September 12 - October 20, 2013

As a fitting tribute to the end of summer, 440 Gallery hosted Paesaggio, a series of lush landscape paintings by two artists. In this show, her second at 440 Gallery, Susan Greenstein teams up with her husband Phil DeSantis to highlight the relationship between each others works. Greenstein and DeSantis have been painting side by side for over 25 years. Most recently, they clambered out onto the roof of a 15th century building in Siena, Italy; captured the Dutch-style architecture in gritty Red Hook, Brooklyn; and painted en plein-air at a pastoral New Hampshire dairy farm. Their styles are similar in spirit, but distinctly different in application and palette. Paesaggio celebrates their journey together as landscape painters. 

Each artist draws their inspiration from a moment in time at a certain place. Greenstein finds intriguing subjects in her local community gardens and neighborhoods, as well as at destinations shared with DeSantis. She explores the landscape using a rich tapestry of color and texture created with oil pastels on a dark ground. At other times, she uses mark-making with watercolor to capture the essence of a scene. Greenstein's sketchbooks of painted studies and line drawings, which are also on view, provide a window into her process. She frequently uses these sketches to develop larger works. 

DeSantis works predominately in strong layers of jewel-like watercolor washes with an emphasis on describing landscape and architecture through light and shadow. These paintings reveal his deep fascination with industrial structures, and he attempts to preserve them through his paintings as they continue to disappear from our landscape. DeSantis also finds much of his inspiration locally, from the wide open spaces of Brighton Beach to the brownstone-lined streets of Park Slope. 

Susan Greenstein grew up in Astoria, Queens, and has lived and worked in Brooklyn since she was a college student at Pratt Institute, where she received her BFA in Fine Arts in Drawing and Painting. She went on to receive her MSE from Queens College in 1983. Greenstein has exhibited her works regularly in New York City. Early in her career, Greenstein illustrated children's books and editorials for newspapers and magazine articles. Since 1994, she has taught art to children in elementary & high schools, and has found that teaching keeps her excitement and wonder of art fresh. 

Phil DeSantis grew up near Coney Island. DeSantis holds a BFA in Painting as well a Masters in Art Education from Brooklyn College. His works have been exhibited in Brooklyn, NY, and New Hampshire. DeSantis has always been interested in the sights and sounds that are particular to Brooklyn. While he primarily works in watercolor, but DeSantis also has a passion for photography and film. Currently, DeSantis teaches high school art.

August 1 - September 8, 2013

Come in where it is cool and take the plunge, literally and figuratively! 440 Gallery was pleased to present Everyone in the Pool, a group show of diverse artwork from each of its fourteen members. Ours is an artistic gene pool where ideas meet, hybridize, evolve, and powerful synergies constantly occur. As a collective we are in this together, sink or swim. This exhibit expressed this theme through "conversations" among the artwork while celebrating the summer season through paintings, photography, sculpture and video. 

This was a rare opportunity to contemplate together the works of all of our members: Vicki Behm, Fred Bendheim, Tom Bovo, Ellen Chuse, Shanee Epstein, Gail Flanery, Jay Friedenberg, Laurie Lee-Georgescu, Karen Gibbons, Susan Greenstein, Katharine Colona Hopkins, Nancy Lunsford, Amy Williams, Ella Yang.

June 27 - July 28, 2013

Activists, politicians, and scientists promote being green and sustainable, and argue about fracking and climate change, 440 Gallery hosted Earth, a group exhibition for artists to present their side of the story. A vast landscape, the fragile environment, a speck in the universe or an intimate dance between insects: however you see it, it is our home, and the theme of the summer group show. 

Earth explored the shifting nature of terrain - its current state and possible future ones. The thirteen artists and their artwork selected for this show raised questions, made provocative statements, and let you reach your own conclusions. The artists were: Chris Arabadjis, Eric Banks, Kim Carlino, Ernest Concepcion, Lisa Cooperman, Aimee Hertog, Leah Oates, Harry Newman, Silvana Ravena, Gregg Rosen, Norman Sarachek , Jeanne Marie Wasilik, Ejay Weiss. 

