Creative Sugar Magazine - Sept 2013

CREATIVE SUGAR
THE FALL ISSUE

SEPTEMBER 2013 - AN EMERGI NG ARTI ST MAGAZI NE
2 Fall 2013 CREATIVE SUGAR
COVER
Sayonara by Paul Bennett
I ntervi ew by Kenneth Lundqui st, Jr.
Story on page 26
CREATIVE SUGAR Fall 2013 3
Creative Sugar
Issue 6
Editor-in-Chief
Sabrina Scot
Copy Editor
Marilyn Recht
Style Editor
Sherah Jones
Photographers
Akiko Higuchi
Joseph Gallo
Lindsey Mak
Ryan West
Writers
Jason Stoneking
Joseph Gallo
Kellyn Lappinga
Kenneth Lundquist, Jr.
Maggie Buchmann
Marilyn Recht
Makeup & Hair
Dori Sligh
Tal ysha Monee
Graphic Design
Sabrina Scot
2013 Creatve Sugar Magazine
All rights to art, words, photos, design and
copyrights are the property of the Artst.
All work in this publicaton may not be used
without the Artsts consent.
New York, New York
Contact:
info@creatvesugarmagazine.net
phone: 1-888-669-5513
web: creatvesugarmagazine.net
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COVER
Sayonara by Paul Bennett
I ntervi ew by Kenneth Lundqui st, Jr.
Story on page 26
FROM THE EDI TOR
EDI TOR- I N- CHI EF
Wel come to the autumn i ssue number si x. The
start of thi s season al so bri ngs the begi nni ng
of the art season and al so for seven days, the
magi cal events behi nd fashi on week here i n NYC.
For thi s we wel come September.
We ve had a great summer but now i t s back
to busi ness. Thi s i ssue bri ngs together arti sts
such as an I cel andi c arti st otherwi se known as
Shopl i fter, whom I ve admi red for her work wi th
musi c songstress, Bj ork. Thi s i ssue al so i ntroduces
our cover arti st--pai nter Paul Bennett, i n an
i nteresti ng i ntervi ew by Kenneth Lundqui st, Jr.
We ve i ncl uded a new feature i n thi s i ssue, the
start of a regul ar department cal l ed Show Dates,
al so known as a cal endar of gal l ery openi ngs for
some i ncredi bl e contemporary arti sts on the
scene. Be sure to make a date to attend a show.
I t s a great opportuni ty to l earn, become i nspi red
and see creati ve forces at work. Take the ti me to
support l ocal art.

A
R
T
&

C
U
L
T
U
R
E
ITS FUN TO BE VAIN 6
BY MAGGIE BUCHMANN
UNAUTHORIZED: THE TERRITORY 14
BY JASON STONEKING
THE ARTIST AT WORK 16
BY MARILYN RECHT
MINIMALISTIC FUTURISM 18
AKI KO HUGUCHI , PHOTOGRAPHER
SHERAH J ONES, STYL E EDI TOR
DORI SL I GH, MAKE UP & HAI R
CL AI RE WI TH BOSS MODEL S

C
U
L
T
U
R
E

ILLUSIONARY INTIMACY 26
BY KENNETH LUNDQUIST, JR.
TAKE ON FILM 32
BY JOSEPH GALLO
STREET CHIC 36
PHOTOGRAPHER: L I NDSEY MAK
STYL E EDI TOR: SHERAH J ONES
MAKEUP ARTI ST: TALYSHA MONEE
MODEL S: GENESI S & AL EXA
WI TH TRUMP MODEL S
FASHI ON WEEK SEPTEMBER 2013 42
SHOW DATES 50
Theres some ridiculous study out there claiming
people with easy to pronounce names are
more likely to succeed. Evidently, the likability
of something is in direct correlaton to its
comprehensibility.
Waitwhut. No comprendo.
If there is any truth to these scientfcally based
fndings, then theres no hope for mixed media
artst Hranfnildur Arnardotr. With a name like that,
Arnardotr will be voted least likely to succeed in
just about everything.
But in the world of art, where success is an
excepton and not the rule, shes mostly been the
excepton.
So how does Arnardotr do it?
I dont limit myself.
The artst/performer/mom simultaneously breaks
all the rules while replacing them with her own. She
is the excepton to the rule.
RULE #1: ASSUME AN ALTER EGO
REPLACE IT WITH: FIND THE HUMOR IN AN ALTER
EGO
ITS FUN
TO BE VAIN
by MAGGIE BUCHMANN
Arnardotr is more publicly known as
Shoplifera comical yet somehow appropriate
mispronunciaton of the artsts frst name,
Hrafnhildur (APN-vilder).
I saw the humor in (the mispronunciaton of my
name) and how people remember my real name,
Shoplifer admits with a slight Nordic accent. I
can hear the smile over the phone. And although
Ive never met her in person, she gives me the
impression she would be the really, really cool
aunt you tell your secrets to.
I just learned not to take myself too seriously. My
pseudoname [sic] allowed myself to free up a litle
bit and be more experimental. Its almost an alter
ego.
RULE #2: MOVE TO NEW YORK CITY
REPLACE IT WITH: MOVE TO A CITY THAT
INSPIRES YOU
Born in Reykjavik, Iceland in 1969 (which explains
why her name tes ones tongue in knots),
Shoplifer moved to New York, where everyone is
contnually moving, creatng, living, and breathing,
and shes been doing all of those things for nearly
twenty years from her Brooklyn apartment in
Greenpoint.
HRAFNHI L DUR ARNARDOTTI R AKA SHOPL I FTER
KNI TTED AURA 2002
PERFORMANCE
PHOTO BY SPRAGUE HOL L ANDER
I always felt that in New York, there was a
possibility for more freedom. I envisioned myself
in black and white in Europe. But when I imagined
living in New York, I saw myself in color. It just
makes sense for me to live here.
RULE #3: CREATE A PERSONAL BRAND
REPLACE IT WITH: ASSOCIATE YOUR PERSONAL
BRAND WITH YOUR ROOTS
It just makes sense, because as an artst, designer,
and performer, where else would she be, really,
other than the City of Dreams?
And in the City of Dreams, where everyone thinks
their dream is the dream, Shoplifer found a niche
that would make her dream a reality.
Its tough, Shoppy divulges. You have to be a
litle stubborn to do what you want to do. You get
the wind in your face; youve got to keep at it to
make it work.
And afer making it through the wind tunnel,
she emerged somewhat notorious among the
hair fetshists of the world. Just kidding. Sort of.
A trichophiliac would certainly get errttllated
from perusing her work. The artst is most famous
for her work with hair, both the synthetc and hu-
man varietes.
Im not only working with hair, but it has become
popular, Shoplifer admits. Its a fascinatng
medium for me.
And its easy to see why. Sculptures and haute
couture gowns knited, woven, or braided (almost)
entrely of hair is diferent, avant-garde. Each of
her pieces is like falling down the rabbit hole into
an alternate universe ofwell, hair: fufy coton
candy hills and feathered stalagmites reaching for
a braided sky. Its dreamy and hallucinatorya
phantasmagorical erupton of self-discovery and
self-absorpton.
A lot of my work is about humanity and fantasy,
Shoplifer explains afer I menton that there seem
to be common cultural themes in her pieces: a
mixture of ethereal beauty, high fashion, and van-
ity.
Shoplifers work forces the viewer to confront
ones ego, for buried deep within the ruf
are questons dealing with personal identty
and hypocrisy. Each piece subtly critques a
world consumed with narcissismwhich isnt
necessarily a bad thing because self-love is love
nonetheless and we could all use a litle more
loveright? It may be nave, but thats what makes
HRAFNHI L DUR ARNARDOTTI R
AKA SHOPL I FTER
NERVESCAPE AT
CLOCKTOWER GAL L ERY 2012
SYNTHETI C HAI R I NSTAL L ATI ON
PHOTO BY MI CHAL J UREWI CZ
AKA SHOPL I FTER
HAI RSCUL PTURE WI TH BJ ORK 2005
SYNTHETI C AND HUMAN HAI R
MAKE UP BY ANDREA HELGADOTTI R
STYL I NG BY EDDA GUDMUNDSDOTTI R
PHOTO BY EREZ SABAG
Shoppys work so charming. Shes playful and silly,
yet somehow weaves the simple desire for beauty
throughout her handicraf.
We all have to deal with our hair and we are
constantly trying to contain it. My work is an ode to
Scandinavian textles and working with the threads
and fber to create necessary things and beautful
things. [Scandinavians] have been known to use
hair for survival when nothing else was available.
I was intrigued by that because when hair is
detached from the body its disgustng.
Im thinking about cleaning the hair out of my
shower drain, and Im gagging over my morning
cofee. But taking a look at the artsts most recent
installaton, displayed at the Summer Solstce
Reyka event on the roofop of King & Grove in
Williamsburg, hair is the most beautful thing on
earth. I want to eat it and roll around and play in it.
The installaton was an homage to the foundaton
of all life, both beautful and ugly: the sun.
Celebrated on June 21
st
, the holiday Reyka marks
the beginning of summer and the longest day of
the year. It has a rich history rooted in Scandinavian
culture, which is another reason why Shoplifer
was drawn to working on the project. That and the
vodka. Again, kidding. Sort of.
I wanted to recreate something intrinsic with
Iceland and its culture, Shoppy explains. The sun
became the focal point of the entre event. It just
makes sense to have the presence of the sculpture
made out of neon hair; theres a presence and
energy in a ball of fre. Its euphoric and theres
just so much energy from having the sun out all
the tme. People coming together and drinking and
partying into the night.
RULE #4: KNOW SOMEONE FAMOUS
REPLACE IT WITH: COLLABORATE WITH SOMEONE
Shoplifer has had installatons all around the world
(Ive lived in a trailer for a PS1 MOMA colony
project and Ive had a solo exhibiton in a gallery in
London) and shes collaborated with a number of
famous artsts and designers, the most notable of
which include Victoria Bartlets fashion label, VPL,
and Shoppys singer/songwriter counterpart, Bjrk,
on multple occasions.
Confession: I listened to Bjrk while fipping
through an archive of Shoppys past work before
sitng down to encapsulate her life and soul. The
combinaton of my three cups of iced cofee, neon-
colored and pastel-tnted hair, and Bjrks surrealist
notes wafing in the background made for the most
beautful alien abducton scene. It was kind of like
reading a Jane Austen novel from the future where
cyborgs fall in and out of love and Sigmund Freud
psychoanalyzes the blend of conscious, unconscious,
and self-conscious love-making.
Its very high profle, Shoppy says about joining
forces with a musician with a Twiter following of
458,348. Its fascinatng because Im inspired by
identty and vanity and pop culture.
Which makes sense because our hair is a large
part of our individuality and pride. We have the
opton to tame it, grow it, dye it, brush it, tease it.
Its an extension of our identty that allows us to
distnguish ourselves from one another.
AKA SHOPL I FTER
I MAGI NARY FRI END ( BOMBA) 2008
SYNTHETI C HAI R AND WOOD
PHOTO BY SVAVAR TRAUSTI
Her art, her livelihood, her collaboratonswhether in
fashion, music, or with other visual artstsfeed Shoppys
inner animal. They may satate her appette for a while,
but she will always be on the hunt for more.
A collaboraton is about fnding new ways to do some-
thing creatve in the collectve and I like thatto get into
anothers head.
Its a classic case of putng things into perspectve. Shop-
lifer is contnually experiencing identty growth, whether
it be through her original pieces, or teaming up with other
artsts. She thrives on creatng and sharing the beaut-
ful with the uglya sweet juxtapositon she can achieve
only by working with an ugly medium to make a beautful
piece of art. Her work has collided with reality to form a
personal concept of opposites, extremes, and exploring
other worlds, even if its just the one in her own head.
So sure, maybe John will get promoted before Caoimhe
(KEE-Vah), merely because his supervisor can pronounce
his name without looking up the pronunciaton.
But Hrafnihildur Arnadoter, or Shoplifer, or whatever
you want to call her (Hair Girl? Trich Bitch?) is a success no
mater what her name is.
Because sometmes, you cant always believe everything
you read on the Internet. (Oh the irony!) But just in case
you dont believe me, do a bit of your own digging.

