Pulse New York
group show featuring Jeremy Dean, Karim Hamid Eric Doeringer, Sara Carter, Amy Greenfield, and Jack Balas

Booth C-10

Run Dates: March 3rd - 6th, 2011
Opening Date: Thursday March 3rd 10am-1pm VIP Preview
Location: The Metropolitan Pavilion
Directions:125 West 18th St. New York, NY 10011

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{CTS} creative thriftshop is excited to announce our participation at PULSE New York (March 3-6, 2011 -booth C10). PULSE Contemporary Art Fair under the new directorship of Cornell DeWitt announced the fair will be held at Metropolitan Pavilion. Located in Manhattan’s Flatiron District, the centrally-located venue is a five minute walk from each of the major subway lines, and a fifteen minute walk from the Chelsea Gallery District.

With a roaster of over fifty leading national and international galleries CTS is excited to follow up our 2010 debut at the fair where we installed Jeremy Dean’s converted Hummer. In this presentation we will show a range of recent works from some of the most exciting and challenging emerging artist working in states, literally from coast to coast. Artist include Karim Hamid, Jeremy Dean, Eric Doeringer, Sara Carter, Amy Greenfield, and Jack Balas

New York snow bird Jeremy Dean, as it has been well documented, charged onto the art scene in 2010 with his larger than life converted “green” Hummer which he had trot through Central Park and than at the behest of the collector around town in Miami Beach during artBasel. In this presentation- he’s decided to tread lightly-but only slightly- with his most recent body of work that deals with the boom and bust of the American economic system. Mirroring trends, plotting points, and creating a visual questionnaire string by string as he dissects the nations flags and historic data. These labor-intensive new works emphasize the hand of the artist- the craft of constructing a narrative.

Karim Hamid, a New England painter and new to our roaster paints with a classic brush creating a visual dialogue of the female figure and the male gaze throughout art history. He distorts and transforms the human body creating a highly charged sexual tension but seemly through a hazy looking glass. His sitters are soft, blurred, tangled in each other, their settings are anywhere and nowhere. In their anonymity there seems to be a sexual freedom- an emotional rawness that pulls at the sexes creating a fascinating dynamic.

San Francisco based painter Sara Carter is our guest artist. Her works on canvas contrast between light and dark. Unlike much of what we traditionally show, her portfolio spoke to us in almost a whisper. A longing stare creates space in your mind’s eye. Loosing depth persecution, finding yourself lost in time. Her work seems to exists in that quiet, solitary place, where one feels both scared and safe.

Amy Greenfield a Boston native and early pioneer of experimental film and video graces our walls with two films that began at the hight of the fluxus movement and completed only in 2010 for her return to the art world in her solo show entitled Untitled Nude. Her experimental films sprout a medley of nerves; optic, poetic, kinetic... and exhibits that the human body is the best metaphor. She pulls deeply as a feminist, flirting with the abstract which enables the familiar, allowing reality to transcend perfectly through raw expressed movements.

Eric Doeringer a multimedia artist based in Brooklyn, NY. works addresses issues of illegality, the art market, and the intersection between subculture and popular culture in America. In this presentation we hang three works in a kind of “California Conceptualist” installation featuring works recreated after John Baldessari, Charles Ray, and Ed Ruscha. Here the artist has stretched the allowance of what perhaps the artist ideology intended when they said - anyone simply by following a set of written instruction could create said works.

Jack Balas a Chicago native currently living in Denver who also has an amazing love affair with Hawaii each summer- puts on view a selection of recent works that for a painter of twenty plus years departs from all the rules as he knew them. These vibrantly erotic men swirl around the canvas in vivid almost graphic colors. Each one seemingly exuding a small pulsation of movement both in form and in palette. These works represent a new direction for the artist where fact and fiction, abstraction and representation, visual and verbal, all come to collide.

    Jeremy Dean, Wealth of Nations, 2011, mix media on paper deconstructed American flag, needles, framed, diptych each 31x38in. (79x96cm)
Image courtesy of {CTS} creative thriftshop

about the artist: Jeremy Dean has built a reputation for exploring the American dream and human progress through art. Deconstructing and re-contextualizing iconic symbols of power and wealth, his work addresses social, political, economic and cultural issues. Dean received his BFA from Flagler Collegeand attended an intensive film program before embarking on the six year journey of creating the truly independent feature film Dare Not Walk Alone which received numerous awards and a theatrical release. He was inducted into the Writers Guild of America 2008 and was recently given a special film screening at BAM. He has been exhibited nationally in galleries, museums, and art fairs. His latest work Back to the Futurama exhibited during Armory Week in New York to a great deal of fan fare. Having been deemed the darling of the press as of late his work has been featured in The New York Times, The New York Post, the Wall Street Journal, Art in America, Art Slant, Current TV, ABC World Report, Huffington Post, Reuters, and countless blogs and niche media.
Eric Doeringer, Stains (after Ed Ruscha), 2009, mix media on paper, 75 stains in portfolio, handmade box, edition of 10, 12x11in (31x28cm)
Image courtesy of {CTS} creative thriftshop

