Hewitt’s new steel sculptures painted in bright, gleaming hues of enamel reference the color-saturated iconic imagery of his earlier paintings and prints, while also building upon his previously sculpted works that are characterized by untreated granite and copper. However, where Hewitt once called upon the natural elements for aesthetics, his new body of work has emerged as a cooler, slicker, more modern cousin. Hewitt’s roots in Maine remain apparent in the symbology of the new sculptures, but the employment of enamel transplants the work into an utterly new realm, that of our fast-paced global environment.

Jim Kempner Fine Art is pleased to announce the exhibition, Stephen Antonakos: Here and Beyond, which will open on September 18th and continue through October 25th. Known since the 1960’s for his transforma- tive use of neon in sculpture, Antonakos, through the decades, has similarly advanced the formal possibili- ties of abstract geometry with his drawings. The exhibition will feature a selection of works on paper, two neon panels, and a large outdoor neon installation made specifically for the show. There will be an opening reception for the artist on Thursday, September 18th from 6-8 pm.

> Click here for a press release.

Jim Kempner Fine Art is pleased to present Places featuring works by Brandon Ballengee, Christiane Baumgartner, Chris Becker, Robert Beckmann, Vija Celmins, Eduardo del Valle & Mirta Gomez, Kim Dorland, Steve Giovinco, Gianfranco Gorgoni, Jane Hammond, Tanja Alexia Hollander, Mark Inglis, Alex Katz, Ligorano/Reese, Laura Newman, Ed Ruscha, Paula Scher, Danny Singer, Pal Svensson, Mayumi Terada

Jim Kempner Fine Art is pleased to present an exhibition of new work by Charlie Hewitt. The opening reception will take place on Saturday, November 8th from 6-8pm, and the show will continue through December 23rd. This will be Hewitt’s fifth solo exhibition at the gallery and the first appearance of his new steel sculptures painted in bright, gleaming hues of enamel.

>Click here for full press release

Jim Kempner Fine Art is pleased to announce an exhibition of Ed Ruscha prints from the 1970’s to the present from November 2 through December 23. A selection of the artist’s drawings will also be included in the show.

Long an influential voice in postwar American painting, Ed Ruscha is also one of contemporary art’s most significant graphic artists. He began making informal editions in the late 1950’s and produced his first published lithograph in 1962. He has worked with most major print workshops in the United States and abroad, including Tamarind Lithography Workshop, Editions Alecto, Cirrus Editions, Graphicstudio, Edizione O, and Hamilton Press, to produce over three hundred prints.

Highlights of the show will include the early silkscreens News, Mews, Pews, Brews, Stews & Dues in which Ruscha used unconventional organic materials such as black-currant preserves and salmon roe raw egg, fruit-pie filling, chocolate syrup, axel grease and caviar in place of printing inks; the portfolio, Cameo Cuts, and The End, in which he explores the more physical properties of film as the images appear to have been scratched or sliced; and several lithographs such as “OK” and “Question?,” in which the artist employed a splatter technique used in the past in lithographs by such artists as Toulouse-Lautrec and Dubuffet, where a spray of tusche applied to the plate through a paper stencil creates a finely textured background.

Ruscha’s work has been exhibited internationally for three decades and is represented in many major museum collections. In 1999 a major traveling retrospective, Ruscha: Editions 1959-1999, originated at the Walker Art Center, Minneapolis, and then to the Los Angeles County Museum of Art, CA and the University of South Florida Contemporary Art Museum, Tampa, FL. In 2001,The California Palace of the Legion of Honor in San Francisco, acquired the entire archive of Ruscha’s 325 prints and 800 working proofs.

For more information please contact us at 212-206-6872 or [email protected]

Jim Kempner Fine Art is pleased to announce an exhibition of recent works by Jay Kelly from November 23rd through December 23rd. Executed in pastel and graphite on vellum, the intimate nature of these small-scale minimalist works on paper draws the viewer into a world of pure, simplified geometric shapes and subtle tones. Concurrently, there will be an exhibition of prints by Ed Ruscha. The gallery is located at 501 West 23 Street (corner 10th Avenue and 23rd Street). Hours are Tuesday through Saturday from 10-6.