( ABOVE) PHOTO OF SUMMER
SOL STI CE EVENT I NSTAL L ATI ON, 2013
( L EFT) ART BY HRAFNHI L DUR
ARNARDOTTI R AKA SHOL I FTER, 2013
eptember in Paris brings what we call La
Rentre (the re-entry). This is when the
tdes of foggy Parisians, sunshine stll in
their eyes, come rolling slowly back into
town from their summertme exodus, and get
ready to go back to work. Its when the students
return from vacaton, and thousands of new ones
join them, full of romantc dreams, looking for a
place to call their own in the City of Lights. For
some, that will mean taking up residency at The
Territory, a mythic illegal art colony squat in the 14
th

arrondissement.
The Territory, which ofcially masquerades as
an art school, is actually just a large unofcial
apartment building full of young people living in chic
intentonal squalor. For the last ffeen years, it has
been growing, in both size and reputaton, under
the watchful if somewhat maniacal eye of a painter
known interchangeably as Sergio, Sergei, Serge and,
on some special occasions, Dan Burke. Sergio is a
bit of a mad hater with a murky Eastern European
background, who is working endlessly on his chef
doeuvre, a photo-realist paintng that depicts
Hillary Clinton reclining in holy sexual rapture as
the subject of Berninis Ecstasy of Saint Teresa. He
is also the Machiavellian landlord who admits or
dismisses potental candidates for residency in the
Territory when the new crop of applicants arrives
each autumn.
He insists, for the record, that it is not strictly he
who does the choosing, but the vibe of the place,
which naturally atracts the tenants it requires.
Fortunately, an auditon before the vibe is much
easier than the usual process for apartment seekers
in Paris, who are generally required to produce
years worth of pay stubs, co-signers, leters of
recommendaton, and yards of other hoop-jumping
documents to prove they will make reliable drones.
So Sergio and his squat have a knack for reeling in
the kids who are already teetering on the fringes
Unauthorized: The Territory
by Jason Stoneking
of society. On my last visit, I met tortured poets,
visionary flmmakers, and a few other dignitaries
of the underground art world. But I also
encountered a baker, a business student and even
an aspiring physicist, reminding me that all kinds
of young people have their reasons for letng go
of the common thread. And on the surface, at
least, it appears that Sergio is heroically providing
a more-or-less safe place for them to do that.
Perhaps the most unusual thing about the squat,
however, is that Sergio seems to be the only
one truly squatng. He charges a rent of several
hundred Euros for each of the makeshif rooms
that the other inhabitants occupy. Some of the
intense secrecy and paranoia surrounding the
space may be because the man running the show
is not within his legal rights to rent any of it out
for actual money. The building is constantly under
some form of amateur constructon. Sheets of
plastc roofng material are added over exterior
garden areas to comprise new rooms. Lengths of
PVC pipe spread over the walls like vines, linking
networks of slapdash sinks and toilets with the
great beyond. Um building codes? Fire codes?
Tenants rights? Shhh. Forget all that.
Even more fun than the architectural free-for-all is
the minefeld of outlandish rules and regulatons
that each resident is expected to memorize and
adhere to, in order to guard the confdentality
of what transpires within. I cant do justce to
the long and ofen incomprehensible list, but
highlights include the stpulaton that residents
coming and going from the site must do so at
specifc tmes of day, and carry an artsts portolio
at all tmes (to maintain the illusion that art school
is in session). Also, that no one may leave the
building with wet hair, lest neighbors queston
why an art school would contain showers. The
narratve is that they must protect their treasured
underground way of life from the authorites.
S