The juror Jill Conner is the New York Editor of Whitehot Magazine, Editor of On-Verge as well as a contributor to Afterimage, ArtUS, Art in America, Interview Magazine, Performance Art Journal and Sculpture Magazine. She is also an AICA-USA Board member. In 2003 Conner received a Master's degree in Art History and Criticism from the State University of New York, with Donald Kuspit as advisor. Her curating and art criticism draws upon the framework of Aristotle's "Poetics" and Norbert Elias' "The Civilizing Process". Conner has taught at Parsons in the New School and Montclair State University with additional presentations at the College Art Association, Pace University, the New York Summer Studio Program of Florida Atlantic University and the New York Studio Residency Program in Brooklyn.

May 16 - June 23, 2013

Off the Wall, was a stark departure from Shanee Epstein's four earlier shows at 440 Gallery. This installation consisted of large architectural photographs hung above small, collaged cigar boxes. One's initial impression might be that the work was made by two different artists. In a way, this is true. Almost every working artist struggles or experiments with conflicting impulses. Most leave that conflict in the studio and choose to show work that "hangs together". Epstein instead embraced this conflict. The abstract formal aesthetic of her photographs appear to be the antithesis of the colorful collaged boxes, but together they create a balanced whole. 

This work came from a visit Epstein made to the Tel Aviv Art Museum's new building designed by the architect Preston Scott Cohen. Epstein was inspired by "the amazing experience of being in a space that at any moment I could stop and be within beautiful angles or views of gorgeous abstractions of line, shapes and tone. The light is poetic and dramatic. I found the beauty breathtaking in a formal aesthetic sense, but also moving in an emotional artistic sense." 

Epstein's photographs captured the elegance of the architecture, but it was in the boxes that she incorporated and personalized the experience. Epstein is a collage artist with an ongoing interest in the painted boxes of Richard Diebenkorn. With an affinity for the physicality of the materials, Epstein juxtaposed paper, fabric, photos and found material to created a unique three-dimensional space in each box. Incorporating images from Tel Aviv Museum with other collage elements, she created depth, a sense of looking through exposed and concealed areas. In this spatial give and take, there is also the tension between the simple and the complex, the narrative and the abstract, and the geometry of architecture with the sensuality of color and texture.

April 4 - May 12, 2013

Fueled by her efforts to find resolution with death and suffering, Katharine Hopkins has appropriated artistic traditions of the 17th century in a fresh, contemporary manner. Her latest series of large paintings depict big game and Western animals, incongruously elegant in death and each in brilliant blues, greens, or purples. This new body of work, That Perfectly Arranged Mouth, Hopkins' second solo exhibition at 440 Gallery, opens to the public on April 4 and runs through May 12, 2013. The opening reception will be held on Friday, April 5, 6:00-9:00 pm. 

As a Colorado native, Hopkins was drawn to images of iconic Western animals, such as deer and wolves, for their mythic quality in the history of the American West. In choosing these animals as symbols of mortality and suffering, she follows in the tradition of Vanitas, a genre of still life painting at its height in the Netherlands during the early 17th century. These paintings used symbols of death to remind viewers of the transience of life and the vanity of earthly achievements. For Hopkins, however, painting this subject provides a process of finding acceptance and peace with mortality, and that all suffering is transient, as well. 

Hopkins' painting technique is heavily influenced by her academic training in printmaking. Her keen interest in surface quality is evident in the way she applies and manipulates oil paint on paper. She places each subject on a field of stark white without a context. The intense colors are unexpected and evocative given the subject matter. The combination of pure color and expansive white background creates an abstraction; it is Hopkins' attempt to capture a dream-like detachment that comes in moments when confronting tragedy, shock, or mourning. The results are images that hover over the boundary between beauty and the repulsion normally associated with death.