Jay Kelly continues to distill the essence of balance and harmony of modernist architecture and design from the 1950s and early '60s in these new drawings, as he deftly plays variations on opaque and translucent rectangles of color. The artist, who grew up in New Jersey, is influenced by the architecture that surrounds him; his interest in industrial landscapes is very apparent:

“Even as a child,” Kelly says, “I loved the industrial landscapes around Newark. The rusty barrels and old trucks weren’t just barrels and trucks; they were graphic elements and colors that fascinated me.”

Kelly’s artistic style began in the form of photorealistic watercolors. He would painstakingly capture every detail of the urban landscapes he had become so taken with which would sometimes take months to finish. Four years ago he began experimenting with his current style, producing photorealistic watercolors by day and geometric drawings on translucent vellum at night. For the time being, he has abandoned his realist style and works almost exclusively in the realm of geometric abstraction.

When asked Kelly will dispute that there is any contradiction in his two approaches. His subjects are still the ethereal landscapes of his youth. His geometric forms are simply the old trucks and barrels reduced to their basic forms. According to Kelly,

“I’m working in a different way now but I don’t think I’ve moved very far at all.”

Jay Kelly’s work is represented in the collections of the Metropolitan Museum of Art, New York and The British Museum. For further information and visuals, please contact us at [email protected] or call us at 212-206-6872.

Jim Kempner Fine Art is pleased to announce an exhibition of recent drawings by Jonathan Santlofer from September 12 through October 19. Concurrently, there will be an exhibition of prints and unique works by Andy Warhol. The gallery is located at 501 West 23 Street (corner 10th Avenue and 23rd Street). Hours are Tuesday through Saturday from 10-6.

In this new series of graphite drawings, Jonathan Santlofer continues his long-standing fascination with illusion and reality as well as his exploration of artists and icons. Issues of truth are pushed to the extreme: trompe l’oeil painted tape, meticulously rendered rips and tears all telegraph to the viewer that what he or she is looking at is “real.” The drawings hover somewhere between photography and documentation while playing with and challenging both of those mediums.

In these mock ‘photographs’ artists such as Man Ray, Duchamp, Robert Mapplethorpe, Georgia O’Keeffe, and Andy Warhol intrude upon their most famous images: Mapplethorpe poses between his gorgeous study of an eggplant and his notorious Man In the Polyester Suit; Warhol bears witness to Jackie and Marilyn meeting in his studio; Duchamp kisses Andy Warhol’s gun shot wounds.

At once mechanical and hand-made in appearance, these ambitious, often ambiguous works on paper are equally witty and deadpan. They invite the viewer into a conversation not only with the artists depicted in each drawing, but with a much larger dialogue on the nature of image-making, narrative, truth and illusion.

A separate exhibition of works by Andy Warhol will feature some of the artist’s best his silkscreen prints including Marilyn #30, 1967, Rebel Without a Cause (James Dean), 1985, and Shoes, a silkscreen with diamond dust from 1980. All eleven images from the Flash, November 22, 1968 portfoilio of images related to the John F. Kennedy assassination will be on view, as well as rare, early ink-blot drawings of children from a private collection.

For more information please contact us at 212-206-6872 or [email protected]

Jim Kempner Fine Art is pleased to present our third solo exhibition of recent minimalist paintings by Greg Parker. Through the multi-layered manipulation of gesso, graphite and oil on hardwood panels, Parker’s paintings exist eloquently between the boundaries of painting, drawing and sculpture. In this recent series of works, which are often incised with linear patterns, the artist continues his exploration of geometric abstraction. Ranging in sizes from 4 x 24 x 2 1/4” to about 36 x 48 x 2 1/4,” several of the paintings in this new series are two panel pieces, with different qualities expressed in separate but joined panels of dissimilar size and/or joined on different planes. The gallery is located at 501 West 23rd Street (at Tenth Avenue). Gallery hours are Tuesday through Saturday from 10-6 and by appointment.

