Katharine Kuharic: Working In The Lou by Bruno David Gallery

KATH A R I N E KU H A R I C Working in the Lou

bruno david gallery

KATHARINE KUHARIC WORKING IN THE LOU

March 9 - May 5, 2012 Bruno David Gallery 3721 Washington Boulevard Saint Louis, 63108 Missouri, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Director: Bruno L. David This catalogue was published in conjunction with the exhibition Katharine Kuharic: Working In the Lou (Project Room) Editor: Bruno L. David Catalog Designers: Yoko Kiyoi and Martin Lang Design Assistant: Claudia R. David Printed in USA All works courtesy of P.P.O.W. Gallery, New York, Katharine Kuharic and Bruno David Gallery, St. Louis Cover image: Katharine Kuharic. Four Lads (detail), 2011 Watercolor on paper (diptych) 60 x 80 inches (152.4 x 203.2 cm)

First Edition Copyright ÂŠ 2012 Bruno David Gallery, Inc. All Rights Reserved under International and Pan-American Copyright Conventions. Except for legitimate excerpts customary in review or scholarly publications, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or information storage or retrieval systems, without permission in writing from the Bruno David Gallery, Inc.

CONTENTS

WORKING IN THE LOU by Kara Gordon AFTERWORD by Bruno L. David CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

WORKING IN THE LOU by Kara Gordon 2

Some words that come to mind are “aggressive,” “shocking,” “powerful.” Each of Katherine Kuharic’s pieces is very much alive, forcing double takes from the viewer. (Are those the Beatles?! And does that say “jalapeño”…?) Birthed out of stock pictures from junk mail, newspapers, and magazines—“unsolicited images” sent to her and everyone else whether they are wanted or not—Kuharic manipulates and reconstructs the images into a different kind of truth. Rather than truth being that the image represents the object, Kuharic’s reconfigurations are true portraits of society. Kuharic highlights investigations into American celebrity, pop and suburban culture, as well as personal identity politics. More specifically, she targets St. Louis by titling this exhibition, Working in the Lou and referencing St. Louis in titles of work such as Ladue News. Without the titles, however, one might see these works as portraits of any American city. Our culture is desensitized to these images—when was the last time that you looked at the graphics of coupons for a purpose other than identifying the product for sale? Kuharic’s process is a constant breaking and rebuilding of materials on a two-dimensional surface. Images are cut, collaged, drawn and re-collaged before she redraws them onto canvas to be painted. These works build up from the underpaintings for highly detailed, hyper-realistic renderings of American culture. Comparing Ladue News with its study, the viewer is able to witness Kuharic’s process in constructing these pieces. The study is made up of collaged stock ads and pencil on tissue paper. The stock ads are transformed into bottles of domestic necessities, their circular composition emphasizing the daily grind that the items themselves imply. The final work, which is oil on linen, is a piece that is incredibly rich with color. Portraits originally found in a St. Louis society magazine with the same title stare out with jarring smiles that are out of place in the broken down structure Kuharic has created for them. Rather than the subtle juxtaposition crafted with pencil in the study, the color throws the dichotomy at the audience full force. Ladue News has an eerie quality reminiscent of Gary Ross’s film, Pleasantville, as it intertwines and exposes class differences within St. Louis. Mocked for its plastic qualities, the happy façade of suburbia is so absurd that its exposure, coincidentally enough, sits on the surface of the works as well. Despite the ludicrousness of the façade, however, the structure of Suburbia is one that America clings to simply because it provides a sense of order. In a sick sense, Kuharic taunts, people thrive in this consumer culture. Going through so many drafts, it is not surprising Kuharic’s pieces are highly meticulous and organized. Content follows form and process—each intensely political and even alarming in the disconcertion they cause. Repetition of form and pattern emphasize the cyclical and grotesque aspects of consumerist society. The tightness and exactitude of the images make it seem impossible that any of these paintings could be made out of watercolor, but about half of them are. Watercolor is typically associated with sketching and the loosening of structure, and was hardly considered a serious medium of fine arts until the late eighteenth century. However, the craft of tightly applied watercolor arguably commands an even higher level of control than painting with oil or collage as its transparency and fluidity make it hard to contain. Each stroke is painstakingly deliberate, and one can only imagine how labor intensive

