Statement: Il Sole è il centro geometrico del sistema solare in cui viviamo.
E' fonte, primaria ed insostituibile, di energia rinnovabile, elemento indispensabile alla sopravvivenza di ogni forma di vita.
E' scientificamente alla fonte della vita umana ed è oggettivamente la sua fine, in quanto la Terra verrà inghiottita dal sole tra 5 miliardi di anni con Venere e Mercurio.

Dall'immagine del Sole deriva la forma sferica, simbolo di perfezione.
Come in un cerchio che si espande da un'origine, la vita è partita dal sole e troverà la sua conclusione e senso nel completarsi tornando al punto originale.

Sin dall'antichità il Sole è stato venerato come Divinità, come fonte di potere. Le sue eclissi sono sempre state sinonimo di disgrazia, e le sue assenze più elementari, la notte e il buio,sono simbolo ancestrale di ogni paura umana.

Sintesi Curriculum:

Statement: This painting reflects my quest for a new vision in discovering new ways in human existence. Search for a harmony between mankind & environment in future. It's like an old Native American Hopi tribe saying: All dreams spin out from the same web.

Sintesi Curriculum: JONAS BALČIŪNAS

2155 28th Street
Astoria, NY 11105
917.698.8160
jonasbalc@gmail.com

BORN
Vilnius, Lithuania. Lives and works in New York

SELECTED EXHIBITIONS
2009 Sandström-De Wit Gallery, Linköping, Sweden
2009 Central Gallery, Southold, New York
2009 National Craft Gallery, Kilkenny, Ireland
2009 Art Sites Gallery, New York
2008 Beeld & Aambeeld Gallery, Enschede, Netherlands
2008 Lietuvos Aido Gallery, Vilnius, Lithuania
2007 Užupio Gallery, Vilnius, Lithuania
2006 Mimi Ferzt Gallery, New York
2005 Mimi Ferzt Gallery, New York
2002 Vittoriano Museum, Rome, Italy
2002 Lithuanian Amber:History and Design,Old Post Office Pavilion, Washington DC
2001 Lietuvos Aido Gallery, Vilnius , Lithuania
2001 Pädaste Manor, Muhu Island, Estonia
2000 AG Gallery, Kaunas, Lithuania
2000 Contemporary Art Center, Vilnius, Lithuania
2000 Gintaro Gallery, Vilnius, Lithuania
1999 German Amber Museum, Ribnitz-Damgarten, Germany
1999 Gintaro Gallery, Nida, Lithuania
1999 Beeld & Aambeeld Gallery, Enschede, Netherlands
1996 Lietuvos Aido Gallery, Vilnius, Lithuania
1994 Lietuvos Aido Gallery, Vilnius, Lithuania

SELECTED BIBLIOGRAPHY
2008 Herinner-ring.Exhibition catalogue,Beeld & Aambeeld Gallery, Enschede, The Netherlands, pp.18-19
2007 Jurgita Ludavičiene. Review, Verslo Žinios, Vilnius, Lithuania, November 23, p.23
2006 Jonas Vaida. Exhibition catalogue, Mimi Ferzt Gallery, New York
2001 Kristina Stančiene. Review, 7 Meno Dienos, Vilnius, Lithuania, March 9, p.6
2001 Nocturnus. Exhibition catalogue, Pädaste Manor, Muhu Island, Estonia, pp.30-31
2000 Gitana Bartuškienė. Review, Lietuvos Žinios, Vilnius, Lithuania, July 7, p.15
2000 Tradition and Future. Exhibition catalogue, Contemporary Art Center, Vilnius, Lithuania, p.44
2000 Pillė Veljetaga. Review, 7 Meno Dienos, Vilnius, Lithuania, May 12, p.7
1999 Exhibition catalogue, German Amber Museum, Ribnitz-Damgarten, Germany, pp.24-25

EDUCATION
1994 B.A. Estonian Academy of Arts, Tallinn, Estonia

Statement: “A charmed life” è un idioma americano e si usa dire di chi ha vissuto con interezza.
E’un giudizio, un parere che si attribuisce.
Quest’opera è un flusso di decine di corde e fili annodati tra loro che escono da un regolatore e al quale sono “legati” oggetti di diversi materiali.
“A charmed life” è un flusso, potremo anche dire di coscienza, nel quale energia e umanità, futuro e ambiente si rapportano, si confrontano, si toccano e si legano.
Quest’opera vuole attivare un processo, vuole essere terra fertile…

Sintesi Curriculum: ANDREA BIANCONI
Nato ad Arzignano (VI) Italia, nel 1974. Vive e lavora a Brooklyn, NY

PRINCIPALI MOSTRE PERSONALI

2010
-Furini Arte Contemporanea, Roma, Italia
-Vernon Projekt, Praga, Repubblica Ceca
2008
-Mapping Maps, Barbara Davis Gallery, Houston, TX, USA
-Bond, Kiton, testo di Oliver Orest Tschirky, New York, NY.
2007
-Pony Express, Barbara Davis Gallery, a cura di Oliver Orest Tschirky, Houston, TX.
2006
-Vanity, UBS, Lugano, Svizzera
2005
-BODYGUARDS, Furini Arte Contemporanea, curato di Marina Mojana, Arezzo.

PRINCIPALI MOSTRE COLLETTIVE

2009
-Istant Book – Italian Artists New York, ISCP, Brooklyn, NY
-The Brooklyn Gravity Racers at the Boiler, Pierogi Gallery,New York.
-Tina B – The Prague Contemporary Art Festival. Praga, Repubblica Ceca
-IM 03 – L’immagine sottile – opere della collezione della Galleria Comunale d’Arte Contemporanea di Monfalcone, a cura di Andrea Bruciati, GC.AC Monfalcone (GO), Italia
2008
-Fresh Baked, Barbara Davis Gallery, Houston, TX, USA
-Arrivi e Partenze, Mole Vanvitelliana, a cura di Alberto Fiz, Ancona, Italia
2007
-Venice videoart fair, Isola di San Servolo, Venezia.
-New Entries, a cura di M.Pizziolo, R. Ravasio, Associazione Contemporaneamente, Milano.
2006
-Velvet La Repubblica, Palazzo Reale, Milano, Italia
-Ars in Fabula, a cura di M. Sciaccaluga, Palazzo Pretorio, Certaldo (FI), Italia
-Musa-Museo dell’assurdo, Comune di Castelvetro di Modena, Italia
-Frank Pages Art Galerie , Baden Baden, Germania
2005
-Galleria d’arte moderna e contemporanea di San Marino.
-SUPERPLASTICA. Sculture del disequilibrio, Castello di Casalgrande, Modena, Italia
-Miracolo a Milano, Palazzo della Ragione, Milano, Italia
-Refresh “New kids in town”, Galleria Civica Ezio Mariani, Seregno , Milano, Italia
2004
-Allarmi, Caserma De Cristoforis, Como, Italia
-Legami. La visione continua. Tra sogno e realtà tra arte e cinema, a cura di Marina Mojana, Fabbrica del Vapore, Milano, Italia
-Normali Meraviglie, Magazzini del Cotone, a cura di Alessandro Mendini, Genova.
-Lasciateci divertire, Palazzo comunale, Arezzo, Italia

PERFORMANCE
2008
-Escape Artist, DOUBLE. Magazine, Paris, France
-Traffic Sound, Barbara Davis Gallery, Houston, TX, USA


STUDI COMPIUTI
1994-1999 Facoltà di Giurisprudenza –Università di Bologna – Italia
1989-1993 Liceo scientifico - Vicenza – Italia

INDIRIZZO:
ANDREA BIANCONI
71 N 7TH STREET
BROOKLYN, NY 11211

EMAIL:
and.bianconi@gmail.com

TELEFONO
+1 832 744 5188 (usa)
+39 329 4358666 (italy)

Statement: This painting is a landscape-based abstraction gone wild. Its contrasting sharp edges and blurry fades conjure up both sunrise and twilight, with an intermediate zone of trippy psychedelia tinged with the eroticism of flesh on flesh.