But more truthful, perhaps, is that the authorites
must not discover the unlicensed exploitaton of
these tenants, who are supposed to be paying
their exorbitant Parisian rent checks to the ofcial,
recognized, above-board French slumlords.
At least, in all this chaos, the residents are
getng what they ironically pay for: the authentc
experience of a squat. They are sneaking in and
out, partying all night, writng and paintng on the
walls. They are learning how to rig impromptu
plumbing with unlikely objects found in the
street, how to divert and channel electricity while
minimizing electrocutons, how to hijack things
like wif and cable, and most importantly, how to
live with each other in a large, diverse group. They
are forming a sense of family and community,
working together to solve problems. And many
of them are making interestng art. It reminds
me of Amsterdam, where I lived in a condemned
building with an internatonal crew of guter punks.
Or Prague, where a group of us took over a youth
hostel dorm for the summer and nobody paid for
the beds. The diference is that these kids (or their
parents, anyway, depending) do have to pay. And it
looks like the price has gone up considerably since I
was their age.
To his credit, Sergios wacky, paranoid delusions
do give this place an air of dark and magical
mystery, but part of me wonders if by charging
these inordinate rents, he is just cynically robbing
these kids of the very experience he advertses:
a sense of freedom from mainstream fnancial
responsibility. Then again, another part of me
wonders if this type of living has become so rare
anymore that its actually worth the money, just to
be introduced to a group of other people who are
into it. In any case, The Territory never seems to
have any trouble flling up. Lets just hope that this
crop of young artsts gets as much out of the place
as they put in.
The Territory, which ofcially masquerades as an art school, is
actually just a large unofcial apartment building full of young
people living in chic intentonal squalor.
hether you are a consistent artst or
you feel too thwarted/discouraged/
exhausted to indulge in regular
creatve expression, youre probably
intrinsically repulsed by the 9 to 5
routne. And for good reason: being a cog in the
corporate wheel is bound to deplete anyone of
imaginatve energy.
It starts in the morning when the alarm goes of
(or the spouse wakes you) and you are jerked
out of the tmeless land of dreams, unable to loll
and drif in the alternatve universe of your mind.
Refexively you pee, shower, get dressed, down
your cofee and/or breakfast, and join the throngs
trudging to the ofce.
If youre lucky your co-workers are of a similar
sensibility and you can inject some irony into the
proceedings. But theres no way around the fact
that tme is not yours, your energy is expended
for the beneft of powerful people you will never
meet, and your paycheck can never refect the soul
sucking you signed onto.
Of course a jobless person would kill for this
numbing mindlessness, and Im sure I would be
one of the them, longing for the cushy desk chair
and the freedom to surf the internet for hours at a
tme.
Sadly, most people are afraid to pursue the life of
the artst: to put money worries aside and pursue
full gratfcaton on every level. It requires an
extraordinary thick skin and self confdence. The
old saw do what you love and the money will
follow applies to the very brave individualist, not
the typical citzen afraid of living hand to mouth,
deprived of access to the comfortng luxuries of
life.
I have known people who used marginal, non-
career, evening jobs (eg, proofreader, graphic
designer) merely to focus on their actng,
paintng, or writng careers. They did not lose
sight of the fact that the job was for money only,
and not self-identty.
But if youre a person who likes status and
worries what other people think of you, you want
to be proud of your work and feel youve earned
the right to unwind at night.
I am one of the restless ones, always conscious
of failing to realize my potental. Ive chosen
a comfortable job thereby avoiding the lonely
bohemian struggle. Sure I use my skills to a
certain extent, and Im lucky not to be under the
thumb of my boss, and theres a decent amount
of socializing. I mean, Im not a factory worker,
highway toll operator, or toilet cleaner, and for
that I am grateful. But when I leave work, that
litle voice pipes up, so, now what are you going
to do?
In truth, as John and Yoko pointed out, life IS
art, and one should never despair that tmes
a-wastng. Part of the secret is experiencing,
recording, and cherishing everything, from the
rip of a stocking to a funny dialogue overheard on
the bus. I try to remind myself of this because its
also key to restoring my failing memory!
There was a popular book in 1971, Be Here Now,
writen at a tme when people actually explored
consciousness. Fify-odd years later, the web has
insidiously caught us. Our internet culture spawns
and cycles hyperactvity and boredom. Even
worse, the mainstream culture has no interest in
rebelling. The establishment is just fne and the
people want a piece of it.
W
THE
I live in the East Village, which is a perfect
barometer of fashion. In the 60s it drew poor
hippies and artsts. The 70s was punk, glam rock,
disco. The 80s was a crossover from the old
subversive generaton to the yuppy me-generaton.
In the 90s we saw the beginning of gentrifcaton
and the takeover of the republican megaculture:
high-cost housing, chain stores, trendy restaurants.
Things have prety much contnued in that vein
into the 21
st
century. My tenement building used
to be inhabited by artsts and old Ukrainians. Now
the elderly have all died of and their apartments
divided into overpriced studios. The new tenants
are mostly transient students and young account
execs.
Theres no point rose-tntng the past, because
its always a challenge to buck the trend to
comfortable conformity. The new crop of young
white dirty homeless in my neighborhood,
unaware of generatons of their predecessors,
is a reminder that what seems rebellious to one
is mere humdrum to another. Afer all, its as
mindless to drop out when youre 18 as it is to sell
out when youre 40.
I applaud those who take risks and go out on a
limb, driven by convicton and vision. While social
networks and blogging have enabled everyone to
express themselves, it doesnt mean that everyone
has something to say.
I think Yeats lines will always hold true: The
best lack all convicton/While the worst are full of
passionate intensity.
by Marilyn Recht
ARTIST
AT WORK
Good Game. Two-hour looped
performance of a post baseball game
hand slap, 2010.
Photo provided by Artsts.
20
MINIMALISTIC
FUTURISM
18
AKIKO HUGUCHI, PHOTOGRAPHER
SHERAH JONES, STYLE EDITOR
DORI SLIGH, HAIR & MAKE UP
CLAIRE WITH BOSS MODELS
MINIMALISTIC
FUTURISM
VEST: CRES E. DIEM
DRESS: KOTOBA
20
DRESS: HANDKERCHIEF
BOOTS: ANDREW KAYLA
JACKET: HANDKERCHIEF
TOP: DANIELLA KALLMEYER
PANT: CRES E. DIEM
23
photo by ri chard kern
25
TOP: STRESIS
SKIRT: DANIELLA KALLMEYER
LOST THE HI GH, BY PAUL BENNETT
awn. The wondrous vibrancy
of the Atlantc coast. Colors
abound.
Isolated, wandering in the rich
wilderness, Paul Bennet stops
to bear witness. In a moment,
the sun breaks through a castle
of clouds, creatng a magnanimous display that is
imprinted on his painters mind. He has ventured
here to discover all this sheer beauty, natures
landlord.
In a rare opportunity, I catch Paul in between can-
vases. He is currently working on a new fguratve
piece a stark departure from his abstract sea-
scapes. I ask the most obvious queston that comes
to mind:
Why art, paintng?
Ive always been creatve, whether that was with
words, music or visually. Street art was my frst
encounter with the visual arts. That and album
covers.
I had no directon once I lef school. Afer a
Illusionary
Intimacy
BY KENNETH LUNDQUI ST, J R.
couple of years I signed up to a part-tme college
course in Art and Design. I had some great tutors
and everything just clicked into place. The most
important thing that really got me going was the
freedom involved and the chance to explore and
break boundaries. Art school was a bit stricter and
the main focus was more centered on conceptual-
ism, which is not really my thing. I had no ambiton
to try and be the smartest guy in the room or to
give the super rich something to talk about while
stufng swan down their throats.
Afer leaving educaton I fell into graphic design
for a while and it took seven years for me to get
back in the paintng studio. Ive never looked back.
But why paintng? Why not? Weve all got to make
decisions, at points in tme, and paintng just hap-
pened to be mine. The key is to keep at it if you
love it.
Its quite evident that creatvity resides well in Paul.
I inquire about his partcular style.
I work in two or three diferent styles fguratve,
semi-abstract seascape, and abstract. The fgura-
tve is the one I fnd the most challenging, but the
D
most rewarding. Its also the subject that is seen
(from the outside) as being more contemporary and
provocatve. The audience and response to the por-
traits is a lot diferent to that of my other styles.
The abstract paintngs ofer their own set of chal-
lenges and I was atracted to this style because it is
more approachable. The abstract work is also more
focused and suitable for a more corporate market
as well as the home. It also ofers more diversity
with scale. The best thing is having a variety and
being able to jump from one the other. It keeps it all
fresh.
Im always interested in how artsts work, what
makes their process special
The tools I use are prety standard. Brush, canvas,
knife and oil, and occasionally gloss resin. I like to
create a lot of texture but balance that out with
calmer and fater space. The most important
thing is to just get stuck into the canvas. Just
create. The rest will follow. Plenty of tea and the
radio switched on is also a must.
What is your inspiraton? I ask, and without skip-
ping a beat his response is as brilliant as his work.

Inspiraton is not really part of how I work. I will
go and visit locatons to get a feel for a place, but
the work produced is a product of the process.
I think Chuck Close sums it up beter than I ever
could:
The advice I like to give young artsts, or really
anybody wholl listen to me, is not to wait around
for inspiraton. Inspiraton is for amateurs; the
rest of us just show up and get to work. If you
wait around for the clouds to part and a bolt of
lightning to strike you in the brain, you are not
going to make an awful lot of work. All the best
ideas come out of the process; they come out of
the work itself. Things occur to you. If youre sitng
around trying to dream up a great art idea, you can
sit there a long tme before anything happens. But
if you just get to work, something will occur to you
and something else will occur to you and some-
thing else that you reject will push you in another
directon. Inspiraton is absolutely unnecessary and
somehow deceptve. You feel like you need this
great idea before you can get down to work, and I
fnd thats almost never the case.
Naturally, I wonder how he sees how his work dif-
fers from his contemporaries.
Its important for the work to be unique, but
OPPOSI TE PAGE: END OF STORY, BY
PAUL BENNETT
ABOVE: THE SECRET, BY PAUL
BENNETT
where the uniqueness comes from, well Im not
sure. I try to get a result that comes direct from
myself rather than external infuences. The journey I
take when paintng is to get Informed and motvated
from what I have previously created. A single mark
might be all it takes to dictate a whole piece of work
or even a series. However, I am beginning to notce
that I might be inspiring other artsts a litle too
much, as I am beginning to [see?] work that is very
similar to my own. Probably unavoidable in this day
and age, unfortunately.
Such an aware artst, surely Paul has some advice to
extend to emerging artsts worldwide
Just keep at it and get the work in front of as many
people as possible. Marketng is a very important
part of the job. Just like any other carrier or industry,
you have to get out of your comfort zone and put
yourself in situatons and places that are not quite
natural to you. Also, create something that is yours.
Its important for the artst as well as the audience
to know that they are looking at something that only
you would have created.
And the future?
To be honest, I have no idea. I think thats up to
other people to decide. I just have to keep on doing
what Im doing untl I do something else.
For more about Paul, visit his website:
paul-bennet.co.uk
LOST AND FOUND, BY PAUL BENNETT