a single piece might be. The ideas force themselves onto the audience because Kuharic forced the image onto the paper. Kuharic unapologetically illustrates the multi-layered St. Louis culture with a nostalgia and cynicism that is a slap in the face. Do not, however, make the mistake of thinking that these paintings, drawings and works on paper are rigid. Working in the Lou is very organic as a whole, each piece having grown out of something else and being worked over and over again. They are not “easy” pieces, but highly complex. Each encounter reveals something new to the viewer. Especially in pieces such as Ladue News, 4lbs or More, Four Lads, or Farm Fresh Produce, Odgen the nuanced details can make one’s head spin. When it all stops spinning, however, one might realize that the sensation is hardly new, but one our society lives in a day-to-day experience. One cannot help but stare as the familiarity of the images and their jarring compositions confronts the viewer in a way that is incredibly uncomfortable. Arresting our attention, Kuharic reveals the true counterculture that exists in the culture that St. Louis—and consumerist America as a whole—embraces and idealizes.

Kara Gordon is a writer who lives and works in St. Louis, Missouri. This essay in one in a series of the gallery’s exhibitions written by fellow gallery artists and friends

AFTERWORD by Bruno L. David 6

I am pleased to present Katharine Kuharic’s first solo exhibition in St. Louis since her exhibition, titled Super Bowl Sunday, at the Saint Louis Art Museum in 2005. With her current exhibition at Bruno David Gallery, Working in the Lou, Katharine Kuharic continues with her exploration of the current American culture. Kuharic’s work is, in a word, alive. Birthed from “unsolicited images,” Kuharic manipulates and reconfigures images that our culture has been desensitized to, shocking the viewer and asking the audience to reconsider what they think they know. Taking stock pictures from junk mail, newspapers, magazines and other sources, Kuharic meticulously paints images to create reconfigured histories. Her works take a small kernel of the our culture’s trash and blows it up to magnanimous proportions, exposing the dirty nitty-gritty for everything that it is. Katharine Kuharic was born in 1962 in South Bend, IN. She completed her BFA in Painting and Drawing at Carnegie Mellon University in 1984, and then moved to New York City where she studied with Louise Bourgeois and Robert Storr at the School of Visual Arts. Katharine’s work has been exhibited in numerous group shows in the US and abroad including Paris, Rome, Tokyo, Stockholm, London, and Amsterdam. She has had fourteen solo exhibitions, including seven at P.P.O.W. Gallery in New York, which represents her work. Most recently, her work has been exhibited in several museum shows: “Homestyle: A Survey of Works on Paper” at the South Bend Regional Museum in South Bend, IN, “Low Road” at the Delaware Center for Contemporary Art Museum in Wilmington, DE, “ The World Brought Low,” a project at the Contemporary Art Museum in St. Louis, MO and “Super Bowl Sunday” at the St. Louis Art Museum in St. Louis, MO. Katharine Kuharic’s work has been reviewed in Tema Celeste magazine, the Village Voice, the New York Times, the St. Louis Post-Dispatch and Time Out magazine. Articles on her work have appeared in Out magazine, Parkett magazine, and Arts magazine. Her work was a featured project for Bomb magazine. Katharine Kuharic has received grants from Vogelstein Foundation, the Penny McCall Foundation, Art Matters and the New York Foundation for the Arts. She was named the Milton and Sally Avery Fellow for 2003 and 2004 at the MacDowell Colony, Peterborough, NH, and a Rockefeller Fellow at the Rockefeller Foundation Study and Conference Center in Bellagio, Lake Como, Italy. She is Professor of Art at the Hamilton College in Clinton, New York. Kuharic also holds the Kevin W. Kennedy Professorship of Art. Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Kara Gordon for her thoughtful essay. I am deeply grateful to Yoko Kiyoi and Martin Lang, who gave much time, talent, and expertise to the production of this catalogue. A very special thank you to Wendy Olsoff and Penny Pilkington of P.P.O.W. Gallery for their support and to Tierney Drummond who assisted Katharine with this exhibition. Invaluable gallery staff support for the exhibition was provided by Rachael Schomburg, Malahat Qureshi, Martin Lang, Kara Gordon, Emily Thompson and Meagan Ramsey. 7