February 21 - March 31, 2013

New works by Jennifer Williams and Jason Varone, Another Landscape Show featured work operating outside the canon of the traditional landscape. Working with imagery and media that investigate the underlying anatomy of a landscape, Williams and Varone emphasize the engagements, interactions and the culture of change that naturally take place in a landscape; revealing these to be more indicative of a place's identity than its formal structure. As a means of understanding the fundamental makeup of a place, Williams and Varone each combine traditional techniques with new media in innovative ways: utilizing large-scale photography, collage, Twitter feeds and various digital processes. Each resulting work provides a unique exploration of the evolving relationships between a place, its essence and its ideal. 

Jennifer Williams holds an MFA from Goldsmiths College in London and a BFA from The Cooper Union in New York City. Notable recent shows include: The Hunterdon Art Museum, Pittsburgh Center for the Arts, A.I.R. Gallery, Muriel Guépin Gallery, La Mama Gallery, The West Collection, and Brown University. She is a former 2011-2013 Center for Emerging Visual Artists Fellow, 2008-2009 A.I.R. Gallery Fellow, as well as a 2009 Visual Studies Workshop and 2011 NARS Foundation International Artist Residency Program resident. "My site-responsive projects are populated with recurrent structural systems evident on a macro and micro level. I use self-generated photographic imagery as found objects in the construction of two and three-dimensional large-scale collages. By activating transitory, passive, and seemingly negative space, my installations allow the photographic subject to interact with structural idiosyncrasies and social context within an exhibition space. I use photography not as a tool to stop time, but to create a semblance of controlling the passing of time. Presenting an unembellished representation of an object, the work is removed from much of the rhetoric associated with photography, allowing it to engage in a cross-disciplinary dialogue. My work engages traditional photographic languages while simultaneously questioning the ability of photography to accurately represent truth, exploiting photography's ability to represent what is both true and what is false simultaneously." 

Jason Varone is a graduate of New York University. Varone's artwork has been exhibited in many venues including the Los Angeles County Museum of Art, The Boston Center for the Arts, The British Film Institute, The International Center of Photography, Art in General, and Hendershot Gallery in New York City. He currently works as an artist assistant to Peter Campus, a seminal figure in the history of electronic media art. Varone's work is inspired by Western civilization's simultaneous complexity of technological advances and imminent decline from lack of natural resources. He combines video and painting with appropriated news footage and electronic data, removing any distinctions or boundaries between them. His "videopaintings" underline the impermanence and constant bombardment of transmitted information to a society that is fixated on alternately obsessing over or ignoring electronic messages. 

"Although my work is heavily invested in video and data collection, it is also deeply rooted in landscape painting. My installations exhibit a dialectic of materiality and an illusory experience that results from combining technology with traditional materials. I use hundreds of clips of appropriated video and digital content gleaned from the internet as elements to combine and collage, then project these displaced images onto objects or paintings. This process is analogous to how our shared landscape is besieged by technology, and the content of my projections concern important political events, history, and scientific exploration. My experiences with technology have informed my relationship to the natural landscape, and by extension to painting. I treat the landscape not as something you look at, and then, depict in a painting, but rather as something that can only be defined by the data flowing through it."

January 10 - February 17, 2013

An indigo sea, a yellow plain, purple mountains and a salmon sky: the vivid colors and painterly contours of Gail Flanery's monotype prints may bring these landscape images to mind. However, this body of work, Elements of Recall, comprises studies in abstraction, each piece derived from a thoughtfully conceived palette of bold, yet harmonious hues. Flanery, well known for her adept application of unabashedly beautiful colors, takes her work to a more complex emotional level with these pieces. The exhibit features four large monotypes, which display a generous use of handwork, not only in the print-making process, but also in Flanery's subtle addition of pastels. There are also several smaller prints including a group of deftly rendered bare tree trunks and branches, inspired by the discarded photos of a fellow artist. These monotype prints are informed by Flanery's longstanding habit of sketching from life, as evidenced by the strong, confident lines and understanding of structure inherent in these images. This was Flanery's second solo exhibition at the 440 Gallery.