CONTRAST
TAKE ON FI LM
BY J OSEPH GALLO
CREATIVE SUGAR Fall 2013 33 CONTRAST
WONDER WHEEL AT NI GHT
Photo 1
I love freworks. I love being as close as possible to
them and feeling the shockwave from the bursts.
Visitng Coney Island is a fun tme to take pho-
tographs of freworks. I set up my tripod with a
wide-angle 19MM lens and ISO100 color flm with
the aperture wide open. For this photo, did I think
to cast Bruce Willis to stand in the foreground as a
beach coton candy vendor? NO I didnt. Actually
I was saying to myself, Why did this guy decide to
stand in front of a person with a tripod? When
getng the flm back from the developer, I found
him to be a complementary additon to the compo-
siton of the image.
Photo 2
The candid photo shot of fellow artst Lucy Wang
was taken before we were profled as a professional
photographer and a model on a commercial photo
shoot without a permit. No atempt was made to
argue with representatves of authority. We were
shortly asked to vacate the premises.
Photo 3
The extended tme shot of the Brooklyn Museum
was a 30-minute exposure of ISO 50 at 22f stop. I
stood by my tripod in the middle of the nigshield-
ing glare from the occasional headlights of cars
and hoping no pedestrians would pass through
and show up as ghost-like blurs in the fnal image.
Photo 4
The next image of the statue makes me realize
that sometmes fnding a model is easier than one
may think. This gorgeous statue was willing to
pose for me for this shot taken at the rose garden
at the Brooklyn Botanic Garden.
3
3
2
4
GENESI S ( L):
HAT- DI MEPI ECE L A
SHAWL- VI NTAGE
J ACKET- CAROL I NA SARRI A
DRESS- H&M
AL EXI A ( R):
TOP- MANDARI N & GENERAL
BRACEL ETS- HEI DI GARDNER
PHOTOGRAPHER: L I NDSEY MAK
STYL E EDI TOR: SHERAH J ONES
MAKEUP ARTI ST: TALYSHA MONEE
MODEL S: GENESI S & AL EXA WI TH TRUMP MODEL S
STREET
CHIC
39
40
TOP- DI MEPI ECE L A
J ACKET- ZARA
PANT- VI NTAGE
BELT- L I FETI ME
GL ASSES- STYL I ST S OWN
J EWEL RY- MODEL S OWN
SHOES - H&M
TOP- MANDARI N & GENERAL
42
J ACKET: CAROL I NA SARRI A
DRESS: H&M
TI GHTS: STYL I STS OWN
BOOTS: VOLCOM
43
TOP- H&M
J ACKET- ZARA
HAT- STYL I ST S OWN
NEW YORK
FASHI ON
WEEK
SEPTEMBER
2013
Harbison at Wave Atelier malt + mash
Charles Harbison made his name in fashion
working with the likes of Michael Kors, Billy
Reid, Luca Luca and Jack Spade. Born in North
Carolina, Harbison studied at North Carolina
State University and Parsons, The New School.
With a background rooted in architecture,
Harbison clearly has an impeccably artul
eye. His Spring/Summer 2014 collecton was
presented cohesively right down to the music
displaying seemingly eclectc infuences.
Aaliyah, Klein, Diaspora, Prep are perfect
words to describe this line which perfectly
embraced hard and sof dichotomies and a
vulnerable masculinity. These cohesive looks,
separated and named charmingly (Colonial
Sunset and Island Minimalism, to name
two), were mainly diferentated by print and
material and united by similar draping paterns
and structure. From gingham and plaid to silk
and dyed fox fur, to metallics to forals, Harbison
brings the power.

WORDS BY KEL LYN L APPI NGA
PHOTOGRAPHY BY RYAN WEST
Tia Cibani, Paul Kasmin Gallery

North Africa. China. Canada. Hailing from all
three places, Tia Cibani is certainly worldly, and
it shows in her Spring/Summer 2014 collecton.
Cibani has worked with Ports 1961 as Creatve
Director and, afer leading the label to success,
debuted her own brand during NYFW September
2012. Peculiar mixes into surprising cohesion
seem to be the expected theme for Spring/
Summer 2014. Her collecton embraces looks,
which are culturally eclectc while following
silhouetes popular on the runway this season,
structure and geometry. Assertve color paletes,
moments of black and white, and infuences
drawn from Frida Kalhos Mexico and 1950s
Havana, gracefully exude modernity, a sof
festve and playful vibe, and a balance between
the masculine and feminine.
NEW YORK
FASHI ON
WEEK
SEPTEMBER
2013
Fashion Palete Pier 59 Studios
The Fashion Palete presentaton at Pier 59 came
in the form of a runway and embodied a fantastc
whimsy of dark and light looks that proved what
clothes can do to decorate the body. We choose
three collectons that really pushed boundaries
for the Spring/Summer 2014 season.
Et Al
Founded in 1987 by Christne and Les Doughty, Et
Al has a relaxed tailored look and sof drapery.
The use of chifon, linen and lace embrace their
reputaton with unique cuts that (again) break
gender barriers and restore faith in individuality
and creatvity.
Mosse
Mosse gave a bold presentaton this season with
clothes that defne the term edge. Stcking with
classic forms such as the peplum, sweetheart
cut necklines, casual trousers and simply shaped
dresses, Mosse let the material speak for itself.
We were wowed with all the street sass, bold
color paletes and killer prints coming from this
line.
Steven Khalil
Spring and Summer 2014 means classic beauty
and elegance for Australian-based couture
designer Steven Khalil. His eveningwear collecton
is full of exquisite detail by way of opulent
beading and material. The paterns of his lacing
and use of lace and sheer chifons hint old world
royalty, making this collecton a perfectly classic
choice for elegance.
NEW YORK
FASHI ON
WEEK
SEPTEMBER
2013
Et Al
Mosse
Steven Khalil
Et Al Et Al Et Al
Mosse
Mosse Mosse
Steven Khalil
Steven Khalil
SUBMI T
YOUR
ART!
I NFO@CREATI VESUGARMAGAZI NE. NET
SEEKI NG SUBMI SSI ONS FOR
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F E A T U R I N G
SHOWS AND
EVENTS AT NYC
G A L L E R I E S .
SUPPORT LOCAL
ART!
3rd Streaming Gallery
10 Greene Street, second foor, New York, NY 10013,
thirdstreaminggallery.com
Victoria Cohen, Hotel Chelsea
Exhibiton Dates: September 17 - October 25, 2013
Opening Recepton: September 17, 6:00 - 8:00 pm
Notorious as a refuge for the eccentric, the eclectc,
and the creatve, the Hotel Chelsea has been home
to some of the great and unconventonal writers,
musicians, artsts, and actors of the past century,
including Bob Dylan, Janis Joplin, Charles Bukowski,
and Allen Ginsburg, to name just a few.
When the hotel was sold and closed for full reno-
vatons in August 2011, American photographer
Victoria Cohen was invited to capture and document
the essence of the buildings original interior before
its imminent demise. Cohens photographs of these
hallways, lobbies, and rooms, once beaming with life
and vision, now bare and aged, illuminate a bohe-
mian era that once was, speaking untold truths of a
lost tme. Fascinatng and bitersweet, Hotel Chelsea
casts the historic landmark through the lens of the
twenty-frst century, exhibitng it as it has never
been seen before, and will never be seen again.
Victoria Cohen is a New York-based photogra-
pher. Self taught, Victoria shoots mostly in the
large format 4 5 medium. Her work ranges from
landscapes to portraiture, with an emphasis on
the connecton between the human conditon and
environments.
532 Gallery Thomas Jaeckel
532 West 25th St., New York, NY 10001
www.532gallery.com

