25 july - 12 August 2012 4 5 0 wes t 15 s t r eet new yor k , ny 10011
PHILLIPS de PURY & COMPANY STAFF SHOW 2012 The 2012 New York Staff Show comprises original works conceived and executed by the employees of Phillips de Pury & Company. With the works as diverse as the artists themselves, The New York Staff Show affirms the dynamic sensibilities of the tastemakers themselves who imbue Phillips de Pury with its unmistakable panache. Alive with intimate nuances, singular perspectives, and a touch of irreverent humor, the annual exhibition offers glimpses into the artistic personalities of the men and women working within the aesthetics-driven world of an international auction house. This coalescence of the talent showcases an engaging repertoire of photography, sculpture, paintings, drawings, and innovations in new forms of media. Both well-established and new artists emerge in the fabric of the exhibition, which promises originality as well as intimate familiarity. The New York Staff Show highlights the often striking relationships between and among artists, professionals, and the global art auction industry. Phillips de Pury & Company is proud to present our employees in this delightful and revealing exhibition.
Eric Breeding Self Portrait (from Bath series), 2012
Born in 1986, child of the 90’s Eric Breeding is a Brooklyn based photographer originally from Austin, Texas. He received his MFA from The Pratt Institute as well as a wonderful childhood from his parents.
gelatin silver print
His work focuses on experimental photographic techniques, performative
8 x 10 in.
self-portraiture, diaristic subject matter, issues with manhood and his daddy. He has shown in some places but not in any museums. He has worked at Phillips for one year.
Lauren Calhoun Cheeseburger Dreams, 2012 acrylic on canvas 11 x 14 in. each
Jonathon Casella The Sun Rises Tomorrow, 2012 mixed media dimensions varied
Sean Cleary Untitled Still Life, 2012 acrylic and resin on wood 33 x 48 in.
Sean Cleary moved to New York after receiving a bachelor’s degree in Art History from University of California to pursue a career in Fine Arts. He has worked at Christie’s, the Washburn Gallery and is now the New York Managing Director at Phillips de Pury & Company. Sean has participated in every staff art show since 2003.
Randy Costanza Amen, 2012 oil on a calander 11 x 14 in.
Randy Costanza Awilda and Jesse, 2012 C-print 11 x 14 in.
David & Dominick D’Ostilio Barn 2 views, 2005 oil on canvas 16 x 20 in. each David D’Ostilio was born Bridgeport, CT. He graduated with BA in Studio Art from Moravian College in Bethlehem, PA. He lives and works in Brooklyn, NY. Dominick D’Ostilio is David’s grandfather. He was born in Georgetown, CT, He lived in Bridgeport, CT, was a veteran of World War II. Dominick graduated with a MS in Biology from the University of Colorado. He taught high school biology in White Plains, NY and Trumbull, CT. When he retired he moved to Hickory, NC where he began teaching painting at Catawba Valley Community College. Dominick had been making art since childhood and has published illustrations and is in many collections. One of my first artistic memories is drawing in my grandfathers studio while he was painting. Dominick is my biggest inspiration. In 2005 I was about to graduate from college and got the chance to paint with my grandfather. It was the last time we were able to do so. I showed a group of paintings based on his illustrations in a past Staff show. Dominick got to see that show, but never showed his own work in New York. Dominick died in May, and will now have his work shown in New York.
David D’Ostilio The Chopping Block, 2012 firewood, chopping block, axe, sound installation variable
William Driscoll This Path Leads Nowhere,
Bill Driscoll was born in Columbus, Ohio and attended the Columbus College of Art and Design and Ohio State University. For twenty years he has worked in museums and related fields as an art handler and exhibit installer-building dinosaur skeletons at Chicago’s Field Museum, and feverishly handling
ink and acrylic on paperÂ
the masterworks collection of paintings for MoMA and the Guggenheim.
69 x 52 in.
