Greg Bogin Shaped Panel on Exhibition A

Greg Bogin’s iconic shaped-canvases exhibit the artist’s relationship to minimalism and geometric abstraction. Bogin has said that his use of gradient is a way of tapping into the limitless color field presented by artificial and electric light, for instance the mesmerizing glow of a computer screen. His ongoing use of stripes and gradients comes from an interest in racing and bike aesthetics, science fiction, and vernacular source material such as road signs and corporate logos. HereOasis creates a contemplative moment of well balanced tension between surface and object. Each of the 35 quarter-inch thick panels are hand made and vary slightly for originality, signed and ready for hanging. Edition sold out.



These hand drawn glowing lamps debuted at The Miami Beach EDITION during Art Basel 2015. Featuring portraits of imagined, monstrous characters ranging from childlike Cyclops’ to adolescents with humorously placed genitalia in lieu of noses, Cock Monster is a unique moment in Melgaard’s practice. Bold neon light is emitted by the lamp, which has over 10 color settings and can be fixed to glow, strobe, or fade. Buy Now



The Creator's Project: (Nearly) Functional Artist Objects Appear Online



Ugo Rondinone Signed Placemats on Exhibition A

New York based artist Ugo Rondinone is internationally acclaimed for his poetic and sometimes playful perspective on the world. His response to a request to create a set of placemats, now available via Exhibition A, is characteristically colorful and arresting. The individually numbered edition of 100 sets of twelve placemats includes one mat in each set signed by the artist. 
Conceived by Rondinone as a variation on his famous target paintings, he created 12 unique new designs in a brilliant array of colors. The laminated placemats are double sided, with a black and white target image on the verso of each one. First featured and sold at Public Art Fund's 2015 Spring Benefit, the placemats were created to support PAF's mission to bring dynamic contemporary art to broad audiences in New York City. Proceeds from the sale of the remaining sets, now available to the public for the first time through Exhibition A, will support the Public Art Fund. Buy Now



Bushwick Buzz: A Conversation with Curator Olivia Smith

Link to interview

‘Drift and Pop’ at Orgy Park: A Conversation with Curator Olivia Smith

by Kate Menard

October 1, 2015

An artist run initiative founded by Steve Mykietyn, Orgy Park is hidden inside a small building on a residential strip of Jefferson Street. A push of buzzer 1 grants entrance into the building’s front hallway and, straight ahead, through an apartment door that opens into a spacious kitchen area. A sharp left leads to a plunging metal staircase that lands you in Orgy Park. There on display now are paintings by Nick Farhi, Ted Gahl, and Zach Bruder, which collectively make up Drift and Pop, a group show curated by Olivia Smith.       

Smith became friends with Farhi while working with him on a print he made for Exhibition A, a website founded by Cynthia Rowley and Bill Powers that works with artists to create limited edition fine art prints, and where Smith is Director. When Mykietyn invited her to curate a show at Orgy Park, Smith thought of Farhi: “Nick . . . was sending me some images over the summer of what he was doing in the studio, and I was really into it . . . so when I was thinking about what I wanted to do here, I just immediately reached out to Nick.” Smith then invited Ted Gahl, another Exhibition A artist with whom she stayed in touch, and Zach Bruder, friend to both Farhi and Smith, to join the show. Speaking about these artists as a group, Smith said: “I chose to put these three guys together–first of all I love them all, their personalities, they’re great people–but also their practices and their discipline in the studio is amazing [and] the humor they have.”

About Gahl’s playfulness, Smith explained that often: [He] will harken back to childhood drawings. He’ll find his childhood drawings, and then he’ll look at it and try to replicate it now as . . . a 30 something year old.” In Drift and Pop, along with two more traditionally crafted paintings, Smith has included a couple of Gahl’s newer works where he has chosen to use the silkscreening process as the content of his pieces. Gahl maintains a lighthearted self-reflectiveness with all four works in the show, which is perhaps most evident in Seize the Day, featuring a reclining, beret-topped painter. Said Smith: “Ted really is always talking about himself as a painter.”      

Bruder takes a glimpse back into art history with his works, while painting in a contemporary, often graphic, style with vivid colors in flash and acrylic paints. His work entitled Contrapposto references the ancient pose with two figures painted in black against a striking aqua background. Bruder also has tondo pieces in the show. In one, a figure sits on the floor of what appears to be a cell in an almost fetal position. Pointing once again to an underlying humor, about this work Smith said: “It’s called Must Read Proust, and I love that because he’s got this dayglow color, and . . . it looks very serious, but when you look at the title, it has a bit of humor.” Standing in front of the lush My Best Thinking Got Me Here, Smith said: “[He] paints these sort of natural environments, but they don’t feel that representative. It’s more of an idea, an ethereal idea of something that would be a cave or a forest.”    