Diane Copperwhite Loose Ends
September 10 - October 8, 2013
AFA Gallery
54 Greene St, New York, NY 10013
AFANYC.COM
Anne Bachelier
September 21, 2013
Anne Bachelier was born in Louvigne du Desert,
France. She studied at the Ecole des Beaux Arts,
La Seyne-Sur-Mer between 1966 and 1970. Her
SHOW DATES
AFA GAL L ERY - ANNE BACHEL I ER AFA GAL L ERY - BANNE BACHEL I ER
work has been exhibited in museums and galleries
throughout Europe and North America, and a fne
art monograph, with over 400 full-color reproduc-
tons, was released in 2001. Widely accepted as a
master of line and detail, Bachelier draws the view-
er into beautfully rendered narratves that are at
once challenging, vivid, playful and light. Easy to
live with but never boring, her paintngs are en-
thusiastcally sought out by collectors worldwide.
Anne Bachelier lives and works in Allevard, France.
This is the artsts frst solo exhibiton with AFA.
Jenny Bird Alcantara
October 19, 2013
Daniel Merriam
November 16, 2013
Collectors Event / Bill Carman
December 7, 2013
Artsts Space
38 Greene St, New York, NY 10013
artstsspace.org
Aaron Flint Jamison
September 15 - November 10, 2013
Opening: Saturday, September 14, 6:00 - 8:00 pm
Artsts Space: Exhibitons
38 Greene Street, 3rd Floor
Richard Hollis
Opening: Friday, September 20, 6-8pm
Artsts Space : Books & Talks
55 Walker Street
Barry Friedman, Ltd
Barryfriedmanltd.com
Clay Bodies
Public recepton - Thursday, September 19, from
6-8pm
Barry Friedman Ltd. is pleased to present Clay
Bodies featuring the fguratve sculpture of nine
artsts from fve diferent countries, running in tan-
BARRY FRI EDMAN GAL L ERY -
TAKAHI RO KONDO
dem with the Museum of Arts and Designs open-
ing fall exhibiton Body & Soul, New Internatonal
Ceramics (9/17/13 - 3/2/14).
One of the artsts in the show is Takahiro Kondo.
Kondos fguratve sculptures are porcelain life-casts
of the artst seated in a lotus Buddha-like posi-
ton. By incorporatng himself into the works they
become deeply personal. The water-like glazes that
have washed over his slab constructons in the past
now wash over his head and body. The nature of
mans relatonship to water has been a recurrent
theme throughout the artsts career.
Bertrand Delacroix Gallery
535 W. 25th Street, New York, NY 10012
bdgny.com
Jason Bard Yarmosky Dream of the Sof Look
October 3- October 31, 2013
Opening Recepton on Thursday, Oct. 3, 2013. RSVP
Required.
Maurice Renoma MODOGRAPHE
November 14- December 14, 2013 -
Opening Recepton on Thursday, November 14,
2013. RSVP Required.
Bety Cuningham Gallery
541 W 25th St., New York, NY 10001
Betycuninghamgallery.com
Chuck Webster
Jake Berthot
October 17 - November 30, 2013
Gordon Moore
December 5, 2013- February 1, 2014
Causey Contemporary
111 Front St. Suite 208
D.U.M.B.O., Brooklyn, NY 11201
Causeycontemporary.com
Steven Dobbin A Lot of Art is Boring
September 5 - October 6
Opening Recepton: Sept. 5 6:00 - 9:00 pm
New Sculptural works by Md. Artst, Steven Dob-
SHOW DATES
BERTRAND DEL ACROI X GAL L ERY
HORSEFEATHERS BY J ASON BARD YARMOSKY
bin in his 5 solo exhibiton with the gallery.
Carri Skoczek Fallen Women
Opening Recepton: Sept. 10, 6-9 p.m.
New paintngs and linocuts by the artst based on
historical and art historical fallen women
Lauren Dreier Paintngs and Other Works
November 7 - December 1, 2013
Opening Recepton: Nov. 7. 6:00 -9:00 pm
The frst New York solo exhibiton by the artst fea-
turing her mixed media works on paper, paintngs
and sculptures.
Michel Demanche Tom and Bety Connect the
Dots
December 3 - January 1, 2014
Opening Recepton: December 12, 6:00 -9:00 pm
This 10th solo exhibiton by the artst features new
mixed media works from the ongoing Tom and
Bety series
Chambers Fine Art
522 West 19th St, New York, NY 10011
www.chambersfneart.com
Zhao Zhao
September 12 October 25, 2013
Gu Wenda
November 7 December 20, 2013
Christopher Henry Gallery
127 Elizabeth St New York, NY 10013
christopherhenrygallery.com
Present Memory
Featuring Alvarez, Bradley, Elkins, Jigarjian, Miller,
Paumier, Raman, Sira, Temkin, Ugarte-Bedwell

Dev Harlan
October 9 - December 8, 2013

Clifon Benevento
515 Broadway (Between Spring/Broome), New
York, NY 10012
www.clifonbenevento.com
Jeanete Mundt
BETTY CUNI NGHAM GAL L ERY
NOT YET TI TL ED BY CHUCK WEBSTER
Michael E. Smith
November 2 - end of the year
David Nolan Gallery
527 West 29th St New York NY 10001
davidnolangallery.com
Sculpture afer Artschwager
Sculpture afer Artschwager an exhibiton which
examines the diverse legacy of American artst,
Richard Artschwager (1923-2013). On view from
September 12 through October 26, the show brings
together 10 artsts whose work testfes a relaton-
ship to his highly original output.
EFA Project Space
A Program of The Elizabeth Foundaton for the Arts
(EFA) 323 W. 39th St, 2nd Floor, New York, NY 10018
Marienbad redux
Opening Recepton: Thursday, September 12, 6:00
- 8:00 pm
Curated by James Voorhies of the Bureau for Open
Culture

Artsts / partcipants: Jennifer Allen, Keren Cyter,
Tacita Dean, Jessamyn Fiore, Dan Fox, Jens Hof-
mann, Iman Issa, David Maljkovic, Jn Manuka,
Gordon Mata-Clark, Josh Tonsfeldt, Allan Sekula &
Nol Burch, and Maya Schweizer

