Installed in a rough hewn-space below the Bowery Hotel, curator Peter Makebish in collaboration with anonymous gallery, composes a salon-style show with artists Donald Baechler, Kevin Baker, Brian Belott, Ross Bleckner, Katherine Bernhardt, Kadar Brock, Brendan Cass, Eric Freeman, John Newsom, Lola Schnabel, Ouattara Watts

Enhanced by the setting of the Bowery Hotel’s atmosphere as a gathering point for bright and provocative talent, the selected artists’ works draw an intrinsic, perhaps serendipitous kind of knowing and recognize that the expressive reach of each painter’s idiom exists by companionship.

From the highly visible one intuits the deeply invisible, in contemplation of gesture, pigment, grace, energy, precision and imagery, a viewer feels the ubiquity of particular rhythms. Allowing the works themselves to resonate and create the climate in which they can be felt, it is lyricism, discovery and an instance of vibration.

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Words of Anthony Haden-Guest in observation of the show:

“Andy Warhol, famously claimed that his images were all surface, nothing more, but he made his Marilyn Monroe because she had recently died and Liz Taylor because she had been sick. Exceptions aside – Hello, Troy Donahue! – the folkloric resonance of those early images is no happenstance.

Louise Nevelson could speak out of both sides of her mouth. She was a child when her family came to the US and her father worked as a ragpicker before establishing himself in the lumber business. As a grown-up Nevelson would usually say that the bits and pieces she chose were just formal elements. Once though she said that the chair legs or whatever had tales to tell. When a good artist contradicts him or herself like that it’s sensible to assume that both statements are correct… The paintings you see here have been picked because they act upon us. They are conduits of sensations, feeling. Is that what each artist intended? They are now out in the world so that’s up to you and I to decide.”