Sintesi Curriculum:

Statement: Terna Prize 02 – Statement – Jonathan Feldschuh

Energy : Mankind = Future : Environment.
Proportions for new aesthetics

Jonathan Feldschuh, LHC #4, acrylic on mylar and plexiglas, 1.42 x 1.07 m, 2009


This piece is part of a series inspired by the Large Hadron Collider, an experimental physics facility that represents a massive cooperative and collaborative effort. Physicists and engineers from across Europe and the world have united to construct the most powerful particle detector ever constructed, and hope to extend mankind’s knowledge of the most basic properties of matter and energy. The piece is an abstract representation of trajectories of collisions, using splattered paint. This process-driven abstraction mirrors the experimental activities of the LHC. In my most recent work (2009) I paint on translucent mylar, which I then cut, collage, and mount on a transparent acrylic frame. The effect is one of transparency and immediacy.

The Collider project is an interesting model for the “proportion for a new aesthetics” mentioned above. The need for mankind to address the environmental issues that are pressing in on us – climate change, resource depletion, pollution and habitat loss, etc. is overwhelming. Solutions to these problems will inevitably require joint efforts that unite us with common goals that transcend our personal, local, and national interests. The pursuit of something lofty and abstract – knowledge of the ultimate constituents of matter, the rules that govern interactions of energy – takes the form of something very solid and earth-bound: miles of underground tunnels, and massive magnets and detectors.

My perspective on the LHC is quite personal – I originally trained as a physicist, and my interest was in high energy theory. If I had stayed in physics instead of shifting to art, I might well have been pulled into the efforts at CERN. Some of the scientific papers published there have listed over a thousand authors! The trajectory of physics over the past century has been astounding. It has gone from a field where a solitary genius could seemingly single-handedly open new doors of understanding (think of Einstein) to one marked by collaboration on the most massive scale. The Manhattan Project that created the first atomic bombs showed the potential for destruction in this process. Hopefully the knowledge we gain from the LHC and similar projects of exploration will be used for peaceful ends. Perhaps the discoveries made at CERN will have practical applications we cannot forsee. Without a doubt the solutions to the problems of our environment will depend on how well we can collaborate and innovate.

Sintesi Curriculum: Selected Solo Exhibitions:

2008 "Large Hadron Collider", Galerie Vernon & Vernon Projekt, Prague
2005 "Simulations", Cynthia Broan Gallery, New York
“Jonathan Feldschuh – Paintings”, AAAS Gallery, Washington DC
2004 "Trajectories", Marella Arte Contemporanea, Como
2003 “Solar”, Art Resources Transfer, New York
2002 "macro-mini", Vernon Fine Art International, Prague
“Macrocosm”, Cynthia Broan Gallery, New York
2000 “Little Corner of the World”, Cynthia Broan Gallery, New York

Selected Group Exhibitions:

2009 "Starry Messenger: Galileo's Vision in the 21st Century", Louisiana Art & Science Museum
2006 “Science as Muse”, Montgomery Center for the Arts, New Jersey
“Native New Yorker”, Supreme Trading, Brooklyn
2005 “Salon”, Makor Gallery, New York
“Beautiful Dreamer”, Spaces Gallery, Cleveland
2004 “DNA: Art & Science”, University of South Florida Contemporary Art Museum
2003 "Before and After Science", Marella Arte Contemporanea, Milan
2002 “Vivid”, Mead Gallery, Warwick Arts Center, Coventry; Northern Gallery for Contemporary Art, Sunderland
2001 “Vivid”, Richard Salmon Gallery, London

Statement: humans are gonna have to get their energy from recycling...
recycle is gonna be the most precious possession...

Sintesi Curriculum: I’ve been photographic my surroundings for the last 25 yrs. the quotidian din of galleries and magazine activities surrounded me In my formative years,. The haunts I favored were the darkroom and the typographic press. My aunt who bought me my first camera when I was eight years old supported my passion for photography. Since then I obsessively documented the life around me capturing moments and the people I love as a way of feeding my memory. The work is at times blurry much like the dissolving images and feelings of moments that have passed. The audience becomes emerged in an alternate reality drenched in intimacy bringing both the viewer and viewed into a space of nestled closeness. The composition of my work creates dynamism and a sense of mystery that forces the audiences curiosity onto the lives of those captured in the frame. “Her shots are still to lives and locators of emotions that assert the old adage ‘truth is stranger than fiction’. Te ordinary and the extraordinary form a mobius strip, allowing distinction and judgment to fall away.” Sienna Horton

Statement: Drawing is an ancient tradition, simple and accessible. Because drawing has been applied in so many different ways, from geographical maps to animation, it is an open medium, easy to manipulate and make your own. It is practiced in all cultures, loosening it from the constraints of historical suppositions. In my work, I use this universal medium to test the boundaries of tradition.

My work challenges cultural stereotypes by visually rendering the contradictions of nationality, heritage and the act of identifying simultaneously with separate, disparate societies. I use traditional patterns of South Asia to connect to and deepen my own sense of these parts of me. I also use the Western techniques of creating form as a way of acknowledging my upbringing and training in the United States.

The textiles of South Asia are now a popular part of America’s market similar to the way that products and trends from the U.S. have penetrated the East. Exchanges between the East and West reveal how oceans are not impenetrable margins. Instead, the boundaries between continents and humanity are increasingly fluid. In the same manner in which the world is changing to embrace multiplicity and mutability, my relationships to diverse cultures are in a constant flux, unstable and indefinable. I intend for my work to reflect this chaos.

In Landscape #1, I collaged paper that was found from Bangladesh and is hand made and block-printed. In this piece, I intend to create a landscape of pattern, using hybrids of animals from the East and West and the female figure to describe the complexities of identity.

Sintesi Curriculum:

Statement: Javier Infantes understands creation as a language of experimentation, as a method of investigation and adquisition of knowledge, all of this based on the freedom to create. He is interested in travelling somehow, towards our inner selves, towards what we are: thought, emotion, feeling, memory...
Moreover, he is attracted by our ability to generate intelligence, sensations, recollections...
Perhaps we are what we remember...
Recollections make us who we are.

Sintesi Curriculum: Estepona, Malaga (Spain)


jinfant3@hotmail.com

http://www.javierinfantes.blogspot.com/



Education

University of Seville. University of Madrid, Spain

B.F.A. Painting, 1996


Relevant Skills

• Certified in Multimedia Design. Malaga, Spain.

• He studied photography. Seville and Madrid, Spain

• He studied drawing. New York.


Experience

• ABC Newspaper. Madrid, Spain
Illustrator, 1997-1999
(Illustrating daily news and articles in most of the sections of the Newspaper)

• Freelance illustrator (during the last 12 years).

Hi published his works in:

Spanish magazines

El Viejo Topo, Escribir y Publicar (Barcelona)

Calviva , Claridad, Claves de Razon Practica (Madrid)

Extramuros (Granada)

Revistart (Barcelona)


USA magazines

Iberoamericana International (Miami, USA)


In the last few years Javier Infantes has illustrated texts and articles of illustrious public figures as importants as Jose Luis Rodriguez Zapatero (Spanish Prime Minister), Noam Chomsky ( linguist, philosopher, political activist), among others.

• Teacher of painting and photography. Malaga, Spain

• Decorative painter, (murals). Andalusia, Spain.


Exhibitions:


Solo:

-Aeon Logic Art Gallery. Brooklyn, NYC 2009.

-Spanish American Institute. Manhattan, NYC 2008.

-Exhibitions and Congresses Palace of Estepona. Malaga, Spain. 2006.

-Miramar Gallery. Estepona, Malaga. Spain. 1995.

-Miramar Gallery. Estepona, Malaga. Spain. 1993.

-Cultural Center of Estepona, Malaga. Spain, 1993.

-Uruguay Pavillion. Seville, 1992.


Group Show:

-Governors Island Art Fair. New York City (2009)

-Baron. Manhattan NYC. "Art Heals: The Unbreakable" Organized by Layla Love (2009)

-Bang&Olufsen. New York, Frankfurt and Istanbul (2009). Organized by www.unitedcreators.com

-Stoagallery. Estepona, Malaga. Spain 2009.

