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Marilyn Holsing reviewed in Title Magazine

Em Kettner reviews Further Tales of Young Marie Antoinette




Chip Schwartz reviews "Further Tales of Young Marie Antoinette" on knightarts.org

Gallery Joe opened up its newest solo show of works by Marilyn Holsing on Dec. 10. The show is entitled “Further Tales of Young Marie Antoinette” and involves narrative scenes showing the infamous French monarch in different imagined stages of her youth and engaging in a number of activities. Holsing’s paintings are composed of strokes of paint, which are akin to stitches, and, recently, she began incorporating three-dimensional embroidery into her work, as well. The scenes are all laid out on paper, and, recently, these pieces of paper have begun to take on irregular and somewhat asymmetrical shapes, mostly round and oblong as opposed to the run-of-the-mill rectangle. If larger, they would resemble tapestries, but as they stand, they are more like elaborate doilies or placemats. They are all reminiscent of pre-photographic documentation and storytelling, and their pre-French Revolution historical fiction background plays into this idea splendidly.




Emily Brown reviewed in The Philadelphia Inquirer

Edith Newhall reviews 'In and out of the Studio'




Astrid Bowlby at the Woodmere Museum

Astrid Bowlby is included in the exhibition Flirting with Abstraction: Modern and Contemporary Art of Philadelphia in the Promised Gift of Karen Segal and Woodmere's Collection on view September 25, 2011 – January 8, 2012




Dust and Shade: Drawings by Charles Ritchie reviewed in the Philadelphia Inquirer

Charles Ritchie has lightened up since his last show with Gallery Joe. Rather than concentrating solely on nocturnal scenes of his domestic interior and immediate neighborhood on a cul-de-sac in Silver Springs, Md., as he has for much of his career, he occasionally turns his eye to sunlit subjects, and the results are dazzling. Never mind that May, a graphite and charcoal drawing Ritchie began in 1996 and finished this year (he has been known to work on a drawing off and on for years) is composed largely of shades of gray. It captures the essence of a warm spring day when every plant and tree has burst to life in the kind of celebratory harmony that Charles Burchfield captured so memorably in color.




Astrid Bowlby and Mia Rosenthal at Philadelphia Museum of Art

Here and Now: Prints, Drawings, and Photographs by Ten Philadelphia Artists runs from September 10, 2011 - December 4, 2011. Curated by Innis Howe Shoemaker and on view in the Berman and Stieglitz Galleries, ground floor. The works featured in this exhibition are a lively, arresting, and timely celebration of ten Philadelphia artists, ranging in age from 25 to 50, who are currently making art on paper.




Linn Meyers installation at the Hammer Museum

Time is central to the work of Washington DC-based artist Linn Meyers, whose practice revolves around drawing. Each dense and intricate ink line drawing is the result of a nearly meditative process by which Meyers lays down consecutive lines into largely organic forms, creating rhythmic repetitive patterns. Each line becomes the record of a physical movement, and the inevitable inconsistencies and imperfections of the body as it moves through time and space become integral to the final composition. Meyers’s layering of vivid colors creates a shimmering quality suggestive of light and movement across the surface of the work. Working in a range of scales, Meyers has in recent years moved from the page to creating site-specific wall drawings. Ambitious in scale and labor, these drawings can take several weeks to complete, their shapes responding to the architecture of the space and the surrounding elements. For her Hammer Project, Meyers will make a large-scale, site-specific wall drawing on the Hammer’s lobby wall. This exhibition will be the artist’s first museum show in Los Angeles.


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Allyson Strafella and Sabine Friesicke reviewed in Philadelphia Inquirer

Repeat repeat We see grids everywhere, every day - I'm looking through window panes at our neighbors' asphalt shingles right now - but when they're transposed to paintings and drawings, the effect can be hypnotic, even romantic.




Spotlight: Mark Sheinkman and Dean Smith Take On Graphite – Huffington Post

The two-man, self titled show features the abstract work of Mark Sheinkman and Dean Smith. Both artists use the same medium, graphite, but that's where the similarities end. Smith builds on his drawings with thousands of intricate fine lines that make for hypnotizing shapes while Sheinkman, on the other hand, takes advantage of the agile eraser on graphite covered paper to create a moody, moving image through the process of removal. The end result is that of a visual ying-yang that explores the range of graphite.




Mark Sheinkman and Dean Smith reviewed in Philadelphia Inquirer

Pencil to paper Dean Smith, a Bay Area artist, and Mark Sheinkman, a Manhattan-based one, are well-matched in a two-person show at Gallery Joe: Smith's pulsing drawings are compositions of fastidiously drawn concentric lines; Sheinkman's undulating "drawings" develop through his erasures of his drawings. Though abstract, Smith's obsessive drawings can resemble scallop shells, parts of the human body covered with hair, cross-sections of tree trunks, and other natural patterns. They're as labor-intensive and meditative as Tibetan sand painting, but also full of dark humor. Sheinkman's erasure drawings are simpler than the works of his last show here. Images that used to suggest curls of smoke stolen from film-noir close-ups have given way to looping, less-referential forms. Curiously, they're more mysterious than ever.




Mark Sheinkman and Dean Smith reviewed in the Philadelphia Weekly

Gallery Joe’s new exhibition doesn’t have any gimmicks—just some really intriguing abstract work. The two-man, self-titled show, Mark Sheinkman and Dean Smith, showcases the dual abstract artists’ varying uses of pencil. There will be 15 works on display, which vary in size but were all created using only paper and graphite.




Gallery Joe at PULSE NY

MARCH 3-6, 2011, Metropolitan Pavilion, 125 West 18th Street, Booth B5. The gallery will be by appointment only until the opening of Mark Sheinkman and Dean Smith on Saturday, March 19, 5:00-7:00pm.




German Marks review in The Week

German Marks - Gallery Joe, Philadelphia February 4, 2011 Pencil drawings were once the province of expediency -- ideal for jotting down ideas that might eventually find their way into full-fledged masterpieces. This exhibition showcases works by four German artists who approach the genre with a decidedly more meticulous bent. Isabel Albrecht uses complex systems to determine the grayscale patterns in her shimmering graphite drawings; Lucie Beppler uses an arsenal of tools to painstakingly texturize her works' surfaces; Ellen Keusen's renderings are as refined any abstract-expressionist painting. Meanwhile, German Stegmaier takes mindfulness to an extreme, spending years composing, erasing, and reworking simple line drawings before pronouncing them done. 302 Arch Street, (215) 592-7752. Through Feb. 19. Prices range from $1,500 to $3,625.


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Jill O’Bryan, Nicole Phungrasamee Fein, Christine Heibert, Mark Sheinkman, Allyson Strafella and Lynne Woods Turner at Katonah Museum of Art

Visitors to the KMA this winter will experience art in its purest physical form: line, color, shape, texture, and composition. Drawn/Taped/Burned: Abstraction on Paper celebrates the beauty of a fluid line, the energy of scrawling shapes, and the mood expressed by a single band of color. The exhibition features 74 unique works on paper by 66 artists, with an emphasis on Modern, Minimal, Conceptual, and Process Art, all drawn from the Sally & Wynn Kramarsky Collection. The featured artists employ many objects in the service of mark-making—not just the obvious pen or pencil, but also ash, wax, string, smoke, tape, tea, and tar.


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