The beauty of Greg Parker's paintings lies in his ability to seduce the viewer with his elegance and order. He builds the painting's surface with up to 30 layers of sanded gesso then etches 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.

Greg Parker lives and works in Maine and has an MFA from Cranbrook Academy of Art. His work is represented in the collections of the Portland Museum, the Farnsworth Museum of American Art, the DeCordova Museum & Sculpture Garden and The British Museum. Recent solo exhibitions have included those at Miller Block Gallery in Boston, June Fitzpatrick Gallery in Portland, Maine, and Richard Levy in Albuqerque, New Mexico.

Contact us at 212-206-6872 or email us [email protected]

Jim Kempner Fine Art is pleased to present an exhibition of prints by Wayne Thiebaud from November 1st through December 8, 2001. The show will include a selection of some of the artist’s best etchings, aquatints, linocuts and woodcuts from 1962 to the present. The gallery is located at 501 West 23rd Street. Hours are Tuesday through Saturday from 10-6.

Celebrated for his carefully observed images of cakes, pies, toys and lipsticks, Wayne Thiebaud’s prints have been an important part of the artist’s oeuvre since the early 1964 “Delights” portfolio of tiny incisive etchings of commonplace American still-life objects - a restaurant tabletop dispensers, a plate of olives, a display of stately cake wedges, a can of sardines. Later images of rabbits and lollipops were followed by San Francisco cityscapes like “Steep Street” in which the city’s verticality is extended into flat pattern. In his etchings and aquatints, such as the stunning “Four Cakes,” and the extraordinary Japanese woodcuts like the darkly luminous “Candy Apples,” Thiebaud gives weight and presence to passing pleasures and to ephemeral qualities of light and shadow.

There was a retrospective of Wayne Thiebaud’s prints at the Corcoran Gallery in Washington, D.C. earlier this year. The Whitney Museum in New York and The Phillips Collection in Washington had major retrospectives of his paintings and drawings this year as well.

For more information please contact us at 212-206-6872 or [email protected]

Jim Kempner Fine Art is pleased to announce an exhibition of recent drawings by Jay Kelly from September 15 to October 20. Executed in pastel and graphite on vellum, these small, seductive minimalist works are subtle distillations of pure geometric forms. This will be the artist's second solo show at the gallery. Jim Kempner Fine Art is located at 501 West 23rd Street (entrance at Tenth Avenue). Hours are Tuesday through Saturday from 10-6; and by appointment.

In his second solo show at Jim Kempner Fine Art, Kelly continues to investigate modes of abstraction, a process he began approximately four years ago in what seemed a significant departure from the photorealism of his previous paintings and watercolors of industrial sites. However, with his luminous new drawings -- sleek, silvery graphite and muted pastels on translucent vellum -- what he is doing is "simplifying and concentrating, eliminating the unnecessary, as Hans Hoffman once suggested, rather than exchanging representation for abstraction. His most recent sequence of postcard size images (3" x 6" or 5" x 5") floated on a white ground, situates his imagery in less fixed, more ambiguous territory where scale is relative -- a quarter inch might equal the universe--and space is equivocal. Many of the drawings are diptychs, a monochrome panel sometimes crossed by the thinnest of lines paired with a panel containing a few geometric figures -- circular and oval rings, open squares and rectangles, a stream of dashes -- that appear to overlap and are slightly out-of-focus at the edges. The imagery, still representational as well as abstract, evokes formalist ghosts as well as biological, cosmological or encoded, electronic phenomena, precise within an imprecise field. Kelly's measured, sensitized drawings comment on the ideologies and aesthetics of modernism, postmodernism and beyond. Small miracles of form, color and light, they also comment persuasively on the subtleties and pleasures of perception (Lilly Wei, 2001)."

Jay Kelly has exhibited at Graystone Gallery in San Francisco and at O.K. Harris in New York. Examples of his new work have recently been acquired by The Metropolitan Museum of Art, The British Museum, and the noted Minimalist drawing collector, Werner Kramarsky.

For further information please contact us at 212-206-6872.