December 6, 2012 - January 6, 2013

They say great things come in small packages. As 440 Gallery presents its Eighth Annual Small Works Show, this adage may just prove true. The artwork on the gallery walls, each piece no larger than 12", represented a strong Brooklyn artistic presence, but also showcased artists from all over the country. The show includes a variety of media— painting, photography, sculpture— chosen by this year's jurors, Michelle Segre and Steve DiBenedetto. Both are well-established New York City artists with extensive experiences in exhibiting their work, as well as in teaching. Segre is a sculptor who has exhibited her work widely since the mid-1990's. DiBenedetto is a painter who has been showing his work in the United States and Europe since the mid-1980's. 

Artists accepted into the show were: Nina Allen, Seth Apter, Carla Aurich, Beth Barry, Victoria Batey, Zoe Bellot, Josephine Bentivegna, Stacy Bergener, Anne Bernstein, Ashley Blanton, Jim Boden, Melissa Capasso, Giora Carmi, Leo Casteñeda, Luis Coig Reyes, Paul Collins, Ernest Concepcion, Mary K. Connelly, Christopher Conry, Charlotte Corini, Gerard Daley, Beth Duerr, Colin Edgington, Anne Elliott, Jon Epstein, Janice Everett, Elizabeth Fiedorek, Daniel J. Figliozzi, Mayuko Fujino, Jodie Garrison, Daniel Genova, Todd Germann, Sally Gil, Leslie Green Guilbault, Monica Haak, Kinuko Imai Hoffman, Ashley Kesling, Fumiko Kitada, Yan Kong, Hannah Lansburgh, Richard Lapham, Alise Loebelsohn, Tony Luib, Gaspar Marquez, Laura Mosquera, Francesco Palombi, George Papadimas, Kimberly Patino, Ronald Peters, Nickola Pottinger, Joseph B. Raskin, Brooke Ripley, Maggie Carson Romano, Mark Rosenthal, Kimberley Ross, Rena Rubin, Roxanne Faber Savage, Ryan Schroeder, Natasha Shapiro, Broderick Shoemaker, Marcy Sperry, Sandy Taggart, Loring Taoka, WIlliam Tarnowski, Daniel Terna, Kit Warren, Charles Wilkin, Fletcher Williams III, Meghan Willis, Paul Yanko, Ward Yoshimoto, Joe Zarba.

October 18 - November 25, 2012

Richard Eagan, one of 440's original founding members, is also a co-founder of the Coney Island Hysterical Society, which became active in 1982. In this exhibit (October 18 through November 25), Richard invited his Hysterical Society co-founder Philomena Marano to join him in showing work they have done both individually and collaboratively through the years, including documentation of the Coney Island on-site projects for which they became well-known.

September 6 - October 14, 2012

Most likely, without a second glance, you pass right by the local sidewalk cafe, a dilapidated truck, an empty lot, a row of brownstones. They are all everyday Brooklyn. But when seen through the eyes of local artist Ella Yang, time is slowed down, judgment is suspended, and a distilled image emerges. In her first solo show at 440 Gallery, Brooklyn Seen, Yang's radiant, harmonious paintings offered a visual balm for the dissonance of data and images in our multi-media world. This exhibition featured Yang's signature intimate, light filled cityscapes of charming tree lined streets as well as the gritty industrial beauty of her Gowanus studio neighborhood. 

In addition, the show included a new series of paintings Yang began in 2011, which are inspired by the colors and patterns of water lilies in their reflective ponds at the Brooklyn Botanic Garden. After cataract surgery six months earlier, Yang was overjoyed to rediscover the vivid light and luscious colors around her. She excitedly took up larger brushes and a couple of six feet tall canvases to capture the water lilies at a scale she had never attempted before. The results were stunning, and need to be appreciated in person.

June 28 - July 22, 2012

Stroller gridlock at coffee shops, children's hair salons, Spanish and German language kinder-care and a Bean Sprouts pre-school - all are within a few blocks surrounding the 440 Gallery, clear evidence of Park Slope's adoption of a child-centered culture. It's not a surprise, also, to note that this neighborhood is home to many aspiring as well as award-winning children's authors and illustrators. The time came, at last, for 440 Gallery to host From Mice to Monsters: Illustrations for Children, its annual juried theme exhibition. 

