Contemporary Art Advisory Services and Exhibitions
Comprehensive Art Advisory and Curatorial Services
110 MORGAN STREET, JERSEY CITY, NJ 07302
It’s a result of a laboratory by studying different materials to create texture. Colors are manipulated for representing the course of life and humanity in harmony with a great existence of energy that is in constant growing and alteration… a way of generating a connection between human being and its own Source. In some aspects, these are destilations of microcospic level of what’s happening in the artist surrealistic works.
"Motus Vitae Diptych", 2019
21” x 33” x 1”, acrylic mixed media and metal leaf on sale watercolor paper.
Price upon request
"Motus Vitae Triptych" 2019
21” x 55”, mixed media, metal leaf on sealed rag paper.
Work n.5 from series 8.8 from “Vitae Aqueous”
Fluid acrylics and metal leaf on gessoed panel 8” x 8”
As an artist, I search for meaning in the unknown. Exploring a world beyond my own tangible reality, I see myself as part of a larger, richer universe. A universe that expands further through a conscious effort to embrace the meaning of that which I create in my own personal life, as well as the experiences generated by the lives of those around me.
Art is like magic, an illusion created by the force of humanity. Our choices in life can be amazing portals for adventure. For me, these possibilities present themselves through the process of painting: researching potent images, configuring them on canvas, and struggling to imbue them with a sense of myself and my own wonder at the enormous complexity of the world. I seek a better understanding of truth in nature with constant comparison and evaluation of opposites. Using a visual vocabulary derived from a world that often goes unnoticed, everyday events such as conversations between birds, forces that drive water, or the cellular structure of plant life, I begin to reinvent reality. This experience enables me to come closer to an understanding of how it is that I identify with the world. The concerns that arise from this process reveal themselves to me as subversive dualities existing in both the natural world and the man-made. When we consider something in a new context, having unearthed the intrigue that lies just beneath the surface of the seemingly simple, the original meaning is altered and brought to a new level of consciousness, creating metaphor. In this way, I can see, and show, that the natural world is not unlike our own man-made realm, an alternate universe filled with an active power to recognize desire, temptation, and frailty.
The paintings aim to create a secret recipe for an inner landscape of the human condition; narrative vignettes that are both alluring and mysterious. Nature, and those elements existing in its microcosm become metaphors for a strange and at times super reality, a parallel universe that questions the natural scheme of life itself.
watercolor, ink, pencil on paper, 15"h x 11"w, $700
watercolor, ink, pencil on paper, 15"x 17", $700
watercolor, ink, pencil on paper, 15"h x 11"w, $700
Sunil Garg is an experimental light and illumination artist, making indoor and outdoor immersive work. The artist paints and sculpts natural and computer programmed light, with reflections, movement and shadows. With most of us living in developed areas, we take light for granted as a functional utility, but light is unavailable to millions on Earth after dark.
Garg grew up without manufactured light in a farming community in India, living with the available natural light. The artist now explores manufactured light.
Sunil Garg states, “I strive to create work that interrogates my experiences and is at the edge of familiarity and stimulates aware states. Light is a natural and democratic medium that lets me do this. Metaphors linking Light to knowledge, awareness, thought, ideas, are abundant: “enlightenment," “bright ideas," “flashes of genius” or of “insight”.
I want to entice viewers to slow down and see and contemplate light and color in their lives. I want everyone to “eat light, drink it through our skins” since “with a little more exposure to light, you feel part of things physically.” (Turrell).”
My work has taken on themes that I had encountered through my work experience as a Registered Nurse in a Pediatric Intensive Care Unit. I had often cared for children after they had been abused, much of my work focuses around this theme. There are hints of darkness and confinement in my pieces along with a mixture and balance of playfulness and seriousness.
Crystals is about children being fragile but also strong. As each crystal attaches to another crystal it is like the development of a child when one element of their up bring allows another to develop. At time there is good and not so good occurrences. There is a glow inside every child even if the development has it problems. Some see ghost in this work I see life and hope.
Brian Gustafson is an artist living and working in NY metro area. He enjoys the activity of making objects and fabricates works that he refers to as devices that heighten human awareness and sensitize viewers to the experience of empathy. He often utilizes simple natural phenomena such as wind, water, and light. His work consists of interactive and kinetic devices, sculpture, and installation, and his fondness of glass and metal is found throughout his work.
Brian Gustafson received his MFA from Illinois State University and his BFA from Tulane University. He has exhibited nationally and received numerous awards, including the New Jersey Council of the Arts Fellowship. He is currently the Assistant Professor of Sculpture at New Jersey City University.