- Collective Hardware (Le Cirque d'Art Gallery) . Manhattan, NYC 2009.

- ArtExpo NYC. International Art Fair. Jacob Javits Center, Manhattan NYC. USA 2009.
-Stoagallery. Estepona, Malaga. Spain 2009.

-Port Authority Bus Terminal. Manhattan, NYC. USA 2008.

- International Art Fair Shanghai. Shanghai, China 2008

-Stoagallery. Estepona, Malaga. Spain. 2008.

-Colombian Consulate. Art group show . Manhattan, NYC. USA 2008.

-Tower Theater. Iberoamerican Art Exhibition . Miami, USA 2008.

-Hpgrp Gallery. Art Fair @ destination. New York, USA 2008

-Stoagallery. Estepona, Malaga. Spain. 2007.

-Congresses Palace Marbella. International Art Fair , Malaga. Spain, 2007.

-Victor’s Gallery. Marbella, Malaga. Spain, 2005

-“Velazanetti” Painting Prize. Burgos, Spain. 2000

- European Photography Prize. Madrid, Spain. 1997.

-Complutense University. Fine Arts Exhibition Hall. . Madrid, 1996.

-Virgin Megastore. Seville, 1994

-Uruguay Pavillion. Seville, 1993.

Statement: “Twelve Moons” is a series about 12 Chinese mothers, their 12 children, and the 12 animals of the Chinese zodiac. Greatly moved by the beauty of Italian Renaissance painting, and most especially the Madonna and Child symbolism, I sought to imbue the new China art with the same spirit. During the process of creating this work, I gradually found an understanding of the connection between the Chinese society of today and Italy of the Renaissance. The current conditions manifest the same gaps in cultural and wealth distribution between the two cultures.
This project with a casting call to find the best mothers and their infants to express the dichotomies of the new China society and the rapid development of the new China economy. The mothers came from distant villages all over China. Their husbands were low-wage workers in the construction sites. In Twelve Moons, the children were 3 to 8 months old, a period of the most rapid physical growth, as the new China is emerging after stunning growth.
The Chinese zodiac is a 12-year cycle. The birth-year animal is believed to be the determining factor in each person's life. The background of each photograph is a composite of several digital photographs: a "mash-up" of the new and the old China.

Sintesi Curriculum: Was born in Taipei, Taiwan. Now living and working in New York city since 1990. My fascination with photography began early in life, and I began creating my own photographs when I was 16 years old.

Statement: wood, paint, beads, tent rod, gem, enamel, tape

Sintesi Curriculum: Derek Larson is a video and installation artist working in sculpture, video and animation. His work has been exhibited in San Francisco, Seattle, Miami, Detroit, New York, and Toronto. A 2007 graduate of the MFA program at the Yale School of Art in Sculpture, Larson has taught at colleges in New Hampshire and Vermont. He was recently nominated for the 2009 Joan Mitchell Foundation Grant in New York.

Statement:

Sintesi Curriculum: Lily Xiying Yang and Honglei Li (杨熙瑛, 李宏磊) are new media artists from Beijing, currently based in New York City. Since 2005, they have been working under a collective name Lily & Honglei. Their creativity aims to develop new artistic expressions through integrating traditional art forms such as painting and Chinese folk art with digital language. By utilizing online virtual world and digital animations, Lily & Honglei's work are devoted to the reinterpretation of Chinese folklore traditions that remain highly relevant in reflecting on the current globalized culture and society.

Lily & Honglei actively engage in a wide range of new media art events, including FILE - Electronic Language International Festival in Brazil; 404 international festival of electronic art at Florence, Italy; Boston Cyberarts 10th Festival; Eyebeam Art + Technology Center at Chelsea, New York; "Art & Communication" in Museum of Ara Pacis at Rome, Italy; "@" exhibition curated by Ars Virtua and New Media Caucus at the National CAA 2009; Athens Video Art Festival; ImageRadio 2008 New Media Festival in Netherlands; FAD Festival de Arte Digital in Brazil; SIGGRAPH Slow Art Gallery in LA; ElectroFringe Festival of Electronic Arts & Culture in Australia; Rencontres Internationales in France; Digital Arts + New Media exhibition at Emergence Gallery of Duo Multicultural Art Center at East Village NYC; "Virtual Art" exhibition invited by NY Arts Magazine at Broadway Gallery NYC, among many others.

Lily & Honglei also present their work in a series of lectures, penal discussions and conferences, including "Navigating Cyberworlds: Creative Practice in Virtual Reality" panel discussion hosted by Boston Cyberarts 2009 at Boston University, presentation at "Upgrade! Boston" curated by Turbulence.org at CAVS in MIT, lecture "DSL Collection + DSL Cyber MoCA" at Steinhardt School in New York University, presentation of "Learning Objects and Media Education in the 21st Century" at UMass Instructional Technology Conference in MA, lecture "Fine Arts Films" at CVPA in University of Massachusetts Dartmouth, presentation "Experimental New Media" at Axiom Gallery in Boston. Their artworks and articles have been published on many art magazines in both print and online versions, those include a monograph "Fine Art Film" published by Lambert Academic Publishing in Germany; "Foreignness and Translation in New Media" in Media-N Spring Edition 2009 by New Media Caucus, IL; "TransForm" International New Media Art Exhibition Catalog; "Friction Research - Investigating Ruptures in the Art Political Grid" in Nictoglobe 2009 Spring issue in Amsterdam, Netherlands; “Traversing Sweet Illusions” in HyperArtSpace published by Boston Cyberarts Festival; "Forbidden City" in ACM magazine, New York, NY.

Their media solo exhibitions include, "Wall & City- Virtual World Performance and Multimedia" Exhibition at Monash University in Australia; "Land of Illusion - Chinese Folklore and Digital Media" Exhibition at American Library Association in New York; "Forbidden City - Digital Multimedia" Installation Exhibition at University Gallery at University of Massachusetts Dartmouth; "Prosperity - Experimental Animation" Exhibition at Artworks! Gallery in City of New Bedford, Massachusetts; "When the Fiction Becomes True - Experimental Video" Exhibition at College of Visual & Performing Arts Gallery, Massachusetts Dartmouth. Lily & Honglei held their solo painting exhibitions at Western Returned Scholars Association (WRSA), China; "Emerging" painting and mixed media exhibition in Kiel, Germany. Their paintings and new media artworks are collected by galleries and individuals internationally.

Lily & Honglei both studied fine arts in China and continued their education in art in America. Lily Xiying Yang received her MFA in Digital Media in College of Visual and Performing Arts in UMass Dartmouth in 2008, while Honglei Li received MFA in Painting in CVPA Massachusetts Dartmouth. Lily taught digital art and design in Emerson College and UMass Dartmouth, Honglei teaches traditional Chinese painting in Massachusetts College of Art and Design, previously taught drawing courses in UMass Dartmouth. Lily & Honglei also work as cultural activists, bloggers and curators dedicated to enhancing new media art exchanges Chinese and international artist communities. They founded "Land of Illusion" project in Second Life in 2007, a platform generating virtual-world performance and exhibitions for contemporary art and cultural studies through cross-continent collaborations on the Internet. In 2008, Lily & Honglei launched NY Arts New Media & Net-Art platform affiliated with NY Arts Magazine. In 2009, Lily & Honglei collaborate with DSL Collection of Chinese contemporary art to launch DSL Cyber MoCA (Museum of Contemporary Arts) in Second Life virtual environment. Since 2007, Lily & Honglei have curated several new media art exhibitions and screening series focusing on globalization's impact on culture and society.(see Media Gallery for more details)

Statement:

Sintesi Curriculum:

Statement: Performance

Sintesi Curriculum: Artist working with collage, photography and video.