This exhibition featured children's book illustrations, published and unpublished, and any work which focuses on children as an audience. The 41 artists selected for this show are from all over the country, and Brooklyn is well represented: Tenaya Anue, Tatiana Arocha, Susan Blanchard, Bonnie Branson, You Mee Cho, Jeffrey Chuang, Theresa Coulter, Kristin deNeeve, Nancy Doniger, Missy Hammond Dunaway, Lisa Falkenstern, Michelle Farkouh, Magge Gagliardi, Sarah Gramelspacher, Melissa Guion, Abigail Hanlon, Kievan Havens, Eri Honda, Allyn Howard, Michelle Kratchman-Garcia, Boris Kulikov, Joyce Leipertz, Kelly Light, Li Ma, Sine Morse, Kristen Orr, Kristiana Parn, Edie Pijpers, Carolyn Schallmo, Corey Solinger, Christine Staehelin, Mariko Suzuki, Hala Swearingen, Peach Jin Tao, Cathie Urushibata, Ani Volkan, Sara Woolley, Junko Yamada, Bill Zeman. The juror is Buket Erdogan, a Park Slope resident who has illustrated children's books for Orchard Books, Simon and Schuster, and Harper Collins. Three of Buket's "Mouse's First" series were New York Times Best Sellers.

May 24 - June 24, 2012

Opulent, decadent, rich, over-the-top are just some of the words used to describe the French Ancien Regime Palace of Versailles. With Petits Fours, Amy Williams' solo exhibition at the 440 Gallery, the artist examined the extravagance of King Louis XIV's famed palace. On "learning" that the peasantry had no bread to eat, the young Queen Marie Antoinette famously proclaimed "Let them eat cake!" and so we shall through this exhibit, Petits Fours. 

Petits Fours was a site-specific installation of gilt-framed photographs, gilt-framed mirrors, and a dramatic color of wall paint -- all chosen to reflect and amplify the theme of the exhibition. The gallery itself became a petit four: a small, but rich confectionery. The show represented a stylistic breakthrough for Williams, whose principal focus has been on nature. 

Williams hand-printed the photographs in Petits Fours and mounted them in vintage frames, which she meticulously hand-gilded. Williams continues to work with the traditional photographic darkroom techniques that predate digital imagery. Each photograph in Petits Fours was printed specifically for its frame creating of each a unique artwork, an unusual result from a medium that traditionally lends itself to the production of editions. 

The photographs themselves explore the lush Baroque, Rococo and Neoclassical interiors of Versailles filled with marble, crystal chandeliers, hand-stenciled walls, luxurious textiles. The inevitable presence of tourists at the site has been avoided in the photographs, leaving only the elements of the palace itself to be isolated and examined by the camera lens. These elements were captured by Williams in a state of pristine, golden "object-ness".

April 12 - May 20, 2012

Every successful artist hones a few survival skills in the course of their career and Victoria Behm has amassed quite a few. Her exhibit was an eclectic display of Behm's multiple artistic obsessions. There were several distinct bodies of work, all highly developed aspects of her complex practice. Behm's elegant grid paintings, in encaustic and oil on canvas, constitute one element of her work. Her mother was a master quilt maker and Behm says she "grew up among the geometry of cut fabrics and the history of patterns." These abstract color blocks, distilled from traditional quilt designs, constitute a series of paintings popular with designers and architects. Related to these paintings are wood-cut prints she made on an old press at a Mayan paper cooperative in San Cristobal de las Casas, Mexico, where there is a strong textile tradition dating back 400 years. Many of their woven and embroidered symbols and designs resemble American quilt patterns. 

