Jonathan Santlofer will exhibit recent works on paper from an ongoing series that explores the visual and psychological relationship between artists and their art at Jim Kempner Fine Art from October 3 through November 1, 1998. In these small and intimate drawings executed in pencil gouache and other media, Santlofer juxtaposes realistic images of late nineteenth and 20th century artists with painstakingly accurate reproductions of their works. The artists in his pantheon are as diverse as Manet, Frida Kahlo, Mondrian, Warhol, Mary Cassatt and Keith Haring. Ultimately, he creates exquisite little worlds in which each artist is fused with his or her art in a way that questions our concepts of artifice, authenticity, and how we process the imagery and information we receive. Concurrently, there will be an exhibition of 50 of Santlofer's carved and painted reliefs at James Graham & Sons, 1014 Madison Avenue from September 24 through October 24.

Of this recent series Santlofer states: I have always been interested in levels of space and reality. When I make my version of say a Picasso, deKooning or Georgia O'Keeffe, I surround myself with three or four reproductions of each, study the line, surface, texture, color, everything I can see, as well as what I remember about a work of art. Ultimately, the painstaking replication of a particular artist's work is, of course, a reproduction of a reproduction, or a collective memory. To me, this replicating or translating of another artist's art is almost completely abstract...The portrait of the artist I include in each piece - either carved or drawn or painted - creates another kind of dialogue: exactly what is the art here? Is it the carving or drawing I make of the artist's portriait, or their artwork which I replicate?

Jonathan Santlofer is represented by James Graham & Sons, NY. His work is in numerous public and pivate collections including those of The Metropolitan Museum of Art, NY; the Art Institute of Chicago, IL; The Weatherspoon Gallery, NC; Institute of Contemporary Art in Japan; AT & T; Chase Manhattan Bank.

For information or photographs, please contact the gallery at (212) 206-6872.

AGAINST THE GRAIN

Woodcuts

AT JIM KEMPNER FINE ART

September 10 - September 30, 1998

Jim Kempner Fine Art will present Against the Grain, an exhibition of woodcuts by Helen Frankenthaler, Roy Lichtenstein, Jim Dine, Wayne Thiebaud, Donald Judd, Alex Katz and others from September 10 through September 30, 1998. The gallery is located at 501 West 23rd Street (on Tenth Avenue). Hours are Tuesday through Saturday from 10-6pm; and Sundays from 12-5 pm.

Featured in Against The Grain, will be Tales of Genji II, from Helen Frankenthaler's recent print project with Tyler Graphics. Dated 1998, it is a woodcut and stencil on handmade paper in an edition of 36. An exquisite series of prints, Frankenthaler has distinctly stepped outside the ukiyo-e tradition inspired by the Japanese novel of the same title written in the 11th century.

Other highlights include The Student, 1980, by Roy Lichtenstein, a vibrant portrait from his series inspired by the vocabulary of German Expressionism;

and the a woodcut series of rich and intensely colored grids by Donald Judd, Untitled, 1992-93.

For further information or photographs, please contact the gallery at (212) 206-6872.

Jim Kempner Fine Art will present the exhibition, Now & Then, which will focus on the changes that have occured in the prints of a select group of contemporary artists who have, over the past 30 or 40 years, made printmaking an integral part of their artistic ouvre. This presentation will give the viewer an opportunity to compare and study an artist's initial explorations in a given print medium to his/her later work. Installed, side by side, will be an example of an early and recent editioned print by the following artists: Robert Rauschenberg, Brice Marden, Helen Frankenthaler, Jasper Johns, Andy Warhol, Jim Dine, Jennifer Bartlett, Elizabeth Murray, Robert Motherwell and others.

An example of our selection can be found in the presentation of prints by Robert Rauschenberg. Front Roll, a beautiful two-color lithograph from stone, was published by ULAE in 1964. It was printed in two runs on white wove paper and measures 41 1/4 x 29 13/16", from an edition of 39. It will be installed with a current print from the same publisher titled Storyline, 1997, from the Ground Rules series, an intaglio,47 1/2 x 37 1/2", from an edition of 44.

The gallery is located at 501 West 23rd Street in Chelsea, northwest corner of Tenth Avenue. Hours are Tuesday through Saturday from 10-6; and Sunday from 12-5.

Telephone: (212) 206-6872.

Jim Kempner Fine Art is pleased to announce an exhibition of Greg Parker's minimalist paintings from May 9 through June 4. It will be his first solo exhibition in New York. The gallery is located at 501 West 23rd Street at Tenth Avenue. Hours are Tuesday through Saturday from 10-6; and Sunday from 12-5.

The beauty of Greg Parker's paintings lies in his ability to seduce the viewer with his elegance and order. Through the multi-layered manipulation of gesso, graphite and oil, Parker's painting medium exists eloquently between the boundaries of painting and drawing. He builds the painting's surface with 50 layers of sanded gesso then etchs and scores expressive lines into an obsessively smooth finish. Parker's exquisite use of drawing and mark making in his paintings are the most obvious expression of both the physical and emotional unconscious. The surfaces of his paintings have a paradoxical history as well evidenced by the controlled handling of materials juxtaposed with a poetic unraveling of this order.

Parker's paintings are initially constructed in a very rational manner; both the proportions and the materials are consistent with our constructed environment. It is the artist's objective to build a specific form that ultimately becomes a contemplative environment. There is a quality of "order" and "precision" in both the composition and the mediums used . However, this sense of "order", Parker's enforced rationality, is simultaneously abandoned as more expressive painterly issues evolve. Parker succeeds in capturing the expressive potential of light and reflected light. The highly polished planar surface allows for diverse interaction of light conditions. Graphite is applied to provide a reflective effect as well as reaffirming the objective physicality of the surface itself.

Based in Maine, Greg Parker recently had a solo exhibition at Miller Block Gallery in Boston, and has exhibited at the June Gallery in Portland and Between the Muses Gallery in Rockand, Maine. Parker was included in a major painting exhibition at the Portland Museum of Art and in the Eighth Triennial at the Fuller Museum of Art last fall. His work is in the permanent collection of the Portland Museum of Art.

Jim Kempner Fine Art will present an exhibition of Robert Motherwell's prints and drawings from the 60's through the 90's, from April 11 thorugh May 5. The gallery is located at 501 West 23 Street, New York, NY. (212) Hours: Tuesday through Saturday from 1--6; and Sunday from 12-5.

Featured in the exhibition will be Black For Mozart, one of Motherwell's last and greatest prints; some unique prints from the 90's that were never editioned; a gestural drawing from the 60's; and a collage from the 70's.

For further information, please contact the gallery at (212) 206-6872.