Jim Kempner Fine Art is pleased to announce its upcoming exhibition, Minimalennialism, a large group show of 21st Century Minimalist paintings, drawings, prints and sculpture by over 15 artists, including Ellsworth Kelly, Jay Kelly, Sol Lewitt, Julia Mangold, Robert Mangold, Brice Marden, Wes Mills, Greg Parker, Carole Seborovski and others. The dates of the show are March 31 through May 5, 2001. An opening reception will be held on Saturday, March 31 from 6-8 pm. The gallery is located at 501 West 23rd Street (entrance on Tenth Avenue). Hours are Tuesday through Saturday from 10-6, and Sunday by appointment.

Throughout the 1960's and 1970's, formally reductive abstraction was employed by a range of artists who worked with similar vocabularies, but to radically different ends. Many artists working today continue the exploration of simplified form and color, the repetition of elements, objectifying the painting as object, and the universal "purity" of spirit of the minimalist esthetic.

Highlights by younger artists include the small, seductive minimalist drawings by Jay Kelly executed in pastel and graphite on vellum; the more austere grid and geometric form paintings by Greg Parker done in oil, pigment and graphite; the spare, poetic paintings and drawings by Wes Mills; and the severe steel sculptures by Greg Corn and Julia Mangold.

Featured works among the "minimalist masters" are Ellsworth Kelly's recent prints of boldly colored simplified curves published by Gemini; a set of seven small woodcuts by Robert Mangold, which accompany his recently editioned catalogue raisonne published by Parasol Press; and a charcoal grey and orange curvilinear drawing by Sol Lewitt.

Jim Kempner is pleased to announce an exhibition of recent prints and unique works on paper by Charlie Hewitt from June 2 through July 7. An opening reception will be held on Saturday, June 2 from 6-8 pm. The gallery is located at 501 West 23rd Street (entrance on Tenth Avenue). Hours are Tuesday through Saturday from 10-6, and Sunday by appointment.

Charlie Hewitt’s recent prints and paintings are physical, complex and layered, yet elegant and restrained. Hewitt has a strong graphic sensibility along with a poetic visual language. A painterly approach is apparent in these works, infusing the surface with evidence of the artist’s hand.

Featured in the exhibit will be “Grass Harp” 1, 2 & 3, a tour-de-force of aquatint, etching, and drypoint. “Grass Harp” is a richly colored, boldly rendered triptych that references nature as a celebration of life. The exhibition will include the original working drawings executed in oil, varnish, drypoint and collage.

This past year, the Whitney Museum acquired two major Hewitt prints for their collection: the large-scale, colorful “German Music I”, and the extraordinary drypoint “Heartland”.

For more information please contact us at 212-206-6872 or [email protected]

Jim Kempner Fine Art is delighted to announce an exhibition of unique color trial proofs by Sam Francis, one of the most gifted graphic artists of the abstract expressionists, as well as one of the most committed to the art of printmaking. The exhibition will include about 30 of these special proofs, all of which were made and signed at the same time as the editioned prints, but have remained relatively unknown. Many of the trial proofs in the exhibition were created at the Litho Shop, Sam Francis's own print shop, which he established in 1970. All were acquired directly from the artist's estate.

Sam Francis made over 300 lithographs, 20 screenprints and 125 etchings from 1960 to 1990. For each editioned print, Francis explored the full range of aesthetic possibilities in his trial proofs and imbued them with their own special qualities. Experimentation was an integral part of Francis's creative process and the trial proofs are considered to be equally resolved and successful in their own right.

The dates of the exhibition are February 8 through March 17. An opening reception will be held on Saturday, February 10 from 5-7 pm. The gallery is located at 501 West 23rd Street at Tenth Avenue. Hours are Tuesday through Saturday from 10-6.

For more information please contact us at 212-206-6872.

