Anagnorisis Fine Arts

Slow Transitions by Binnorie
April 5, 2012, 2:14 pm
Filed under: Announcement, White Rabbit

You may have noticed that no new exhibitions have been announced here in a long while. This is a good thing. Let me explain:

Quite a while ago I came to a decision not to produce shows at the White Rabbit after the end of 2011. While the venue has provided uncountable opportunities for Anagnorisis and the artists who have shown there in the past, it became evident that the White Rabbit’s personality, steeped in Street Art and Lower East Side history, was not fitting well with Anagnorisis’ dark explorations of the grotesque.

Anagnorisis is currently in the midst of planning new shows which will take place less often throughout the year and in new places. You may have noticed that I’m blogging on other sites and am helping artists expand their horizons in various ways. It is my hope that this slower pace will allow for more in-depth events and projects that can allow Anagnorisis to grow. More news on that to come.

I’m excited to announce that taking over the arts program at the White Rabbit is 2 Feet 12 Inches, a partnership of art enthusiasts who have been rooted in the Lower East Side for many years longer than I have. If you’re a fan of Street Art, Lowbrow and Graf, these upcoming shows are sure to knock your socks off.

It’s fantastic to see the arts at the White Rabbit be taken over by such competent folks. Hope to see you at their first opening on May 2nd.

That Which Remains by Binnorie

What remains after all decor is stripped down to our bare bones is what makes us who we are. What happens when we are forced to see this part of ourselves?

When diagnosed with Crohn’s Disease, artist Yuri Leonov became forced to see his young life from a new perspective, and to rely upon modern technology to keep his angry immune system at bay. Through his art, Yuri explores how he feels rooted, stuck and limited by those tools that are intended to help him, and what Remains of his self: past and future.  His explorations extend out to the world at large, how our own artificial advancements remove us from what is most important, and the paradox of how our efforts are quite possibly leading to our downfall.

Yuri pulls no punches. His work and the ideas behind it are wrought with emotion: questions about life and memories of the past. His work is introspective, offered to the world en masse as possible catharsis for all of us suffering from mortality. Yuri’s is a case of illness in youth, yet he is a very strong and determined individual; honestly he looks very healthy. His work is very well thought out, intelligently emotional and meaningful. His art is not his heart on his sleeve; it is an earnest search for relief.

Taught old master technique as a boy in Russia, he has some serious old master technique chops in his arsenal, yet he is not a realist. Much of his work is abstract and his paintings which incorporate realistic figures, interiors and landscapes are often created with non-traditional mediums including bugs and his own spit. “Though the work is figurative, the initial structure is an abstract framework of composition that allows the series to be interpreted as a unified body.” Additionally he adds meaning to his painting technique (the use of unmixed white paint, for example, is used on several works in this series as a connective visual element), and each series of paintings tell a story of growth, change or realization. There are very strong concepts underlying all of his works, some of which he describes openly and some of which he has chosen to keep private.

Remain is ethereal, ghostly and, at the same time, very human.  In my mind, the concepts behind the series connect to Parke-Harrison’s Counterpoint series, and the surrealistic story-lines and imagery of some of Adrei Tarkovsky’s films.  Additional man versus technology connections can be made to Masamune Shirow‘s Ghost in the Shell.  Remain is representational of a review of the past and an uncertain future filled with metaphor, private and shared.

A personal and philosophical description of his work:

Remain, which focuses on my own shortcomings and limitations is my most intimate and personal body of work to this day. The strange conviction of self-importance is present in everyone, all of whom will undoubtedly leave this realm of existence; and so all of us attempt the best we can to avoid the inevitable constraint of time by shifting the significance of existence to the things we attempt, or pretend to know. We ignore the larger, unknown to us, scheme of things in which our whole existence is just a miniscule fragment of the general process far beyond our control, instead focusing on trying to control what we think we can.

As such, control, time and scale are the major concepts I have explored in Remain. The act of making art is an excellent example in itself: convinced by a blind ambition that this determination will somehow hold back the weight of time, and prolong my existence even if in a non physical sense. After developing and now living with serious health problems, I have also developed a solid understanding and a persistent reminder that I will die, along with everyone. What will remain?

Remain will be on view at the White Rabbit’s White Box for only a short while longer.  Some works have sold and others are still available for collection.  To view them online and for further details about his exhibit, please visit the Remain gallery here.