CHECKLIST & IMAGES OF THE EXHIBITION

Rosetta Stone/What Women Lost, 2011 Zerox of placemat and pencil on tissue paper 15 x 24 inches (38.10 x 60.96 cm) 11

4 lbs or More (II), 2008 Watercolor on paper 40 x 60 inches (101.60 x 152.40 cm) 13

4 lbs or More (III), 2008 Watercolor on paper 40 x 60 inches (101.60 x 152.40 cm) 15

4 lbs or More (I), 2008 Watercolor on paper 40 x 60 inches (101.60 x 152.40 cm) 17

Ladue News, 2011 Oil on linen 60 x 40 inches (152.40 x 101.60 cm) 18

Study for Ladue News, 2005 Collaged stock ads and pencil on tissue paper 60 x 40 inches (152.40 x 101.60 cm) 20

Four Lads, 2011 Watercolor on paper (diptych) 60 x 80 inches (152.40 x 203.20 cm) 23

Rosetta Stone/Made in America, 2011 Watercolor on paper 10 x 14 inches (25.40 x 35.56 cm) Edition of 40 (Unique) 24

Working The Lou/Made in America, 2012 Watercolor on paper 9 x 12 inches (22.86 x 30.48 cm) Edition of 10 (Unique) 25

KATHARINE KUHARIC: Working in the Lou at Bruno David Gallery, 2012 (Installation View - Detail) 26

KATHARINE KUHARIC: Working in the Lou at Bruno David Gallery, 2012 (Installation View - Detail) 27

KATHARINE KUHARIC: Working in the Lou at Bruno David Gallery, 2012 (Installation View - Detail) 28

KATHARINE KUHARIC: Working in the Lou at Bruno David Gallery, 2012 (Installation View - Detail) 29

KATHARINE KUHARIC

EDUCATION 1995 1984

School of Visual Arts, New York, NY Carnegie Mellon University, Pittsburgh, PA

SOLO EXHIBITIONS 2012 2011 2008 2007 2006 2005 2004 2000 1997 1994 1993 1991 1990 1989 1988

Bruno David Gallery, Working in the Lou, St. Louis, MO (catalogue) P•P•O•W, Pound of Flesh, New York, NY McCarthy Gallery, Unsolicited, St. Michael’s College, Colchester VT P•P•O•W, Dent in the Volvo, New York, NY Solway Jones Gallery, Winner Takes All, Los Angeles, CA South Bend Regional Museum of Art, Homestyle: A Survey of Works on Paper, South Bend, IN Delaware Center for The Contemporary Arts, The Low Road, Wilmington, DE St Louis Contemporary Art Museum, The World Brought Low, St Louis, MO P•P•O•W, Throb, New York, NY P•P•O•W, New York, NY P•P•O•W, Show Quality Bitches, New York, NY P•P•O•W, New York, NY Amy Lipton Gallery, New York, NY Berland Hall Gallery, New York, NY Bess Cutler Gallery, New York, NY Elizabeth McDonald Gallery, New York, NY Ernst Alexander Gallery, Washington, DC