M.F.A., Illinois State University, School of Art (2003) B.F.A., Tulane University (1996)
Continued Education: 2009 Urban Glass 2008 New York Academy of Fine Art 2006 Pilchuck Glass School 2004 Penland School of Crafts
2016 Super 8, Gallery Aferro, Newark, NJ 2016 Rainbow, (solo exhibit), Chashama, New York, NY 2015 Activate, Gallery Aferro, Newark, NJ 2014 NJCU faculty exhibition, Lemmerman Gallery, Jersey City, NJ 2012 10th Gala Exhibition, _gaia gallery, Jersey City, NJ 2011 Intersection, Index Art Center, Newark, NJ 2009 1x1 Project, Jersey City Museum, Jersey City, NJ
Untitled, Walsh Gallery, Seton Hall University, South Orange, NJ
New Jersey Fellows, Visual Arts Center, Summit, NJ 2008 Art Faculty Biennial, VAB Gallery, New Jersey City University, NJ
Elemental, Es Oros Gallery, Jersey City, NJ
Showcase, Dixon Mills, Jersey City, NJ 2007 Inside/Outside, Waldo-Loft, Jersey City, NJ (co-curator)
Fish Out of Land, The Atrium, Jersey City, NJ Artemathician, 58 Gallery, Jersey City, NJ Indigo, Mary Benson Gallery, Jersey City, NJ Lilliput, Red Saw Gallery, Newark, NJ
21st International Juried Show, Visual Art Center, Summit, NJ 2006 Interactive, Walsh Library Gallery, Seton Hall University, South Orange, NJ
Collective, Cooke Contemporary Gallery Jersey City, NJ 2005 Art Faculty Biennial, VAB Gallery, New Jersey City University, NJ
Jack x Gustafson, VAB Gallery, New Jersey City University, Jersey City, NJ
(In)Visible Body, NIU Art Gallery, Chicago, IL 2004 Norman R. Eppink Art Gallery, Emporia State University, Emporia, KS 2003 17th Rosen Outdoor Exhibition, Turchin Center for Visual Arts, Boone, NC,
juried exhibit Sculpt, McLean County Arts Center, Bloomington, IL Words and Storms, University Galleries, Normal, IL, solo exhibit
2002 Public Sited Sculpture, Bloomington Cultural District, Bloomington, IL, solo exhibit
Works on Paper, University Galleries, IL
McLean County Arts Center, Bloomington, IL 2001 Forgery, McLean County Art Center, Bloomington, IL
2000 1999 1998, 1999 1998
Burgess Art Gallery, Eureka College, Eureka, IL Student Annual, University Galleries, Normal, IL Loops, Whorls, Arches, University Galleries, Normal, IL George E. Ohr Cultural Arts Center, Biloxi, MS
No Dead Artists, Jonathan Ferrara Gallery, Normal, LA Contemporary Art Center, New Orleans, LA Glass for the Masses, Delgado Gallery, New Orleans, LA New York Art Exchange, New York, NY
Positive Space Gallery, New Orleans, LA Zeitgeist Art Center, New Orleans, LA Newcomb Art Gallery, New Orleans, LA, thesis exhibit History of the World Gallery, Stanwood, WA NORMCA, New Orleans, LA Emerging Artist in GAS, Asheville, NC
2004-Present 2004 2003 - 04
2000 - 2002 2001
1995-2000 1999 - 2000 1999 1998
1995-1998 1998 1994-1996 1994-1996 1996
Professor of Sculpture, New Jersey City University, Jersey City, NJ Adjunct Faculty, Multimedia Production, Illinois Central College, Peoria, IL Adjunct Faculty, 3D Fundamentals, Illinois State University, Normal, IL Adjunct Faculty, Intro. to Media Production (Section 3 and 4), Bradley
University, Peoria, IL Instructor, Web Animation with Flash, Heartland Community College,
Normal, IL Instructor, Intro. to Photoshop, Heartland Community College, Normal, IL Instructor, Intro. to A/V Editing, Heartland Community College, Normal, IL Instructor, Audio Visual Editing, Illinois State University, Normal, IL Instructor, Glass 1, Illinois State University, IL Technician and Equipment Fabricator, Illinois State University, IL Technician and Equipment Fabricator, Wet Dog Glass Studio, LA Technician and Equipment Fabricator, Nuance Blown Glass Studio, LA Instructor, Sculpture 1 and 2, Title 1, Jefferson Parish, LA Instructor, Ceramics 1 and 2, Title 1, Jefferson Parish, LA Teaching Assistant to Dan Scogna, Glass 1, Illinois State University, IL Teaching Assistant to Jack Wax, Glass 1, Illinois State University, IL Technician and Equipment Fabricator, Wet Dog Glass Studio, LA Equipment building workshop, Emporia State University, KS Glassblower and Technician, Rosetree Glass Studio, LA Instructor, Beginning Glass, Southern University of New Orleans, LA Glass Workshop, Emporia State University, KS Fabrication and Installation of Hot and Cold Shop, Southern
