Patrick Strzelec

April 3, 2014 - October 4, 2014

In 2006, I made a body of work specifically about the concept of negotiation. This group of sculptures and drawings were shown in Berlin, Germany. In the catalogue for the show, Pamela Franks, Deputy Director of Collections and Education at the Yale University Art Gallery, provided the viewer with a pathway for interpreting the work.

“The genesis of the composition… in these sculptures was a single semicircle with short horizontal elements at either end suggesting platforms for some further exchange. This formal starting point, a two–ended game of balance, is a direct manifestation of the artist’s central conceptual preoccupation in this body of work: the idea of negotiation. The two seats of communication are balanced at either end of a connector that paradoxically keeps the positions apart….The accumulation of individual connecting elements into the overall composition suggests a constellation of relationships with all the negotiable bends and turns, and made or missed connections, of human discourse.”

As I took a fresh look at the idea of negotiation, I realized that many of my sculptures reflected a subtle preoccupation with this concept. This show pulls together a broader body of work that considers the many ways that we negotiate.  There are pieces from twenty years ago as well as newly developed work.  I have used the materiality of the objects to explore the possibility of a larger narrative. I like to think that, through this work, there is an imaginary space between complexity and certainty that establishes a negotiation between objects.  

Masters of Post-War American Photography

Arbus Frank Penn

May 30, 2014 - November 1, 2014

Arbus, Frank, Penn: Masterworks of Post-War American Photography comprises thirty-six vintage gelatin silver prints by three of America's leading photographers working in the 1950s and 1960s. The selection of works by Diane Arbus date from 1961 to 1970 and include many of her most celebrated portraits: Identical Twins, Roselle, N.J.; Boy in a Straw Hat Waiting to March in Pro-War Parade, N.Y.C.; and Boy with a Toy Hand Grenade in Central Park, N.Y.C. Irving Penn's photographs date from 1948 to 1951, and cover his three most important series from those years: the “Small Trades,” the “Big Nudes,” and the confrontational portraits of the mountain-top inhabitants of Cuzco, Peru. The Robert Franks photos date from 1953 to 1958 and feature some of the key works reproduced in The Americans, arguably the most influential photography book of the past century. Together, these works capture the incipient fissures of Eisenhower-era America across racial, generational, urban/rural, fault lines that were to explode in the decade to follow.


Exhibition organized by art2art Circulating Exhibitions.