Visual Arts Program

Friday, November 18, 1988 — Saturday, December 17, 1988


Presented at:

Sculptures and Paintings by Chris Howard and Joy Episalla.

November 18–December 17, 1988
Opening reception: Friday, November 18, 1988, 9:00 p.m.

This two-artist exhibition of painting and sculpture might resemble some futuristic science museum display representing salient features of our culture's production. In this future site, the mundane would become iconic and the relative value of the represented objects grotesquely exaggerated.

Chris Howard's sculptures apply meticulous craft to pieces of stone. His work carries with it the history of stonecarving, bringing to mind such masterpieces as Michelangelo's David, but replacing mythic heroes as subject matter with contemporary symbols.

Joy Episalla's paintings represent present-day gateways to the underworld. These commonly observed but usually ignored objects reveal their omnipresence in Episalla's subtle renditions.

Both artists live in the New York City area, Howard in Brooklyn, Episalla in Hoboken, NJ.

Exhibition curated by Catherine Howe.

Some publications related to this event:
November and December, 1988 - 1988

t: 716-854-1694
f: 716-854-1696

Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

from May. 10, 2019
through Jun. 28, 2019

Ashley Smith
Three Fold Form

Inspired by Jungian psychology and mythology, Ashley Smith's process is an alchemical cauldron where personal narratives about womanhood, motherhood, research about art, stories, and myths of the wild woman archetype who represents the instinctive nature of woman are boiled together and transmuted to create abstract sculptural forms and installations that sprout from the wall and grow from the ground.

Stephanie Rohlfs
Put One Over

Rohlfs' work springboards from a clean surface appearance and concise formal gestures into a hybridized set of works that make the artist seem part minimalist, part colorist, part humorist. Rohlfs' sculptural gestures are so adroitly specific and contained that each element—a field of color, a drooping form, a slab of shelving—takes on more imminent and emphatic articulation ...