Statement: Matteo Norzi, collaborating with Hilario Isola, has been developing and researching various modes of expression through sculpture. Their fourhanded artistic endeavour explores different fields of representation as light distortion directly on expositive sites or semantic manipulation on common-use objects. The intent is to compose installations, which are able to narrate on the prints that man leaves behind, investigating by deep ensouling intentions and, zooming out, as a journey to limbos where memories feather reality borders and recook them. Two points of view aim at transforming the work into an evocative commentary where both presence and absence redefine spaces. Rediscovering forgotten instinctual desires and longing to escape from the artificial express themselves in a dialectic nature. This ambiguity is nonetheless concurrent with the ephemeral nature of the human being and ineluctable alterations of our habitats. ‘Time erosion’ and ‘space taming’ are the conceptual terms and formal instruments the artists utilize in order to lead viewers towards a broader reflection on trespassing, destination, and purpose.

FALL
It is a self-generated work. With no beginning and no end. But it’s also a work about fragility, about life and decline. The idea is to lead towards reflections on mankind and nature, between transitivity and circularity, to express a sense of self-destructive unavoidability. A forced autumn of an evergreen plant as the fall from the garden of Eden.

Sintesi Curriculum: Matteo Norzi has worked collaboratively with Hilario Isola since 2003, pooling their backgrounds and interests in art history, museology and architecture. They create delicate, often visually subtle installations that respond directly to particular environments and every-day objects. They use the studio or gallery as both canvas and medium, responding both to architecture and found objects. Their installations might be seen as interventions into the gallery or studio space through poetic, minimal gestures, taking the idea of dematerialization to a new level.
They exhibited in Europe and the U.S. in private galleries and no-profit spaces such as Artist Space (NYC), Art in General (NYC), Smack Mellon (Brooklyn), Headlands Center for the Arts (San Francisco)

Statement: LA NATURA NELLE SUE SCELTE TENDE AL MASSIMO RIGORE DI ECONOMIA.
E' sulla base di questo concetto che ho sviluppato il mio lavoro.
I legami della materia sono impostati su rapporti geometrici armonici e su forme fondamentali semplici in alcuni casi caratterizzate dal rapporto di sezione aurea.
Ho scelto di rappresentare gli schemi di aggregazione delle bolle di sapone come esempio di questo principio.
In natura esse formano strutture alla base delle quali vi sono le figure geometriche semplici come il quadrato, il triangolo equilatero ed il pentagono.
In relazione al numero di bolle queste forme sintetizzano il principio di sviluppo armonico col minimo dispendio di energia.

Sintesi Curriculum: PREMI E RESIDENZE
2008 Kunst im Hospiz, St. Christoph (Austria)
Harlem Studio Fellowship, New York (USA)
2005 III Premio Internazionale d’Arte, Castello Visconteo, Pavia (I)

MOSTRE PERSONALI
2009 Prospettive, a cura di M. Tavola, Villa Sirtori, Olginate (LC)
2008 the (art of) dissemblance, con Masato Nagai, a cura di R. Bedarida, Harlem Studio Fellowship, New York
nUOVO, testo critico di C. Muccioli, La stanza dell’Aliprandi, Milano
2007 Ipotesi di un incontro, a cura di C. Muccioli, Citibank, Milano.

MOSTRE COLLETTIVE
2009 Istant Book Italian Artists New York, International Studio and Curatorial Program, Brooklyn, New York
From a to Anton, a cura di K. Thieler-Küchle, St. Anton, Austria
HARLEM STATES OF MIND - from Apollo to Lenox, a cura di D. Astrologo, R. Montrasio, con testi di R. Bedarida, M. Galbiati, C. Gatti, F. Montrasio, Montrasio Arte, Milano
HARLEM STATES OF MIND - from Apollo to Lenox, a cura di D. Astrologo, R. Montrasio, con testi di R. Bedarida, M. Galbiati, C. Gatti, F. Montrasio, Museo Civico Floriano Bodini, Gemonio (VA)
L'uomo e il suo destino, a cura di A. Dall’Asta, A. Madesani, D. Astrologo, C. Canali, M. Galbiati, C. Gatti, M. Tavola, F. Zanot, Galleria San Fedele, Milano
2008 PAINT IN dov'è Jackson Pollock? “realtà interiore... unica realtà”, a cura di L. Giudici e M.R. Pividori, StudioDieci, Vercelli
ArtVerona, a cura di F. Montrasio, stand Montrasio Arte
Profilo d’Arte 2008, Museo della Permanente, Milano. Itinerante nelle sedi di Banca Profilo, Brescia, Torino, Ferrara, Reggio Emilia, Roma
Identità dalla generazione anni ’70, a cura di C. Rizzi, Spazio Vuoto, Milano
Acquisizioni 2008, a cura di C. Rizzi, Civico Museo Parisi-Valle, Maccagno (VA)
BAF-Bergamo Arte Fiera, a cura di M.R. Pividori, Stand Dieci.due! Bergamo
2007 Collettiva, a cura di S. Mandelli, Mandelli Arte Contemporanea, Seregno (MI)
Terre d’acqua. In-Via l’Arte, a cura di M.R. Pividori e P. Inferrera, testi critici di M.Galbiati, L.Giudici, C.Guerra, A.Madesani, Spazio Culturale S.Chiara, Vercelli
SerrONE Biennale Giovani Monza, Serrone di Villa Reale, Monza
Profilo d’Arte 2007, Museo della Permanente, Milano. Itinerante nelle sedi Banca Profilo, Brescia, Torino, Ferrara, Reggio Emilia, Roma
MAC, a cura di C. Muccioli, Villa Valentina, Marotta (PU)
L’invenzione dell’Arte, a cura di C. Muccioli, Salone Aurora del Convento di S.Agostino, Mondolfo (PU)
Bianco, Rosso e Nero come il riso “sulle vie del Parariso”, a cura di M. R. Pividori, Museo Malandra, Vespolate (NO)
Il Male, a cura di A. Dall’Asta, A. Madesani, D. Astrologo, C. Canali, M. Galbiati, C. Gatti, A. Orsini, S. Pirovano, F. Zanot, Galleria San Fedele, Milano
2006 Icons. Kate Moss, a cura di C. Canali, Galleria Arte in S.Lorenzo3, Parma
Premio Razzano, segnalata da E. Pontiggia, Rocca dei Rettori, Benevento
Un lavoro fatto ad Arte, a cura di V. Pirola, Palazzo Te, Mantova
2005 Premio Nazionale Luigi Brambati, a cura di R. Bossaglia, Comune di Castiglione d’Adda (LO)
III Premio Internazionale d’Arte, Castello Visconteo, Pavia
2004 B.A.rt 2004, a cura di A. Madesani, Fondazione Bandera, Busto Arsizio (VA)
Artemporanea, CO-RE, Monza
Ritmi, a cura di A. Dall’Asta, S. Pirovano, Spazio Comune, Bollate (MI)
Il Sacro, a cura di A. Dall’Asta, S. Pirovano, Galleria San Fedele, Milano

Statement: the street becomes “a platform from which to observe the world in its totality and from which to get a clearer perception of reality.”

Sintesi Curriculum: Luca Pizzaroni – Visual Artist -

Walter Benjamin’s [The Arcades Project, 1927] interpretation of the concept of the flaneur as expressed by Baudelaire [Le Spleen de Paris, 1862] is that the contemporary flaneur is a figure that has nothing in common with the tourist, shopper, indefatigable walker, victim of the crowd, or instrument of capitalism. A flaneur takes pleasure in the haste and bustle of city streets, manuevers through these crowded streets with the eye of an artist, yet is different from them.

Luca Pizzaroni, who works in video and still photography well represents the postmodern flaneur.An active spectator of contemporary life and urban settings with an interest in the multiple facets of human disposition, he sets up house in the middle of the multitude, amid the ebb and flow of movement, amid the fugitive and infinite.His work has involved the creation of conceptually based sociopolitical pictures and films which have been featured in museums and film festivals around the world.

He was co-author of Endcommercial: Reading the City, Hatje Cantz Publishers (2002), an analytical observation of recurring urban iconographies of over 60,000 images of New York and other cities. The book, containing more than 1000 images, has been widely acclaimed for creating a new visual vocabulary that describes the urban experience.