Outside the White Box | Talk with Independent Curator, Samantha Levin by Binnorie
October 9, 2011, 6:06 pm
Filed under: Announcement, White Rabbit

Thursday, October 13th, 7pm
White Rabbit
145 East Houston
Between Forsyth and Eldridge

One of the best ways to get artwork seen today is through creating your own exhibition and through social media. Samantha Levin will talk about how she got started as an independent curator, what goes into producing a show, creating an artist’s community, finding space and make an income.

Her talk will be followed by a networking opportunity. Anyone working in Fine Arts, Illustration, Photography, Visual and Critical Studies, Art Criticism & Writing will have particular interest in this event.

Please feel free to send your questions and concerns to Samantha prior to the event:

Think Outside of the White Box will be taking place in conjunction with a show Samantha curated of Yuri Leonov’s (BFA 2011 Illustration) work at the White Rabbit.

RSVP is requested, but not required on our Facebook event page.

Thanks to the School of Visual Arts Alumni Society for scheduling this event!

Ina Jang’s Cheeky Minimalism by Binnorie
May 18, 2011, 10:19 am
Filed under: Announcement, White Rabbit

<span style="text-align: justify;">One of the first artists that Anagnorisis curated into the White Rabbit's White Box space was Ina Jang.  Still a student at the School of Visual Arts, Ina was already showing great promise.  Her works are intelligent and uplifting and aesthetically fit perfectly well into the White Rabbit's atmosphere.

Ms. Jang’s photography is extraordinarily unique. We most often expect photography to literally document our world around us, yet Ms. Jang’s work is much more abstract. Her compositions are collaged explorations of language playfully fooling with depth; her images gently and humorously introduce new meanings to familiar objects. Each work is carefully planned and executed, often involving cutting, gluing and pasting mundane objects, such as paper and cotton balls, and layering them with figures in extremely minimal spaces. Ina recently wrote about her work for the Hyeres Fashion and Photography Festival, “My works explore concepts of photography and its physicality, while their contents rely hugely on a playful mind, inspired by the time I spent [as a child] with my sister when we were isolated from family and friends.” This playfulness softens the somewhat stark quality of her compositions and palette, and invites the viewer to enjoy and explore as they might have as a child the meanings of the world around them.

Since graduating from the School of Visual Arts photography program, her work as been published in the New York Times, Dear Dave, Corduroy and Print Magazines. Amongst other exhibits, her work has shown in the New York Photo Festival 2010 and in the 2010 Humble Arts Foundation group show. She was recently included as Print Magazine’s “New Visual Artists, The Top 20 Artists Under 30” and is currently a finalist in the Hyeres Fashion & Photography Festival. She was also the Brooklyn Art Project’s featured artist for the month of March this year.

Her current exhibition is entitled so, too & very and was guest curated by Ms. Jang’s mentor, Jimmy Moffat, co-founder of Art + Commerce, quite a force to be reckoned with.  Do not miss seeing the work of this rising star!

A Curious Commotion | Missed it? by Binnorie
April 4, 2011, 9:47 am
Filed under: Announcement, Art Shows, White Rabbit

Sadly, Jeremy Hush‘s exhibit at the White Rabbit, A Curious Commotion, has come down (although he’s got some work up in this new spot opening on April 9th).  You can, of course, still see the work online here.

This is likely one of Anagnorisis’ most successful shows to date.  We are very proud to have shown his work!

I thought you might want to see some shots from the opening exhibit which attracted a wonderful crowd.  Thanks to everyone who attended!

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In attendance:  Jeremy Hush, Heather Gargon, Paul Romano, Dan Ouellette, Jen Rogers & Kerri Stephens of Varnish Gallery, Martina Russo of MF Gallery, Allison Sommers, Kurt Huggins and Zelda Devon of Teetering Bulb, Jeff Faerber, Esao Andrews, Miz Margo and many others!

Hush at the White Rabbit by Binnorie
March 4, 2011, 11:00 am
Filed under: Announcement, Art Shows, White Rabbit

Don’t forget to join us tonight!

Click the image below to see a gallery of images.

A Curious Commotion  |  Jeremy Hush Solo Exhibition

postcard designed by Paul Romano

A Curious Commotion | About Artist Jeremy Hush by Binnorie
February 16, 2011, 11:13 pm
Filed under: Art Shows, Artist Spotlight, White Rabbit | Tags: , , ,


Jeremy Hush is a prolific artist who has been creating illustrations for the punk and heavy metal music scenes for many years.  With his love for animals and attraction to storytelling, Hush’s work evinces a wonderful balance of masculine and feminine, his dark aesthetics setting off gentle linework and shading.  His works are heavy with symbolism, but the meanings behind his symbols are personal.  An extremely warm and generous man, he rarely shares such meanings with anyone.