GROUP EXHIBITIONS 2011 2010 2009 2008 2007 2006 2005 2004

Cinematic Bodies, Zolla-Lieberman Gallery, Chicago, IL Paris Dream, Collaborative Drawings of Katharine Kuharic, Jamie Adams and Tony Fisher, Sacred and Profane, Portsmouth Museum of Fine Art, Portsmouth, NH Neo Rococo Show, Shore Institute of the Contemporary Arts, Long Branch, NJ Private (Dis)play, New York Academy of Art, New York, NY Private (Dis)play, Emerson Gallery,Hamilton College, Clinton, NY Private (Dis)play, COCA, St. Louis, Missouri Ultra-Concentrated Joy – Ecstatic Drawings by Contemporary Artists, Pier Consagra, Amy Cutler, Katharine Kuharic, Judith Schaechter, & Scott Teplin, curated by CatherineHowe, New York Academy of Art, New York, NY Sketchbook Activity: Contemporary Drawings, Jamie Adams, Vincent Desiderio, Julie Heffernan, Katharine Kuharic & Kurt Kauper, COCA St. Louis, MO Reciprocity, Faculty Student Exhibition, Emerson Gallery Hamilton Gallery, Clinton, NJ Out of the Dust, Works by Katharine Kuharic, Cindy Tower, Sarah Paulsen, Locust Street Gallery, St. Louis, MO The Story Goes, McKenzie Fine Art, New York, NY Art Chicago Contemporary Art Fair, P•P•O•W, Chicago, IL Homestyle: A Survey of Works on Paper, South Bend Regional Museum, South Bend, IN, American Eden, Jenkins Johnson Gallery, New York, NY Outland, Solway Jones Gallery, Los Angeles, CA 100% Centennial, Carnegie Mellon University, Regina-Gouger Miller Gallery, Pittsburgh, PA Bruno David Gallery, St Louis, MO Credit Suisse, First Boston, New York, NY 21, P•P•O•W, New York, NY Democratic Victory 2004, Benefit auction, Ronald Feldman Fine Arts, New York, NY Benefit Auction, Art in General New York, NY Women Only, Eliot Smith Contemporary, St. Louis, MO

2004 2003 2002 2001 2000 1998 1996 1995 1994

Painting Since 1900, The Sheldon, St Louis, MO Schmidt’s Picks, Philip Slein Gallery, St. Louis, MO Take Home a Nude, Benefit Auction, New York Academy, New York, NY SVA Commermorates 9/11, Art and Observance, School of Visual Arts Museum, NY Social Landscape, P•P•O•W, New York, NY Benefit Silent Auction and Gala, White Columns, New York, NY Bitch School, Longwood Arts Project, P.S.39, Bronx, NY I Love NY Benefit, P•P•O•W, New York, NY Instructors Show, Cooper Union, New York, NY Wine, Women & Wheels, White Columns, New York, NY nude + narrative, P•P•O•W, New York, NY The New Museum of Contemporary Art Benefit Show, New York, NY Wishful Thinking, James Graham & Sons, New York, NY White Columns Benefit Auction, New York, NY Take Home a Nude Benefit Auction, New York Academy, New York, NY Elbowroom, Tredje Sparet, Stockholm, Sweden Peep Show, Luise Ross Gallery, New York, NY some WOMEN/PRETTY girls, Florida Atlantic University, Boca Raton, FL Drawings, James Graham and Sons, New York, NY. Annual Summer Watercolor Exhibition, New York, NY Screen Memories, K & E Gallery, New York, NY Anima Munda, James Graham & Sons, New York, NY White Columns Benefit Exhibition, White Columns, New York, NY Bodies Terrestrial, curated by Christopher Sweet, Zoller Gallery, The Pennsylvania State University, University Park, PA On the Brink 1900-2000: The Turning of Two Centuries, Galerie St. Etienne, New York, NY The Obscure Object of Desire, exhibition and panel discussion curated and moderated by Dan Cameron, organized by Marilla Palmer, Four Walls, Brooklyn, NY Page 5, 450 Broadway, New York, NY White Columns Benefit Exhibition, White Columns, New York, NY