Statement: This piece represents a future where growing world populations will need higher buildings to accommodate smaller footprints. One simple way such high–rises can reduce their carbon footprints is by planting greenery directly onto the structure, providing natural insulation from hot and cold temperatures, and cleansing the air of carbon emissions.
The future will be a place where energy will be used more efficiently; where creative solutions are employed to harness power from natural resources such as the wind, water, solar, and plant-life. By partnering with nature, growing energy needs can be met sustainably and cleanly, while simultaneously helping to beautify our cities with more green. In-so-doing, perhaps the mythically beautiful “hanging gardens of Babylon” can once more become a reality. By blending future energy needs with more beautiful, sustainable solutions, we can raise the quality of life for a greater number of people across the world.
(Description of artwork: 70 hand-cut ink and acrylic drawings on mylar. Building was modeled in the 3-D modeling program Maya, then hand-drawn and painted.)

Sintesi Curriculum: Selected Exhibitions
2009: Utopia, Little Berlin Gallery, Philadelphia, PA
2009: Vertical Gardens, Exit Art, New York, NY
2009: Cut it Out, Open Space Gallery, Beacon, NY
2009: Postcards from the Edge, Metro Pictures, New York, NY
2008: Dream Tigers, Vaudville Park, Brooklyn, NY
2007: Meta-Majesty, Chashama Gallery, New York, NY
2006: Drawing Perspectives, curated by Formavision, 35 Greene Street, New York, NY
2005: Showcase, Pennsylvania Convention Center, Philadelphia, PA
2005: Voxennial 2005, Vox Populi Gallery, Philadelphia, PA

Awards & Residencies
2005: Mid Atlantic Arts Foundation Creative Fellow
2005: Millay Colony Residency Award, Austerlitz, NY
2004: Vermont Studio Center Scholarship Award, Johnson, VT
2003-05: Chair Merit Scholarship Award, University of Pennsylvania, Philadelphia, PA

Bibliography
2009: Vertical Gardens Exhibition Catalogue, Exit Art.
2009: Channel 13 Sunday Art News, 05/03/09.
2009: Dawson, Gloria. The Past, Present and Future of Green Roofs and Vertical Gardens. www.thedailygreen.com, March 25
2009: Björk, Johanna. Vertical Gardens. www.goodlifer.com/2009/03/vertical-gardens, March 30
2009: Indresik, Scott. This Place Does Not Exist: Naomi Reis and the Architecture of Utopia. Anthem Magazine, Jan/Feb.
2008: Grawe, Sam. Theme Attic: Bauhaus, Dwell Magazine, December.
2007: Weng, Sasha. City Adventure: Naomi Reis, dpi Magazine Taiwan, July, p83-87.
2007: Kim, Na-ring. World Artists, ElleGirl Korea, July, p98.
2005: Hill, Lori. First Friday Focus: The Ice Box, City Paper Philadelphia, May 5-11, p43.
2005: New American Paintings, Mid-Atlantic Edition, April.
Juror: Jonathan Binstock, Curator of Contemporary Art, The Corcoran Museum of Art

Statement: Terna Prize 02
Connectivity New York 2009
FULL STATEMENT: Giada Ripa
Art work: Untitled from Falling Icons; Traditional Photography
(English version; segue versione Italiana)


Giada Ripa’s latest work has focused on the analysis of space as a means for exploring personal identity. In addition to her documentary approach to photography, Ripa has developed, as an artist, a body of work characterized by introspection and experimentation, often using landscapes and energy production sites as inspiration and as a backdrop for her performances. During her travels through the former Soviet Union satellites countries, her explorations through the Caucasus and Central Asia, from Georgia to Turkestan, a pressing need for a more personalized way of expression slowly emerged.
Falling Icons, is a poetic narration of “ the art of falling”, in which a contemporary woman obsessively confronts herself with foreign and distant places loaded with symbolic stratifications and cultural, historical and geopolitical implications. In these images space takes over the human figure transforming it into a mere pawn swept up in the processes of transformation of these territories. In her photographs Giada appears as a woman in transit, a wandering figure, an anonymous presence in places that are in transition and still searching for a specific identity.
The ambiguity of the uncertainty of a final fall or of a sudden swing of the hip to return to the upright position makes these Falling Icons images in the making, in constant movement in the mind of the observer who can at any moment become judge and creator of the destiny of that woman and of her environment.
What is the quality of the gravity that pulls women to the ground in Giada Ripa’s photographs? Perhaps it’s the same wind that is the source of energy used by the machines? Is it exhaustion at having travelled so far from home, or a communion with the energy, the soil, the sand, the snow?
Ripa’s images defy stereotyped notions of the landscape as a comforting commodity, which we often travel to. These locations are craggy, unhospitable places, sometimes burnt or frozen, in which both past and future feel challenging. They are situated at all points on the continuum between developed and untouched, inhabited and abandoned.
These territories appear not as exoticized sites, but as harsh environments in which the forces of industry and capitalism clash with those of climate, history, culture and religion.
Ripa’s staged performances lead us to ask how these conditions might affect the women who live there.




From the mathematical equation to the economic and aesthetic one: MANKIND’S growing need for ENERGY in the FUTURE depends on his capability of preserving the ENVIRONMENT and the territory within which he lives.
The human figure that appears in the image is upheld by the same energy that moves the wind turbine blades of one of the future renewable energy projects and represents the Icon of this inevitable equation. This fragile stability wants to witness the tight and essential bond that links future economic growth, possible thanks to the alternative energy supplies, with the necessity for mankind to preserve the environment in all its forms, aesthetics and landscape included.
The muteness or silence of these women, like that of photography itself, makes all these stories possible.





(Versione Italiana)

Nei suoi ultimi lavori, Giada Ripa ha focalizzato la sua ricerca sull’analisi dello spazio come possibilità d’indagine dell’identità personale.

Parallelamente al suo approccio documentario alla fotografia, Giada ha silenziosamente sviluppato, come artista, un progetto d’introspezione e di sperimentazione, spesso usando paesaggi e siti di produzione di energia come ispirazione e sfondo per le sue performance. Durante i suoi viaggi nei paesi dell’ex Unione Sovietica, nelle sue ispezioni lungo il Caucaso, attraverso tutta l’Asia Centrale, dalla Georgia al Turkestan, lentamente è cresciuta in lei l’urgenza di una ricerca che ha sentito dover essere più personale.

Falling Icons, l’ultima serie, è una narrazione poetica ”dell’Arte della caduta”, in cui una giovane donna contemporanea si confronta ostinatamente con luoghi a lei estranei, ma carichi di stratificazioni simboliche, ricchi d’implicazioni storico - culturali e geopolitiche. Lo spazio prende il sopravvento sulla figura umana che diventa una mera pedina in bilico nei processi di trasformazione del territorio.

Nelle sue fotografie Giada Ripa appare come una figura in transito, una figura errante, una presenza anonima in luoghi in transizione, alla ricerca di un identita’ precisa.

Che tipo di gravita’ trascina a terra le donne delle immagini di Giada Ripa? Forse è lo stesso vento che è la risorsa di energia usata dai macchinari? E’ lo sfinimento per l’aver viaggiato cosi lontano da casa, o la premessa per una comunione con l’energia, il suolo, la sabbia, e la neve?

L’ambiguità dell’incertezza di una caduta finale o di un immediato colpo di anca per ritornare a stare in piedi, rende queste “Falling Icons” immagini in divenire, in continuo movimento nella mente dell’ osservatore che può permettersi in ogni istante di essere giudice e creatore del destino di quella donna e del suo ambiente.

Le immagini di Giada Ripa resistono alle nozioni stereotipate di quei territori dalle comodità confortevoli verso le quali spesso ci dirigiamo. Sono invece luoghi scoscesi, inospitali, e alcune volte addirittura bruciati o coperti dai ghiacci, deserti nei quali il passato e il futuro si mettono in gioco. Sono sempre spazi in bilico tra lo sviluppo e l’incontaminato, tra l’essere territori abitati e abbandonati.
I luoghi qui non appaiono come siti esotizzanti, ma piuttosto come ambienti in cui le forze dell’industria e del capitalismo si scontrano con quelle del clima, della storia e della cultura.

Le performance messe in scena dall’artista ci fanno riflettere sulle condizioni in cui queste donne si trovano a vivere in quei territori .