This work faced a wall of quirky pen and ink drawings covering a range of subjects, reflecting Behm's broad life experiences and intimate daily encounters. Humorous, poignant and engaging, stylistically the drawings resemble the artist's most recent commercial coup: a national Cole Haan ad campaign that has been popping up throughout New York City and online. Giant skeleton figures, resembling Day of the Dead imagery, bridge the two diverse styles. Crafted from styrofoam plates and printed on yellowing 50-year old, hand-set newspapers from San Cristobal de las Casas, the figures possess the same graphic energy as the drawings. They hold in their hands mysterious panels, scribed with geometric patterns that could be folkloric textiles, the floor plans of Mesoamerican pyramids or Behm's elegant quilt paintings.

February 23 - April 8, 2012

"I'm going out for A Cup of Air," Brooklyn artist Karen Gibbons's mother would say to her five children as she stepped outside for a reprieve from the stresses of parenting. The free-standing sculpture and sculptural wall pieces in this exhibit, A Cup of Air, expressed that whimsical metaphor. They were playful, curious and evocative. This new body of work drew inspiration from three sources: the pastoral landscape, the Gowanus Canal neighborhood of Brooklyn, and the artist's recently rediscovered family photo archives. Gibbons ingeniously integrated photographs and found objects with an eclectic approach that combines sculpture, painting, drawing and photography in surprising ways. Delightful, unexpected contradictions arise out of the mixture of these elements. The pieces have an air of both reminiscence and anticipation, they combine the ephemeral with the enduring, and they mingle the cherished and the forbidden. 

This was Gibbons's third solo show at the 440 Gallery. Over the past several years Gibbons has been developing a unique approach of combining different artistic processes. This method unites her formal training as a painter, her years of practice as a sculptor, and a more recent foray into photography. Gibbons's penchant for incorporating found elements into her work continues in this show, with found objects now taking center stage. The notion of "found" applies to photographic images, which are layered onto "found" objects. In each piece, shape, form and color are distilled until a singular image emerges from the tension between the found and the deliberate. Gibbons consolidates layers of color and texture in each piece until its shape becomes iconic, nearly symbolic. Its disparities take on a new life, and its ambiguities allow associations and references to surface for each viewer.

January 12 - February 19, 2012

Is it possible to revive an old love affair? Almost forty years after living in Italy for a year as a Fulbright Fellow in Sculpture, Ellen Chuse returned to Rome for several months in 2010. She not only rekindled her love affair with the city, the country, and its culture, but also reconnected with the unique light, shapes and colors she encountered during her daily outings. Chuse brought these impressions to life in a series of acrylic paintings on paper. This new body of work springs directly from her walks in the parks and gardens of Rome where the pines in particular came to represent the city for her. These new paintings, including several very large, bold pieces, reflect Chuse's decades-long fascination with tree forms as well as her continuing exploration of the emotional resonance of color and line. 

This was Chuse's third solo show at the 440 Gallery. On display were five 61" by 42" acrylic paintings on paper, together with five small studies and two companion pieces. Working with organic forms in nature, both representational and abstract, the work reflects the intensity of her experience of form and place. Chuse said, "I prefer to paint on paper, which engages me with its texture, flexibility and abundance. Painting on paper has renewed my connection to drawing where the paper itself often creates the line. The larger scale works convey the monumentality of the forms and the intensity of the light and atmosphere surrounding them. I bring my experience of light, place and time to the viewer through these paintings, which I think of as landscapes of the mind."

December 8, 2011 - January 8, 2012

440 Gallery presents the Seventh Annual Small Work Show with a selection of work by artists from Brooklyn and all over the country. The art work, all under 12 inches, included painting, sculpture, printing, drawing and photography. 