His own work is a composite of styles that have recently come together in a large, black and white, brush and ink format culling classic paintings, comics and graphic novels. His subject matter emanates from a whirling, undisciplined well of random ideas that focuses on everything from politics and environmental issues, to simple flights of fancy.
William Driscoll Untitled, ink and acrylic on paper 25 x 20 in.
Ryan Falkowitz 03/12/2012(00:00:00)(Picasso), 2012 offset lithograph 32 x 24 in.
Levi Haske Steven/Roman, 2012 archival inkjet and artists frame 27 x 26 in.
Brent Johnston 6/12 1, 2012 enamel 12 x 12 in.
Barrett Langlinais Untitled, 2012 C-print ; cut drawing 10 x 8 in.
Barry Ledoux Conceits, 2007 laser cut, bead blasted stainless steel plate, copper foil 13 x 20 x 2 in.
The forms in this work presented at Phillips de Pury, Conceits, employ
The nine-piece series Conceits is a reconfiguration of an early series of
manufactured elements, which appear “hard” but are then softened through
drawing done in paper and silk-satin ribbon. The idea for this series comes
various processes. This softening is achieved through the use of hand
from a simple manipulation of line forming contour shapes and of contrasting
buffing on the surface which equalizes the tone of the material, or when
hard and soft materials together. It is an exploration of edited symbolic
raw color is applied directly onto the manufactured surfaces. Also when
gestures. The gestures relate to the Sanskrit scale system of musical intervals.
manufactured materials are contrasted with each other, as when beadblasted stainless steel is used in conjunction with embossed copper.
Conceits measures 13” x 20” x 2”, consists of bead-blasted stainless steel 1/8” thick plate which has a laser-cut image on each of the series of nine
Color is always an indispensable component of the form. However, color is
plates, then soft copper is pushed through the negative space and embossed
never thought of as an additive element. Color always functions in three
through the form creating a fluidly-stiff shape.
ways: as limited color interaction, as an emotive component, and as a literal material which is thought of as an element of the form.
Peter Mandradjieff Fly flying saucer, Lights and swirling air, It’s ok, if you say my name, like that, Dreams haunt my eyes, I dwell in the highlands sometimes, I double in laughter, Split in two, Traveling light, traveling through, 2012 oil and acrylic on board and canvas dimensions varied
Ferran Martin Granada, 2011 burn wood 22 x 22 x 22 in.
Viola McGowan Joan Dear, Imagine X’s and O’s, 2012 found letter and envelope: pencil on paper, 1942 US postage stamp, ink. linocut, ink on paper. 8x10 in. 8x10 in. and 3x5 in.
Viola McGowan is an Art Historian based in New York City. Her most recent research explores notions of testimony, temporality and memory as well as the biography of objects. The present work, Joan Dear, Imagine X’s and O’s, is an accompany piece to a found object, a letter, from one sweetheart to another, written in 1942. The letter weaves together micro and macro-histories, personal narratives (possibly teenage drama) and larger narratives of National and Global events. An undercurrent of uncertainty and (to an extent) anxiety belies the innocence and longing conveyed in the letter, which, when perceived from a macro-historical perspective, is amplified and projected with imagery of the second world war. Just as the author of the letter asks Joan to imagine X’s and O’s, the accompanying print seeks to offer a tangible page, filled with X’s and O’s, to an imagined version of Joan.
Nicholas Moenich aye, 2012 acrylic and charcoal on canvas on wood 48 x 44 in.
Steven Mosier The Aftermath #2, 2 Louisville Sluggers, syringe, vinyl, bolt attachment into wall 10 in.
David Lee Price Untitled Drawing, 2012 ink on paper 10 x 11 in.