Hush didn’t grow up anywhere; he grew up everywhere.  Like so many military families, his parents moved every year, living on military bases across the United States.  Old habits die hard and Hush still can’t sit still.  He travels constantly, heavily entrenched in the world of heavy metal music, touring as crew with some of the music genre’s up and coming bands.  Baroness, dubbed as one of the ‘nicest bands in metal’ by the LA Times, is his current gig.

But while he is a fan of punk and metal, members of both scenes are fans of his.  Not too long ago, Hush became known in Savannah Georgia’s underground punk scene for his illustration work.  His spidery, mysterious and scratchy characters began to show up on albums, posters and flyers everywhere.  For 11 years he was involved with Slug and Lettuce, a newsprint punk zine currently coming into its 20th year of publication.  If you have been into the punk scene in the past 20 years, you’ve probably seen Hush’s work.

Cover design for US Christmas's "Run Thick in the Night" album

Hush became involved in all this while attending the Savannah College of Art and Design for sequential illustration (BFA 1997).  He found the education at SCAD to be lacking as many artists do, but was heavily inspired by his peers.   Hush’s most well-known cover to date is for metal band US Christmas’s Run Thick in the Night album, which is bringing him lots of new international attention.

Hush’s work is not what you would expect from metal and punk.  His style is reminiscent of the past and holds strong masculine and feminine characteristics.  I wasn’t surprised to learn that Hush is heavily influenced by Arthur Rackham and other 19th century illustrations.  The mysteries of nature and his fondness for animals also have a considerable amount of influence over the subjects of his art.  His spidery drawings are dark and mysterious, but, like Rackham’s drawings, evoke the fear, love and awe one might have for nature and her power.  One never knows what she’ll pull on you next, yet she is beautiful and sublime.

Hush largely uses found materials to create his works.  He prefers using ball point pens (many of which he’s found in hotels from around the world), and, while he uses traditional india ink and watercolor, he also experiments with a plethora of other media such as coffee, for example.  Also unique are his tools.  On his blog, he mentions that he fingerpaints a lot – he’s being jocular.  If you look closely at his technique you’ll find that he uses his fingerprints to shade.  The swirly patterns of his skin create a unique and expertly blended cross-hatch-like texture in the shadows of his art, adding a wonderful element of abstraction to his figures.

Detail of “Wake” showing finger print shading technique

Here I am writing all formal-like.  Breaking away from that, I’ll quote Out of Print Magazine about Hush’s work: “Jeremy Hush, this guy’s just gorgeously sick. His [work]… Well, remember that scene in Legend before Tom Cruise got all fucked in the head, when petals and dust are swimming in the air and it’s beautiful and peaceful and then suddenly everything turns to chaos and the angry hell boy destroys the unicorn, well… Yeah, they’re like that.”

Couldn’t have said it better!

The title for his upcoming solo exhibit, A Curious Commotion, refers to the mystery of what’s in store.  You can hear that something’s coming (a loud rustling in the trees or some indiscernible movement up ahead in your path), but you don’t know what or who it is, nor can you know if you are safe or in danger.

Please join us for the opening reception taking place at:
White Rabbit Lounge
145 East Houston (between Forsyth and Eldridge)

You don’t need to RSVP on our Facebook event page, but we’d appreciate it if you do.

The beautiful Mz. Margo who DJed for Buddy Nestor‘s exhibit back in July, will be back again along with a mystery video artist.

This will be a very special weekend for Anagnorisis Fine Arts as it will also be taking part in its first New York art fair.  It is teaming up with the Brooklyn Art Project on a booth at the inaugural Verge Brooklyn Art Fair taking place in DUMBO Brooklyn from March 3-6th.  Of course, we will have Hush’s work on the booth wall.

Technology Collides with Nature in Rebirth Control by Binnorie
January 11, 2011, 5:31 pm
Filed under: Art Shows, White Rabbit | Tags: , , ,

a transferral of energy that happens in the process of technology colliding with nature

One major motif that I often run across in artists’ work is the mixing of man with animal.  Caitlin Hackett, Alex Passapera and Jeremy Hush are among those artists with whom Anagnorisis has worked who frequently explore instinct, environmental concerns, scientific exploration and spirituality through combinations of or intimate interaction between man and beast.

James Moore, who will be exhibiting a new set of works in February at the White Rabbit, is yet another artist whose current work explores yet another facet of this animal/human mix.  What is unique about Moore’s work is that he is a storyteller, working in sequential art and creating zines to communicate a fantastic idea or concept.