University of New Orleans, LA Artist Assistant to Patrick Martin Teaching Assistant to Patrick Martin, Pilchuck Glass School, WA Artist Assistant to Gene Koss Equipment fabricator, Hot Glass Etc., LA Artist Assistant to Neil Harshfield Maintenance, Pilchuck Glass School, WA Glass casting and equipment fabricator, Studio Inferno, LA Teaching Assistant to Gene Koss, Intermediate Glass, Tulane University, LA Glass demonstration, Lighthouse Glass Studio, LA Glass demonstration assistant to Gene Koss, Penland School, NC
Grants and Awards
2016 - 2010 2008
1999 1996 1995 1995
Glass furnace fabrication assistant, Tulane University, LA Technician, Sculpture Department of Tulane University, LA
Professional Development grant, New Jersey City University Joseph Conrad Preservationist Award Creative Development Grant, Fractured Atlas Career Development Award, New Jersey City University
NJ Council of the Arts, Fellowship Technology Grant, Project: Physical Computing, New Jersey City
University Artist scholarship, Pilchuck Glass School, Stanwood, WA 3rd Place, 17th Rosen Outdoor Exhibition, Turchin Center for Visual Arts,
Boone, NC, juror: John Gentele Marshall Delaney Pitcher Award, Illinois State University, Normal, IL Bloomington Cultural District Grant, Bloomington, IL Glass Award, Illinois State University, Normal, IL Robert Small Award, Illinois State University, Normal, IL Friends of the Arts Scholarship, Illinois State University, Normal, IL Travel Scholarship, Glass Art Society Telefund Scholarship, Illinois State University James Odell Award, Student Annual, University Galleries, Normal, IL Louisiana Mini-Artist Grant Ronald Katz Memorial Award, Tulane University Randall Lee Gibson Honor Society Graduate, Tulane University John F. Kennedy Memorial Scholarship, Tulane University
Visiting Artist Lecture
2003 Artist Lecture, Emporia State University, Emporia, KS
2004 Caldera, Portland, OR Sculpture Space, Utica, New York
"Diffracted Light" by Brian Gustafson
Glass, Steel, Diffracting Film, Halogen Lights
Site specific installation set in window, casts rainbows across the room via direct sunlight. Uplighting via direct light source in darkened environment.
I graduated with a BS in Fine Arts from The College at Brockport in 2003 as a painting major. For years I worked in oils. In 2007 I discovered Golden Artist Colors acrylic paint and was quick to see the potential it had for my work. About that time I was introduced to artists Darryl Hughto and Susan Roth, life time practitioners of acrylic painting. When I approached them with my desire to study acrylic painting, they agreed to take me on as an intern. In addition to my studio practice, I worked with them for 2 years before having acquired the studio skills to assist. At that point I became their studio assistant, to which this relationship has grown to my current position as foreman of studio operations. They continue to mentor me in my painting and the development of my career.
In 2012, I was given the opportunity, to try out the Golden's Artist in Residence facility. I spent a week of concentrated painting time with the help of the professionals there. I created several large paintings in that time and established several motifs and processes that continue to appear in my work. This concentrated time devoted solely to my art resolved my desire to become a great painter. Previously, if I was doing what I was compelled to do, I now felt with work and application, I could do it.
I see a long and hard road if I am to reach my best expression of self, as I am in the early stages of this journey. Nevertheless, I believe I have already begun to create paintings in my voice.
“Fountain of Youth”
Mixed media 37/75” x 46/75”
I use painting and drawing media as a vehicle to explore ideas about perception. My works are reflections on embodiment and the complexity and wonder of time, space, memory and narrative of self. I am concerned with human experience and how we exist through our senses. I am interested in what connects us and what divides us. I search for references, harvesting the past by using photographs and print ephemera. I pass these through multiple modes of mediation by making iterations of paintings and photographs before a piece arrives at its final state. I build the surface with staining, spraying and brushing paint, and sometimes bleaching. The images are transmuted to produce marks that suggest dissolution and change. Some of the images seem to be fading away like a forgotten experience.
