupo paper, writing words in expressive cursive, then destroys those marks with squeegees, pulling the ink across the paper to form rich, dynamic new images. Remnants of the words sometimes remain visible, but their meaning cant be deciphered. Jeffrey Cortland Jones work is deceptively minimalist. A depth is revealed beyond the initial perception of monochromatic surfaces thats built up through layers of rich color. Jones is not creating white paintings he is pushing colors to their very limits, to the moment just before they become white. The under-painting peeks through here and there, giving a glimpse to the shades and textures that construct the final work. Its because of these hidden features that Jones considers himself something of a landscape painter, inspired by the grit and entropy of his urban surroundings. He draws qualities from the peeling layers of paint on concrete walls, the scratches left behind by skateboards on handrails, the flecks of metal that shine through as surfaces are eroded over time. The surfaces of his paintings are then not only the ghosts of the colors underneath, but of the largely abandoned industrial landscape. Ryan Sarah Murphy constructs reliefs from discarded cardboard. Finding her materials out on the street or in the remnants of her own consumerism, she removes any identifying branding, text, or images and uses whats left without painting or treating them. Murphy allows whats left to guide her, using its energy and unknown history to shape her decisions as she assembles them into forms that meet at the intersection of abstraction and architectural elements, suggesting a strange terrain seen from an aerial view. The gritty remnants of an urban landscape are revived as bold structures with a bright, limited palette and an alluring tactile nature an unexpected iteration of our societys odds and ends. Dana Oldfather begins her paintings by blocking in a scene from her Midwestern domestic life the discomfort she feels when caught in traditional roles for women and notions of femininity, the isolation and loneliness of motherhood, the fragility of comfort and happiness. Then, she obliterates that imagery through layers of ink, spray paint, acrylic, and oil paints. The narrative is masked by frenetic mark making that possesses a pulsing energy and bittersweet beauty. However, Oldfather does not seek to hide her interior life. She considers the chaos of her abstraction to be an honest addition to it.