Last Year at Marienbad redux is an exhibiton,
public program and publicaton that explores
the way fact and fcton merge to form accepted
knowledge about people, places, events and poli-
tcs. Drawing on the use of elliptcal conversatons
in the 1961 flm Last Year at Marienbad by Alain
Resnais as a point of departure, the exhibiton
features works of art that utlize various cinematc
conventons, such as editng, character develop-
ment, narratve, mise-en-scne and montage, to
reveal how our understanding of reality is ofen
mediated by those very cinematc techniques.
For more informaton, please visit www.efanyc.
SHOW DATES
CL I FTON BENEVENTO GAL L ERY
MAKE ME THAT J UNGFRAU, 2013 BY J EANETTE MUNDT
org/last-year-at-marienbad-redux/
Flowers Gallery
fowersgalleries.com
Rachel Heller & John Kirby
Opening recepton: September 12 from 6:00 -8:00
pm
A joint exhibiton of works by friends, and fellow
artsts, John Kirby and Rachel Heller. Kirby grew up
Irish Catholic in Liverpool and came to his artstc
career relatvely late when he was already in his
mid-thirtes, while Heller, who was born with Down
Syndrome, began making art at an early age. Both
have built impressive bodies of work and contnue
to infuence and inspire each other.
Glen Baxter
Opening recepton: October 19 from 6:00 -8:00 pm
An exhibiton of new works by beloved Britsh car-
toonist, Glen Baxter. Known for his absurdist style
and bafing interplay between word and image
Colonel Baxter gently mocks high culture through
his cartoons. Baxters work has been exhibited
internatonally and he is a longtme contributor to
The New Yorker.
Nicola Hicks
November 16, 2013 - January 18, 2014
Opening recepton: November 16 from 6:00 -8:00
pm
Flowers Gallery is pleased to present the works of
renowned Britsh sculptor, Nicola Hicks, in conjunc-
ton with an exhibiton at the Yale Center for Britsh
Art. Known for her striking animalistc forms con-
structed in straw and plaster, Hicks conveys both
the physicality and psychology of the creatures she
creates. Her work has been exhibited internaton-
ally and she has been honored with an MBE for her
contributon to the visual arts.
Gagosian Gallery
980 Madison Avenue, New York, NY 10075
gagosian.com for other locaton listngs
FLOWERS GAL L ERY
BANKER II, 2009, EDITION 3, BRONZE, BY NICOLA HICKS
New York
Edmund de Waal: Atemwende, Madison Avenue
September 12October 19
Richard Serra, West 24th Street and West 21st
Street
October 25- December 21
William Eggelston: Zenith, Madison Avenue
October 26December 21
Beverly Hills
Cecily Brown
Avedon: Women
November 1December 21
London
Avedon: Women, Davies Street
Frank Gehry: Fish Lamps, Davies Street
November 7December 21
Paris
Roy Lichtenstein: Expressionism, Rue de Ponthieu
July 1October 12
Calder | Prouv, Le Bourget
June 8November 2
Rome
Urs Fischer
September 19- October 26
Hong Kong
Florian Maier-Aichen
September
Gallery Henoch
555 W. 25th St., New York, NY 10001
galleryhenoch.com
Sharon Spring FLESH
Recent paintngs exploring the elegance of the
female form by Brookyn-based painter.
John Evans Botanics & Big Sky Paintngs
SHOW DATES
GAL L ERY HENOCH
KI MONO FLOWER BY SHARON SPRI NG
October 10 November 2, 2013
Exploring color and perspectves of space through
images of densely foliaged botanic gardens and
deep horizoned landscapes.
THE CITY
An exhibiton of fve painters and their difering
visual and poetc paintngs of Manhatan.
Garvey|Simon ART ACCESS
547 W 27th St, Suite 207, New York, NY 10001
www.gsartaccess.com
Susan Schwalb Spacial Polyphonies: New Metal-
point Drawings
October 1 - November 2, 2013, Opening Recepton:
October 3, 2013, 6:00-8:00 pm
Fragments: Works by J Ivcevich, Ray Kass and
Sandy Litchfeld
December 10 - January 11, 2014, Opening Recep-
ton: December 12, 2013, 6:00-8:00 pm
Gemini G.E.L. at Joni Moisant Weyl
535 West 24th St, 3rd Floor, New York, New York
10011 geminigel.com
Exuberance Unbound: Elizabeth Murray at Gemini
G.E.L. 1993-2006
Presentng a survey of works created by Elizabeth
Murray in collaboraton with Gemini G.E.L., the
Los Angeles-based artsts workshop from 1993 to
2006.
Richard Serra at Gemini 2008-2013: Levels,
Weights & Rifs
October 24 December 7, 2013
Exhibitng large-scale etchings created by Richard
Serra in collaboraton with Gemini G.E.L., the Los
Angeles-based artsts workshop.
Half Gallery
43 East 78th Street, New York, NY 10075
www.halfgallery.com
GEMI NI G. E. L. AT J ONI MOI SANT WEYL GAL L ERY
RI FT 1, 2012 BY RI CHARD SERRA
Robert Davis EVERGREEN
Artst recepton September 9 6:00 - 8:00 pm
EVERGREEN marks Robert Davis solo debut in New
York. Last March, he exhibited paintngs for the frst
tme in Turin, Italy at Luce Gallery with WINE, CIGA-
RETTES, SONGS AND SUCH and then again at NADA
New York this past May. Davis was also included in
recent group shows at Brand New Gallery in Milan,
Italy alongside Oscar Tuazon, David Ostrowski and
Virginia Overton as well as this summer here in
New York at Loreta Howard Gallery with N. Dash,
Helen Frankenthaler and Franz Kline. His enigmatc
approach to materials (bleach, bourbon, cofee,
red wine, burlap) echo Ed Ruschas fascinaton with
paintng alternatves while stylistcally he runs closer
to that of the Arte Informale movement, which
stressed individual freedom over traditonal proto-
col.
Hasted Kraeutler
537 West 24th St. New York, NY 10011
hastedkraeutler.com
Nick Brandt Across the Ravaged Land
Marc Dennis
Jack Hanley Gallery
327 Broome Street New York, NY 10002
jackhanley.com
Bjorn Copeland
Opening Recepton Thursday, September 5th 6:00-
8:00 pm
Jef Williams
November 14- December 15, 2013
Opening Recepton Thursday, November 14th,
6:00-8:00 pm
Jack Shainman Gallery
513 West 20th Street
New York, NY 10011
Jackshainman.com
SHOW DATES
HAL F GAL L ERY
ROBERT DAVI S
Hayv Kahraman Let the Guest Be the Master
Kerry James Marshall DOLLAR FOR DOLLAR

Odili Donald Odita
Brad Kahlhamer

Susana Solano
November 22 - January 11, 2014 both locatons
Kim Foster Gallery
kimfostergallery.com
Jacques Roch The Kiss and The Castle
recent paintngs
Moon Beom Secret Garden paintngs
Koenig & Clinton Gallery
leokoenig.com

Spectators, Rendered and Regulated
Paul Ramrez Jonas | Aggregate
House of Veti
December 12, 2013 - January 4, 2014
Litlejohn Contemporary
547 West 27 St., New York, NY 10001
litlejohncontemporary.com
Phyllis Bramson Small Personal Dilemmas
September 3 28, 2013
Valerie Hammond Blue Rainbow
Leslie Heller Gallery
54 Orchard St, New York, NY 10002
leslieheller.com
Gallery 1: Ron Gorchov Watercolors
Gallery 2: Into the Vortex
Tom Bogaert, Megan Burns, Graham Day Guerra,
John Jacobsmeyer, Jean-Pierre Roy, Joseph Ventura,
Oliver Warden, Doug Young, Aaron Zimmerman
Gallery 1: Fran Siegel
Gallery 2: The Language of Paintng
Martha Clippinger, Katherine Daniels, Vivki DaSilva,
Anne Ferrer, Joan Grubin, Lynne Harlow, Doreen Mc-
Carthy, Gelah Penn, Carol Salmanson
Gallery 1: Ted Larsen
Gallery 2: Clouds
December 15 January 26, 2014
Luhring Augustne Gallery
Chelsea: 531 West 24th Street, New York, NY
10011. Bushwick: 25 Knickerbocker Ave,
Brooklyn, NY 11237 luhringaugustne.com
Josh Smith
Luhring Augustne Chelsea