We make particular judgments based on the trappings of gender, age, social context, and our own experiences. We naturally look for individual distinction and we value biographical information. We spend our lives building a picture in our minds about who we are. I question this by presenting ambiguous figures that detach from their original identifiers. These representations communicate the nature of longing with their mystery, marks of struggle and nebulous qualities. The works exist through familiar mechanisms and tropes of portraiture yet purposefully contradict some key aspects of the tradition. Instead of marking time, they conjure the essence of time.
"Mist", 24"x 18"
acrylic on canvas (airbrushed)
"Reminiscence Bump", 24" x 16"
Mixed Media (bleached canvas with acrylic airbrushed over top) The term Reminiscence Bump refers to the ability of an older adult to have a potent memory of the period of time between their teenage years to young adulthood more so than any other timeframe.
'RCA' (c.1970) offered for sale via Novado Gallery on behalf of the original owner. This "New Realist" work has never been exhibited, is considered unfinished by the artist, and is in need of some restoration. Regardless, this is an amazing opportunity to own a rare early work by Minter. The work is currently unstretched, and can be re stretched depending on the buyers wishes to restore or maintain the work in its current condition.
untitled (RCA) by Marilyn Minter
Early Marilyn Minter painting, 1970, acrylic on canvas, image: 70 5/8"h x 65"w, canvas 79"h x 75 1/2"w
unsigned, gift of the artist with signed letter $15,000
My new series of blue paintings are directly tied to lifelong interests: travel, maps, water, landforms, light and movement while also confronting the lack of blue in previous work. The blue is mainly Phthalo Blue, which I felt was a very dominant color for a blue. I had never really worked with it and wanted to get some understanding of the color and to put it to use after it had been moved around in my timeline of studios since 2003. I am looking forward to seeing how it can be compatible with other colors, as anything can work with white, especially blue. Beyond that, these are sculpted paintings that are meant to feel good to the eye and to look good on a wall.
30” x 30” x 2”, mixed media on canvas,
“ Just Blues”
Acrilic mixed media 30” x 30”
Acrylic mixed media 30”x 30”
“Tides of Temperance”
Acrylic mixed media 30” x 30”
“Radio City Reflection”
Aluminum print 27” x 18”
“Rush Hour Times Square”
Aluminum print 18” x 27”
“Morningside Reservoir (and Graffitti Gallery)
Aluminum print 27” x 18”
Inspiration for my work’s content often starts with small and mundane things. I find meaning can be contained in the smallest things, and poetry in the simplest moments. My practice is bound in phenomenology and my focus is directed at experiences with the natural world – its space, time and physicality. My works are drawn and painted to present and reflect upon prosaic objects and moments in order to bring attention to the ignored, the forgotten, and the unseen. It is the microcosms that are entries to greater understandings.
The idea for the Space Series seeds its inspiration from observations of natural forms. The series reimagines these forms’ sources of origin, scale and orientation. The invented environments that these forms inhabit or create explore alternative evolutions. They imagine a world that may be after, without or elsewhere from the human centric world in which we reside. Neither an utopian nor dystopian gesture, the work seeks to create a visual space that is both unexpected and bewildering yet familiar enough to inspire contemplation of different ways of being and seeing.
In a moment of recognizing the beauty that is to be found in the different, the unexpected, and the ignored, we are reminded of our fallibilities of judgment. My hope is that at its least, the work may stand as a prompt or aide-memoire; that value and judgment may be constructs; and that things of import may be in unlikely places, right under our noses, or feet. At its best, it may function to explicate multiplicity of the social order, of difference, in equal regard.
Contact the gallery for a complete list of available works.
"Form Series #16"
oil on panel, 30 x 24”, 2008
"Space Series #16"
oil on panel, 20 x 32”, 2016
"Form Series #30"
oil on canvas, 60 x 60”
David Samuel Stern
Artist Statement for Woven Portraits
These artworks are the result of physically weaving together two photographic prints of the same subject. They are an attempt to bridge dignified, direct portraits with a sort of abstraction that allows their subjects to hide within themselves, and the photographs to be distinctly physical objects. In hiding some things, we reveal others.