This series, entitled “Rebirth Control,” is based upon a story that he originally published as a comic strip (pictured above) after he saw a deer being hit by a car and shot along a mountain road in north Georgia. Grotesque, frenetic and evocative of pulp fiction monsters, the comic shows a woman growing antlers after the spirit of a deer she’s run over passes into her; “a transferral of energy that happens in the process of technology colliding with nature.”  The Fawn image below is “the spirit child who takes a wary pose, its angry gaze (prepared to avenge) suggests the animal world may have intuitions that humans take for granted.”  The new works will evoke and involve elements from “science fiction & heavy black liquid (possibly blood) opening psychological gateways, levitating, portraits deteriorating & evolving.”

Moore’s linework makes his subjects look like they’re melting or eroding, as if he’s constantly re-imagining pulp fiction horror creatures’ rotting flesh, swamp bodies or zombie faces, and applying it to our everyday lives.  To me, much of his work is stressful, yet stimulating and exhilarating.

Fawn | ink and spray paint on paper

A successful illustrator, James makes sure to set aside a good amount of time to work on his own artwork, the nature of which changes each time he works on a new project.  His works have been featured by Giant Robot, Printed Matter, American Illustration and many more.  A graduate of Pratt University, James currently works from his studio in our dear old Brooklyn, creating multi-media works for us all to enjoy.

He creates a new zine for each new series he works on, and plans on doing such a thing for his upcoming show, which will be on view at the White Rabbit from February 2nd to the beginning of March.

Please join us for the opening reception on Friday, February 4th from 7-10pm at the White Rabbit, 145 East Houston Street, between Forsyth and Eldridge (click for map).

Check out more of his work below:

Illustration for Paper Spaceship and the CMJ Music Festival

Anagnorisis Fine Arts Presents ‘Perepeteia I’ a Group Exhibition by Binnorie
January 2, 2011, 5:49 pm
Filed under: Art Shows, White Rabbit

Anagnorisis is proud to invite you to our first group exhibit of White Rabbit artists.

For your viewing pleasure, we will have artwork by:
Yuri Leonov, Molly Bosley, Jeff Faerber, CJ Stahl, Buddy Nestor, Jeremy Hush, Dana Bunker, Dave Tree, James Moore, Tun Myaing, Heather Gargon, Caitlin Hackett, Adam Doyle and Francesco D’isa

Please join us for the opening reception on Friday, January 7, 7-10pm, at the White Rabbit (145 East Houston Street).  We would love for you to RSVP, but it’s not necessary.

Many of the artists will be present – please come an introduce yourself to us!

Here’s a sneak peek:

Jeff Faerber | Succubus
Adam Doyle | Phoenix
Francesco D’Isa | Mother Earth
Molly Bosley | Overgrowth

What is it with these unpronounceable Greek terms we keep using?!  As if Anagnorisis wasn’t hard enough to pronounce, now there’s this Peripeteia thing…?! 

Well, first off, they sound sexy when spoken well (pronunciation guide below for those who need new pickup lines for next weekend).  More importantly, they describe so well that ineffable response we art lovers feel when we see a work of art that floors us!

Borrowed from Aristotle and Greek Tragedy, the term “Anagnorisis” means “from ignorance to knowledge”; that moment when a work of art slams you into confusion, opening your mind to new truths.  “Peripeteia” describes the moments that follow; when that new knowledge creates new inescapable circumstances that are either comfortable or not.  Our use of these words allow us to reach back to the eldest of creative processes to acknowledge our roots as significant tools in figuring out the present and future of art.

What is it about a wonderful work of art that is so stunning? Simply viewing a painting can reveal unknown truths about ourselves and change our lives. We think that these terms and their meanings are important in exploring why art is so important to us. This exploration will give us better language tools with which to convey our love for the arts to those who don’t understand the art frenzy; those who see art as a waste of time, as toys for spoiled adults or innocently as an unexplainable phenomenon.

So, your tools are pronounced thus:
Anagnorisis (An Ag Nor Sis)
Peripeteia (Peri Pe Taya)

If someone knows how to type a schwa in WordPress, let me know.

To Stitch is To Heal | Erin Endicott’s Healing Sutras by Binnorie
September 20, 2010, 4:36 pm
Filed under: Art Shows, interview, White Rabbit

God enters through the wound” -CG Jung

Healing Sutra 13

Anagnorisis is proud to invite you to view our next solo exhibit taking place at the White Rabbit, The Healing Sutras: the exquisite painterly embroidery of Erin Endicott.

