https://www.cindyruckergallery.com/exhibitions daily 1.0 2024-11-02 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592500402699-WPYHDSPIXN6XUR0XZCBU/P1030071.jpg Exhibitions - Holiday Reading https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592500381074-QP1NBOYBW8BXRPRALS5R/Thicket%2B12.jpg Exhibitions - Thicket https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592333504699-W7018NUXYX3LXNZ6OGED/Dunn%253ARough%2B5.jpg Exhibitions - Gary Rough/Charles Dunn https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592339238296-71EM6SZH9WQNLBBF6VKR/Urban+Grid%2C+Riffs+on+the+Grid%2C+09.jpg Exhibitions - BUILDING AN EMPIRE https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1601966285080-OLZI2JFZQVNBL85ALTDQ/P1040606+edited.jpg Exhibitions - Modern Indoor Gardening https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592340996599-U93YP16L6C5ULR7R7EZY/P1040566.jpg Exhibitions - Michael Paul Britto, Carlos Sandoval de Leon, Diane Wah https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592341809107-83CQ0LH55FHM6SADTTR0/Avini.jpg Exhibitions - We're all gonna die. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592343307854-ZBYDWXBKY8GG6LM819T1/M1%2872%29.jpg Exhibitions - CONCRETE UNIVERSE https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592344853538-9KX5FRFNM6PI6OZQSQ9X/P1030928.JPG Exhibitions - I WANT TO TELL YOU https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592345515662-8HAM0I16J20O11VVGV66/P1030692.jpg Exhibitions - Boards with Bumps https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592345896304-FPYDLLOQAH1N0TTVKGIO/Untitled-1.jpg Exhibitions - Frederick Hayes/Jayson Keeling https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592348731579-S7BMOGQW2ZPW1B721F1X/P1030631.JPG Exhibitions - Access to the Magnificent Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592501209060-S7APS9M2OSD9RZF5DM56/IMG_0007_2.jpg Exhibitions - Bends Back On https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592349485803-GPHOXQ2FQVTDQQ3OUOTS/Teipen+install+thumb.jpg Exhibitions - White on White https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592353068194-VKI1RAIWQLVDJ6A0J8WB/_DSC7698.JPG Exhibitions - Right Drawing in Wrong Places https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592352826299-2XGXZSPSMW9SZHL6RWWY/daniels_cropped.jpg Exhibitions - The Long Way https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592501138171-8GBXTP8FG09Y9QM1PUMM/P1030232.jpg Exhibitions - First Thing Tomorrow Morning https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592499561675-JDGG67TH9Y85STJ5G3L6/DSC_0052.jpg Exhibitions - Der Zweite Garten https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1682529975401-BT9E3FMR5YOHDQTVB48R/P1030223.JPG Exhibitions - FIRST THING TOMORROW MORNING https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1641331557751-KOJ6AS0M56VKLH5WCHY8/DSC_7778.jpg Exhibitions - The only people that should see it are the ones that see it (Copy) Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1634836921621-GIOE6HYAAE10IFCFCG93/install+1.jpg Exhibitions - Yanira Collado | Federico Villarino (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1628705045497-66CXP8OWCS9VB1HG36YZ/41A68493-4D06-4071-81BD-C2D7BE59AABD.JPG Exhibitions - Play (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1625152789526-M9JOYKNOI2G0AMIRRQ18/IMG_3374.jpg Exhibitions - Persistent Object (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1620773227294-2KMZXKB09SZX4970OZNO/install+4.jpg Exhibitions - floating (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1730568584398-O4JQKC51RMKUAXR8T9UX/Cindy+Rucker+2.jpg Exhibitions - One After the Other (Sequential Micks) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1724872560942-0PKF7OEWZMREDRBSFHO1/install+9.jpg Exhibitions - [O sweet spontaneous] earth (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1724872419103-H77OLRM1I61XQ3FSHO7U/Cindy+Rucker+6.jpg Exhibitions - How Does The World End (for others)? score for New York 2024 (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1715362293783-EF2PC4XK3CCS2K9AYL3S/Cindy+Rucker+1.jpg Exhibitions - Shoto Kohagura | Julius Linnenbrink (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1710269174760-GI5U3CPWCS3ZQYRQKLJT/IMG_7529+copy.jpg Exhibitions - Strange Strings (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1706649799726-62Z00NXO4RM3VL0T1PKJ/Screenshot+2023-11-14+at+1.55.31+PM.png Exhibitions - Fragile Objects (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1699128782749-G9HAJCFEPDBZLTL44ZSH/Screenshot+2023-09-19+at+2.02.16+PM.png Exhibitions - Given til Sundown (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1692216759004-XK8M3NTR0RABUI4PSNUG/upstairs+I.jpg Exhibitions - Hot Fun in the Summertime (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1686685288189-I4HG8MMM2037OMUTGZGL/4.From%2Bnature_cindy%2BRucker_JA.jpg Exhibitions - FROM NATURE (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1681846489618-GQ7EGIBOB5VGEJVNTZGH/edited3.jpg Exhibitions - Works on Paper (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1677624373626-ZWQYV1FIIJGPX1CRL54L/IMG_6039.jpg Exhibitions - How did we get here? (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1673121318420-L6AWNP2L04B9V8BZBBV6/DSC_0450.jpg Exhibitions - and/or/existence (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666796252885-UI2IADGA1CDW3VA8J4TO/DSC_9959.jpg Exhibitions - Fear of the Invisible (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1662557359260-AVKEFZBT7EQZX8FUCGKG/IMG_5244+copy.jpg Exhibitions - Two Flags (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1656519098477-D5Z4NTQMQO76D9BCS7ZM/Image+2+DSC_9126.jpg Exhibitions - Between the Surface (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1656519180984-O52EFZ7R6IUUIHGCX1DT/DSC_8964.jpg Exhibitions - This is not an ideal time (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1656519258572-VEZP6TH8BK0Z4PLDGRHN/DSC_8761.jpg Exhibitions - Insoluble (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1656519311322-4RUAYZZ5FWAZEU25ZZZ6/DSC_8208.jpg Exhibitions - After __________ (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1612205019885-4U3HX0JCKNXQ284LP1LD/Screen%2BShot%2B2020-12-10%2Bat%2B3.19.58%2BPM.jpg Exhibitions - Cicatrix (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1607439747331-6AXV6RGEMZ4CAXNEP9WW/Blue+City+2018.jpeg Exhibitions - ARTICHOKE (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603913636402-AY01097IUT3A6W9YB3DK/some%2Bblops.jpg Exhibitions - depression (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1597261888915-HQD9FR6E4HGYMZORZXCO/IMG_1765.jpg Exhibitions - Local Heads (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585253452038-PLOJZTOOZW1HG8FKV3XD/install.jpg Exhibitions - None Sing (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591715874514-Q92YUC4VWWF56P1YTY8T/photo+3.jpg Exhibitions - Bad Years (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591716094372-PGYG5R0VEJEJT5PVSYJH/install+view+1.jpg Exhibitions - We Seemed to be Unanimously Elected... (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591716253114-YBZYHXZO1VHYJ55REP5F/DSC_0006.JPG Exhibitions - California Dreamin' (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591716369981-MNOWPPDRIFUWLQ1CDNJD/ten-party-performance-1-1500w.jpg Exhibitions - TEN: A Curated Artists Salon (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591716620728-Q13NWDV8MVLOYIU9U3N9/installchairs.jpg Exhibitions - Carlos Sandoval de Leon (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591716799276-L3TN2VRRDW4F86F5EWIA/02_rusty_shackleford.jpg Exhibitions - Repeater (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592520925273-P41F3G8K2MYNC471EIY4/HAYESSHACKLEFORD4.jpg Exhibitions - Adam Hayes/Rusty Shackleford (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591720312931-3YX9ZFGOWRZNYPP6QL4O/strangelands2.jpg Exhibitions - STRANGE LANDS (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591720793269-85KU95CAMTAFGUIY1E78/daniels+detail.JPG Exhibitions - Forget the words (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591721294071-8D6UVP0FPLMB1CD4AG0R/install3.jpg Exhibitions - Hidden in Plain Sight (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591723971073-UALCC1E8CXBGATJFEA0N/DSC_0023.JPG Exhibitions - Contrary Data (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591725502739-QJ1YQ2O7NOIJ0V1SYGKY/P1050558.jpg Exhibitions - hell on earth (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591726019749-AE8KFOGDDA67YI3ILAUJ/still4.jpg Exhibitions - SAME BUT INDIFFERENT (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591730397255-DK71W6TM36D0F4WZT0VJ/DSC_2673.jpg Exhibitions - Subliminal Sunlight (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591731635788-X1T11D3FSF6JO408H2T9/P1050500.jpg Exhibitions - Soda Pop (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591732600202-WD49MJIQ8EQ11J04Y4JQ/P1050464.jpg Exhibitions - A SENSE OF WHERE YOU ARE (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591733364131-3LSN1BYDHKOGPPHN2XLE/Screen+Shot+2020-06-09+at+4.04.46+PM.png Exhibitions - Sight and Appearance (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591733712109-DBPY5MI4N62E8MBFDFYE/a11.gif Exhibitions - There/Not There (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591734776845-FJFGMO6GIRUSUEHXJI5A/P1050399.jpg Exhibitions - Of the triumph it hosted (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591735414191-2Y05UK7V4O6VAPW26OK6/IMG_1196.JPG Exhibitions - People Doing Different Things (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583955540838-NQSPLD6GOLFSO8UKEWS9/IMG_2166.jpg Exhibitions - I'm not really allowed to be mad (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583955659628-CW8DUY4B4B5I5AX6S5JO/IMG_4250.jpg Exhibitions - Julius Linnenbrink/Lorna Williams (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583956123564-TE94B5ZZ1O3VFY94GJM4/final+EDITED+WHITE+TV.jpg Exhibitions - TRITTBRETTFAHRER (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583961220468-R8CAN1ZTCU2LMMXBU3VS/DSC_7360.jpg Exhibitions - After Nature (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583961287543-WHH343CTSRLLI4YA20FP/install+2.jpg Exhibitions - From from (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585076339867-E7UD21SQVTE6MBRIAZMX/install+5.jpg Exhibitions - Inner Canem et Lupen (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590178158278-R3165B9E021LAEGWWJ7C/openspace8.jpg Exhibitions - Open Space, Opening Spaces (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026461143-ZMJNEV3YLB3OOL9YW6M2/supreme4.jpg Exhibitions - Ann Oren: The Supreme Spasm (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026515049-U05U00QH9ZXFE2V080KP/soundi.jpg Exhibitions - SOUND I (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590178669776-B846J517SP1G7WOFV6AJ/fuckyourcouch1.jpeg Exhibitions - FUCKYOURCOUCH (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591027091585-A6XNH7YX1ZB05GO217DH/rightback3.jpg Exhibitions - Be Right Back! (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590179380330-ILMWAHQ1VBIKUW1TNSTQ/dunnshackle6.jpeg Exhibitions - Charles Dunn / Rusty Shackleford (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591028489278-A41V3VOZ6G5HF4QN1TBQ/winter5.jpg Exhibitions - Winter: My Secret (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585253720927-ZX1EPCYBXVJEYLDF951W/DSC_0291.jpg Exhibitions - The Physicality of Revisiting Old Haunts (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592341724617-8TVOIZ0VWSB8APAQ9I18/Screen%2BShot%2B2017-09-13%2Bat%2B1.08.14%2BPM.jpg Exhibitions - We're all gonna die. 10th Anniversary Show (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585253896990-GN88H69L8QXSJLVWII3R/IMG_5116.jpg Exhibitions - Element (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590176739079-376Q9U901LOVI0804MG2/unfolding1.jpg Exhibitions - UNFOLDING (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590177587660-1A8I71E7Z9QQH71XC90O/schwenk2.jpg Exhibitions - Leaves and Tubes (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590177740516-34WZOVS3LB232MV2Y2QR/yabedunn1.jpg Exhibitions - Hirosuke Yabe / Charles Dunn (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591023782408-VJJXMNCW336ZWWG0N5DF/soundiiflyer.jpg Exhibitions - SOUND II (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030059004-W7XB7EHC2QQXJO5JT65Q/emperor.jpg Exhibitions - The Emperor of Ice Cream (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591029306283-UZGY7KA0J7RPW8JF5E7C/pussy2.jpg Exhibitions - Pussy Don't Fail Me Now (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591029995903-7EUQ14K59VL51MY2K2B1/poodle5.jpg Exhibitions - Volatile Smile: The Poodle's Core (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590180932462-L05DE1XZVPD150U8QP2A/limbic11.jpg Exhibitions - Limbic Turn (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030755722-3W4PDII7IG3XQVUMAM1B/retry1.jpg Exhibitions - Retry the life experiment in the communal (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591289750358-M1FL7SGOGJFQ942EP09E/DSC_0811.jpg Exhibitions - The trees the trees the trees (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591736312951-3HYX6EE5HIY1QV2XXGSN/P1050175.JPG Exhibitions - re:CONTEXT (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592326751069-YFEK8EPMMQSHNBXVMPJM/P1050116.JPG Exhibitions - Whoever you are (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592327138918-FVI7Z18L0GR0P74E0DH3/P1050078.JPG Exhibitions - Carlos Sandoval de Leon (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592327740661-88I82DBARFIZVPEERFIK/DSC_2298.JPG Exhibitions - NOMATTERWHEREYOUGOTHEREYOUARE (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592328512837-V8EIG4VBE2NVY3GLTP3Z/Schwenk%2Binvite.jpg Exhibitions - The Secret Life of Plants (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592330234970-OLES75Q34HMDCWMO5RUK/P1040860.JPG Exhibitions - What Becomes of a Broken Heart (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592333267918-JZHH4NJIPBN3THI8IRUL/P1040800.jpg Exhibitions - Demons (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585253012813-ETMT6SKQIHEL5R5PZ0CI/Untitled+Yellow.jpg Exhibitions - #curated by Markus Linnenbrink (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585252898193-RJQYAEL5IVHZ3XE9N8MH/Arce1.jpg Exhibitions - About how a grape may float on the ocean (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585252961474-E8QSWX5XBIJE40CVQMLG/Screen+Shot+2018-07-05+at+3.49.25+PM.png Exhibitions - Afterwards no one will remember (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585252914701-PT5RHO1CRNCSB7J3OSOH/paradise4.jpg Exhibitions - Paradise Lost?: Alchemy of the Everyday (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591720222117-AN92YI0DX6BC749ODKJC/IMG_8629.JPG Exhibitions - Knowledge Comes with Death's Release (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585252815367-30WZLP07Z9MSIKSOQ4MB/_IMG_2357.jpg Exhibitions - Out of the Box (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585252756036-3PTQ5JH0J316V2773VFS/DSC_0099.jpg Exhibitions - Faithful Dog Man (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592509525072-0K60NRVC9N0HB2UU7HYP/DSC_0015.JPG Exhibitions - Group Motivation (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591717562430-IZCDPV6OJ02RGQUVT1RI/winter02.JPG Exhibitions - Sabine Boehl, F.P. Boué, Sebastian Freytag (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591717691437-DY62T5L1V9CPQYPPD5WP/DSC_0003.jpg Exhibitions - The room had an imposing dominance over the man (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591718041271-Z66IPGY4KSSIV2GXZQBA/Piraino_Valerie_03.jpg Exhibitions - Photoplay (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591718550098-79NIV8P4M99HMOYVWA1Y/hellonasty004.jpg Exhibitions - Hello Nasty (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591718608020-CR1AB7WB57FG0I3Z7BU3/wetweb.jpg Exhibitions - Wet (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591718940894-SSJQMEE14OQXGBKC0RH6/install1-1.jpg Exhibitions - Transfigurative (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591719255863-RW6CAQ0IKT2OFVNQA81W/install1.jpg Exhibitions - Alpine Glow (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591719477359-7HOMJR5HM1W8GXNJ9W3M/stack2012%2528web%2529%2Bcopy.jpg Exhibitions - Studio Audience (Copy) (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1730572010721-REQO73F54AS7A5A6ADQ9/Screenshot+2024-11-02+at+2.26.34+PM.png Exhibitions https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1730572046693-EY6KNSUMW887JW07SPO6/Screenshot+2024-11-02+at+1.39.38+PM.png Exhibitions https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1730572288355-0WIO0290WBR2F6XHTO5G/Cindy+Rucker+4.jpg Exhibitions https://www.cindyruckergallery.com/contact daily 0.75 2025-03-10 https://www.cindyruckergallery.com/artists daily 0.75 2023-09-05 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/63bf7aed-74b1-4c11-ac10-8e8c2b165720/1.On+the+close-at-hand+%28burnt+brown%29.jpg Artists JAVIER ARCE https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/c9b0e3a7-ecef-4f08-b186-642c8dfb675b/Hayes+23.jpeg Artists ADAM HAYES https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585071391478-H827LJOPXCLZ1EJQOFVM/IMG_7192.JPG Artists HIROSUKE YABE https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1581274571988-SCBD4NF0XWV7YJL84UBG/CF004628-final-postcard-300dpi.jpeg Artists BEATE GEISSLER & OLIVER SANN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/5df1f1fe-c0a1-44dd-910d-4f4adf2095f4/Krebber.jpg Artists GEREON KREBBER https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585071286333-LR7URKX16WP022OV83NZ/s_12_02_web.jpg Artists MARTIN SCHWENK https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/4ad1a23e-484a-4d10-b0df-4d0136222220/Charles+Dunn.+Head%2C+2020.png Artists CHARLES DUNN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585071512847-UA66O0K4N09GQA5XZKHK/02.jpg Artists RUSTY SHACKLEFORD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583617141173-FPZW4EH2J8NMR2HIQJDV/CSDL.jpg Artists CARLOS SANDOVAL DE LEÓN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585070751324-EYOO6WJPFAQVREYR57ZK/Screen+Shot+2018-07-19+at+1.09.17+PM.png Artists JUAN PABLO LANGLOIS VICUÑA https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585070878864-XBZQJC34EYUU22F10SUH/IMG_1774.jpg Artists https://www.cindyruckergallery.com/julius-linnenbrinklorna-williams daily 0.75 2020-09-23 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583621084483-5358TRPFC4D18VAJ6LHY/install.jpg Julius Linnenbrink/Lorna Williams - Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation images of a Lorna Williams a sculpture and Julius Linnenbrink paintings Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation images of a Lorna Williams a sculpture and Julius Linnenbrink paintings Cindy Rucker Gallery is pleased to present new works by Düsseldorf-based artist Julius Linnenbrink and New Orleans-based artist Lorna Williams. This is Julius Linnenbrink’s first show in the US and Lorna Williams’ second show with the gallery. Philosophers have debated the relationship between thought and consciousness in the mind and the brain as a part of the human body for centuries: dualism maintains that there is a distinction between the two while monism argues a unifying reality within which everything can be explained. The two artists in this exhibition represent both aspects of the mind-body debate while bringing forth many other juxtapositions such as painting/sculpture, air/earth, old world/ new world. As there is no real way to prove one or the other, this debate continues without an answer. Julius Linnenbrink (b. 1989, Herdecke, Germany) begins his paintings in what he calls the “abstract space or location of the mind.” Working quickly with acrylics, Linnenbrink allows himself the freedom to create his sweeping paintings with great focus and concentration on the piece itself, its color values and its composition. These seemingly quiet works are all about action, each movement of the artist’s hand is seen and felt. Building up the paintings in thin, sometimes undulating layers, Linnenbrink invites his viewer to enter into the depths of the spaces he creates. The “flow” in their creation reveals the artist's thought, action, reaction, time, trust, and sincerity. Lorna Williams (b. 1986, New Orleans, LA, USA) uses the body as the tool and subject of her work. Drawing inspiration from her materials, Williams creates sculptures from natural and human-made objects: bike chains, skeletal figures, vials, bird’s nests, snake skins, nails, detritus from everyday life. Sometimes kinetic, often anthropomorphic, always lyrical, Williams leans into the materiality of her pieces while allowing her viewer to find their own metaphors, spiritual, conceptual, or simple, all the while touching upon the universality of human experience while navigating her own. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583621140823-U3G40XYNLUD5U2OVFPDT/Olter.jpg Julius Linnenbrink/Lorna Williams - Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Lorna Williams a sculpture Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Lorna Williams a sculpture Cindy Rucker Gallery is pleased to present new works by Düsseldorf-based artist Julius Linnenbrink and New Orleans-based artist Lorna Williams. This is Julius Linnenbrink’s first show in the US and Lorna Williams’ second show with the gallery. Philosophers have debated the relationship between thought and consciousness in the mind and the brain as a part of the human body for centuries: dualism maintains that there is a distinction between the two while monism argues a unifying reality within which everything can be explained. The two artists in this exhibition represent both aspects of the mind-body debate while bringing forth many other juxtapositions such as painting/sculpture, air/earth, old world/ new world. As there is no real way to prove one or the other, this debate continues without an answer. Julius Linnenbrink (b. 1989, Herdecke, Germany) begins his paintings in what he calls the “abstract space or location of the mind.” Working quickly with acrylics, Linnenbrink allows himself the freedom to create his sweeping paintings with great focus and concentration on the piece itself, its color values and its composition. These seemingly quiet works are all about action, each movement of the artist’s hand is seen and felt. Building up the paintings in thin, sometimes undulating layers, Linnenbrink invites his viewer to enter into the depths of the spaces he creates. The “flow” in their creation reveals the artist's thought, action, reaction, time, trust, and sincerity. Lorna Williams (b. 1986, New Orleans, LA, USA) uses the body as the tool and subject of her work. Drawing inspiration from her materials, Williams creates sculptures from natural and human-made objects: bike chains, skeletal figures, vials, bird’s nests, snake skins, nails, detritus from everyday life. Sometimes kinetic, often anthropomorphic, always lyrical, Williams leans into the materiality of her pieces while allowing her viewer to find their own metaphors, spiritual, conceptual, or simple, all the while touching upon the universality of human experience while navigating her own. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583621297951-YUES10HI1MGXB1SITROT/IMG_4272.jpg Julius Linnenbrink/Lorna Williams - Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Lorna Williams a sculpture Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Lorna Williams a sculpture Cindy Rucker Gallery is pleased to present new works by Düsseldorf-based artist Julius Linnenbrink and New Orleans-based artist Lorna Williams. This is Julius Linnenbrink’s first show in the US and Lorna Williams’ second show with the gallery. Philosophers have debated the relationship between thought and consciousness in the mind and the brain as a part of the human body for centuries: dualism maintains that there is a distinction between the two while monism argues a unifying reality within which everything can be explained. The two artists in this exhibition represent both aspects of the mind-body debate while bringing forth many other juxtapositions such as painting/sculpture, air/earth, old world/ new world. As there is no real way to prove one or the other, this debate continues without an answer. Julius Linnenbrink (b. 1989, Herdecke, Germany) begins his paintings in what he calls the “abstract space or location of the mind.” Working quickly with acrylics, Linnenbrink allows himself the freedom to create his sweeping paintings with great focus and concentration on the piece itself, its color values and its composition. These seemingly quiet works are all about action, each movement of the artist’s hand is seen and felt. Building up the paintings in thin, sometimes undulating layers, Linnenbrink invites his viewer to enter into the depths of the spaces he creates. The “flow” in their creation reveals the artist's thought, action, reaction, time, trust, and sincerity. Lorna Williams (b. 1986, New Orleans, LA, USA) uses the body as the tool and subject of her work. Drawing inspiration from her materials, Williams creates sculptures from natural and human-made objects: bike chains, skeletal figures, vials, bird’s nests, snake skins, nails, detritus from everyday life. Sometimes kinetic, often anthropomorphic, always lyrical, Williams leans into the materiality of her pieces while allowing her viewer to find their own metaphors, spiritual, conceptual, or simple, all the while touching upon the universality of human experience while navigating her own. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583621444395-CE3851FECULYWCCJM5KX/IMG_4209.jpg Julius Linnenbrink/Lorna Williams - Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Lorna Williams a sculpture Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Lorna Williams a sculpture Cindy Rucker Gallery is pleased to present new works by Düsseldorf-based artist Julius Linnenbrink and New Orleans-based artist Lorna Williams. This is Julius Linnenbrink’s first show in the US and Lorna Williams’ second show with the gallery. Philosophers have debated the relationship between thought and consciousness in the mind and the brain as a part of the human body for centuries: dualism maintains that there is a distinction between the two while monism argues a unifying reality within which everything can be explained. The two artists in this exhibition represent both aspects of the mind-body debate while bringing forth many other juxtapositions such as painting/sculpture, air/earth, old world/ new world. As there is no real way to prove one or the other, this debate continues without an answer. Julius Linnenbrink (b. 1989, Herdecke, Germany) begins his paintings in what he calls the “abstract space or location of the mind.” Working quickly with acrylics, Linnenbrink allows himself the freedom to create his sweeping paintings with great focus and concentration on the piece itself, its color values and its composition. These seemingly quiet works are all about action, each movement of the artist’s hand is seen and felt. Building up the paintings in thin, sometimes undulating layers, Linnenbrink invites his viewer to enter into the depths of the spaces he creates. The “flow” in their creation reveals the artist's thought, action, reaction, time, trust, and sincerity. Lorna Williams (b. 1986, New Orleans, LA, USA) uses the body as the tool and subject of her work. Drawing inspiration from her materials, Williams creates sculptures from natural and human-made objects: bike chains, skeletal figures, vials, bird’s nests, snake skins, nails, detritus from everyday life. Sometimes kinetic, often anthropomorphic, always lyrical, Williams leans into the materiality of her pieces while allowing her viewer to find their own metaphors, spiritual, conceptual, or simple, all the while touching upon the universality of human experience while navigating her own. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583621494829-E11CCUVH72E44F1J5KNE/_DSC0438.jpg Julius Linnenbrink/Lorna Williams - Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Julius Linnenbrink painting Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Julius Linnenbrink painting Cindy Rucker Gallery is pleased to present new works by Düsseldorf-based artist Julius Linnenbrink and New Orleans-based artist Lorna Williams. This is Julius Linnenbrink’s first show in the US and Lorna Williams’ second show with the gallery. Philosophers have debated the relationship between thought and consciousness in the mind and the brain as a part of the human body for centuries: dualism maintains that there is a distinction between the two while monism argues a unifying reality within which everything can be explained. The two artists in this exhibition represent both aspects of the mind-body debate while bringing forth many other juxtapositions such as painting/sculpture, air/earth, old world/ new world. As there is no real way to prove one or the other, this debate continues without an answer. Julius Linnenbrink (b. 1989, Herdecke, Germany) begins his paintings in what he calls the “abstract space or location of the mind.” Working quickly with acrylics, Linnenbrink allows himself the freedom to create his sweeping paintings with great focus and concentration on the piece itself, its color values and its composition. These seemingly quiet works are all about action, each movement of the artist’s hand is seen and felt. Building up the paintings in thin, sometimes undulating layers, Linnenbrink invites his viewer to enter into the depths of the spaces he creates. The “flow” in their creation reveals the artist's thought, action, reaction, time, trust, and sincerity. Lorna Williams (b. 1986, New Orleans, LA, USA) uses the body as the tool and subject of her work. Drawing inspiration from her materials, Williams creates sculptures from natural and human-made objects: bike chains, skeletal figures, vials, bird’s nests, snake skins, nails, detritus from everyday life. Sometimes kinetic, often anthropomorphic, always lyrical, Williams leans into the materiality of her pieces while allowing her viewer to find their own metaphors, spiritual, conceptual, or simple, all the while touching upon the universality of human experience while navigating her own. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585156087392-MSK1HRIL5QFEIP7A4SKY/F1XTnkmfOGPEUvR7.jpg Julius Linnenbrink/Lorna Williams - Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Lorna Williams a sculpture and Julius Linnenbrink painting Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Lorna Williams a sculpture and Julius Linnenbrink painting Cindy Rucker Gallery is pleased to present new works by Düsseldorf-based artist Julius Linnenbrink and New Orleans-based artist Lorna Williams. This is Julius Linnenbrink’s first show in the US and Lorna Williams’ second show with the gallery. Philosophers have debated the relationship between thought and consciousness in the mind and the brain as a part of the human body for centuries: dualism maintains that there is a distinction between the two while monism argues a unifying reality within which everything can be explained. The two artists in this exhibition represent both aspects of the mind-body debate while bringing forth many other juxtapositions such as painting/sculpture, air/earth, old world/ new world. As there is no real way to prove one or the other, this debate continues without an answer. Julius Linnenbrink (b. 1989, Herdecke, Germany) begins his paintings in what he calls the “abstract space or location of the mind.” Working quickly with acrylics, Linnenbrink allows himself the freedom to create his sweeping paintings with great focus and concentration on the piece itself, its color values and its composition. These seemingly quiet works are all about action, each movement of the artist’s hand is seen and felt. Building up the paintings in thin, sometimes undulating layers, Linnenbrink invites his viewer to enter into the depths of the spaces he creates. The “flow” in their creation reveals the artist's thought, action, reaction, time, trust, and sincerity. Lorna Williams (b. 1986, New Orleans, LA, USA) uses the body as the tool and subject of her work. Drawing inspiration from her materials, Williams creates sculptures from natural and human-made objects: bike chains, skeletal figures, vials, bird’s nests, snake skins, nails, detritus from everyday life. Sometimes kinetic, often anthropomorphic, always lyrical, Williams leans into the materiality of her pieces while allowing her viewer to find their own metaphors, spiritual, conceptual, or simple, all the while touching upon the universality of human experience while navigating her own. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585156104343-B631EIK78MM15O7ATX87/WFaN1uuuUUXjEete.jpg Julius Linnenbrink/Lorna Williams - Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of Julius Linnenbrink paintings Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of Julius Linnenbrink paintings Cindy Rucker Gallery is pleased to present new works by Düsseldorf-based artist Julius Linnenbrink and New Orleans-based artist Lorna Williams. This is Julius Linnenbrink’s first show in the US and Lorna Williams’ second show with the gallery. Philosophers have debated the relationship between thought and consciousness in the mind and the brain as a part of the human body for centuries: dualism maintains that there is a distinction between the two while monism argues a unifying reality within which everything can be explained. The two artists in this exhibition represent both aspects of the mind-body debate while bringing forth many other juxtapositions such as painting/sculpture, air/earth, old world/ new world. As there is no real way to prove one or the other, this debate continues without an answer. Julius Linnenbrink (b. 1989, Herdecke, Germany) begins his paintings in what he calls the “abstract space or location of the mind.” Working quickly with acrylics, Linnenbrink allows himself the freedom to create his sweeping paintings with great focus and concentration on the piece itself, its color values and its composition. These seemingly quiet works are all about action, each movement of the artist’s hand is seen and felt. Building up the paintings in thin, sometimes undulating layers, Linnenbrink invites his viewer to enter into the depths of the spaces he creates. The “flow” in their creation reveals the artist's thought, action, reaction, time, trust, and sincerity. Lorna Williams (b. 1986, New Orleans, LA, USA) uses the body as the tool and subject of her work. Drawing inspiration from her materials, Williams creates sculptures from natural and human-made objects: bike chains, skeletal figures, vials, bird’s nests, snake skins, nails, detritus from everyday life. Sometimes kinetic, often anthropomorphic, always lyrical, Williams leans into the materiality of her pieces while allowing her viewer to find their own metaphors, spiritual, conceptual, or simple, all the while touching upon the universality of human experience while navigating her own. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585156140798-SI8CC9EZ37BO89MJMN5M/UUlQVvE7C76jkgBT.jpg Julius Linnenbrink/Lorna Williams - Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Lorna Williams a sculpture Julius Linnenbrink / Lorna Williams 2019 exhibition at Cindy Rucker Gallery, installation image of a Lorna Williams a sculpture Cindy Rucker Gallery is pleased to present new works by Düsseldorf-based artist Julius Linnenbrink and New Orleans-based artist Lorna Williams. This is Julius Linnenbrink’s first show in the US and Lorna Williams’ second show with the gallery. Philosophers have debated the relationship between thought and consciousness in the mind and the brain as a part of the human body for centuries: dualism maintains that there is a distinction between the two while monism argues a unifying reality within which everything can be explained. The two artists in this exhibition represent both aspects of the mind-body debate while bringing forth many other juxtapositions such as painting/sculpture, air/earth, old world/ new world. As there is no real way to prove one or the other, this debate continues without an answer. Julius Linnenbrink (b. 1989, Herdecke, Germany) begins his paintings in what he calls the “abstract space or location of the mind.” Working quickly with acrylics, Linnenbrink allows himself the freedom to create his sweeping paintings with great focus and concentration on the piece itself, its color values and its composition. These seemingly quiet works are all about action, each movement of the artist’s hand is seen and felt. Building up the paintings in thin, sometimes undulating layers, Linnenbrink invites his viewer to enter into the depths of the spaces he creates. The “flow” in their creation reveals the artist's thought, action, reaction, time, trust, and sincerity. Lorna Williams (b. 1986, New Orleans, LA, USA) uses the body as the tool and subject of her work. Drawing inspiration from her materials, Williams creates sculptures from natural and human-made objects: bike chains, skeletal figures, vials, bird’s nests, snake skins, nails, detritus from everyday life. Sometimes kinetic, often anthropomorphic, always lyrical, Williams leans into the materiality of her pieces while allowing her viewer to find their own metaphors, spiritual, conceptual, or simple, all the while touching upon the universality of human experience while navigating her own. https://www.cindyruckergallery.com/adam-hayes daily 0.75 2020-04-27 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592520514181-3OQ76ZKL8JSHU5SQX98C/IMG_2750.jpg Adam Hayes - Inner Canem et Lupem https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592520573786-85G9H93NKCSBL40PN4BA/symbolic.jpg Adam Hayes - The Emperor of Ice Cream https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592520690098-8HBVGYUH1CRMUI37ZFK2/DSC_0003.jpg Adam Hayes - The room had an imposing dominance over the man https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592521176199-8JHMZP46W5TGR24IGTWJ/HAYESSHACKLEFORD4.jpg Adam Hayes - Adam Hayes/Rusty Shackleford https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592521309107-17VJT32CKEBSF12ZQS54/P1030631.JPG Adam Hayes - Access to the Magnificent Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592529073738-A4PXOOEBMDX75IEZBOF9/P1050404.jpg Adam Hayes https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585152785217-R201GB260G00Z0TQVVIF/Alpha+Hunter.jpg Adam Hayes https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585152827243-P1OWAAAQCRKP5EK4QVLD/The+Captain.jpg Adam Hayes https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585152960861-X7H82Y1UXV731P8DA6IT/Hunter_struck+down.jpg Adam Hayes https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585153073443-PWW91P7JF140ER3WDQOX/Dark+Figure_Crossroads.jpg Adam Hayes https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585152902593-3BMUIGOW0X7AW6JKRYUH/Dark+Figure_Crossroads.jpg Adam Hayes https://www.cindyruckergallery.com/charles-dunn-1 daily 0.75 2020-04-27 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1651265264902-33UD5HLKY8O21AHD9TIX/DSC_8761.jpg Charles Dunn - 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FROM NATURE https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592509926369-U24BUMIMNYXMMVH4HMWB/7C0A3D51-2E05-42AB-B3B9-68262F09079A.jpg Javier Arce - None Sing https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1584125173038-RGXSIFAYKNY9KEBKKD8T/Arce1.jpg Javier Arce - About how a grape may float on the ocean https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592510128803-JK0MVCKBG49XA0R5ISOV/brb%2B5.jpg Javier Arce - Be Right Back! https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1584125144542-Z5GPW3D40VD8XQCK5YP6/1+w_0.jpg Javier Arce - Retry the life experiment in the communal https://www.cindyruckergallery.com/gereon-krebber daily 0.75 2023-02-04 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583618558881-V5WT8SMONJ8I8Q0413TH/Conchie_KeyWest.jpg Gereon Krebber https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585153248777-M14VHVBVN69XQ9L9K0TU/surrogate.jpg Gereon Krebber https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585153296038-D7CG28C9KDKUAVAPQZ77/IMG_5863.JPG Gereon Krebber https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585153780541-M5SWN74O75X9BPSIOA3F/krebber.jpg Gereon Krebber https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585153622336-2HY1DQDRUUL4H1TYUWY2/work.thumb.076080aa40abbcfccda607a7a503e624v1_min_700x1052_b3535db83dc50e27c1bb1392364c95a2.jpg Gereon Krebber https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585153627630-DJVHLIBJHPBJNRQ624S0/work.thumb.497b79ea5db97f4fab0f8810b68f3c2dv1_min_700x466_b3535db83dc50e27c1bb1392364c95a2.jpg Gereon Krebber https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592527833425-GU8UA9P8Z9N70NY25H4E/IMG_1556.jpg Gereon Krebber - None Sing https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585066289714-BSHEQB2RU1YTSU75SCMA/IMG_2357.jpg Gereon Krebber - Out of the Box https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592528050616-BA7Q40J8KDWPJ6J695KS/element2.jpg Gereon Krebber - Element https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592522040746-DXBGVWLAT92M4WL13DUM/Krebber_CindyRucker_idea015.jpg Gereon Krebber - Limbic Turn https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592522138801-5LTNE1U84SD0838CAT22/DSC_0811.jpg Gereon Krebber - the trees the trees the trees https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592522414218-XJ6TBYYHAEWZZHBEXKWV/DSC_0023.jpg Gereon Krebber - Contrary Data https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592522598763-7JG71LM6Z2XL48V6PUN2/P1030697.jpg Gereon Krebber - Boards with Bumps https://www.cindyruckergallery.com/beate-geissler-oliver-sann daily 0.75 2023-05-16 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592527704603-5PLR7WP27WH0515EG3MB/GS+Schwenk+2.jpg Beate Geissler & Oliver Sann - 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TRITTBRETTFAHRER https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592526303071-IYJS3EO2V0N4P5D4FUYQ/DSC_0291.jpg Rusty Shackleford - The Physicality of Revisiting Old Haunts https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592526449326-374WXYEAZQ3HK0GR5T52/ds%2B6.jpg Rusty Shackleford - Charles Dunn/Rusty Shackleford https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592526180620-7O13XN1P604OMS6SA5KJ/Shackleford+Langlois.jpg Rusty Shackleford - None Sing https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592526547923-Q5H8QQGEB0JUFV69NOLJ/02_rusty_shackleford+copy.jpg Rusty Shackleford - Repeater https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585069094317-M8QH1C0B443U2YD9KHA3/DSC_0017.JPG Rusty Shackleford - Adam Hayes/Rusty Shackleford https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583616467878-XIS0QRTNU3STYIFQ592M/Image7.jpg Rusty Shackleford https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583616501135-PYM80JPBIGZOX3Z1U4JA/Dogjpg..jpg Rusty Shackleford