Dall'equazione matematica a quella economica e poi estetica: il bisogno sempre crescente di poter disporre di ENERGIA sta al FUTURO, come l’uomo è condizionato dalla sua capacita di preservare l’AMBIENTE e il paesaggio nel quale si trova.
La figura umana che appare nell’ immagine e’ sostenuta dalla stessa energia che muove le pale della torre di una delle future fonti energetiche e rappresenta l’ Icona di questa inevitabile equazione. Questa fragile stabilita’ vuole testimoniare lo stretto e imprescindibile legame che condiziona il futuro sviluppo economico, reso possibile dalle nuove fonti di energie, con la necessità per l’uomo di preservare l’ambiente in tutte le sue forme, estetiche e paesaggistiche incluse.

Il silenzio di queste donne, muto come quello della fotografia stessa, rende tutte le storie possibili.

Sintesi Curriculum: Raised in Brussels and in London, Giada Ripa graduated in International Relations (Pol.Science) and moved to New York in 1997 to collaborate in several film production projects. Based in New York for the last ten years, she began her photography career in 1999, working both as an artist exhibiting her work in the US, Europe and China, and as a correspondent photographer (represented by Grazia Neri agency) for some of the most influential Italian and foreign magazines.
In 2000 Denis Curti curates her first solo show at the Spazio San Carpoforo. In 2002, Biz-Art in Shanghai and the Italian Insitute of Beijing invites Giada to present her work in two solo shows. Since then a great deal of her personal and artistic work has been focused in that area of the world; China, Central Asia, and the Caucasus .
Since 2005, she has been collaborating and teaching photography at the Domus Academy in Milan and at the International Centre of Photography in New York.
In 2006, her work was featured in a book released by the International Museum of Women of San Francisco “Imagining Ourselves: Voices of a new generation of Women” .She is currently developing a new book project " Beyond the Oil Route", retracing the face of humanity living beyond the former "Silk Route” today known as the “ Oil Route”. Her work will be exhibited in 2010 at the Museum Of Modern Art in Moscow
---------------------------------------
Cresciuta tra Bruxelles e Londra, Giada Ripa si laurea in Scienze Politiche - Relazioni Internazionali presso l’Universta’ Statale di Milano e si trasferisce a NY nel 1997 per studiare presso l’International Centre of Photography (ICP).
A partire del 1999, con base a New York, Inizia così la sua carriera di fotografa. Espone le sue opere in America, Europa e in Cina e lavora allo stesso tempo come corrispondente, rappresentata dall’ Agenzia Grazia Neri, per importanti riviste Italiane e straniere. Nel 2000 Denis Curti cura la sua prima personale presso Lo spazio San Carpoforo.
Dal 2002, anno in cui viene invitata in due personali da : BizArt a Shanghai, e dall’Istituto Italiano di Pekino, la sua ricerca personale e artistica si concentra in quell’area del mondo: Cina, Caucaso ed Asia centrale.
Dal 2005 Collabora ed insegna fotografia presso La Domus Academy di Milano e l’ICP di New York.
Nel 2006 i suoi lavori sono selezionati e raccolti in un libro “Imagining Oursleves; Voices of a New Generation of Women” pubblicato dal International Museum of Women of San Francisco e mostrati presso le Nazioni Unite a NY nel 2006. Sta Attualmente sviluppando un progetto per un libro “Beyond the Oil Route” che ritrae il volto dei popoli che vivono lungo la “ via della seta”, oggi conosciuta come “ la via del petrolio. Nel 2010 i suoi lavori saranno esposti in una personale presso il Museo di Arte Moderna di Mosca.

Statement: Rispetto al tema “Energia : Umanità = Futuro : Ambiente. La proporzione per una nuova estetica” il lavoro che presento guarda all’ambiente ed al nostro rapporto con esso come punto di partenza fondamentale.
Esercizio # 2 raccoglie in una sorta di piccola enciclopedia visiva, frammenti di immagini prelevate da luoghi e paesaggi diversi. Si tratta di spazi densamente urbanizzati o di stralci di realtà di paesi in via di sviluppo che compongo in una relazione di forme triangolari e quadrate.  L’armonia e la relazione tra le diverse immagini è suggerita dalle linee tratteggiate e appare come l’unica via percorribile in un’ipotesi di sviluppo sostenibile nella relazione tra uomo e ambiente.

Sintesi Curriculum: Palermo, 1968.
Diplomato all’Accademia di Belle Arti, Bologna. Vive e lavora tra New York e Palermo.

UNA FACCIATA PER PALAZZO RISO, Palermo
AVIARY, Artists Space, New York
XV QUADRIENNALE, Palazzo delle Esposizioni, Roma
SYSTEM ERROR: WAR IS A FORCE THAT GIVES US MEANING, Palazzo delle Papesse, Siena
WOODSY, Italian Academy, Columbia University, New York
FRAMING EXPOSURE: PROCESS AND POLITICS, ICA, Philadelphia
OFFICINA AMERICA, Villa delle Rose, Bologna
ON THE WALL, The Risd Museum, Providence, USA
CACHE CACHE CAMOUFLAGE, Mu'Dac, Lausanne
WITHIN THESE WALLS, Art and Idea, Città del Messico       
ARTIST IN THE MARKET PLACE, Bronx Museum, New York..

Statement: As a memorial to the events of September 11 2001, the towers of light illuminate the skies of Lower Manhattan on the anniversary date. The ever changing downtown skyline has been the main focus of my work for the last decade with the Witness and Downtown Rising series. This series of elegiac oil and watercolor paintings chronicle the destruction and reconstruction of the Lower Manhattan skyline and the renewal of the human spirit.

Sintesi Curriculum: Todd Stone
Select Solo Exhibitions
2008 Redbone Gallery, Islamorada, FL.
2007 Midlantic Arts Consortium,Perkasie, PA
2006 James A, Michener Museum, Doylestown, PA
2004 Northampton College, Bethlehem, PA
2003 Wichita Falls Museum, Wichita Falls, TX
2003 Art Museum of Southeast Texas, Beaumont, TX
2003 Steinhardt Gallery, Brooklyn Botanic Garden, NY
2003 Ellen Noel Museum, Odessa, TX
1996 Remington Museum, Ogdensburg, NY
1995 Lake Placid Center for the Arts, Lake Placid, NY
1993 Blue Hill Cultural Center, Pearl River, NY
1988 Atlantic Kempinski, Hamburg, Germany
1986 Robert Mondavi Winery, Oakville, CA
1984 Galerie Meissner, Hamburg, Germany
1983 Arras Gallery, New York, NY
1981 Martha White Gallery, Louisville, KY
1979 Fred Dorfman Gallery, New York, NY
1978 Tanglewood Gallery, New York, NY
1977 Ten Downtown, New York, NY
1975 Williams College Art Museum, Williamstown, MA

Select Group Exhibitions
2005 Neiman Gallery, Columbia U., New York, NY
2005 Tribeca Film Festival, New York, NY
2005 Lower Manhattan Cultural Council, New York, NY
2004 Opelousas Museum of Art, Opelousas, LA
2003 National Academy of Design, New York, NY
2003 Biennale Internazionale Dell'Arte di Firenze, Italy
2002 The New York Historical Society, New York, NY
2002 MMC Gallery, New York, NY
2002 The Museum of the City of New York, NY
2002 Bronx River Art Center, Bronx, NY
2000 Olympic Museum, Lake Placid, NY, Goodwill Games
1999 Delaware Center of Contemporary Art, Wilmington
1998 Bucknell University Art Gallery, Lewisburg, PA
1997 Broome Street Gallery, New York, NY
1997 The State Museum of PA, Harrisburg, PA
1995 Berkshire Museum, Pittsfield, MA
1994 Bridgewater/Lustberg Gallery, New York, NY
1987 112 Greene Street, New York, NY
1984 Internazionale D'Arte, Todi, Italy
1983 Basel Art Fair, Switzerland (1983–-86)
1983 Arte Cologne, Germany (1983–-86)
1983 Sutton Gallery, New York, NY
1982 Arras Gallery, New York, NY
1977 Marilyn Pearl Gallery, New York, NY
1974 Museum of Albuquerque, Albuquerque, NM