The artists chosen by the juror, Sara Mintz, are: Noura Al-salem, Nina Allen, Carla Aurich, Aveli, Jill Bell, Ann Cofta, Diane Englander, Leslee Fetner, Lori Fletcher, Ilene Godofsky, Gina Grandi, Irene Greenberg, Howard Heyman, Robin Jordan, Jiye Kim, Brooke Lanier, Laurie Lee-Georgescu, Eunkyung Lee, Marion Lerner Levine, Sara Lovas, Phaedra Mastrocola, Lauren Matsumoto, Gwenn Mayers, Margarita Mileva, Christie Neptune, Roger Newell, Helena O'Connor, Christine Palnik, Lewis Schwartz, John Seitz, Jacqueline Silberbush, Terry Urban, Diana Williams, Kyle Wong 

Sara P. Mintz, the juror for this year's show is an Associate Director at Cynthia-ReevesContemporary Fine Art Gallery in New York. In her role at Cynthia-Reeves Ms. Mintz facilitates exhibition programming, collection management, artist representation and estate management. Most recently, she worked with the gallery's innovative off site projects presenting Torn Steel: Sculpture by Jonathan Prince at the 590 Madison Ave Building's Sculpture Garden, and in the Marketplace: Paintings and Works on Paper by William Segal, at the 8th Floor. Mintz has written for Saint Gaudens National Historic Site Museum.

October 20 - November 27, 2011

440 Gallery presents an exhibition of new work by Dan Weiner. One Jupiter Mass (Mjup) was his third solo exhibition with 440 since February of 2008. Though influence of California Assemblage can be detected in all three of Weiner’s exhibitions at 440 Gallery this new work broke the direct line of descent from Wallace Berman and ventures into the application of paint and theories of color. At the same time, Weiner loosened the excruciating standard of finish he absorbed in a craft heavy graduate school out West. 

The result was a striking group of works which succeed both as paintings and as an affront to painting itself. Adopting a persona more brazen in the face of the burden of the past, Weiner, for the first time, allowed optical and process related issues to enter his work as subject matter. This precipitates an emoti

September 8 - October 16, 2011

440 Gallery, located in Park Slope at 440 Sixth Avenue, launched the season with Convergence, bovoed by Daniel Weiner. This premier, members-only exhibition brings together the inventive energy from fourteen unique artists, yet visitors will be struck by the harmony and dialogue cropping up between works. The show presented a diverse range of styles – abstract, conceptual, representational, and media – painting, drawing, photography, printmaking, sculpture, mixed and new media. 

The exhibiting artists were: Vicki Behm, Tom Bovo, Ellen Chuse, Richard Eagan, Shanee Epstein, Gail Flanery, Karen Gibbons, Susan Greenstein, Katharine Hopkins, Nancy Lunsford, Daniel McDonald, Daniel Weiner, Amy Williams, and Ella Yang.

June 30 - July 24, 2011

A book, words, calligraphy, graffiti on a wall: They are all TEXT. The juror for "Text" was Susan Fleminger, an artist, educator and curator and the Deputy Director for Visual Arts and Arts-in-Education at the Abrons Arts Center of Henry Street Settlement. She has made her choices for artists exhibited in the "Text" theme show at 440 Gallery. The work included painting, drawing, book arts, printmaking, sculpture, collage, textile and video. 

The artists in show are: Aveli, Beatrice Bardin, Len Bellinger, Aleksander Betko, Martin Brief, Ellen Chuse, Marcia Cooper, Mia deBethune, Andréa DeFelice, Porter Diteman, Naeem Douglas, John Kesling, Minjoo Lee, Marion Lerner Levine, Doni Dusan Lucas, Kristina Martino, Daniel McDonald, Toby Needler, Alison Nguyen, Svetlana Rabey, Susan Reedy, Roxanne Faber Savage, Claudia Sbrissa, Miriam Schaer, Carole Turbin, and Marlene Weisman.

May 19 - June 26 , 2011

Nancy Lunsford's fourth solo exhibit at 440 Gallery. The show consisted of recent work and a kind of retrospective of her work over the last two decades. The anchor of the show is an installation and performance piece consisting of a desk with the artist present, working on a written memoir, drawing, painting or engaging visitors in conversation. Lunsford's work has incorporated traditional Appalachian quilt patterns in her collage and assemblage. This performance piece was described by the artist as a "living quilt" composed of remnants her past experience, both personal and artistic. Events scheduled during the run of the show included a reading of her memoirs and a slide show, utilizing her vintage Kodak Carousel projector, of her early work and influences.

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