Jim Kempner is pleased to announce "HueLess," an exhibition of black and white prints by Ellsworth Kelly, Brice Marden, Richard Serra, Lucian Freud, Cy Twombly, Howard Hodgkin, Robert Rauschenberg, Andy Warhol and others, from November 4 through December 2. Continuing in a long tradition in the history of print making when Durer first printed black ink on light colored paper, contemporary artists are still enthralled with the richness and varying tones of black contrasted with white. Focusing on shape, surface and line, the works in this exhibition will include, woodcuts, etchings, lithographs and silkscreens . The gallery is located at 501 West 23rd Street at Tenth Avenue (nearest subways are the C,E at 23rd and 8th Avenue). Hours are Tuesday through Saturday from 10-6, Sunday by appointment. Email: [email protected]. Website: www.artnet.com/jkfa.html.

Featured in the exhibition will be Brice Marden's 12 Views for Caroline Tatyana,1977-79, a stunning portfolio of etchings with aquatint inspired by ancient Greek architecture, which play with the contrasts between light and dark and solid and void, and Richard Serra's lushly textured Jump Start, 1996. Other highlights will include Rank, 1964, one of the early stone lithographs by Robert Rauschenberg that accompanied the Dante's Inferno portfolio; Andy Warhol's Shoes, 1980, a luxurious black and white screenprint with diamond dust; and a rare Twombly lithograph from 1971 with his signature mark making.

Jim Kempner Fine Art is pleased to announce an exhibition of Andy Warhol, from September 14 through October 31, 2000. The exhibition will include a selection of prints and unique pieces from the 60's through the 80's. The gallery is located at 501 West 23rd Street at Tenth Avenue. Hours are Tuesday through Saturday from 10-6, Sunday by appointment. Nearest subway is the C,E at 23rd and 8th Avenue.

Highlights of the show will include Warhol's Shoes from1980, a portfolio of five screenprints with diamond dust; Campbell Soup Cans from 1969; and Mao prints from the early 1970's. In addition, unique works on paper will be featured, such as a Multiple Marilyn, 1978. Representing some of his early works will be the multiple object Kiss from 1966, a screenprint on plexiglass with a plexiglass mount.

Warhol stands out as the foremost figure in the Pop Art movement and a major influence on the contemporary art world. Along with Robert Rauschenberg, he was the first artist to use commercial screenprinting in his paintings as well as his prints.

For further information, please contact us at 212-206-6872.

Jim Kempner Fine Art is pleased to announce an exhibition of recent drawings by Jay Kelly from March 11 through April 16. Executed in pastel and graphite on vellum, these small, seductive minimalist works are subtle distillations of pure geometric forms. This will be the artist's first solo show at the gallery. Jim Kempner Fine Art is located at 501 West 23rd Street (entrance at Tenth Avenue). Hours are Tuesday through Saturday from 10-6; and Sunday from 12-5.

Known as a photorealist painter of industrial landscapes, in his recent abstract work, Kelly pares down the fundamental visual elements in architecture and landscape to their purest essence of color and shape. The drawings, which measure from 3 x 6" to 5 x 5," are subtle in coloration, have a soft, diffuse, serene quality, and emanate light and depth. From a review of a recent show in San Francisco, one critic writes:

..Some patterns bring to mind the striations we have learned to associate with forensic DNA testing. Others suggest fence posts against a field of snow...

The art of Kelly's drawings is in activating a very small working space without giving scale to what happens within it. Though Kelly's pieces have not a trace of turbulence, the eye is always at sea in them....

Jay Kelly has exhibited at Graystone Gallery in San Francisco and at O.K. Harris in New York. Examples of his new work have recently been acquired by The Metropolitan Museum of Art.

For further information or visuals, please contact us at 212-206-6872.

Jim Kempner Fine Art is pleased to announce an exhibition of works on paper by Sam Francis, from February 10 through March 4, 2000. The exhibition will include a selection of prints and drawings from the 60's through the 90's. Several of the prints in the show were made at the Litho Shop, Sam Francis's own print shop which he established in 1970. The gallery is located at 501 West 23rd Street at Tenth Avenue. Hours are Tuesday through Friday from 10-6.