Photographic prints on archival vellum, physically woven together
work: 40" x 30¾" x ½" (framed: white shadowbox, 44¾ x 34 x 1¾ in)
Photographic prints on archival vellum, physically woven together
40¼" x 30½" x ¼"(framed: white shadowbox, 44¾" x 34" x 1¾")
I have been incorporating found objects into my work since 1965 - the year I arrived at Syracuse University to become a member of the School of Art. The artists Joseph Cornell and Louise Nevelson influenced my decision to use discarded materials as primary media in my work. Odds and ends discovered in junkyards, abandoned buildings, flea markets and antique stores held a strange fascination for me. For the next thirty-seven years I searched for abandoned materials that would capture my attention and provide me with an opportunity to breathe new life into them. I was fascinated by the challenge of juxtaposing them in aesthetically pleasing arrangements called “assemblages."
I organized the materials you see in these assemblages thematically. I created relationships between objects that are seemingly, unrelated, similar to how we organize the images in our own dreams. The assemblages in this exhibition are my attempt to create symbolic metaphors for everyday happenings. I hope the work prompts the viewer to ponder the meaning of familiar objects that I have redefined using a reconstructed sense of reality.
More works available by this artist.
Allegory & Alchemy
Deeply bonded relationships are messy and precarious. The essence of our humanity is manifest in our exchanges. Beings can become completely undone. We fall head over heels, seeking the satisfaction of connection. In this uncertain dance, the alchemy of connected mind, body and soul can transform us.
Sweet paired with sour resonates exquisite risk. Rich colors and unlikely pairings merge to reveal similarity and difference. Opposites do attract. These images are formally alluring and immeasurably loaded with the allegorical symbols of satisfying sensuality. Forward we move in our human journey, seeking our immortal beloved.
This new work embraces the complexity of relationships via the visual tension carried by these objects. I seek to capture nuances of temporal motion and fleeting moments. The interplay of dynamic and soft detail invites the viewer to come in and share secrets. Luxuriously grand scale intentionally draws the observer inside this power we call love.
Contact the gallery for a complete list of available works.
"Head Over Heels"
Digital Image on Aluminum, 36 x 36 inches
Digital Image on Aluminum, 24 x 48 inches
In my work I create abstract images. This type of abstraction doesn’t happen through the reduction of something visible. It is created through visual ideas - originated in the invisible part of the world – much like music, or mathematics. These ideas are becoming visible through the compositions built from more or less complex geometric forms, transparency, color, structure, ratio or rules as repetition, symmetry, etc. If we want to use a label to describe this type of work, we could call it geometric abstraction.
The way our mind is creating a translation of an image is a complicated process – many things can get lost or added through the interpretation. Basically, through the understanding of a new image, the art piece can help us to open up new ways to understand the world or ourselves from a new or another aspect. With a new combination of visual elements, an image can help us to be more aware of the process of the interpretation itself. Providing the freedom of forgetting about preconceptions or contexts, the compositions are inviting the viewer through enjoying the immediacy of this abstraction to develop an independent, individual interpretation.
My compositions are about abstraction itself, instead of referring to anything from the visible world. Abstraction is the basic subject of my work because whether we are aware of it or not, our brain is built to work with abstract systems and we live and function through abstract thinking.
Also abstraction makes possible the transmission between the reality of the world outside and our inner entity. It is also the mental field where culture exists, where we can communicate and find social symbiosis
The expression of inner thoughts is transposed and the flow of information presumes transmitters, by various mediating agents, composed of abstract language systems, such as a spoken or written language, music or mathematics. These language systems possess numerous common features, e.g. structure, rhythm and ratio are found in all that then become the elements, with the addition of color that my compositions are based on.
With a traditional way of painting combined with a world of simple forms I am expressing new visual contents in the current era – one that is characterized by a way of seeing strongly influenced by technology and industrial development.
"Blue Type", 48" x 48", oil on canvas over panel
2016, price on request
"Inferred from Irregularities", 48" x 48", oil on canvas over panel
2016, price on request.
"36 Squares", 48"x 48", oil on canvas over panel
Vilim created her own set of dice and used a coin to arrive at this complex geometric abstraction. Price on request.
I am redundant, half of a whole, a freak, identical and lucky.
The relationship I have with my twin sister is tightly woven, beautifully strange and difficult to explain. This has led me to explore a visual language that articulates the intimacy and the oddity of being a twin. Having been subjected to stares and double takes my whole life, I use photography to exaggerate the gaze of others and to illustrate the interconnectedness of our identity. It is difficult to see yourself as an individual when no one else does.
My photographs aim at grasping the idea that I am one person as well as two and discovering what that looks like.