Awards and Grants
2005 Pew Foundation Finalist
2004 John Anson Kittredge Fund
2003 Puffin Foundation
1997 State Museum of Pennsylvania Painting Award
1976 National Endowment for the Arts Fellowship Painting
1975 Lawrence Museum Purchase Award
1974 Museum of Albuquerque, Albuquerque, NM

Bibliography
2009 Tribeca Trib, January
2007 Harpers Magazine, July
9/11/06 Moss-Coane,Marty Radio Times WHYY, Phil.
2006 Dormant,Linda. Philly Art Matters Cover 9/06
2006 Publisher’s Weekly Cover 8/21/06
2006 Sozanski, Edward. The Philadelphia Enquirer
review and reproductions 8/6/06 and 9/9/06
2006 Wartenberg,Steve.TheMorning Call 7/21/06 (article)
2006 Hess, Rebecca. The Express-Times 7/21/06 (article)
2006 Stoekert,Anthony. Princeton Time Off 8/3/06
2006 Enoch-Rex,Cassidy. Princeton US 1 8/16/06
2005 Hann, Christopher. Art & Antiques Magazine
January "Emerging Artist" (reproduction)
2005 Richardson,Clem The New York Daily News. August 1
2004 Meagher, Tom. Herald News. September 11 (article)
2004 Gehmann, Geoff. The Morning Call. Sept. 11 (article)
2004 Briggs, Stacy. Doylestown Intelligencer. Sept. 9 (repro)
2004 Guhl, Kevin J. Delaware Valley News. August 26
2004 Parker,Jacqueline. Country Roads July (repro.)
2003 Watts, Naomi. Odessa American. May 13 (article)
2002 Laura Mirsky. Delaware Valley News. Sept. 5 (article)
2000 Kahn, Robert. City Secrets Rome
(pp.97-98) The Little Bookroom Publisher, March
1996 A Collection of American Art,
US Embassy in Guatemala (catalogue)
1995 National Exhibition of Works on Paper
(Exhibition catalogue) The Berkshire Museum,
Berkshire Art Association (reproduction)
1994 Belden, Michael. Unearthly Vision (article)
Hudson Valley Magazine, March (reproduction
1994 Raynor, Vivien. Review, The New York Times,
January 23 (reproduction)
1988 Plattny, Cornelia. Surreales Von Todd Stone (article)
Hamburger Abendblatt, November (reproduction)
1984 Albrecht, Herbert. Review Hamburg Die Welt.
August 21.
1984 Art Cologne Internationier Kunstmarkt
(Exhibition catalogue, reproduction)
1983 Harris, Susan A. Review, Arts Magazine, May.
1981 Brentano, Robyn.
112 Greene Street Workshop History,
Artists & Artworks, NYU Press (reproduction)
1980 Findsen, Owen. Review
Cincinnati Enquirer, February 20.
1979 Koether, Philip. Review, Art/World Magazine,
November (reproduction)
1979 Plummer, Leslie. Review, New York Arts Journal, November
1977 Perrault, John. Ten Downtown (article)
Soho News Volume 4 No. 33
1977 Alloway, Lawrence. Ten Downtown Ten Years

Selected Collections
Art in Embassies Program, Washington, DC
Atlantic Richfield Corporation, SF, CA
Banco Nationale de Lavoro, Rome, Italy
Bankers Trust Corporation, New York, NY
Brown Forman Distilleries, Louisville, KY
Cabrini Hospice, New York, NY
Chubb Insurance, Warren, NJ
Citicorp, New York, NY
Hypobank, Lubeck, Germany
Huntington National Bank, Columbus, OH
Hypobank, Hamburg, Germany
James A. Michener Art Museum, Doylestown, PA
Lake Placid Lodge, Lake Placid, NY
Lufthansa Airlines, Munich, Germany
Museum of the City of New York, NY, NY
Napa Valley Opera, Napa, CA
Pace Collection, Dallas, TX
RJ Reynolds, Winston-Salem, NC
Readers Digest Inc., Purchase, NY
Stone Energy Corporation, Lafayette, LA
Time Warner Inc, New York, NY
Unilever Corporation, Hamburg, Germany
Williams College Museum, Williamstown, MA

Education
BFA 1974, University of New Mexico, Albuquerque, NM
Wesleyan University, Middletown, CT

Statement: The work consists of two elements layered over one another. The first is a spider's web which was misted with silver spray paint and lifted onto a sheet of paper. The spider's web was so fragile that some parts of the web were broken in the process of transferring it to paper. These broken ends become the departure points for the second layer, an inkjet print on transparency film. I wrote a computer program that found all of the broken web ends, then generated lines of various thickness and form to reconnect the broken ends of the web.

Sintesi Curriculum: JOSH TONSFELDT

Born in 1979 in Independence, Missouri
Lives and works in Brooklyn, New York

Education:

2007 MFA, Columbia University, New York, NY
2004 BA, Purchase College, Purchase, NY


Solo Exhibitions:

2010 Franco Soffiantino, Turin, I
2008 Physician’s Horse Vanishes, Simon Preston, New York, NY


Group Exhibitions:

2009 Phot(o)bjects, Presentation House Gallery, Vancouver, CAN, Lawrimore Project, Seattle, WA (curated by Bob Nickas)
The Kitchen, New York, NY

2008 Controversies of the Common Experience, Soil, Seattle, WA (curated by Vesna Pavlovic)
Object Salon, White Space Gallery, London, UK (curated by Thomas Beale, Kathy Grayson, Emily Spears Meers, Anya
Stonelake & Nadim Samman)
Hermann’s Grid, Franco Soffiantino Artecontemporanea, Turin, Italy (curated by Gareth James)
Idiolects, Brown, London, UK (curated by Lumi Tan)
Evas Arche und Der Feminist Number 15, Gavin Brown’s Enterprise, New York, NY
Object Salon, Honey Space, New York, NY
CRG Open Video Series, CRG Gallery, New York, NY
If I told you you were beautiful, would you date me on the regular?,Oliver Kamm Gallery, New York, NY
Eleven Sessions, Orchard, New York, NY (curated by Bob Nickas)
Nina in Position, Artists Space, New York, NY
Squaring the Circle, Suite 405, Brooklyn, NY

Statement: Part of my Chinese Sentiment Project, photographed in Wuhan, China.

Sintesi Curriculum:

Statement: My work addresses the idea of nature. Most of my inspiration comes from organic forms and the growth of life in contrast and combination with manmade objects. I am interested in human beings as part of nature and in human beings as those who perceive nature and therefore construct the idea of nature. Everything on earth stands for its own, though is in constant interaction with all on earth and beyond. Yet there is a gap between nature and man: the perception of reality. Man has the ability and need to perceive reality in order to understand life. In the name of science, we explore and explain the surrounding world and thereby create a database of facts and a so-called “reality.” My work is reminiscent of scientific records; it pretends to be real by being neither real nor unreal.

Sintesi Curriculum: 2007 – 2009 the MFA Master of
Fine Art Studio Program at The City College of New York /USA
2001- 2005 BFA Study at the Hochschule für Gestaltung
und Kunst in Lucerne /Switzerland,
Field of study: Visual Communication and Illustration
2004 exchange at the Hochschule für Angewandte
Wissenschaften,Armgartstrasse in Hamburg /Germany
2000 – 2001 Vorkurs, Schule für Gestaltung Bern / Switzerland

Statement: The main component of my recent oil paintings are the organic lines that I have developed over the years. They originated from sketches of pornographic images.

A few years ago, while painting portraits, I grew tired of painting from photographs and wanted to use live models. I was looking for something more active than stiff poses. I started to look at pornographic images. They were wonderful for sketching. I liked the energy and vigorous lines that emerged.

Since then, these sketches have evolved into something more abstract. They look more like body parts intertwined to form their own universe. These “parts” are not necessarily human and could be from any living thing. I draw the “parts” in red with tiny brushes directly onto the canvas. Then, I structure a geometric landscape around them. I am strongly influenced by Francis Bacon, Willem de Kooning and Nicolas Poussin. Years of Asian calligraphy lessons have also influenced my lines.