Nicole Rodriguez Pas de Deux, 2012 digital color coupler print 16 x 24 in. series
Robert Schmaltz Phantom Physique (zine with pull out poster), 2008-2011 ink jet print on paper edition of 25 8.5 x 7 in., 10 page zine, with 11 x 17 in. pull out poster,
Robert Schmaltz On Reading a Symptom, 2012 laser print on 80 lb (215 gsm) glossy card stock 5.47 x 4.21 in. postcard, edition of 50
SCHOOLS New York University, NY Screenwriting, 2007 The School of Visual Arts, NY BFA with Honors, 2005 Shenandoah University, VA PAVAN Performing and Visual Arts, 1994 GROUP SHOWS 2009 “The End of Failure”, curated by Scott Kiernan, Louis V ESP, Brooklyn 2007 “Bring Home the Bacon”, projected works curated by TJ Carlin, Monkey Town, Brooklyn “4c”, curated by Cult Geist, Saatchi & Saatchi, London 2006 “Performance”, curated by Danielle Charboneau, 54 Crosby, New York 2005 “Pause”, curated by Suzanne Fiol, Issue Project Room, Brooklyn “Grey Pollution”, Public Performance, Union Square, New York “MeMe”, curated by Danielle Charboneau, Bond Gallery, New York 2004 “Poets of Miniature”, curated by Clifford Borress, Office Ops, Brooklyn PRESS “Up Up & Away”, by Indigo Clarke, Oyster Magazine, Dark Meets Light 2007, p. 30
RoberT Sciasci Carnival, 2012 canvas resin paint variable dimensions
Adam Sipe Studio, July
Songs To Live By Firewood and Hay, 2012 digital video variable dimensions
Thomas Spoerndle Studio Shot Detail of “P&B:YRB�, 2012
Thomas Spoerndle is an artist based in New York City. He received a BFA with an emphasis in Visual Culture from the Cleveland Institute of Art in 2007 and a MFA from Hunter College of the City University of New York in 2010. Working primarily in painting and drawing, Spoerndle is interested in how comprehension of the internal relationships that comprise an image relate to the construction of both individual and collective meaning. Using a visual language rooted in geometric and color based abstraction, he constructs systems of meaningful contradictions that play on conceptions of space and form in order to create a heightened awareness of the processes of perception.
Paul Steffens Honeycomb Icon, 2011 Collage 11 x 14 in.
Jon Thies Last Chance, Go Get Em Tiger, 2012 shatter-resistant plastic mirror 13 in. diameter Don’t Think Twice, 2012 mixed media 72 x 24 in. It’s All Right, 2012 mixed media 72 x 24 in.
Jeff Velazquez Animal Spirits, 1995-2012 various media variable dimensions
Animal Spirits is a mini-retrospective consisting of paintings and drawings executed between 1995 and today. Animal Spirits includes a special work started in 1999 and re-touched especially for this year, the Year of the Water Dragon. Year of the Water Dragon marks Jeff’s first effort to paint again in over a decade, and is either a new beginning or a complete and utter end, a fitting motif for this year of our lord, 2012.
Year of the Water Dragon, 1999-2012
Al Villaester Jr. Summer, 2003 acrylic 30 x 40 in.
Al Villaester Jr. Unplugged, 2003 acrylic 24 x 40 in.
Justin Waldstein Portraits of You, 2012 oil, charcoal and spray paint on steel various sizes (installation)
Justin Waldstein is a Brooklyn-based artist with a background in both fine and commercial art. A New York City native, he studied at Parsons School of Design, The New School for Social Research, and Hunter College. He has exhibited his paintings, drawings and projections in galleries, performance spaces and theaters in New York and internationally. He has also worked as a designer, photographer, illustrator and teaching artist. Justin maintains a multi-disciplinary approach to art in his current practice, which includes projections composed of drawings and photos in live performance. “Bazmo-Razm,� a collaborative projection project, premiered at the Brooklyn Museum in 2008. He continued developing this medium during a residency and performance at the Tribeca Performing Arts Center in 2010. At the end of that year he created visuals composed of drawings and animation for a performance at HERE Art Center in New York City. Justin continues to explore live projections, drawings, paintings, and projects combining all of these mediums.
Rob Weingart An arrangement of independent objects, 2012 various media variable dimensions
Joey Weiss Triumph, 2012 oil on paper, on fabric 9 x 11 in.
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