A unique breed of soft sculpture, Erin utilizes stitching and ink to “draw” on found objects – things that hold power because of their age and anthropomorphic wisdom.  Erin’s Healing Sutras tell stories of pain remembered and solace found.  They indicate hope and speak of feminine patience evidenced by the painstakingly small stitches that create flowing abstract shapes.

Erin spent time in Scotland studying textile design and finished her fine art education in Philadelphia where she currently resides.  An art teacher for many years, she recently decided to take time off to focus her attention completely on her art career.

So intrigued by her work, I asked her about the meaning behind the title she chose for the exhibit.  I was wondering what these intimate objects heal and where their sources lie.

Erin Endicott: To stitch; a thread or line that holds things together – this is the literal translation of the ancient Sanskrit word “sutra”. The “Healing Sutras” grew out of years of work examining psychological wounds (mainly my own), their origins and how they insinuate themselves into our lives. I’m particularly intrigued by the concept of inherited wounds, specific patterns, behaviors, reactions, that we are born with – already seeded into our psyche at birth. So I imagine that this little “seed” attracts negativity (like attracts like), sort of a little pearl slowly growing until we end up with a dense area of negative energy built up in our physical bodies. By bringing these dark areas into the light, by making them visible, I think we can heal these wounds. Some people talk through their issues to bring healing, some write them out to shed light on them , I choose to make them into visible, visceral objects.

All of the “Healing Sutras” are on vintage fabric that has been passed down from women in my family. My history is literally woven into these garments. The initial marks of the “wounds” are created by staining the fabric with walnut ink. I love using this natural dye for the subtle color variations and the warm earthy tones. Ink on fabric has a mind of it’s own – it takes the control away from me and does it’s own thing. It is magical to drop the ink onto damp fabric and literally watch the “wound” grow and take shape before my eyes. This has been difficult for me – the letting go of the outcome and trusting in the process – it’s quite the opposite of the degree of control I have over the stitching. The organic shapes created by the walnut ink are a sort of map for me, the variations of tone and shape  setting the tone for the piece.

The stitching, the meditative process of it, is where i think the real healing comes in for me. I come from a more “Fine Art” background- drawing always being a real passion –  but I was never able to truly capture the essence of what I was trying to say until I began exploring this really process oriented work. To me these are a type of drawing – REALLY slow, deliberate drawings!

I could go on forever about the symbolism of the marks – the vein/roots, the cellular/seed shapes, the metaphor of the dress as skin, etc… There are so many layers of meaning in this work. I can’t even keep it all straight in my own mind let alone verbalize it! So it comes down to the stitches. One stitch at a time, hour after hour… this is where the healing lies.

SL: In my own artwork, I like to use objects I’ve found in various places.  Many of them were found in the homes of my family members and hold strong sentimental value.  Many people ask me how I could part with such a thing should I sell a work of art that has roots in my family.  How would you answer that question?

EE: I feel as if I am giving these vintage fabrics new life, a sort of re-birth as a piece of art. Most of the women in my family (including me) have “stashes” – that is, boxes and boxes of fabric we have collected over the years – hiding under beds and in closets. I remember looking through boxes of beautiful cloth that was stored under my Grandmother’s bed and I remember plenty of trips to the fabric store to buy more!! I inherited the love of textiles and have been collecting interesting fabrics and vintage linens since I was a teenager, and most of them are packed away in boxes, never to see the light of day! And just as my stitching brings my “wounds” to life, my stitching brings new life to beautiful pieces of cloth. I think it is important to share our knowledge and treasures with the world, and if someone is so moved by my work that they would like to own it, then I can with good conscience give up one of my “babies”! It still pulls at my heart to let a piece go, but maybe this is the final step in the “healing” work of these pieces?!

Antique fabrics, clothing and linens
My dowry passed down through generations
My history woven into this cloth
A fine cotton tablecloth
Lovingly mended by my great-grandmother
Becomes a little girl’s dress

Delicate cloth
Beautifully worn and threadbare
Stained by an artist’s hand
Walnut ink flowing into complex organic shapes
Subtleties of value, depth
Bringing the wound to life

Lost in the meditation of stitching
Repetition, contemplation
From within the fabric
Memories reveal themselves

Stitches, like words
The story grows
Lines graceful, unfurling
Drawing with thread
The Healing begins

You can view Erin’s work online here, and visit the work in person at the White Rabbit starting October 1st.  Please join us for the opening reception on Friday October 1, 7-10pm.  Details below.

White Rabbit Lounge
145 East Houston
between Forsyth and Eldridge
October 1 – November 2
Opening reception: October 1, 7-10pm
Video art by Daniella Bertol
Music by DJ Frankie Teardrop