1994 1993 1992 1991 1989 1988 1986 1984

Fallen Idylls: American Figurative Painting, Art Miami â&#x20AC;&#x2DC;94, Miami, FL. Travelling to Martin County Center for the Arts, Stuart, FL Cadavre Exquis, The Drawing Center, New York, NY Littlejohn, Sternau Gallery, New York, NY Tom Cugliani Gallery, New York, NY The New Museum of Contemporary Art Benefit Show, New York, NY The Anti-Masculine, Kim Light Gallery, Los Angeles, CA Fall, Amy Lipton Gallery, New York, NY Shapeshifters, Amy Lipton Gallery, New York, NY Nature Fabrilis, Steibel Modern Gallery, New York, NY White Columns Benefit Show, New York, NY FIAR Inc. The Fiar International Prize, Milan, Italy; Rome, Italy; Paris, France; London, England; New York, NY; Los Angeles, CA (catalogue) New Generations, New York, Carnegie Mellon University, Pittsburgh, PA (catalogue) Drawing Time, Snug Harbor Cultural Center, Staten Island, NY (catalogue) Humor, Satire and Irony: Definitions and Discoveries, Krasdale Food Corp., Lehman College Art Gallery, Bronx, NY Menagerie, General Electric, curated by the Museum of Modern Art, New York, NY Dumb Animal, White Columns, NY Althea Viafora, New York, NY White Columns Benefit Show, New York, NY Bess Cutler Gallery, New York, NY Small and Stellar, Ruth Siegel Gallery, New York, NY Surrealismo, Mendelson Gallery, Pittsburgh, PA Vulgar Realism, Hallwalls Gallery, Buffalo, NY Soho Center for Visual Artists, New York, NY Ten Painters, White Columns, New York, NY Retroactive, Hallwalls Gallery, Buffalo, NY (catalogue) Gallery Show, Exit Art, New York, NY Wet Paint, Forbes Gallery, Pittsburgh, PA Mattress Factory, Pittsburg, PA

1983

Prospective Artists, Pittsburgh Plan for Art, Pittsburgh, PA 25 Under 25, Southern Alleghanies Museum of Art, Johnstown, PA

GRANTS AND AWARDS 2005 2004 2003 2002 1999 1990 1988 1983

Rockefeller Fellow, Rockefeller Foundation, Study and Conference Center, Bellagio, Lake Como Italy Project Space Grant, Contemporary Museum, St. Louis, MO Kenneth and Nancy Kranzberg Foundation, St. Louis, MO Milton and Sally Avery Fellow, MacDowell Colony, Milton and Sally Avery Arts Foundation Milton and Sally Avery Fellow, MacDowell Colony, Milton and Sally Avery Arts Foundation College Art Association, Fellowship grant Penny McCall Foundation Art Matters, Incorporated Ludwig Vogelstein Foundation Ellis Award, Carnegie Mellon University

TEACHING AWARDS 2009

The Class of 1963 Excellence in Teaching Award, Hamilton College, Clinton, NY

RESIDENCIES 2005 2003

Rockefeller Foundation, Study and Conference Center, Bellagio, Lake Como Italy MacDowell Colony, Artist Residency, Peterborough, NH

PUBLISHED WORKS AND ILLUSTRATIONS 2005 2005 2002

UCLA Gendered Transnationalism Conference (posters, billboards and business cards) Jane DeLynn. Cover, Leash. Semiotexte, MIT PRESS. Book illustrated by Katharine Kuharic. One Leaf Fell, Stewart Tabori and Chang.

