143 Reade Street – New York 10013

Suzanne McClelland’s paintings start with common words that are linked to social and political discourse (“people,” “cure”).  She is inspired as much by the acoustic of these words, their graphic and cursive form, as by their semantic associations. Her paintings of words take something that is intangible and create a physical reality of some sort.  It is an effort to give form to a complex system of variable that goes beyond the common use of language in visual art.

Ann Pibal’s abstract compositions on aluminum read at first as classical problems of painterly compositions.  However she repeats the same geometric structures with subtle variations like frames of a movie.  The repetition implies notions of time and is played against color backdrops that evoke changing weather patterns.  The small scale of the paintings grants them with qualities of precision and decisiveness, while the titles, which consist of acronyms (LKPM, DRSC, RFTM...), mimic the design of experimental procedures such as replication and randomization.

Polly Apfelbaum is known primarily for her large floor pieces that occupy a unique space between painting and sculpture. Her work, exuberant and sensuous, is governed by systems of color combinations that she devises and the drawings on velvet are examples of such color charts. Here the color spectrum is shuffled and the intervals between consecutive hues of colors are subject to brisk jumps that disrupt the orderly organization of “Interval Measures.”

Polly Apfelbaum is a current fellow of the 2012-2013 Rome Prize. She has been showing consistently in New York and abroad since her first one-person show in New York in 1986. Her work is in the collection of The Museum of Modern of Art, New York; The Whitney Museum of Art of American Art, New York; Brooklyn Museum of Art, New York, The Los Angeles County Museum of Art, Los Angeles, and the Philadelphia Museum of Art, Philadelphia, among others.

A twenty-year survey of Tony Feher’s work has been organized by the Blaffer Art Museum in Houston. The show first opened at the Des Moines Art Center in the Spring of 2012 and is scheduled to travel through 2014. Tony Feher’s sculpture is represented in numerous public collections including the Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum in New York; San Francisco Museum of Modern Art; The Art Institute of Chicago; Indianapolis Museum of Art; and the Hammer Museum, Los Angeles.

Suzanne McClelland began exhibiting internationally in the early 1990s. This coming February, her work will be included in a group exhibition at the New Museum titled, NYC 1993 Experimental Jet Set Trash and No Star.” She was also a participant of the 1993 ground-breaking Whitney Biennial, known to many as the “identity biennial.” Her work is included in the collections of The Whitney Museum of American Art, The Museum of Modern Art, New York, The Metropolitan Museum of Art, the Brooklyn Museum of Art, the Walker Art Center and the Rubell Family Collection, among others.

Demetrius Oliver received his BFA from the Rhode Island School of Design, his MFA from the University of Pennsylvania, and attended the Skowhegan School of Painting and Sculpture. His work has been exhibited widely, with solo exhibitions at the Contemporary Arts Museum, Houston, Rhodes College, and P.S. 1/MoMA. Group exhibitions include Renaissance Society, the Studio Museum in Harlem, Museum of Fine Arts, Houston, Arndt & Partner, Marianne Boesky, Roberts & Tilton, Tracy Williams Ltd., and Wellin Museum. His work is in the collection of the Studio Museum in Harlem.

Ann Pibal’s work has been exhibited widely at venues in the United States and Europe including MoMA PS1, Sikkema Jenkins & Co., and Paula Cooper Gallery. Her work is included in many public collections including The Brooklyn Museum, The Museum of Fine Arts, Boston and The Hirshhorn Museum, Smithsonian Institution. She lives and works in Brooklyn, NY and North Bennington, VT where she teaches at Bennington College.