Josh Smith
Luhring Augustne Bushwick
Reinhard Mucha
Luhring Augustne Chelsea
November 2, 2013 - January 11, 2014
Lyons Wier Gallery
LyonsWierGallery.com
Greg Haberny, Burn All Crayons (gallery installa-
ton, mixed media) September 6 - October 5, 2013
SHOW DATES
HAL F GAL L ERY
BY ROBERT DAVI S
L I TTL EJ OHN CONTEMPORARY
PHYL L I S BRAMSON
FERN BY VAL ERI E HAMMOND
Cobi Moules, Bois Just Wanna Have Fun (paint-
ing) October 10 - November 9, 2013
Stephanie Hirsch, Id Rather Die on My Feet Than
Live On My Knees, (beaded & embroidered por-
traits) November 14 - December 14, 2013
Mike Weiss Gallery
www.mikeweissgallery.com
Michael Brown Schematcs and Silhouetes
Opening Recepton Saturday September 7, 6-8 pm
Kaoruko Enn
October 17- November 16, 2013
Opening Recepton Thursday October 17, 6-8pm
Jan De Vliegher New Works
November 21- January 11, 2014
Opening Recepton Thursday November 21, 6-8pm
Nancy Margolis Gallery
523 West 25th St. New York NY 10001
nancymargolisgallery.com
Andrea Dezs Without Myself
Paintngs Drawings and Tunnel Books
Opening Recepton Thursday September 12, 6:00-
8:00 pm
A mult-talented artst exceptonal for her ability to
move between mediums, New York-based Dezs
relies on traditonal media to express the non-
traditonal. Without Myself will feature a range of
handcrafed works, notable for their extraordinary
detail and enigmatc narratves, including ink brush
marker paintngs; graphite pencil drawings on
hand-made Japanese papers; paper collage, acrylic
and ink paintngs on canvas; and Dezss remark-
able tunnel books. Beautful and outlandish, myst-
cal and absurd, Dezss intricate organic designs
and unusual nature-inspired landscapes tell stories
that weave together psychological, historical and
ornamental themes. While the works ambigui-
tes leave viewers to fgure out Dezss stories for
themselves, the palete, restricted to black, white
and silver, is intentonally subversive, subtly reveal-
ing the story of an artst caught between worlds.
HAL F GAL L ERY
BY ROBERT DAVI S
FERN BY VAL ERI E HAMMOND
NANCY MARGOI S GAL L ERY
LOBSTERMEN BY ANDREA DEZS
Jef Depner Abstract Paintng
October24 - December 7, 2013
Opening Recepton Thursday, Oct 24, 6:00-8:00 pm
Artst Statement: Constructed to pit architectonic or-
ganizaton against the organic, my paintngs explore
compositonal structure through the relatonship
between colors. Forms are created through cause
and efect, wherein each layer interacts with its pre-
decessor creatng a functoning system of parts.
As a whole, these units combine to create a sort of
abstract sign operatng separately from speech and
writng paterns, with the intenton of seizing the
viewer on an unconscious or automatc level.
Nancy Hofman Gallery
Nancyhofmangallery.com
Hung Liu: Qian Shan: Grandfathers Mountain
The Wall Street Journal recently called Hung Liu the
greatest Chinese painter in the U.S., because of the
depth of her connecton with the culture and history
of China. That connecton runs not only through her
own life, but through the lives and experiences of
her mother and grandfather (who was born dur-
ing the Qing Dynasty). As an artst, Liu has always
tried to turn old photographs into new paintngs,
adding a certain mineral urgency to a decaying
chemical surface. With Qianshan: Grandfa-
thers Mountain, she makes clear the depth of
her familys memory of the old, literat traditons
of China with paintngs that reawaken her grand-
fathers dream of being what the Chinese called
Jushi (lay Buddhist), or a monk with a family. Her
paintngs are steeped in Chinese culture, contem-
porary and ancient. While she has a foot in both
culturesChina and the United Statesher art is
born of a traditonal Chinese art educaton. She
fuses images from 7th Century Tang tomb mural
paintngs of princes and princesses with Western
imagery such as St. Christopher carrying a baby
across the river, surrounded by her signature
circles of color, an abstract patern which dances
energetcally across the surface.
NOoSPHERE Arts
251 East Houston St. New York NY 10002
www.no-sphere.org
SHOW DATES
NANCY HOFFMAN GAL L ERY
HUNG L I U
VIKING RAPPERS: from New York to the North Pole
Martn Rustad Johansen and Simen Braathen.
September 8 - 29, 2013
The Unbearable Richness of Gray Group Show
October 4 - 27, 2013
Japanese Arts Selecton: Color Group Show.
Japanese Arts Selecton: Culture Group Show
November 12 - 24, 2013
Norwegian Sculpture Now Group Show.
November 29-December 29, 2013
On Stellar Rays
1 Rivington St, New York, NY 10002
Onstellarrays.com
John Houck A History of Graph Paper
September 8 - October 27, 2013 Opening recep-
ton: Sunday, September 8, 6:00 8:00 pm
On Stellar Rays is pleased to announce a new exhi-
biton of photographs by John Houck. The exhibi-
ton celebrates a number of excitng developments
at On Stellar Rays, including the gallerys frst solo
exhibiton with Houck, the gallerys fve year anni-
versary and the inaugural exhibiton in the gallerys
new locaton at 1 Rivington Street at Bowery on
the Lower East Side.
The shows ttle, A History of Graph Paper, alludes
to the work of 19th century scientst Luke Howard,
who pioneered the classifcaton systems of cloud
types, and who was also among the frst to use co-
ordinate paper in the sciences as a tool to measure
and quantfy. A History of Graph Paper addresses
how we make models of our world to beter under-
stand it, and how those models become and then
alter our perceptons of the world how the tools
we create in turn create us.
Pace/Macgill Gallery
32 East 57th Street, 9th Floor, New York, NY 10022
pacemacgill.com
Robert Rauschenberg and Photography
NOoSPHERE ARTS
VI KI NG PAPPERS
NANCY HOFFMAN GAL L ERY
HUNG L I U
Opening recepton, Thursday, September 5, 5:30-
7:30 p.m.
Pace/MacGill Gallery
32 East 57th Street
Irving Penn On Assignment
Opening recepton, Thursday, September 12, 6:00 -
8:00 p.m.
Pace & Pace/MacGill Gallery
Paul Kasmin Gallery
515 West 27th Street, New York, NY, 10001
293 Tenth Ave, New York, NY, 10001
paulkasmingallery.com
Ian Davenport Colorfall
293 Tenth Ave
Opening Recepton: 12 September 2013, 6:00 - 8:00
pm
Colorfall comprises of a selecton of new and
recent paintngs epitomizing Davenports unique
approach and artstc vision - one that he has de-
veloped to investgate color, movement, light, and
surface. The former Turner Prize nominee explains
his new body of work was inspired by placing his-
torical masterpieces in conversaton with modern
technology, such as Photoshop. Davenport says,
By following the color sequences from another
artsts palete, I am able to explore and queston
my own choices of line and hue. Photoshop is also
used to establish a framework, from which I intro-
duce an element of chance.
Taner Ceylan The Lost Paintngs Series
515 West 27
th
St
Opening Recepton: Wednesday, September 18,
2013, 6:00 - 8:00 pm
Well-known for his provocatve, emotonal realism
paintngs, Ceylan began The Lost Paintngs Se-
ries as a contemporary exploraton of the Orien-
talist gaze in all its facets. Upsetng both Western
and Eastern master narratves, The Lost Paintngs
Series presents Eastern fgures in a fascinatng
navigaton of history, power and narratve.
SHOW DATES
PAUL KASMI N GAL L ERY
COLORFAL L. SPECTROSCOPI C, 2013 BY
I AN DAVENPORT
Paula Cooper Gallery
534 W 21st St, New York 10011
Paulacoopergallery.com
534 W 21st Street
Sol LeWit
Sophie Calle Absence
Christan Marclay
November 21 - January 2014
521 W 21st Street
Charles Gaines, Notes on Social Justce
Dan Walsh
Bing Wright flms
December 14 - February 8, 2014
PIEROGI
177 N. 9th St, Brooklyn, NY 11211
www.pierogi2000.com
BOILER
191 N. 14th St, Brooklyn, NY 11211
www.pierogi2000.com
At Maier The Map is Not the Territory
At Pierogi and The Boiler
Opening recepton Friday, September 6, 7:00-9:00
pm
The Apollo 11 space mission to the moon is today
the stuf of legend. For German-born artst At
Maier, the frst Moon Walk serves as both meta-
phor and unifying theme to her latest exhibiton,
The Map Is Not the Territory. With a series of
new abstract paintngs, four looped videos, and a
foor sculpture, Maier will transform Pierogi and
second exhibiton space, The Boiler, into an immer-
sive environment within which to meditate upon
the essence of that giant leap for mankind.
PAUL KASMI N GAL L ERY
PAI NTI NG 1881 BY
TANER CEYL AN
The Boiler show features Maiers live acton flm,
The Map Is Not the Territory, from which the show
takes its name. Herein the artst plays her alter-ego:
A helmeted space-rider mounted on a horse walk-
ing languidly across two unknown planets following
a series of blinking lights that mimic the outline of
the frst Moon Walk. (The path is mirrored in the sky
as a star constellaton.) This strange juxtapositon of
scientfc and quasi-religious imagery becomes then
an emotonal vehicle for us to consider our own
place in the cosmos.
At Maier currently lives and works in Brooklyn, New
York. A previous 3D video animaton was included in
the Fokus Bienial in Ldz, Poland. Her work is part of
the permanent collectons of the Museum of Mod-
ern Art (NYC), the Museum der bildenden Kuenste
Leipzig (Germany), among others, and has been
included in exhibitons at the Stdtsche Galerie
Wolfsburg (Germany) and the Whitney Museum of
American Art (NYC). This will be Maiers fourth one-
person exhibiton at Pierogi.
John OConnor Gallery 1 + 2
October 11 November 10, 2013
Opening Recepton Fri, October 11, 7:00-9:00 pm

Recess
41 Grand St, New York, NY 10013
recessart.org
Recess in Red Hook
159 Pioneer St
Brooklyn, NY 11231
Jacolby Saterwhite Grey Lines
Recess 41 Grand
August 17 - October 12, 2013
Middling Recepton- September 26, 6:00-8:00 pm
Closing Recepton- October 10, 6:00-8:00 pm
Elizabeth Orr Circular Track
Recess in Red Hook
August 7 - October 6, 2013
Middling Recepton- September 12, 6:00-8:00 pm
Closing Recepton- October 3, 6:00-8:00 pm
Robert Mann Gallery
525 West 26th St, New York NY 10001
SHOW DATES
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www.robertmann.com
Mary Matngly House and Universe
Color photographs and sculptures
Jennifer Williams The High Line Efect
Site-specifc photographic installaton
Robin Rice Gallery
Robinricegallery.com
Greg Lotus Exhibiton

We are pleased to present Greg Lotus frst pho-
tographic exhibiton at the Robin Rice Gallery. The
opening recepton will be held Wednesday, Sep-
tember 18th, from 5:30 - 8:30 pm.