Sam Francis's hightly personal style of spontaneous, immediate application of paint to canvas and paper gave rise to a new French term which was soon internationalized: tachisme, in essence, the art of spots and stains. Regardless of the medium, Francis reveals a consummate unity with process. Remarkably, he has been able to transfer the same combination of spontaneous gesture and signature abstract forms to the graphic media, which appear to be as intuitive and direct as his painting.

For further information, please contact us at 212-206-6872.

Jim Kempner Fine Art is pleased to announce an exhibition of Greg Parker's minimalist paintings from September 23 to October 31. 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 etches 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" and 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 Kelly 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 and, most recently, at The DeCordova Museum. His work is in the permanent collection of the Portland Museum of Art.

Jim Kempner Fine Art will present Changing Faces, an exhibition of contemporary portraits by Chuck Close, Jim Dine, Lucian Freud, Elizabeth Peyton, Jonathan Santlofer, Cindy Sherman, Andy Warhol, Brenda Zlamany, and others. The show, which opens June 12 and runs through July 24, will include prints, drawings, photographs and paintings. The gallery is located at 501 West 23rd Street. Hours are Tuesday through Saturday from 10-6; and Sundays in June from 12-5. In a recent article about contemporary portraiture in Art on Paper, Terrie Sultan, curator of contemporary art at the Corcoran Gallery of Art, states:

"The triangulation of perception in a portrait is essential to its expressive force. Balanced among subject, artist, and viewer is the external and internal identity of a portrait. How we understand the portrait depends on how our gaze has been defined, refined, and informed by our own experience and social milieu.... In the most effective portraits, artists have factored in this ambiguous position, opening their subjects to a range of meanings even as they fix them in a specific time and place."

Through a selection of artists with diverse styles, the exhibition will explore the changing face of the traditional artistic terrain of the directed gaze in the late 20th Century. Highlights will include Large Head, the powerful etching of Leigh Bowery by Lucian Freud; and Self-Portrait I and Self-Portrait II, two new, deeply embossed relief prints on hand made paper, made with a special hydraulic press. Other artists in the exhibition include Deborah Barrett, John Currin, Andrew Ehrenwerth, Jessica Gandolf, Gianfranco Gorgoni, Alex Katz, and William Kentridge.

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

Jim Kempner Fine Art is pleased to announce an exhibition of prints by Jim Dine from the 70's through the 90's from April 22 through May 30th.

The show will include a selection of the artist's signature images including hearts, robes, tools, Venuses and flowers. Dine uses - and frequently combines- intaglio, lithography, woodcut and screenprint. The exhibition will feature several of his hand-colored prints. The gallery is located at 501 West 23rd Street at Tenth Avenue. Hours are Tuesday through Saturday from 10-6; and Sundays from 12-5.

Jim Dine is recognized as one of the most important and innovative printmakers of our time. Since the early 60's, he has consistently acknowledged his robes, hearts and tools as the stand-ins of autobiography: the robe as self-portrait, the heart as a "cleaved, full object" associated with the emotions, tools as the utilitarian artifacts of his grandfather's hardware store in Cincinnati. These remain in the Dine iconography, treated as sensual physical objects or dematerialized as the symbols of Dine's private life. In the association of these themes with male and female roles, the robes, hearts and tools are the prototypes for Dine's expanded vocabulary of subjects, still characterized by their sexual references but now frequently paired or given a landscape context: trees, plants, flowers, and shells.

Jim Dine is recognized as one of the most important and innovative printmakers of our time. There will also be several of his hand-colored prints in the show.

Women in Print, an exhibition featuring prints by women artists Jennifer Bartlett, Lesley Dill, Helen Frankenthaler, Elizabeth Murray, Kiki Smith, Pat Steir, Kara Walker and others, will be at Jim Kempner Fine Art from March 6 through April 11, 1998. Gallery hours are Tuesday through Saturday from 10-6 and Sunday from 12 - 5.

The art of the print has been central to the career of many women artists.This exhibition will focus on the visual exploration through the various print media - woodcut, lithography, silkscreen, etching and aquatint. Major print workshops, including ULAE, Gemini, Tyler and Parasol Press will be represented.