Although equally mystical, Nick Farhi’s landscapes, or “volcano paintings”, have quite a different feel. Where Bruder seems to grant the viewer what Smith describes as “a microcosm of a way into a world”, Farhi seems to keep the viewer at arm’s distance, just the tip of his billowing, firey volcanoes visible, surrounded by black and dark blues and grey. Although the titles of these pieces also indicate an undercurrent of humor–Lets Get It On and Mai Tais in the Trope of Favorite Colors–Smith spoke about the studied seriousness of Farhi’s practice: “[T]he details and the romanticism that he has in his paintings . . . These remind me almost of an 18th or 19th century painter, the way that he’s using the paint and the light and really trying to represent the color and using the varnish in a specific way.”  

All three artists have and will be showing elsewhere around the city and world. Nick Farhi has an upcoming two person show at Rod Bianco in Norway. Ted Gahl recently had solo shows at NADA New York with Halsey McKay and at Mier Gallery in Los Angeles and at Cooper Cole Gallery in Toronto. Zach Bruder’s work has been exhibited in group shows at 247365 and Moiety in New York City.

Earlier this year, Smith curated a show called Paradise Cafe at the SPRING/BREAK Art Show and an open call in April at Field Projects in Chelsea. When asked about what made curating a show at Orgy Park special, Smith said: “I wanted to work with Steve because he’s sort of open to everything, and he’s an artist, and he’s presented some interesting things here.”  She added: “I just thought it would be interesting to use . . . this basement space, and I approached the artists and said: We can do something really interesting down here. There’s no limits . . . this is an opportunity for you to do what you want and for us to come together.”


Drift and Pop at Orgy Park

Link to exhibition page

Curated by Olivia Smith
Drift and Pop 
09/04/2015 - 10/04/2015
Opening September 9, 2015 6-9pm


Nick Farhi  |  Ted Gahl  |  Zach Bruder

“At the bus stop a teenage boy is body-popping. His body does not move but is all in motion. The backward flick of a wrist sets muscles dancing in clusters, glissandi, echoes, waves. The stolidity of us who are set on going to work sinks us sadly in the moment, while the body-popper’s body loves its pure potential, and the indifferent light and the dull eyes turn toward him and recognize this is morning, not the commuter time  of 7:18 am, and morning is an opening to which we are obtuse. Before leaving bed I might stretch, but the indulgence of stretching has now been adopted into disciplines of health linked to readiness to serve at a moment’s notice, or to stem physical decline. The body popper’s is a discipline of joy. It is a gratuitous dis- cipline that gives the bus stop line a joy in beauty and a transient sense in everyone of his or her possible beauty, however locked down or smothered.

When gales were high I would struggle against the wind to the boathouse at the top of the beach, a wooden structure cupped against the cliff face in, as it were, a niche of winds. Before it the air pressure could at times achieve a perfect balance of extreme forces so that I could lean my bodyweight in any direction and remain tremblingly still.”

- Excerpt from “Drift and Pop: On Writing about W.S. Graham” by John Wilkison, POETRY MAGAZINE, July/August 2015.

Nick Farhi (b. 1987 in New York, NY) has forthcoming solo shows at Duve (Berlin, Germany), Joe Sheftel (New York, NY) and a two person show with Grear Patterson at Rod Bianco (Oslo, Norway). His work was recently included in the “Summer Objects Show” at Jonathan Viner Gallery (London, Eng- land) and he was recently listed as one of Artsy’s “30 Emerging Artists to Watch This Summer.” Previous shows were held at United Artists Ltd (Marfa, TX), Bill Brady Gallery (Kansas City, MO), and Neo- chrome Gallery (Torino, Italy). Nick Farhi lives and works in New York.

Ted Gahl (b. 1983 in New Haven, CT) had recent solo exhibitions with Halsey McKay at NADA, (New York, NY), Mier Gallery (Los Angeles, CA), Zach Feuer Gallery (New York, NY), Halsey McKay Gallery (East Hampton, New York), and Cooper Cole Gallery (Toronto, Canada) among others. Select group exhibitions include “Freedom Culture”, curated by Graham Collins at The Journal (Brooklyn, NY), ; – ) at V1 Gallery (Copenhagen, Denmark), “Don’t Look Now” curated by 247365 at Zach Feuer (New York, NY), and “That’s the Neighbor, Always Dressing These Boulders in the Yard” curated by Torey Thornton at Suzanne Geiss Company (New York, NY). Ted Gahl lives and works in Litchfield, CT. 

Zach Bruder (b. 1984 in Cleveland, OH) was recently listed as one of Artsy’s “30 Emerging Artists to Watch This Summer.” In July his work was featured in a four person show with Sam Ekwurtzel, Sofia Leiby, and Anne Libby at 247365 (New York, NY). Bruder was also included in “Object of Magic,” a three person show curated by Eneas Capalbo at Moiety (Brooklyn, NY) last spring. Zach Bruder lives and works in New York.