about the artist:
Eric Doeringer
received a BA in Visual Art from Brown University, an MFA from the School of the Museum of Fine Arts, Boston, and currently lives and works in Brooklyn. Much of his work deals with the relationship between the original and the copy.  He has sold “Bootleg” copies of contemporary art on the streets of Chelsea, printed fake Art Basel VIP cards, created a tongue-in-cheek “fan site” dedicated to Matthew Barney, and embroidered the “Polo” logo by hand onto generic shirts.  Recently, Doeringer has recreated several books by Ed Ruscha and works by Conceptual artists such as Sol LeWitt, On Kawara, and Lawrence Weiner. Doeringer has had solo exhibitions at {CTS} Creative Thriftshop (NY), Apex Art (NY), Katharine Mulherin Contemporary Art Projects (Toronto, Canada), and Another Year In LA (CA) and has exhibited in group shows at venues including MUSAC (Spain), The Currier Musuem (NH), The Bruce Museum (CT), Albright College (PA), and Muhlenberg College (PA). Doeringer also curated “The Matthew Barney Show” - an exhibition of Matthew Barney fan art and ephemera - at Jack the Pelican (NY) and boca (San Francisco). In 2007, Doeringer received a production grant from the Whitney Museum’s IPO program.

  Karim Hamid, annun 23, 2010, oil on board, 24x24in (61x61cm)
Image courtesy of {CTS} creative thriftshop

about the artist:
Karim Hamid
’s images are based on the visual dialogue with the classic representation of the female figure and the male gaze throughout art history. Hamid’s work updates the visualization of the idealized female form through the distortion and transformation of the human body. In his paintings he is focused mostly on the psychic condition of the person observed, something not readily available to the conditioned eye. In his portraits, or anonymous found imagery, he expects the same thing – to find something broader in the meaning and composure.
  Sara Carter, Heat 1, 2011 acrylic on canvas/board, 16x16in (41x41cm)
Image courtesy of {CTS} creative thriftshop

about the artist:
Sara Carter lives and works in San Francisco, California. A native of Houston, Carter attended the University of Texas and the San Francisco Art Institute where she received a B.F.A. Carter’s paintings are a contrast between light and dark. While color is equally as important as contrast, it is through the hue and value that a synergetic relationship between color, form and contrast is created. The layering of geometric forms in Carter’s work are used to convey space.Within this framework of constructed layers emerges a highly personal description of an environment charged with logical sequencing and subtle emotion. Through the orderly use of color, form, and shape Sara Carter’s paintings conjure a sense of refracted space and time. Her paintings represent a place and time that exist primarily in the subconscious world. It is a place where the concept of painting is secondary to the emotive use of paint.

  Amy Greenfield, Elements, 2009 (1972), film, black and white, silent, edition of 10, run time 12:03 minutes
Image courtesy of {CTS} creative thriftshop

about the artist: Amy Greenfield has directed, produced, edited and often performed in more than thirty films, which has garnered her an impressive accumulation of awards from prestigious institutions, such as; Harvard University, Fulbright Foundation, The National Endowment For The Arts, The Rockefeller Foundation, and the Jerome Foundation. Her films have been shown at the Museum of Modern Art, Whitney Museum of American Art, the New York International Film Festival at Lincoln Center as well The Berlin Film Festival and The London Film Festival.
  Jack Balas, Before the Revolution (from the series MUSE/Museum) 2011, watercolor on paper, 15x23in (38x59cm)
Image courtesy of {CTS} creative thriftshop

about the artist:
Jack Balas
is interested in recontextualizing images of men in a variety of emotional, political and stylistic scenarios -- contexts in which they function as everyman, but are more vulnerable than their surface perfection might suggest. Born in Chicago in 1955, Jack Balas received his BFA and MFA from Northern Illinois University, DeKalb. He was awarded a National Endowment for the Arts Individual Fellowship in Painting in 1995. His work is in the permanent collections of the Brooklyn Museum, New York City; the San Francisco Museum of Modern Art; and the Tucson Museum of Art, among others. A portfolio of his paintings, “Today I Drove Along the Rio Grande,” was published in The Paris Review (New York). His most recent museum solo was his 2008 project “We’ll Be Seeing You” at the Museum of Contemporary Art, Denver.