UNDERGRADUATE AND GRADUATE TEACHING EXPERIENCE 2007- Present 2007 2006 2004 - 2006 2004 - 2005 2004 2004 2002 - 2002 1993 - 1999 1998 - 2002 1995 - 1997

Kevin Kennedy Associate Professor, Hamilton College, Clinton, NJ. Critic and artist in Residence, Yale University School of Art, Norfolk, CT Coordinator, Painting Department, Associate Professor of Painting, Washington University in St. Louis, St. Louis, MO Coordinator, Painting Department, Assistant Professor of Painting, Washington University in St. Louis, St. Louis, MO Visiting Assistant Professor of Painting, Yale University School of Art, New Haven, CT Assistant Professor of Painting, Washington University in St. Louis, MO Lecturer in Painting, Washington University in St. Louis, MO Instructor, School of Visual Arts, New York, NY Graduate Thesis Advisor, School of Visual Arts, New York, NY Adjunct Professor, The New School, New York, NY Adjunct Professor, Parsons School of Design, New York, NY

VISITING ARTISTS & LECTURER Brookhaven College, Dallas, TX Southern Illinois University, Edwardsville, IL Yale University School of Art, Yale Norfolk, Artist in Residence, Critic, Norfolk, CT Indiana University, Bloomington, IN Art Center, Pasadena, CA Ethical Society, St. Louis, MO University of Notre Dame, South Bend, IN Queens College, New York, NY Rockefeller Foundation Study and Conference Center, Bellagio, Lake Como, Italy Southern Illinois University, Carbondale, IL Yale University, New Haven, CT University of Southern Illinois, Carbondale, IL Saint Louis Art Museum, Saint Louis, MO Columbia University, New York, NY Glassel School of Art, Houston, TX Idaho State University, Pocatello, ID Hartford School of Art, University of Hartford, West Hartford, CT Glassel School of Art, Houston, TX New York University, New York, NY New York Academy of Art, New York, NY Otis School of Art, Los Angeles, CA School of Visual Arts, New York, NY Brooklyn Museum of Art, Brooklyn, NY University of Missouri in St. Louis, St. Louis, MO Contemporary Museum, St. Louis, MO

PANELIST Panelist, John Sonsini and Ian Berry, Emerson Gallery,Hamilton College, Clinton, NY “Fire in My Belly” Panelist with Ian Berry, Brent Rodriguez-Plate and Scott MacDonald; Emerson Gallery,Hamilton College, Clinton, NY Juror, Old Forge Art Center, Old Forge, NY BRIO (Bronx Rewards Its Own) Council on the Arts Award, Bronx, NY Four Walls, Brooklyn, NY Juror, Snug Harbor, Staten Island, NY

SELECTED BIBLIOGRAPHY 2012 2007 2005

Gordon, Kara. Working in the Lou. Catalogue, Essay. Bruno David Gallery Publications (March) Gillespie, Evan, Harsh and Amiable, review of Homestyle: A Survey of Work on Paper by Katharine Kuharic, South Bend Tribune, April 1, 2007. Moran, Laura, Upcoming Art Events-Homestyle Arts Everywhere Magazine, Spring 2007 (reproduction). Frackiewicz, Dorota, Dzikie Wisne Kultura Popularna W Tworczosci Katharine Kuharic, Wild Cherries. Popular Culture in the Art of, Katherine Kuharic, (multiple reproductions), article in Polish from the journal Sztukaifilozofia, Uniwersytet Warszawski Instytut Filozogii. Bonetti, David, “Technology takes the personal out of personal Expression,” St Louis Post–Dispatch, April 22, 2007, (reproduction) Bonetti, David, review of Bruno David exhibition, St. Louis Post-Dispatch, Nov 8th, 2005 Dischinger, Mark, Superfantastic Four, review of Contemporary Art Museum Exhibition, Riverfront Times, March 16-22, pg. 29 On the Road: Art Museums, Kansas City Star, May 26, 2005 SH Magazine, June 2005 Bonetti, David, review of The World Brought Low, St. Louis Art Museum, MO Cox, Joshua, A Look At New Art, Playback Magazine, Philip Slein Gallery, St Louis, MO Clark, Robin, Museum Magazine, April 3. St. Louis Art Museum, MO Bonetti, David Lecture at the St. Louis Art Museum, St. Louis Post-Dispatch