I use sweet and sugary colors. The happy colors create a juxtaposition with the content which is basically about human tragedy. I use color to differentiate the space between: playing with positive and negative spaces to suggest the existence of hidden dimensions.

Sintesi Curriculum: AWARDS/HONORS/RESIDENCY

Vermont Studio Center, Johnson, Vermont, November, 2008
Triangle Artists Workshop, Brooklyn, NY, September, 2008
19th National Drawing and Print Competitive Exhibition, Gormley gallery,
College of Notre Dame, MD, 2008
The sixth Annual Juried Exhibition, Organization of Independent Artists,
New York, NY, 2008
Rema Hort Mann Grant nomination, 2000
Flint Family Merit Scholarship, Cranbrook Academy of Art,
Bloomfield Hill, MI 1997-1998
Michigan Fine Art Competition, Bloomfield Hills Art Association, MI
First Prize, The Korea Times Youth Artists Competition,
Baiksang Gallery, Seoul, Korea, 1995
The Korea Grand Art Exhibition, The National Museum of Contemporary Art
1994, Special Prize, 1995


SELECTED EXHIBITIONS

“Art Under the Bridge” Festival, Triangle International Artists Workshop Open Studio,
Dumbo, Brooklyn, NY, 2008
Night of 1,000 Drawings, Artists Space Gallery, New York, NY, 2008
19th National Drawing and Print Competitive Exhibition, Gormley gallery,
College of Notre Dame, MD, 2008
The sixth Annual Juried Exhibition, The New York Law School, New York, NY, 2008
Chelsea International Fine Arts Competition, Agora Gallery, New York, NY, 2008
Linear & More, Gallery Korea, New York, NY, 2006
Me, myself and my emotion, Taste like chicken gallery, Brooklyn, NY, 2005
Night of 1,000 Drawings, Artists Space Gallery, New York, NY, 2004
10614Km, Dukwon Gallery, Seoul, Korea, 2004
Second Nature, Fish Tank Gallery, Brooklyn, NY, 2004
6595 Miles, Cranbrook Art Museum, MI, 2004
Night of 1,000 Drawings, Artists Space Gallery, New York, NY, 2003
Majority Rules, Free Gallery, Glasgow, Scotland, 2003
Printmaking defined; International group exhibit of contemporary artist, Awagin Plaza,
Tokushima city, Tokushima, Japan, 2001
Art & Technology, Memphis College of Art, Memphis, TN, 1998
Staff show, Belvoir Terrace Art and Performing Center, Lenox, MA, 1998
MFA show, Cranbrook Art Museum, MI, 1998
Summer show, Cranbrook Art Museum, MI, 1998
Returning Student Juried show, Network Gallery, Pontiac, MI, 1997
True Crime, Cranbrook Art museum, Bloomfield Hill, MI, 1997
Michigan Fine Art Competition, Bloomfield Art Association Hall, MI, 1997
Forget Death, Cranbrook Art Museum, MI, 1997
Intersection, Forum Gallery, Bloomfield Hill, MI, 1996
Decked, Cranbrook Art Museum, Bloomfield Hill, MI, 1996
Korea Times Youth Artists Selected Exhibition, Baiksang Gallery, Seoul, Korea, 1995
MFA show, Ewha University Art Museum, Seoul, Korea, 1995
Suhee Wooh, INDECO Gallery, Seoul, Korea, 1994
Exhibition of New Form 94, Yoon gallery, Seoul, Korea, 1994
The Korea Grand Art Exhibition, The National Museum of Contemporary Art
Kwachon, Korea, 1994
Contemporary Art Festival, Art Center, Seoul, Korea, 1994
Seoul Print City on Tour Exhibition, 0/editon, Yoon Gallery, Seoul, Korea, 1994
Media, Kyongin Gallery, Seoul, Korea, 1994
The Experimental Spirit, Baiksang Gallery, Seoul, Korea, 1994


EDUCATION

Cranbrook Academy of Art, Michigan, MFA., 1998
Ewha University, Seoul, Korea, M.F.A. in Painting, 1995
Ewha University, Seoul, Korea, B.F.A. in Painting, 1992

BIBLIOGRAPHY(*reviews)

“Triangle Open Studio”, James wagner
(“http://jameswagner.com/2008/09/triangle_arts_open_s.html)
”Exhibition Reviews”, The Joongang Daily, October 6, 2006
*”Art Reviews”, The Segye Times, September 30, 2006
”Exhibition Reviews”, Jinhae Kim, The Korea Times, October 12, 2006
*Haber, John. “Art Reviews from Around New York: 7.12.04.” Haberarts, July 2004
*“Art & Features, Korean Art show makes the journey, all 6595 miles”, Crane–Clarion, February 2004
“Artist of the month”, Artists Space Gallery Slide Registry, 2001
The Korea Times Youth Artists Competition Catalog, June 1995
*“Interviews with the Artists”, The Korea Times, June 21, 1995
A Student’s Perspective on Contemporary Printmaking, Southern Graphics Council Conference, Athens, OH, 1998

Statement: If a conception of the future originates within the mind of the present and embodies the spirit of the past, can an exploration of the contemporary subconscious reveal a glimpse of tomorrow?
 
My paintings are intuitive landscapes. They are not composed from the observation of a specific place nor are they conjured from memory. Instead they are what I refer to as psychological ecosystems conceived from my attempts to negotiate a sustainable ecology between representation and abstraction, sensation and reminiscence amidst what is revealed and what is concealed, what embodies light and what retreats into darkness.
 
Within these attempts to orchestrate a delicate balance between opposing energies, I engage in a constant search for utopian ecologies in the midst of the horrific and the sublime.

Sintesi Curriculum: Education
MFA, Pennsylvania Academy of the Fine Arts
BFA, Ontario College of Art and Design

Exhibitions
2009 BCI, Hamilton Conservatory for the Arts, Hamilton, ON, Canada
Abstract EXPOsure, April 2009, online juried exhibition, Nevada, US
2008 Outward is Inward, Sloan Fine Art, New York, NY
2007 Wills Building Artist Project, LIC, NY
2005 Sheridan Gallery, School of Animation Arts and Design, Oakville, ON, Canada
2003 New Work, Encomium Contemporary Art, Toronto, ON, Canada
2002 Recent Work, Revolver Contemporary Art, Toronto, ON, Canada
2001 Eight up, Red Head Gallery, Toronto, ON, Canada
2000 Museum of American Art, Philadelphia, PA
1999 Unbroken Line, Museum of American Art, Philadelphia, PA
1998 Thesis Exhibition, Academy Gallery, Pennsylvania Academy of the Fine Arts, Philadelphia, PA
Waterfront, Idee Gallery, Toronto, ON, Canada
1997 Works on Paper, Blackwood Gallery, University of Toronto, Mississauga, Ontario
The Walking Public, Peter Street Space, Toronto, ON, Canada

Awards
2009 J. Blake Williams Award, Hamilton Conservatory for the Arts, Hamilton, ON, Canada
2000 Artist Fellowship Award, Museum of American Art, Philadelphia, PA
1998 Greys Tuition Scholarship, Pennsylvania Academy of the Fine Arts, Philadelphia, PA
1997 Gilroy Roberts Tuition Scholarship, Pennsylvania Academy of the Fine Arts, Philadelphia, PA
1996 Eric Freifeld Scholarship, Ontario College of Art, Toronto, Ontario

Press & Publications
2009 The Artist’s Magazine 26th Annual Art Competition, Abstract/Experimental category, finalist
2009 Studio Visit magazine, Winter edition
2009 Studio Visit magazine, Spring edition
2008 Imploding Landscapes, Alyssa Tang, NY Art Beat, June 5, 2008
2007 Dialogue with Form, Ted Zourntos, Art Education, National Art Education Association, November issue
2001 Eight up, Deidre Hanna, Now Magazine, September 12, 2001
1999 Catalogue, Unbroken Line, essay by Silvia Yount, curator, Museum of American Art, Philadelphia, PA