Inside the gallery, the viewer is surrounded by an
arrestng display of glamour in the wild. Drawing
inspiraton from classical paintngs and geomet
ric forms, Greg Lotus work has been compared
to Herb Rits, Man Ray and Richard Avedon, and
his exhibiton fuses his high fashion background
with the rural environment of his youth. Yet Lotus
admits to no formal training throughout his career,
Im completely self-taught, lots of trial and error
over the years.
Swimmer Cap, is an example of Lotus signature
pop of color. Here, a cast of sinewy models con-
vene in a locker room; their candy-colored swim
caps give the piece its surreal, dreamlike quality.
Lotus is currently focused on his fne art photog-
raphy and recently exhibited at Art Basel in Miami
Beach. Today he splits his tme between Manhat-
tan, Paris and Miami, travelling frequently on as-
signment to Europe.
Jeferson Hayman The Heart Has Its Reasons
Sikkema Jenkins & Co.
530 W 22nd St, New York, NY 10011
RECESS GAL L ERY
J ACOL BY SATTERWHI TE
www.sikkemajenkinsco.com
Leslie Hewit
Leslie Hewits installatons call atenton to the way
we see and experience photography. Her framed
photographs lean against the wall, drawing atenton
to the physical presence of the work, and suggestng
a sculptural object and sitespecifc installaton. The
images themselves utlize the classical stll life motf.
Her compositons incorporate material selectons
imbued with historical, politcal, social, and personal
afect.
The current exhibiton includes two photographic
series: Rifs On Real Time (2013) and Stll Life (2013).
Contnuing a body of work begun in 2002, the
works in Rifs On Real Time share a formal composi-
tonal structure layered constructons of collaged
elements are arranged on her studio foor, which
Hewit has photographed from above. Within that
set structure and perspectve, Hewit creates visual
syncopaton and variaton using paterns, breaks,
or points of rest between the elements within each
frame, and within the series as a whole.
The use of repetton and seriality in the series Stll
Life enables Hewit to forge a connecton between
carefully selected disparate elements as well as
to underscore the fact that the works exist over
tme across the span of a contnuing project. Her
engagement with tme and the representaton of
silence is motvated by the desire to explore how
Americans have engaged or disengaged with both
the literary references to and the historical lan-
guage of the civil rights era narratve (on a micro
and macro scale). The constant refrain throughout
the series is provided by James Baldwins 1963
book, The Fire Next Time, seen in each photo-
graph alternatng in visibility. Positoned with
found photographs, other books, a maple wood
board, and a perfectly sliced lemon (a nod toward
the symbolism of citrus fruit in 17th century stll
life paintng), the compositon represents a decon-
structed yet reassembled contemporary stll life.

The photographic series are shown with two wall
interventons, which lean against the wall and mir-
ror the dimensions of the gallery doorways. Bor-
rowing the language of the gallerys architecture,
the presence of the interventons creates new
SHOW DATES
SI KKEMA J ENKI NS & CO.
L ESL I E HEWI TT
relatonships between the works on view, shifing
atenton back and forth between the visual, picto-
rial images in the photographs and the physical
elements that are experienced in real tme.
Soho20 Chelsea Gallery
547 West 27th St., Suite 301, New york, NY 10001
www.soho20gallery.com
Elizabeth Bisbing More Life Than Stll
September 3 -September 28, 2013
Opening Recepton: Friday September 6th, 6:00-
8:00 pm
Elizabeth Bisbing explores plant life in relaton to
botanical study and artstc observaton. Among
the natve regional plants, Bisbing included medici-
nal fowers, exotc intruders and weeds, labeling
and categorizing her fndings with the assistance of
Greene and Columbia County Master
Gardener Bonnie Blader. Also on view are two stop
moton animatons by Bisbing, Metamorphosis
and The Swamp, which are based on the paper
cut works.
Mariangeles Soto-Diaz Color Felt
Savoir-Faire 2013 featuring performances by
Caitlin Baucom, Sophia Peer and The Dirty Church-
es. Check gallery website for dates and tmes of
performances.
Color Felt builds on the artsts long-standing
engagement with the language of North and South
American traditons of abstracton. A former paint-
ing student of the late Karl Benjamin while com-
pletng her MFA at Claremont Graduate University,
Soto-Daz here challenges the cool traditon of clas-
sical hard-edge abstracton by linking color to emo-
ton and social media. She also holds an MA from
CalArts from the School of Critcal Studies, where
her studies of aesthetcs and politcs solidifed her
unique form of conceptual abstracton.
Steven Harvey Fine Art Projects
208 Forsyth St, New York, NY 10002
shfap.com
Katherine Bradford
SOHO20 CHEL SEA GAL L ERY
( L EFT) MORE THAN L I FE STI L L, EL I ZABETH
BI SBI NG
( ABOVE) COLOR FELT TRANSL ATI ON
MARI ANGEL ES SOTO- DI AZ
Lester Johnson
Sangram Majumdar
November 20- December 22, 2013
STUDIO10
56 Bogart St., Brooklyn, NY 11206
www.studio10bogart.com
Do Not Blow Horn Use Bell is Tim Spelios second
solo show with Studio10. Spelios constructs intricate
photo collages from books and found printed mat-
ter, creatng irratonal and irreverent associatons
through juxtapositons of image fragments. Baroque
exuberance and a quiet, lyrical reductvism coexist in
a feld of obliteraton and transformaton.
Spelios retrieves his materials from the streets, fea
markets and fnds books lef in piles by anonymous
Brooklynites. Obsolete manuals, out of date maga-
zines with the pages torn or removed, or forgoten
photographs are all favored. He chooses unconven-
tonal subject mater, and disassembles and ob-
scures the content, resultng in irreverent disloca-
tons of meaning between the disparate elements
in the collage. Spelios leads the viewer to queston
if they perceive a real or crafed memory or per-
haps a biographical reference in the work at hand.
Susan Inglet Gallery
522 West 24 St, New York, NY 10011
Ingletgallery.com
Allison Millers paintngs ask viewers to be ac-
tve partcipants. Visibly constructed and decon-
structed, layer-by-layer, the resultng works are
palpable sites of actvity. Causing forms, space and
priorites to shif and evolve, Miller links viewer
to maker by maintaining a constant state of fux.
A sense of paradox and simultaneity extends to
every facet of Millers work, from color palete to
materials, mark-making to compositon. Transpar-
ent sky blues and peachy-pinks are both high-
lighted and negated by expanses of thick, black
impasto. Crusty surfaces of a muddy, dirt and
paint mixture abut wispy, hair-like lines of satu-
rated color. Flecks and drips of paint belie the fact
that, ofen, the canvases are worked in multple
SHOW DATES
STUDI O10
SKEL ETAL PANTALOONS BY TI M SPEL I OS
orientatons before coming to rest. Compositonal-
ly, Millers paintngs hover; grazing everything from
landscape to portraiture, collage to cartoons. They
are at once agile and ham-fsted in their approach
to abstracton. This mutability makes for a kind of
freedom, as Millers paintngs choose to prioritze
experience over certainty.
Throckmorton Fine Art
145 East 57th St. 3rd f. New York, NY 10022
www.throckmorton-nyc.com
Aldo Sessa - Refectons of New York City
Throckmorton Fine Art is pleased to present an
exhibit of photographs of New York City by the
notable and acclaimed photographer in Argentna,
Aldo Sessa. Now in his seventes, Sessa is widely
hailed in his natve Argentna and in neighbor-
ing South American countries. His work has been
shown throughout the region, in both museums
and galleries. In a bid to introduce Sessas work to
a wider audience, Throckmorton is showing 25 of
Sessas photographs of New York City. The images
are all black-and-white, beautfully developed gela-
tn silver prints.
Sessas work is comprised of images from Argen-
tna, from Buenos Aires prominently, but also
from isolated rural areas of the expansive country
(which has just 15 percent less territory than India,
yet a populaton of only 40 million). For the last
four decades, though, Sessa has regularly trav-
eled to another port facing the Atlantc Ocean:
New York. Here he has labored, producing images
of New York that are creatve and innovatve. He
sees the city from another angle, notceable, for
example, in his unique photograph of the Statue of
Liberty. Sessas images of New York are, despite his
maturity, fresh and youthful. Sessa succeeds in
making us look againand more appreciatvely at
familiar icons of New York.
Woodward Gallery
133 Eldridge St, New York, NY 10002
www.WoodwardGallery.net
Robert Indiana - A to Z
STEVEN HARVEY
FI NE ART PROJ ECTS
SANGRAM MAJ UMDAR
This Season, Robert Indiana will be concurrently
featured with traveling exhibitons opening at The
Whitney Museum of American Art (Retrospectve),
The Munson Proctor Arts Insttute, and The India-
napolis Museum (Print Retrospectve). Woodward
Gallery is delighted to be among these prestgious
insttutons to unveil Robert Indianas current series,
The Alphabet A - Z, in September - October 2013.
The A - Z Exhibiton boasts the artsts brilliant
graphic style devoted now to the entre American
alphabet. The new work, presented on paper and
canvas, is bold in color and assumes a striking com-
plex simplicity.
Robert Indiana is among the worlds most revered
living artsts with works in the permanent collec-
tons of more than 100 museums including: the
MOMA, the Whitney, and the MET in New York;
Shanghai Art Museum, China; Tel Aviv Museum of
Art, Israel; Museum Ludwig, Germany and the Lou-
vre Museum, France. Robert Indiana is best known
for his iconic 1960s LOVE series as well as his mes-
sage of HOPE since 2008.
SHOW DATES
WOODWARD GAL L ERY
STUDY FOR AL PHABET WAL L ( RED & GOL D),
2010, BY ROBERT I NDI ANA
Issues so sweet
they will give you a cavity.
creative
sugar
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