Among the works in the exhibition will be Waterfall, 1988, the exquisite aquatint by Pat Steir in which the waterfall is a delicate, streaming current of light, shadow, and form; Untitled (Baby's Legs), 1990, a unique print variant printed by the artist; and Paper Under Tape, Paint over Paper by Sylvia Plimack Mangold, a splendid example of Mangold's trompe l'oeil illusionism and her insistence that the print is meant to be seen as an idea of a thing, despite the risk that it may be mistaken for the thing itself.

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

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.

Jim Kempner Fine Art will present an exhibition of Robert Rauschenberg's prints, drawings and objects from the 60's through the 90's from November 1 through December 14. The show will feature early prints from ULAE, Gemini Cardbird constructions from the early 70's, Bellini prints from the 80's, and Opal Gospel, a rare multiple included in Rauschenberg's 1976 retrospective at the National Gallery in Washington. The gallery is located at 501 West 23rd Street at Tenth Avenue. Hours are Tuesday through Saturday from 10-6; and Sunday from 10-5.

Currently, Rauschenberg's work is the subject of a major retrospective at both the uptown and downtown branches of the Guggenheim.

For further information, please contact the gallery.

Jim Kempner will inaugurate the fall season at his new gallery location in Chelsea with an exhibition of Jennifer Bartlett prints and drawings from the 70's through the 90's. The exhibition will feature seminal graphic works from her important series In the Garden, The Elements, The Seasons, and Rhapsody. The show will also include several drawings from In the Garden and her recent Earth series. The dates of the exhibition are September 11 through October 18. The gallery is now located in Chelsea, at 501 West 23 Street (entrance on 10th Avenue), New York City. Hours are Tuesday through Saturday from 10-6; and Sunday from 12-5.

Drawing and printmaking have always been important facets of Bartlett's oeuvre, sharing a common imagery with her paintings. The works in this exhibition will exemplify the artist's mastery of all aspects of drawing and printmaking -etching, woodblock, lithography, silkscreen, aquatint , pastel and colored pencil.

Jennifer Bartlett has been acclaimed as one of the most important painters of her generation. Her work has been widely exhibited in this country and abroad, and is in the collections of such museums as The Museum of Modern Art, New York, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Philadelphia Museum of Art, and the Dallas Museum of Art, among others. She is also the subject of four monographs, Rhapsody (1985), In the Garden (1982), and Air: 24 Hours (1994) by Harry N. Abrams, Inc.; and Jennifer Bartlett (1985) by Abbeville Press.

Parts I & II

January 6 - March 1, 1997

JIM KEMPNER FINE ART presents a group exhibition of master prints at his Chelsea gallery from January 6 - March 1, 1997. The exhibit will include many striking examples of contemporary American printmaking by the following artists: JOHN BALDESSARI, JENNIFER BARTLETT, ROSS BLECKNER, LOUISE BOURGEOIS, CHUCK CLOSE, JIM DINE, SAM FRANCIS, HELEN FRANKENTHALER, DAVID HOCKNEY, HOWARD HODGKIN, ROY LICHTENSTEIN, BRICE MARDEN, ROBERT RAUSCHENBERG, ED RUSCHA, FRANK STELLA, and ANDY WARHOL.

The exhibition will be held in two parts. Part I will be installed for the month of January and Part II for the month of February. The print media presented will include: color lithography, silkscreen, etching, woodcut, photogravure and multiples of a variety of media. This exhibition offers our viewers an opportunity to view a strong selection of American printmaking from the 1960s-1990s. During this period of American contemporary art there occurred a literal leap in the technological processes in printmaking. Artists and printers began to establish a different kind of working relationship, making the print project a collaboration. Their efforts pushed the limits of traditional methods of making prints. By the mid 1980s, print publishers such as Tyler Graphics, ULAE, Graphicstudio and Gemini were outfitting their print shops with state-of-the-art equipment to produce large, more multiple process editions. Our exhibition will include work made in this span of four decades, from the more established shops as well as editions made by other lesser known publishers.

Our gallery hours are: Tuesdays - Saturdays, 10-6 and Sundays 12-5.

For further information please contact the gallery.