Rosemarie Castoro: On Paper
27 September - 10 November 2017
Rosemarie Castoro: On Paper
27 September - 10 November 2017
Rosemarie Castoro: On Paper
27 September - 10 November 2017
Lucio Pozzi
Relocations 1976 - 2017
21 November 2017 - 23 February 2018
Lucio Pozzi
Relocations 1976 - 2017
21 November 2017 - 23 February 2018
Richard Basil Mock
Desert Visions
21 November 2017 - 23 February 2018
David Knoebel
8 January - 27 January 1977
David Knoebel
8 January - 27 January 1977
David Knoebel
8 January - 27 January 1977
Richard Basil Mock
Desert Visions
21 November 2017 - 23 February 2018
Richard Basil Mock
Desert Visions
21 November 2017 - 23 February 2018
Richard Basil Mock
Desert Visions
21 November 2017 - 23 February 2018
New London in New York
2 December - 17 January 1975
New London in New York
2 December - 17 January 1975
Rosemarie Castoro,
Focus at Infinity
09 November 2017 - 15 April 2018
Rosemarie Castoro,
Focus at Infinity
09 November 2017 - 15 April 2018
Rosemarie Castoro,
Focus at Infinity
09 November 2017 - 15 April 2018
Alice Adams
10 January - 3 February 1979
Alice Adams
10 January - 3 February 1979
Alice Adams
10 January - 3 February 1979
Works on Paper
11 December 1976 - 7 January 1977
RECENT EXHIBITIONS
Lorenza Sanni
Lorenza Sanni
Lorenza Sanni
Lorenza Sanni
Lorenza Sanni
Lorenza Sanni
Joey Tepedino
David Wojnarowicz (1954 - 1992) was an independent prodigy. As a runaway street hustler at a young age, Wojnarowicz developed an uncanny ability to find beauty in the gritty street life around him. His stencil work was eventually recognized by many New York galleries, elevating avant-garde street art into the Downtown Milieu. Wojnarowicz refused to reduce his creativity into a single medium. Instead, he expanded his techniques, producing collages, films, photographs, poems and sculptures. Today his writing, always incisive, is viewed as an important parallel to his visual art.
Wojnarowicz ... effortlessly [ties] together genres, styles, and media as if they were elements in a collage. As the Renaissance Man of the East Village, he was the one artist who threw himself into virtually every possibility that lay in front of him, whether it was painting, photography, performance, politics, video, music, sculpture, or poetry. By the time of his death in 1992, Wojnarowicz was better known for his AIDS activism than his art, but this prominence has gradually reversed itself in the fifteen years since, making his overall contribution one of the central reference points for New York art during the turbulent 1980s
- Dan Cameron