2004 2003 2001 2000 1998 1997 1995 1994 1992 1988 1986

Levin, Kim, review of THROB, The Village Voice, June 9-15, pg. 85. THROB, full color catalogue, contains essays by David Humphrey and Keith Recker, and an excerpt from the novel Leash (Semiotext/ MIT Press 2002) by Jane DeLynn, P•P•O•W. Bonetti, David, review of Women Only at Eliot Smith Contemporary. St. Louis Post- Dispatch, May 9. Bonetti, David. Slein Gallery Show is Heavy with Allegorical Paintings. St. Louis Post-Dispatch, Nov. 2. pg. C8 (reproduction) Bonetti, David. Schmidt’s Picks: A New Look at Contemporary Art in St. Louis Since 1990. St. Louis Post-Dispatch, Dec 7, pg B10 Zapf, Rudy. Kuharic’s Super-Clear Tilt. Playback. December. pg 23, 29 (reproductions) Artsy Magazine, review with images reproduced Village Voice, Kim Levin, review Wine, Women and Wheels Out, February 1998, pg.48, (reproduction). Halle, Howard, Time Out, July 23, Issue 147. Cotter, Holland, “Peep Show,” review, New York Times, July 10. Faulds, Rod, some WOMEN/PRETTY girls, brochure, The Schmidt Center Gallery, Florida Atlantic University. Arning, Bill; “Sexuality in Contested Space,” essay in brochure for Elbowroom, Tredje Sparet, Stockholm, Sweden. Van der Heeg, Erik, “Elbowroom,” essay in brochure for Elbowroom, Tredje Sparet, Stockholm, Sweden. Elbowroom, review, Afton Bladet, July 18, Stockholm, Sweden. Elbowroom, review, QX, August, Stockholm, Sweden Hellberg, Susanna, “Stockholms Tip Set,” Dag DN, Stockholm, Sweden Arning, Bill, Review, Time Out, May 15 - 22, pg. 46 (reproduction). Goldberg, Vicki, “1890’s or 1900’s, the Visions Are of an Apocalypse Soon,” The New York Times, May 14, Section 2 Sweet, Christopher, Fallen Idylls: American Figurative Painting,”brochure with color reproduction, published by Art Miami Cameron, Dan. FIAR International Prize 1991-93, catalogue essay. Cotter, Holland. “Nature Fabrilis,” The New York Times, July 3, 1992. Bomb, Summer 1992. (illustrated) Faust, Gretchen. Review, Arts Magazine, April, 1992. Levin, Kim and Elaine King. New Generations, New York, catalogue essay, Carnegie Mellon, Pittsburgh, PA. Georgia, Olivia. Catalogue, Drawing Time, Snug Harbor Cultural Center, Staten Island, NY. Gilbard, Florence. “Kuharic’s Theft,” Museum Arts Magazine, December. Sax, George. “Bemused Alienations,” The Buffalo News, October 3, 1988. Howe, Catherine. Retroactive, catalogue essay, Hallwalls Gallery, Buffalo, NY.

ARTISTS Margaret Adams Dickson Beall Laura Beard Elaine Blatt Martin Brief Lisa K. Blatt Shawn Burkard Bunny Burson Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Corey Escoto Beverly Fishman

Damon Freed William Griffin Joan Hall Takashi Horisaki Kim Humphries Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Leslie Laskey Sandra Marchewa Peter Marcus Genell Miller

Patricia Olynyk Robert Pettus Gary Passanise Daniel Raedeke Chris Rubin de la Borbolla Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Buzz Spector Lindsey Stouffer Cindy Tower Mario Trejo Ken Worley

brunodavidgallery.com