https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585155514696-FBHGQ66LYTPRSINZ4R3I/imageCR1.jpg Rusty Shackleford https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585155538010-3UT20D1PC34GTRT3RCAW/imageCR4.jpg Rusty Shackleford https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585155587902-HTQ0NE5TFLZVK8N78OZ1/imageCR2.jpg Rusty Shackleford https://www.cindyruckergallery.com/martin-schwenk daily 0.75 2020-04-27 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583616622558-MUZQ9RJBSQPFGF6GDAJG/6.jpg Martin Schwenk https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583616683392-60MSL4FPZ7TYFN4X3IV6/10.jpg Martin Schwenk https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583616683353-TR48HU1875DBOH77CZ2E/11.jpg Martin Schwenk https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583616712557-KK9IQMW9PO07QM22A3IS/17.jpg Martin Schwenk https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585072323453-XTW21A3NTOC545A5INDQ/s_09_16g.jpg Martin Schwenk https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592528364786-YIY2AOVQW9JXYQI37CCL/IMG_1560.jpg Martin Schwenk - None Sing https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592524620413-5QJLGDEWXBRQKQJTKQB4/DSC_0113%2Bs.jpg Martin Schwenk - Leaves and Tubes https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592525002662-29R7AXLND3Q8X6O9W33Y/install1.jpg Martin Schwenk - Alpine Glow https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592525237566-KJLRCZGKAHB7P4K9UXKW/s_09_15g.jpg Martin Schwenk - The Secret Life of Plants https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592528203282-EJ3HLO96W4NSW6VC88ZE/DSC_0052.jpg Martin Schwenk - Der Zweite Garten https://www.cindyruckergallery.com/carlos-sandoval-de-leon daily 0.75 2023-06-20 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592523775385-36VR6BA4IRSX6P7NS0O7/install+2.jpg Carlos Sandoval de León - From from https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590783011982-UQHD75GX0RMN6FJZM3PZ/element.jpg Carlos Sandoval de León - Element https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592523934380-IIJXY3L0A5E0ISZFDLW5/Screen+Shot+2020-06-18+at+7.45.01+PM.png Carlos Sandoval de León - Open Space, Opening Spaces https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585067307093-TICF9H2LL4QOWWV2MQ4I/installchairs.jpg Carlos Sandoval de León - Carlos Sandoval de Leon https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592524113087-JAPT3JFDHRGBK97W0X65/P1050077.JPG Carlos Sandoval de León - Carlos Sandoval de Leon https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592524237208-0QQE01E724MTSNS97C3F/P1040566.jpg Carlos Sandoval de León - Michael Paul Britto, Carlos Sandoval de Leon, Diane Wah https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583619071219-JBQ65EQ4I15MIGQ5MOSF/CSDL.jpg Carlos Sandoval de León https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583617011970-40KJNZZN8NQUXXXHRMDE/8+Room+1%2C+Choreography+with+Plywood%2C+Home+Depot%2C+Video%2C+Detail+View+.jpg Carlos Sandoval de León https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583618977055-MZYQWY8RYDEI1P0Y91YN/CSDL.jpeg Carlos Sandoval de León https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583618779893-5LCZPAIV0NK3IUOIOFZW/CSDL2.jpg Carlos Sandoval de León https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583618756863-67BMV4I3UC7Y7VB606IW/IMG_1700.jpeg Carlos Sandoval de León https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583618824880-GVUCOVPZHM4MM74X6ZI7/13++Room+1%2C+Home%2C+Installation+View.jpg Carlos Sandoval de León https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583619053350-6DS7JEMYF3EF9UJARDM1/Carlos_SDL_-70.jpg Carlos Sandoval de León https://www.cindyruckergallery.com/hirosuke-yabe daily 0.75 2020-04-27 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592526845519-8B61N0ITDQUYXCXPRKBR/7C0A3D51-2E05-42AB-B3B9-68262F09079A.jpg Hirosuke Yabe - None Sing https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592526920820-L9EBYW6843QE5NS1PCFP/IMG_7275.jpg Hirosuke Yabe - Faithful Dog Man https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592527061725-3H7T4BT00RT2LQ2VCREE/DSC_0039.JPG Hirosuke Yabe - Charles Dunn/Hirosuke Yabe https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585069329809-Y8C1MXLDK71SJHEC5U1J/242.JPG Hirosuke Yabe https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585069362289-WLDU39JL8XNS85YUU734/0129a.JPG Hirosuke Yabe https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585069371764-8BYA7I6PI45D5GD6UXSS/0173.jpg Hirosuke Yabe https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585069383535-D8XC3YZFBKXGGJDWPFO0/244a.JPG Hirosuke Yabe https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585069403182-XWYF2D5FU3DC3U6ODC7V/0135a.JPG Hirosuke Yabe https://www.cindyruckergallery.com/amos-a-frazer-andy-millien daily 0.75 2021-11-06 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635024954628-U6X3JSXAEWKYMNC90EJJ/DSC_7784.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635024972793-PRYPCSLG68NUR3TLBR0T/DSC_7791.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635024985999-U3P7IWTJBWZ6EUMRNJ2U/DSC_7799.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635024999031-G7G53BUDGGB7MV0HOTO1/DSC_7810.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635025059675-WRBIRJ52KI53X6LHJFRA/DSC_7836.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635025098337-ZLWPBRW9BM6XLWFTAOWN/DSC_7850.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635025107629-F1NK7B57BZT5HUHBJL1N/DSC_7857.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635025050621-6JTAZRPUXTEDXTPS6Y1W/DSC_7832.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635024954697-KC3OA2I9PO2CS6WE4SKE/DSC_7778.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635025015779-WVIQXB2QN1I8JB8HIF47/DSC_7823.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635024964377-M4C86FMI8HADGWI3Y40L/DSC_7792.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635025004446-J5QCS9RRKZTEOMC3QV7X/DSC_7822.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1635025086010-G1E65K8FG571LCNH251G/DSC_7841.jpg Amos A. Frazer | Andy Millien https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1641327067051-OGHOEE8NBU1ZT8SC9IOP/AmySarkisian.jpg Amos A. Frazer | Andy Millien https://www.cindyruckergallery.com/im-not-really-allowed-to-be-mad daily 0.75 2020-06-01 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583620753408-VN8RBLLQ70V5NB283OTL/IMG_5353.jpg I'm not really allowed to be mad - Crystal Z. Campbell, Joiri Minaya, Malcolm Peacock, installation images from the exhibition, I’m not really allowed to be mad, at Cindy Rucker Gallery Crystal Z. Campbell, Joiri Minaya, Malcolm Peacock, installation images from the exhibition, I’m not really allowed to be mad, at Cindy Rucker Gallery Although relatively unexceptional, certain stories are neglected by what we know as history and public memory. Experiences as common as love and trauma, and involving feelings as universal as vulnerability, frustration, and ecstasy, a myriad of personal stories are distorted by and dismissed from the official narrative—one disguised under the face of the general consensus, but ultimately elaborated, preserved, and mechanically reproduced by the gatekeepers of power. The artists in I’m not really allowed to be mad turn this narrative onto itself, examining it and challenging it, while they share their own. Crystal Z. Campbell turns to historical materials such as physical archives and online sources to create film, sound, and performance pieces. Drawn to ‘excavating public secrets,' and reflecting upon her African-American, Filipino, and Chinese descents, Campbell often addresses issues of migration, from the slave trade to present-day gentrification. Working from the perspective of a Dominican-American woman, Joiri Minaya approaches representation as both a conceptual and material construction that can be dismantled. Often using her own body as a tool of resistance and in direct dialogue with the imagery of a packaged Tropical identity, she intends to sabotage its production, making transparent not only the labor, exploitation, and performance that go into it, but the wide range of symbols and resources consumed in its consumption. Through his practice, Malcolm Peacock aims to expand the spaces and possibilities for a Black person to exist. Working primarily in installation, he generates conversations that address the lived experiences of Black people—from historical characters and pop figures to his friends, family, and self. These dialogues, both figurative and literal, organically steer in different directions, encompassing accounts of queerness and adolescence, as much as gun violence and icons. The artists in this exhibition seek to shed light on the artificial nature of dividing what is political from what is private and reclaim their space in the narrative. Altogether, they draw attention to the obligation of exploring and recording first-person accounts, especially for those that are just beginning to discover these histories and are realizing how much there is to be angry about. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583620752529-T6VXTHRXPSVVTO9KC73E/IMG_4228.jpg I'm not really allowed to be mad - Crystal Z. Campbell, Joiri Minaya, Malcolm Peacock, installation images from the exhibition, I’m not really allowed to be mad, at Cindy Rucker Gallery Crystal Z. Campbell, Joiri Minaya, Malcolm Peacock, installation images from the exhibition, I’m not really allowed to be mad, at Cindy Rucker Gallery Although relatively unexceptional, certain stories are neglected by what we know as history and public memory. Experiences as common as love and trauma, and involving feelings as universal as vulnerability, frustration, and ecstasy, a myriad of personal stories are distorted by and dismissed from the official narrative—one disguised under the face of the general consensus, but ultimately elaborated, preserved, and mechanically reproduced by the gatekeepers of power. The artists in I’m not really allowed to be mad turn this narrative onto itself, examining it and challenging it, while they share their own. Crystal Z. Campbell turns to historical materials such as physical archives and online sources to create film, sound, and performance pieces. Drawn to ‘excavating public secrets,' and reflecting upon her African-American, Filipino, and Chinese descents, Campbell often addresses issues of migration, from the slave trade to present-day gentrification. Working from the perspective of a Dominican-American woman, Joiri Minaya approaches representation as both a conceptual and material construction that can be dismantled. Often using her own body as a tool of resistance and in direct dialogue with the imagery of a packaged Tropical identity, she intends to sabotage its production, making transparent not only the labor, exploitation, and performance that go into it, but the wide range of symbols and resources consumed in its consumption. Through his practice, Malcolm Peacock aims to expand the spaces and possibilities for a Black person to exist. Working primarily in installation, he generates conversations that address the lived experiences of Black people—from historical characters and pop figures to his friends, family, and self. These dialogues, both figurative and literal, organically steer in different directions, encompassing accounts of queerness and adolescence, as much as gun violence and icons. The artists in this exhibition seek to shed light on the artificial nature of dividing what is political from what is private and reclaim their space in the narrative. Altogether, they draw attention to the obligation of exploring and recording first-person accounts, especially for those that are just beginning to discover these histories and are realizing how much there is to be angry about. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1600739033913-1OVZ5WJGU3XC3WXC0SNB/IMG_9343.jpg I'm not really allowed to be mad - Crystal Z. Campbell, Joiri Minaya, Malcolm Peacock, installation images from the exhibition, I’m not really allowed to be mad, at Cindy Rucker Gallery Crystal Z. Campbell, Joiri Minaya, Malcolm Peacock, installation images from the exhibition, I’m not really allowed to be mad, at Cindy Rucker Gallery Although relatively unexceptional, certain stories are neglected by what we know as history and public memory. Experiences as common as love and trauma, and involving feelings as universal as vulnerability, frustration, and ecstasy, a myriad of personal stories are distorted by and dismissed from the official narrative—one disguised under the face of the general consensus, but ultimately elaborated, preserved, and mechanically reproduced by the gatekeepers of power. The artists in I’m not really allowed to be mad turn this narrative onto itself, examining it and challenging it, while they share their own. Crystal Z. Campbell turns to historical materials such as physical archives and online sources to create film, sound, and performance pieces. Drawn to ‘excavating public secrets,' and reflecting upon her African-American, Filipino, and Chinese descents, Campbell often addresses issues of migration, from the slave trade to present-day gentrification. Working from the perspective of a Dominican-American woman, Joiri Minaya approaches representation as both a conceptual and material construction that can be dismantled. Often using her own body as a tool of resistance and in direct dialogue with the imagery of a packaged Tropical identity, she intends to sabotage its production, making transparent not only the labor, exploitation, and performance that go into it, but the wide range of symbols and resources consumed in its consumption. Through his practice, Malcolm Peacock aims to expand the spaces and possibilities for a Black person to exist. Working primarily in installation, he generates conversations that address the lived experiences of Black people—from historical characters and pop figures to his friends, family, and self. These dialogues, both figurative and literal, organically steer in different directions, encompassing accounts of queerness and adolescence, as much as gun violence and icons. The artists in this exhibition seek to shed light on the artificial nature of dividing what is political from what is private and reclaim their space in the narrative. Altogether, they draw attention to the obligation of exploring and recording first-person accounts, especially for those that are just beginning to discover these histories and are realizing how much there is to be angry about. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583620743760-8RTDNERS948928ELO4PL/IMG_2166.jpg I'm not really allowed to be mad - Work by Joiri Minaya from the exhibition, I’m not really allowed to be mad, at Cindy Rucker Gallery Work by Joiri Minaya from the exhibition, I’m not really allowed to be mad, at Cindy Rucker Gallery Although relatively unexceptional, certain stories are neglected by what we know as history and public memory. Experiences as common as love and trauma, and involving feelings as universal as vulnerability, frustration, and ecstasy, a myriad of personal stories are distorted by and dismissed from the official narrative—one disguised under the face of the general consensus, but ultimately elaborated, preserved, and mechanically reproduced by the gatekeepers of power. The artists in I’m not really allowed to be mad turn this narrative onto itself, examining it and challenging it, while they share their own. Crystal Z. Campbell turns to historical materials such as physical archives and online sources to create film, sound, and performance pieces. Drawn to ‘excavating public secrets,' and reflecting upon her African-American, Filipino, and Chinese descents, Campbell often addresses issues of migration, from the slave trade to present-day gentrification. Working from the perspective of a Dominican-American woman, Joiri Minaya approaches representation as both a conceptual and material construction that can be dismantled. Often using her own body as a tool of resistance and in direct dialogue with the imagery of a packaged Tropical identity, she intends to sabotage its production, making transparent not only the labor, exploitation, and performance that go into it, but the wide range of symbols and resources consumed in its consumption. Through his practice, Malcolm Peacock aims to expand the spaces and possibilities for a Black person to exist. Working primarily in installation, he generates conversations that address the lived experiences of Black people—from historical characters and pop figures to his friends, family, and self. These dialogues, both figurative and literal, organically steer in different directions, encompassing accounts of queerness and adolescence, as much as gun violence and icons. The artists in this exhibition seek to shed light on the artificial nature of dividing what is political from what is private and reclaim their space in the narrative. Altogether, they draw attention to the obligation of exploring and recording first-person accounts, especially for those that are just beginning to discover these histories and are realizing how much there is to be angry about. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583620698308-I3WEE845XQAWRIXA3TEK/_O4A4756+%281%29.JPG I'm not really allowed to be mad - Work by Joiri Minaya from the exhibition, I’m not really allowed to be mad, at Cindy Rucker Gallery Work by Joiri Minaya from the exhibition, I’m not really allowed to be mad, at Cindy Rucker Gallery Although relatively unexceptional, certain stories are neglected by what we know as history and public memory. Experiences as common as love and trauma, and involving feelings as universal as vulnerability, frustration, and ecstasy, a myriad of personal stories are distorted by and dismissed from the official narrative—one disguised under the face of the general consensus, but ultimately elaborated, preserved, and mechanically reproduced by the gatekeepers of power. The artists in I’m not really allowed to be mad turn this narrative onto itself, examining it and challenging it, while they share their own. Crystal Z. Campbell turns to historical materials such as physical archives and online sources to create film, sound, and performance pieces. Drawn to ‘excavating public secrets,' and reflecting upon her African-American, Filipino, and Chinese descents, Campbell often addresses issues of migration, from the slave trade to present-day gentrification. Working from the perspective of a Dominican-American woman, Joiri Minaya approaches representation as both a conceptual and material construction that can be dismantled. Often using her own body as a tool of resistance and in direct dialogue with the imagery of a packaged Tropical identity, she intends to sabotage its production, making transparent not only the labor, exploitation, and performance that go into it, but the wide range of symbols and resources consumed in its consumption. Through his practice, Malcolm Peacock aims to expand the spaces and possibilities for a Black person to exist. Working primarily in installation, he generates conversations that address the lived experiences of Black people—from historical characters and pop figures to his friends, family, and self. These dialogues, both figurative and literal, organically steer in different directions, encompassing accounts of queerness and adolescence, as much as gun violence and icons. The artists in this exhibition seek to shed light on the artificial nature of dividing what is political from what is private and reclaim their space in the narrative. Altogether, they draw attention to the obligation of exploring and recording first-person accounts, especially for those that are just beginning to discover these histories and are realizing how much there is to be angry about. https://www.cindyruckergallery.com/from-from daily 0.75 2020-09-23 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585156592224-SXB02E7S2KYG6Q22KFQ7/M1ZYNORvaiw16GkV.png Trittbrettfahrer - Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Cindy Rucker Gallery is pleased to present Trittbrettfahrer, featuring works by multidisciplinary artists Claudia Bitran, Howard Schwartzberg, and Rusty Shackleford. Taking the German word for riding a train surreptitiously as its title, the exhibition gathers artists who work in the medium of the painting, yet reshape it by incorporating traits of neighboring disciplines, such as sculpture, video, photography, and installation. As if turning painting inside out, Howard Schwartzberg uses the conventional elements of stretcher and canvas to seemingly envelop large masses of paint. His pseudo-containers give way to hybrid objects, the volume and weight of which place them on the verge between painting and sculpture. Rather than creating spatial illusion through flat canvases, their flatness resides on the surfaces of their fluid bodies, the angles of which suggest that they may overflow. Claudia Bitran’s stop-motion animations depict anonymous teenagers in euphoric and anxious states of inebriation. Taking stills from videos found on social media, the bright chromatic composition in which Bitran reproduces these clips provides an unbiased channel into youth culture, and the brushwork emphasizes the instability of the characters; as they lose control over their bodies, the figures morph in and out of abstraction. Rusty Shackleford’s multi-layered collages only display minute sections of what were once compositions of paint on paper, yet are enlarged to a scale that engulfs a section of the exhibition space. The prominent texture contained by the digital images elude the viewer, as their materiality consists of no more than a flat surface—a record of an earlier stage of the artwork—which has been warped and distorted. Paradoxically, the work’s lack of tangibility draws us to contemplate the distinct stages of its physical and temporal construction, despite the fact that these multiple layers have been compressed into data. By navigating different avenues of formal research, the artists in Trittbrettfahrer reaffirm the elastic nature of painting. Whether that be conceptual, technological, or material, they each occupy the medium in contemporary modes of production and prove that the vulnerabilities and mutations they identify in people, images, and objects are also intrinsic to the discipline in which they intersect. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585156679078-J3AD9YQ0UKI73KJBAS1K/MsVmqj4UvzUKdz4H.png Trittbrettfahrer - Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Cindy Rucker Gallery is pleased to present Trittbrettfahrer, featuring works by multidisciplinary artists Claudia Bitran, Howard Schwartzberg, and Rusty Shackleford. Taking the German word for riding a train surreptitiously as its title, the exhibition gathers artists who work in the medium of the painting, yet reshape it by incorporating traits of neighboring disciplines, such as sculpture, video, photography, and installation. As if turning painting inside out, Howard Schwartzberg uses the conventional elements of stretcher and canvas to seemingly envelop large masses of paint. His pseudo-containers give way to hybrid objects, the volume and weight of which place them on the verge between painting and sculpture. Rather than creating spatial illusion through flat canvases, their flatness resides on the surfaces of their fluid bodies, the angles of which suggest that they may overflow. Claudia Bitran’s stop-motion animations depict anonymous teenagers in euphoric and anxious states of inebriation. Taking stills from videos found on social media, the bright chromatic composition in which Bitran reproduces these clips provides an unbiased channel into youth culture, and the brushwork emphasizes the instability of the characters; as they lose control over their bodies, the figures morph in and out of abstraction. Rusty Shackleford’s multi-layered collages only display minute sections of what were once compositions of paint on paper, yet are enlarged to a scale that engulfs a section of the exhibition space. The prominent texture contained by the digital images elude the viewer, as their materiality consists of no more than a flat surface—a record of an earlier stage of the artwork—which has been warped and distorted. Paradoxically, the work’s lack of tangibility draws us to contemplate the distinct stages of its physical and temporal construction, despite the fact that these multiple layers have been compressed into data. By navigating different avenues of formal research, the artists in Trittbrettfahrer reaffirm the elastic nature of painting. Whether that be conceptual, technological, or material, they each occupy the medium in contemporary modes of production and prove that the vulnerabilities and mutations they identify in people, images, and objects are also intrinsic to the discipline in which they intersect. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583621603032-B944FY9N8R8VWO1CWCQV/IMG_0496.jpg Trittbrettfahrer - Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Cindy Rucker Gallery is pleased to present Trittbrettfahrer, featuring works by multidisciplinary artists Claudia Bitran, Howard Schwartzberg, and Rusty Shackleford. Taking the German word for riding a train surreptitiously as its title, the exhibition gathers artists who work in the medium of the painting, yet reshape it by incorporating traits of neighboring disciplines, such as sculpture, video, photography, and installation. As if turning painting inside out, Howard Schwartzberg uses the conventional elements of stretcher and canvas to seemingly envelop large masses of paint. His pseudo-containers give way to hybrid objects, the volume and weight of which place them on the verge between painting and sculpture. Rather than creating spatial illusion through flat canvases, their flatness resides on the surfaces of their fluid bodies, the angles of which suggest that they may overflow. Claudia Bitran’s stop-motion animations depict anonymous teenagers in euphoric and anxious states of inebriation. Taking stills from videos found on social media, the bright chromatic composition in which Bitran reproduces these clips provides an unbiased channel into youth culture, and the brushwork emphasizes the instability of the characters; as they lose control over their bodies, the figures morph in and out of abstraction. Rusty Shackleford’s multi-layered collages only display minute sections of what were once compositions of paint on paper, yet are enlarged to a scale that engulfs a section of the exhibition space. The prominent texture contained by the digital images elude the viewer, as their materiality consists of no more than a flat surface—a record of an earlier stage of the artwork—which has been warped and distorted. Paradoxically, the work’s lack of tangibility draws us to contemplate the distinct stages of its physical and temporal construction, despite the fact that these multiple layers have been compressed into data. By navigating different avenues of formal research, the artists in Trittbrettfahrer reaffirm the elastic nature of painting. Whether that be conceptual, technological, or material, they each occupy the medium in contemporary modes of production and prove that the vulnerabilities and mutations they identify in people, images, and objects are also intrinsic to the discipline in which they intersect. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583621754396-AFVC9PY2AIZPLF111P77/EDITED+BLACK+TV+copy.jpg Trittbrettfahrer - Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image of Claudia Bitran piece Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image of Claudia Bitran piece Cindy Rucker Gallery is pleased to present Trittbrettfahrer, featuring works by multidisciplinary artists Claudia Bitran, Howard Schwartzberg, and Rusty Shackleford. Taking the German word for riding a train surreptitiously as its title, the exhibition gathers artists who work in the medium of the painting, yet reshape it by incorporating traits of neighboring disciplines, such as sculpture, video, photography, and installation. As if turning painting inside out, Howard Schwartzberg uses the conventional elements of stretcher and canvas to seemingly envelop large masses of paint. His pseudo-containers give way to hybrid objects, the volume and weight of which place them on the verge between painting and sculpture. Rather than creating spatial illusion through flat canvases, their flatness resides on the surfaces of their fluid bodies, the angles of which suggest that they may overflow. Claudia Bitran’s stop-motion animations depict anonymous teenagers in euphoric and anxious states of inebriation. Taking stills from videos found on social media, the bright chromatic composition in which Bitran reproduces these clips provides an unbiased channel into youth culture, and the brushwork emphasizes the instability of the characters; as they lose control over their bodies, the figures morph in and out of abstraction. Rusty Shackleford’s multi-layered collages only display minute sections of what were once compositions of paint on paper, yet are enlarged to a scale that engulfs a section of the exhibition space. The prominent texture contained by the digital images elude the viewer, as their materiality consists of no more than a flat surface—a record of an earlier stage of the artwork—which has been warped and distorted. Paradoxically, the work’s lack of tangibility draws us to contemplate the distinct stages of its physical and temporal construction, despite the fact that these multiple layers have been compressed into data. By navigating different avenues of formal research, the artists in Trittbrettfahrer reaffirm the elastic nature of painting. Whether that be conceptual, technological, or material, they each occupy the medium in contemporary modes of production and prove that the vulnerabilities and mutations they identify in people, images, and objects are also intrinsic to the discipline in which they intersect. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583621699959-M47BQXQ4ALNQH5CG8QQ6/IMG_0502.jpg Trittbrettfahrer - Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Cindy Rucker Gallery is pleased to present Trittbrettfahrer, featuring works by multidisciplinary artists Claudia Bitran, Howard Schwartzberg, and Rusty Shackleford. Taking the German word for riding a train surreptitiously as its title, the exhibition gathers artists who work in the medium of the painting, yet reshape it by incorporating traits of neighboring disciplines, such as sculpture, video, photography, and installation. As if turning painting inside out, Howard Schwartzberg uses the conventional elements of stretcher and canvas to seemingly envelop large masses of paint. His pseudo-containers give way to hybrid objects, the volume and weight of which place them on the verge between painting and sculpture. Rather than creating spatial illusion through flat canvases, their flatness resides on the surfaces of their fluid bodies, the angles of which suggest that they may overflow. Claudia Bitran’s stop-motion animations depict anonymous teenagers in euphoric and anxious states of inebriation. Taking stills from videos found on social media, the bright chromatic composition in which Bitran reproduces these clips provides an unbiased channel into youth culture, and the brushwork emphasizes the instability of the characters; as they lose control over their bodies, the figures morph in and out of abstraction. Rusty Shackleford’s multi-layered collages only display minute sections of what were once compositions of paint on paper, yet are enlarged to a scale that engulfs a section of the exhibition space. The prominent texture contained by the digital images elude the viewer, as their materiality consists of no more than a flat surface—a record of an earlier stage of the artwork—which has been warped and distorted. Paradoxically, the work’s lack of tangibility draws us to contemplate the distinct stages of its physical and temporal construction, despite the fact that these multiple layers have been compressed into data. By navigating different avenues of formal research, the artists in Trittbrettfahrer reaffirm the elastic nature of painting. Whether that be conceptual, technological, or material, they each occupy the medium in contemporary modes of production and prove that the vulnerabilities and mutations they identify in people, images, and objects are also intrinsic to the discipline in which they intersect. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583621726731-S9DAKRUW0U78J1T51L1Y/CA2418FF-5172-4D62-876C-0B9E64CB957B.jpg Trittbrettfahrer - Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Cindy Rucker Gallery is pleased to present Trittbrettfahrer, featuring works by multidisciplinary artists Claudia Bitran, Howard Schwartzberg, and Rusty Shackleford. Taking the German word for riding a train surreptitiously as its title, the exhibition gathers artists who work in the medium of the painting, yet reshape it by incorporating traits of neighboring disciplines, such as sculpture, video, photography, and installation. As if turning painting inside out, Howard Schwartzberg uses the conventional elements of stretcher and canvas to seemingly envelop large masses of paint. His pseudo-containers give way to hybrid objects, the volume and weight of which place them on the verge between painting and sculpture. Rather than creating spatial illusion through flat canvases, their flatness resides on the surfaces of their fluid bodies, the angles of which suggest that they may overflow. Claudia Bitran’s stop-motion animations depict anonymous teenagers in euphoric and anxious states of inebriation. Taking stills from videos found on social media, the bright chromatic composition in which Bitran reproduces these clips provides an unbiased channel into youth culture, and the brushwork emphasizes the instability of the characters; as they lose control over their bodies, the figures morph in and out of abstraction. Rusty Shackleford’s multi-layered collages only display minute sections of what were once compositions of paint on paper, yet are enlarged to a scale that engulfs a section of the exhibition space. The prominent texture contained by the digital images elude the viewer, as their materiality consists of no more than a flat surface—a record of an earlier stage of the artwork—which has been warped and distorted. Paradoxically, the work’s lack of tangibility draws us to contemplate the distinct stages of its physical and temporal construction, despite the fact that these multiple layers have been compressed into data. By navigating different avenues of formal research, the artists in Trittbrettfahrer reaffirm the elastic nature of painting. Whether that be conceptual, technological, or material, they each occupy the medium in contemporary modes of production and prove that the vulnerabilities and mutations they identify in people, images, and objects are also intrinsic to the discipline in which they intersect. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585156642554-IBVNI3I73Q37QEG41B2V/NbSy8X5Qqdmqba7h.png Trittbrettfahrer - Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Trittbrettfahrer exhibition at Cindy Rucker Gallery, featuring works by Claudia Bitran, Howard Schwartzberg, Rusty Shackleford, installation image Cindy Rucker Gallery is pleased to present Trittbrettfahrer, featuring works by multidisciplinary artists Claudia Bitran, Howard Schwartzberg, and Rusty Shackleford. Taking the German word for riding a train surreptitiously as its title, the exhibition gathers artists who work in the medium of the painting, yet reshape it by incorporating traits of neighboring disciplines, such as sculpture, video, photography, and installation. As if turning painting inside out, Howard Schwartzberg uses the conventional elements of stretcher and canvas to seemingly envelop large masses of paint. His pseudo-containers give way to hybrid objects, the volume and weight of which place them on the verge between painting and sculpture. Rather than creating spatial illusion through flat canvases, their flatness resides on the surfaces of their fluid bodies, the angles of which suggest that they may overflow. Claudia Bitran’s stop-motion animations depict anonymous teenagers in euphoric and anxious states of inebriation. Taking stills from videos found on social media, the bright chromatic composition in which Bitran reproduces these clips provides an unbiased channel into youth culture, and the brushwork emphasizes the instability of the characters; as they lose control over their bodies, the figures morph in and out of abstraction. Rusty Shackleford’s multi-layered collages only display minute sections of what were once compositions of paint on paper, yet are enlarged to a scale that engulfs a section of the exhibition space. The prominent texture contained by the digital images elude the viewer, as their materiality consists of no more than a flat surface—a record of an earlier stage of the artwork—which has been warped and distorted. Paradoxically, the work’s lack of tangibility draws us to contemplate the distinct stages of its physical and temporal construction, despite the fact that these multiple layers have been compressed into data. By navigating different avenues of formal research, the artists in Trittbrettfahrer reaffirm the elastic nature of painting. Whether that be conceptual, technological, or material, they each occupy the medium in contemporary modes of production and prove that the vulnerabilities and mutations they identify in people, images, and objects are also intrinsic to the discipline in which they intersect. https://www.cindyruckergallery.com/none-sing-1 daily 0.75 2020-09-20 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583622008446-XO8AIRBDBL9I46VYCCBU/install.jpg None Sing - Javier Arce, Hirosuke Yabe sculpture installation images, None Sing exhibition at Cindy Rucker Gallery Javier Arce, Hirosuke Yabe sculpture installation images, None Sing exhibition at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585862590112-OV3ONG7XR8APVRR5LFFQ/Dunn+Linnenrbink.jpg None Sing - Javier Arce work on paper, Charles Dunn sculpture installation images, None Sing exhibition at Cindy Rucker Gallery Javier Arce work on paper, Charles Dunn sculpture installation images, None Sing exhibition at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585862588406-QTVWIQ3YCS4K6DACFRCC/GS+Schwenk+2.jpg None Sing - Geissler/Sann photographs, Martin Schwenk works on paper, installation images, None Sing exhibition at Cindy Rucker Gallery Geissler/Sann photographs, Martin Schwenk works on paper, installation images, None Sing exhibition at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585862593447-G3TTMDZY0I3UQ6JEH0GS/Shackleford+Langlois.jpg None Sing - Juan Pablo Langlois Vicuña, Rusty Shackleford, installation images, None Sing exhibition at Cindy Rucker Gallery Juan Pablo Langlois Vicuña, Rusty Shackleford, installation images, None Sing exhibition at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585862616471-9J6EY1AO695U67FSJKUG/726B2605-DBC1-461F-B1F6-84A3C4E5F8B5.jpg None Sing - Gereon Krebber hanging sculpture, Charles Dunn Drawing, installation images, None Sing exhibition at Cindy Rucker Gallery Gereon Krebber hanging sculpture, Charles Dunn Drawing, installation images, None Sing exhibition at Cindy Rucker Gallery https://www.cindyruckergallery.com/after-nature-nicols-rupcich-roco-olivares daily 0.75 2020-10-06 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583622307057-E23VWGTG1AE9IMHTVY4E/DSC_7360.jpg AFTER NATURE: Nicolás Rupcich / Rocío Olivares - Installation images of AFTER NATURE, featuring works by Rocío Olivares & Nicolás Rupcich at Cindy Rucker Gallery Installation images of AFTER NATURE, featuring works by Rocío Olivares & Nicolás Rupcich at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present AFTER NATURE featuring works by Rocío Olivares and Nicolás Rupcich. Comprised of video pieces, the exhibition addresses the asymmetrical distribution of power and resources in the global contemporary landscape. In a period of refugee crises, accelerated climate change, and rising technological advancements, Olivares and Rupcich explore the relation between mankind and geographic environments by focusing on artificial locations. Taking herons and the members and workers of a private resort as subjects and filming them in vastly different and distant settings, each video portrays a situation of isolation and loneliness as the byproduct of imperial expansion, colonization, and fetishization. In Rupcich’s Big Pool, palm trees, crystal-clear water, and white-sand beaches are the symbols of a paradise individually purchased and consummated outside the framework of time and space. In Olivares’s Cattle Egrets, the simulation of nature represents the displacement of a species, as its territory is clearly delimitated. Paradoxically, both works render the presence of human beings as anecdotal or uninvolved, despite their clear responsibility in driving out who or whatever previously inhabited the landscape. In AFTER NATURE, transformations of flora and fauna are taken as allegories of historical struggles between peoples and cultures, as well as the intrinsic contradiction between the individual and the physical world. Appropriating National-Geographic documentary-style narratives and advertising techniques of post-production, the artworks reveal the multiple artifices used to construct images of history and reality, debunking their claims of objectivity and neutrality. In distinct manners, each artist forces us to redefine our notions of the natural and artificial and consider the multiple agents and factors negotiating the limit between them, and invite us to relate our understandings of captivity and freedom in relation territory, power, and wealth. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583948060598-QHHONBD8OZJ4370C4K03/DSC_7389.jpg AFTER NATURE: Nicolás Rupcich / Rocío Olivares - Installation images of AFTER NATURE, featuring works by Rocío Olivares & Nicolás Rupcich at Cindy Rucker Gallery Installation images of AFTER NATURE, featuring works by Rocío Olivares & Nicolás Rupcich at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present AFTER NATURE featuring works by Rocío Olivares and Nicolás Rupcich. Comprised of video pieces, the exhibition addresses the asymmetrical distribution of power and resources in the global contemporary landscape. In a period of refugee crises, accelerated climate change, and rising technological advancements, Olivares and Rupcich explore the relation between mankind and geographic environments by focusing on artificial locations. Taking herons and the members and workers of a private resort as subjects and filming them in vastly different and distant settings, each video portrays a situation of isolation and loneliness as the byproduct of imperial expansion, colonization, and fetishization. In Rupcich’s Big Pool, palm trees, crystal-clear water, and white-sand beaches are the symbols of a paradise individually purchased and consummated outside the framework of time and space. In Olivares’s Cattle Egrets, the simulation of nature represents the displacement of a species, as its territory is clearly delimitated. Paradoxically, both works render the presence of human beings as anecdotal or uninvolved, despite their clear responsibility in driving out who or whatever previously inhabited the landscape. In AFTER NATURE, transformations of flora and fauna are taken as allegories of historical struggles between peoples and cultures, as well as the intrinsic contradiction between the individual and the physical world. Appropriating National-Geographic documentary-style narratives and advertising techniques of post-production, the artworks reveal the multiple artifices used to construct images of history and reality, debunking their claims of objectivity and neutrality. In distinct manners, each artist forces us to redefine our notions of the natural and artificial and consider the multiple agents and factors negotiating the limit between them, and invite us to relate our understandings of captivity and freedom in relation territory, power, and wealth. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583622429014-GLETBGAXDA7Q02YTUKPG/DSC_7366.jpg AFTER NATURE: Nicolás Rupcich / Rocío Olivares - Installation images of AFTER NATURE, featuring works by Rocío Olivares & Nicolás Rupcich at Cindy Rucker Gallery Installation images of AFTER NATURE, featuring works by Rocío Olivares & Nicolás Rupcich at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present AFTER NATURE featuring works by Rocío Olivares and Nicolás Rupcich. Comprised of video pieces, the exhibition addresses the asymmetrical distribution of power and resources in the global contemporary landscape. In a period of refugee crises, accelerated climate change, and rising technological advancements, Olivares and Rupcich explore the relation between mankind and geographic environments by focusing on artificial locations. Taking herons and the members and workers of a private resort as subjects and filming them in vastly different and distant settings, each video portrays a situation of isolation and loneliness as the byproduct of imperial expansion, colonization, and fetishization. In Rupcich’s Big Pool, palm trees, crystal-clear water, and white-sand beaches are the symbols of a paradise individually purchased and consummated outside the framework of time and space. In Olivares’s Cattle Egrets, the simulation of nature represents the displacement of a species, as its territory is clearly delimitated. Paradoxically, both works render the presence of human beings as anecdotal or uninvolved, despite their clear responsibility in driving out who or whatever previously inhabited the landscape. In AFTER NATURE, transformations of flora and fauna are taken as allegories of historical struggles between peoples and cultures, as well as the intrinsic contradiction between the individual and the physical world. Appropriating National-Geographic documentary-style narratives and advertising techniques of post-production, the artworks reveal the multiple artifices used to construct images of history and reality, debunking their claims of objectivity and neutrality. In distinct manners, each artist forces us to redefine our notions of the natural and artificial and consider the multiple agents and factors negotiating the limit between them, and invite us to relate our understandings of captivity and freedom in relation territory, power, and wealth. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583622463208-48ZAX6EG1MZ2QYV72GGL/DSC_7374.jpg AFTER NATURE: Nicolás Rupcich / Rocío Olivares - Installation images of AFTER NATURE, featuring works by Rocío Olivares & Nicolás Rupcich at Cindy Rucker Gallery Installation images of AFTER NATURE, featuring works by Rocío Olivares & Nicolás Rupcich at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present AFTER NATURE featuring works by Rocío Olivares and Nicolás Rupcich. Comprised of video pieces, the exhibition addresses the asymmetrical distribution of power and resources in the global contemporary landscape. In a period of refugee crises, accelerated climate change, and rising technological advancements, Olivares and Rupcich explore the relation between mankind and geographic environments by focusing on artificial locations. Taking herons and the members and workers of a private resort as subjects and filming them in vastly different and distant settings, each video portrays a situation of isolation and loneliness as the byproduct of imperial expansion, colonization, and fetishization. In Rupcich’s Big Pool, palm trees, crystal-clear water, and white-sand beaches are the symbols of a paradise individually purchased and consummated outside the framework of time and space. In Olivares’s Cattle Egrets, the simulation of nature represents the displacement of a species, as its territory is clearly delimitated. Paradoxically, both works render the presence of human beings as anecdotal or uninvolved, despite their clear responsibility in driving out who or whatever previously inhabited the landscape. In AFTER NATURE, transformations of flora and fauna are taken as allegories of historical struggles between peoples and cultures, as well as the intrinsic contradiction between the individual and the physical world. Appropriating National-Geographic documentary-style narratives and advertising techniques of post-production, the artworks reveal the multiple artifices used to construct images of history and reality, debunking their claims of objectivity and neutrality. In distinct manners, each artist forces us to redefine our notions of the natural and artificial and consider the multiple agents and factors negotiating the limit between them, and invite us to relate our understandings of captivity and freedom in relation territory, power, and wealth. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1583948058078-YTPTDPFAS6X0ZMAPU4AK/DSC_7391.jpg AFTER NATURE: Nicolás Rupcich / Rocío Olivares - Installation images of AFTER NATURE, featuring works by Rocío Olivares & Nicolás Rupcich at Cindy Rucker Gallery Installation images of AFTER NATURE, featuring works by Rocío Olivares & Nicolás Rupcich at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present AFTER NATURE featuring works by Rocío Olivares and Nicolás Rupcich. Comprised of video pieces, the exhibition addresses the asymmetrical distribution of power and resources in the global contemporary landscape. In a period of refugee crises, accelerated climate change, and rising technological advancements, Olivares and Rupcich explore the relation between mankind and geographic environments by focusing on artificial locations. Taking herons and the members and workers of a private resort as subjects and filming them in vastly different and distant settings, each video portrays a situation of isolation and loneliness as the byproduct of imperial expansion, colonization, and fetishization. In Rupcich’s Big Pool, palm trees, crystal-clear water, and white-sand beaches are the symbols of a paradise individually purchased and consummated outside the framework of time and space. In Olivares’s Cattle Egrets, the simulation of nature represents the displacement of a species, as its territory is clearly delimitated. Paradoxically, both works render the presence of human beings as anecdotal or uninvolved, despite their clear responsibility in driving out who or whatever previously inhabited the landscape. In AFTER NATURE, transformations of flora and fauna are taken as allegories of historical struggles between peoples and cultures, as well as the intrinsic contradiction between the individual and the physical world. Appropriating National-Geographic documentary-style narratives and advertising techniques of post-production, the artworks reveal the multiple artifices used to construct images of history and reality, debunking their claims of objectivity and neutrality. In distinct manners, each artist forces us to redefine our notions of the natural and artificial and consider the multiple agents and factors negotiating the limit between them, and invite us to relate our understandings of captivity and freedom in relation territory, power, and wealth. https://www.cindyruckergallery.com/from-from-1 daily 0.75 2020-10-06 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585169436464-IZGB5TFZS7YDZQC5S0ST/install+2.jpg From from - Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present From from featuring works by Brooklyn-based artist Carlos Sandoval de León. This is Sandoval de León’s third solo show at the gallery. Carlos Sandoval de Leon tackles the notions of origin, the symbolic, the folkloric, and erasure by bringing together materials charged with specificity in an instinctive juxtaposition. The materials he selects celebrate the care in every effort: ubiquitous Man with a Van flyers, pink soap, the carefully placed credit card sticker on the bullet-resistant bodega glass, chewed gum, tiny pom-poms hanging faithfully in succession on a length of fringe. Working closely with a team of artisans and friends and drawn by the theoretical space that shapes the physical world, he uses ideas of portraiture along with ritualistic operations and notions, as he intends to map the shape of unseen activity, and provide a better—possible—understanding of where the flatline lies. His objects are in transition, always on their way to becoming complete. In this space, Sandoval de Leon has bisected the gallery with a wall of shelves constructed of lumber, playing with the ideas of presentation and intellectual distance. Here he leaves space for his viewer to instinctively traverse the distance between the work and it’s meaning, high art and the everyday, minutia and artifact. It’s not about what’s there as much as its about what isn’t there; however the absences aren’t eerie as much as they are ripe with a personal history to which we can all relate. Sandoval de Leon asks us to slow down and ruminate on the objects that surround us, both meaningful and banal. Carlos Sandoval de León (b. 1975, Mexico) received his B.F.A. in 1999 from the School of the Art Institute of Chicago, and his M.F.A. in 2008 from Columbia University. He has exhibited both nationally and internationally, in venues including his upcoming exhibition at the ICA Miami, the Museum of Contemporary Art (North Miami, FL), El Museo del Barrio (New York, NY), and the Fischer Landau Center for Art (Long Island City, NY). He is currently teaching fine arts and performing at York College. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585169461198-B3IJW2FGYUX9MBFOGFGQ/install+9.jpg From from - Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present From from featuring works by Brooklyn-based artist Carlos Sandoval de León. This is Sandoval de León’s third solo show at the gallery. Carlos Sandoval de Leon tackles the notions of origin, the symbolic, the folkloric, and erasure by bringing together materials charged with specificity in an instinctive juxtaposition. The materials he selects celebrate the care in every effort: ubiquitous Man with a Van flyers, pink soap, the carefully placed credit card sticker on the bullet-resistant bodega glass, chewed gum, tiny pom-poms hanging faithfully in succession on a length of fringe. Working closely with a team of artisans and friends and drawn by the theoretical space that shapes the physical world, he uses ideas of portraiture along with ritualistic operations and notions, as he intends to map the shape of unseen activity, and provide a better—possible—understanding of where the flatline lies. His objects are in transition, always on their way to becoming complete. In this space, Sandoval de Leon has bisected the gallery with a wall of shelves constructed of lumber, playing with the ideas of presentation and intellectual distance. Here he leaves space for his viewer to instinctively traverse the distance between the work and it’s meaning, high art and the everyday, minutia and artifact. It’s not about what’s there as much as its about what isn’t there; however the absences aren’t eerie as much as they are ripe with a personal history to which we can all relate. Sandoval de Leon asks us to slow down and ruminate on the objects that surround us, both meaningful and banal. Carlos Sandoval de León (b. 1975, Mexico) received his B.F.A. in 1999 from the School of the Art Institute of Chicago, and his M.F.A. in 2008 from Columbia University. He has exhibited both nationally and internationally, in venues including his upcoming exhibition at the ICA Miami, the Museum of Contemporary Art (North Miami, FL), El Museo del Barrio (New York, NY), and the Fischer Landau Center for Art (Long Island City, NY). He is currently teaching fine arts and performing at York College. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585169469496-IXSHVQBR2AB6F26ZA5LS/install+5.jpg From from - Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present From from featuring works by Brooklyn-based artist Carlos Sandoval de León. This is Sandoval de León’s third solo show at the gallery. Carlos Sandoval de Leon tackles the notions of origin, the symbolic, the folkloric, and erasure by bringing together materials charged with specificity in an instinctive juxtaposition. The materials he selects celebrate the care in every effort: ubiquitous Man with a Van flyers, pink soap, the carefully placed credit card sticker on the bullet-resistant bodega glass, chewed gum, tiny pom-poms hanging faithfully in succession on a length of fringe. Working closely with a team of artisans and friends and drawn by the theoretical space that shapes the physical world, he uses ideas of portraiture along with ritualistic operations and notions, as he intends to map the shape of unseen activity, and provide a better—possible—understanding of where the flatline lies. His objects are in transition, always on their way to becoming complete. In this space, Sandoval de Leon has bisected the gallery with a wall of shelves constructed of lumber, playing with the ideas of presentation and intellectual distance. Here he leaves space for his viewer to instinctively traverse the distance between the work and it’s meaning, high art and the everyday, minutia and artifact. It’s not about what’s there as much as its about what isn’t there; however the absences aren’t eerie as much as they are ripe with a personal history to which we can all relate. Sandoval de Leon asks us to slow down and ruminate on the objects that surround us, both meaningful and banal. Carlos Sandoval de León (b. 1975, Mexico) received his B.F.A. in 1999 from the School of the Art Institute of Chicago, and his M.F.A. in 2008 from Columbia University. He has exhibited both nationally and internationally, in venues including his upcoming exhibition at the ICA Miami, the Museum of Contemporary Art (North Miami, FL), El Museo del Barrio (New York, NY), and the Fischer Landau Center for Art (Long Island City, NY). He is currently teaching fine arts and performing at York College. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585169462467-F6XNYB434UWYEWKGV0MO/install+4.jpg From from - Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present From from featuring works by Brooklyn-based artist Carlos Sandoval de León. This is Sandoval de León’s third solo show at the gallery. Carlos Sandoval de Leon tackles the notions of origin, the symbolic, the folkloric, and erasure by bringing together materials charged with specificity in an instinctive juxtaposition. The materials he selects celebrate the care in every effort: ubiquitous Man with a Van flyers, pink soap, the carefully placed credit card sticker on the bullet-resistant bodega glass, chewed gum, tiny pom-poms hanging faithfully in succession on a length of fringe. Working closely with a team of artisans and friends and drawn by the theoretical space that shapes the physical world, he uses ideas of portraiture along with ritualistic operations and notions, as he intends to map the shape of unseen activity, and provide a better—possible—understanding of where the flatline lies. His objects are in transition, always on their way to becoming complete. In this space, Sandoval de Leon has bisected the gallery with a wall of shelves constructed of lumber, playing with the ideas of presentation and intellectual distance. Here he leaves space for his viewer to instinctively traverse the distance between the work and it’s meaning, high art and the everyday, minutia and artifact. It’s not about what’s there as much as its about what isn’t there; however the absences aren’t eerie as much as they are ripe with a personal history to which we can all relate. Sandoval de Leon asks us to slow down and ruminate on the objects that surround us, both meaningful and banal. Carlos Sandoval de León (b. 1975, Mexico) received his B.F.A. in 1999 from the School of the Art Institute of Chicago, and his M.F.A. in 2008 from Columbia University. He has exhibited both nationally and internationally, in venues including his upcoming exhibition at the ICA Miami, the Museum of Contemporary Art (North Miami, FL), El Museo del Barrio (New York, NY), and the Fischer Landau Center for Art (Long Island City, NY). He is currently teaching fine arts and performing at York College. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585169481561-HOBVX37WUHJPN8KCNV0L/install+6.jpg From from - Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present From from featuring works by Brooklyn-based artist Carlos Sandoval de León. This is Sandoval de León’s third solo show at the gallery. Carlos Sandoval de Leon tackles the notions of origin, the symbolic, the folkloric, and erasure by bringing together materials charged with specificity in an instinctive juxtaposition. The materials he selects celebrate the care in every effort: ubiquitous Man with a Van flyers, pink soap, the carefully placed credit card sticker on the bullet-resistant bodega glass, chewed gum, tiny pom-poms hanging faithfully in succession on a length of fringe. Working closely with a team of artisans and friends and drawn by the theoretical space that shapes the physical world, he uses ideas of portraiture along with ritualistic operations and notions, as he intends to map the shape of unseen activity, and provide a better—possible—understanding of where the flatline lies. His objects are in transition, always on their way to becoming complete. In this space, Sandoval de Leon has bisected the gallery with a wall of shelves constructed of lumber, playing with the ideas of presentation and intellectual distance. Here he leaves space for his viewer to instinctively traverse the distance between the work and it’s meaning, high art and the everyday, minutia and artifact. It’s not about what’s there as much as its about what isn’t there; however the absences aren’t eerie as much as they are ripe with a personal history to which we can all relate. Sandoval de Leon asks us to slow down and ruminate on the objects that surround us, both meaningful and banal. Carlos Sandoval de León (b. 1975, Mexico) received his B.F.A. in 1999 from the School of the Art Institute of Chicago, and his M.F.A. in 2008 from Columbia University. He has exhibited both nationally and internationally, in venues including his upcoming exhibition at the ICA Miami, the Museum of Contemporary Art (North Miami, FL), El Museo del Barrio (New York, NY), and the Fischer Landau Center for Art (Long Island City, NY). He is currently teaching fine arts and performing at York College. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585169490172-KC3F5747DH31KGBSH5FC/install+1.jpg From from - Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present From from featuring works by Brooklyn-based artist Carlos Sandoval de León. This is Sandoval de León’s third solo show at the gallery. Carlos Sandoval de Leon tackles the notions of origin, the symbolic, the folkloric, and erasure by bringing together materials charged with specificity in an instinctive juxtaposition. The materials he selects celebrate the care in every effort: ubiquitous Man with a Van flyers, pink soap, the carefully placed credit card sticker on the bullet-resistant bodega glass, chewed gum, tiny pom-poms hanging faithfully in succession on a length of fringe. Working closely with a team of artisans and friends and drawn by the theoretical space that shapes the physical world, he uses ideas of portraiture along with ritualistic operations and notions, as he intends to map the shape of unseen activity, and provide a better—possible—understanding of where the flatline lies. His objects are in transition, always on their way to becoming complete. In this space, Sandoval de Leon has bisected the gallery with a wall of shelves constructed of lumber, playing with the ideas of presentation and intellectual distance. Here he leaves space for his viewer to instinctively traverse the distance between the work and it’s meaning, high art and the everyday, minutia and artifact. It’s not about what’s there as much as its about what isn’t there; however the absences aren’t eerie as much as they are ripe with a personal history to which we can all relate. Sandoval de Leon asks us to slow down and ruminate on the objects that surround us, both meaningful and banal. Carlos Sandoval de León (b. 1975, Mexico) received his B.F.A. in 1999 from the School of the Art Institute of Chicago, and his M.F.A. in 2008 from Columbia University. He has exhibited both nationally and internationally, in venues including his upcoming exhibition at the ICA Miami, the Museum of Contemporary Art (North Miami, FL), El Museo del Barrio (New York, NY), and the Fischer Landau Center for Art (Long Island City, NY). He is currently teaching fine arts and performing at York College. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585169496701-AAP9X1XEXLVWAVW9L36Y/tank.jpg From from - Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present From from featuring works by Brooklyn-based artist Carlos Sandoval de León. This is Sandoval de León’s third solo show at the gallery. Carlos Sandoval de Leon tackles the notions of origin, the symbolic, the folkloric, and erasure by bringing together materials charged with specificity in an instinctive juxtaposition. The materials he selects celebrate the care in every effort: ubiquitous Man with a Van flyers, pink soap, the carefully placed credit card sticker on the bullet-resistant bodega glass, chewed gum, tiny pom-poms hanging faithfully in succession on a length of fringe. Working closely with a team of artisans and friends and drawn by the theoretical space that shapes the physical world, he uses ideas of portraiture along with ritualistic operations and notions, as he intends to map the shape of unseen activity, and provide a better—possible—understanding of where the flatline lies. His objects are in transition, always on their way to becoming complete. In this space, Sandoval de Leon has bisected the gallery with a wall of shelves constructed of lumber, playing with the ideas of presentation and intellectual distance. Here he leaves space for his viewer to instinctively traverse the distance between the work and it’s meaning, high art and the everyday, minutia and artifact. It’s not about what’s there as much as its about what isn’t there; however the absences aren’t eerie as much as they are ripe with a personal history to which we can all relate. Sandoval de Leon asks us to slow down and ruminate on the objects that surround us, both meaningful and banal. Carlos Sandoval de León (b. 1975, Mexico) received his B.F.A. in 1999 from the School of the Art Institute of Chicago, and his M.F.A. in 2008 from Columbia University. He has exhibited both nationally and internationally, in venues including his upcoming exhibition at the ICA Miami, the Museum of Contemporary Art (North Miami, FL), El Museo del Barrio (New York, NY), and the Fischer Landau Center for Art (Long Island City, NY). He is currently teaching fine arts and performing at York College. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585169541749-2BS9G76I4XP5ZTE8MIRF/install+10.jpg From from - Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Carlos Sandoval de Leon: From from, installation images at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present From from featuring works by Brooklyn-based artist Carlos Sandoval de León. This is Sandoval de León’s third solo show at the gallery. Carlos Sandoval de Leon tackles the notions of origin, the symbolic, the folkloric, and erasure by bringing together materials charged with specificity in an instinctive juxtaposition. The materials he selects celebrate the care in every effort: ubiquitous Man with a Van flyers, pink soap, the carefully placed credit card sticker on the bullet-resistant bodega glass, chewed gum, tiny pom-poms hanging faithfully in succession on a length of fringe. Working closely with a team of artisans and friends and drawn by the theoretical space that shapes the physical world, he uses ideas of portraiture along with ritualistic operations and notions, as he intends to map the shape of unseen activity, and provide a better—possible—understanding of where the flatline lies. His objects are in transition, always on their way to becoming complete. In this space, Sandoval de Leon has bisected the gallery with a wall of shelves constructed of lumber, playing with the ideas of presentation and intellectual distance. Here he leaves space for his viewer to instinctively traverse the distance between the work and it’s meaning, high art and the everyday, minutia and artifact. It’s not about what’s there as much as its about what isn’t there; however the absences aren’t eerie as much as they are ripe with a personal history to which we can all relate. Sandoval de Leon asks us to slow down and ruminate on the objects that surround us, both meaningful and banal. Carlos Sandoval de León (b. 1975, Mexico) received his B.F.A. in 1999 from the School of the Art Institute of Chicago, and his M.F.A. in 2008 from Columbia University. He has exhibited both nationally and internationally, in venues including his upcoming exhibition at the ICA Miami, the Museum of Contemporary Art (North Miami, FL), El Museo del Barrio (New York, NY), and the Fischer Landau Center for Art (Long Island City, NY). He is currently teaching fine arts and performing at York College. https://www.cindyruckergallery.com/inner-canem-et-lupem daily 0.75 2020-10-06 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603297851387-8MEFB8S4V68L2B0H9SCX/IMG_2745.jpg Inter Canem et Lupum - Installation images of works by Adam Hayes from Inter Canem et Lupum, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603297840923-Y87I0XMME482SHUKO3T5/IMG_2747.jpg Inter Canem et Lupum - Installation images of works by Adam Hayes from Inter Canem et Lupum, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603297860655-PZPLV7VTCK66R65K8JPU/IMG_2750.jpg Inter Canem et Lupum - Installation images of works by Adam Hayes from Inter Canem et Lupum, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603297885545-LBM00ERA77NG1U1N6QHT/IMG_2755.jpg Inter Canem et Lupum - Installation images of works by Adam Hayes from Inter Canem et Lupum, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603297886374-R6G46RWG7CR84CDJLHPD/IMG_2758.jpg Inter Canem et Lupum - Installation images of works by Adam Hayes from Inter Canem et Lupum, at Cindy Rucker Gallery https://www.cindyruckergallery.com/curatedbymarkuslinnenbrink daily 0.75 2020-10-06 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603299055839-QBOTKIBKQ3MA73BJ4S9H/install+7.jpg #curatedbymarkuslinnenbrink - #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585172174768-JMV84JN7CE6F6DMWOR34/IMG_0921.JPG #curatedbymarkuslinnenbrink - #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo, Dick Dougherty, #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo, Dick Dougherty, Tal Fitzpatrick, Juan Pablo Garza, Joanne Greenbaum, Carlson Hatton, Daniel Herr, Jen Hitchings, David Huffman, Yasauki Kuroda, Renee Levi, Julius Linnenbrink, Robin Lowe, Songnyeo Lyoo, Irene Mamiye, Tom McFarland, Cyrilla Mozenter, Ryoichi Mizutani, Egan Rice, Daniel Rich, Kimberly Rowe, Nahuel Santiago, Chris Schank, Alberto Simon, Kelli Thompson, Hirosuke Yabe, Maria Magdalena Z’Graggen Instagram was created by Kevin Systrom and Mike Krieger in 2010, and acquired by Facebook in 2012. We all have our love/hate relationships with social media. I remember being pushed by friends to open a Facebook account early in its days to connect. After a week of inactivity and contemplation, I deleted my account. Back then, one could erase your profile completely without trace, unlike today where your data still lives on in Facebook’s digital underbellies. I’ve never regretted it a bit. As an artist, Instagram appealed to me as a strictly visual medium; a constant stream of images useful in the art world for easy access to information and a peek into artists’ studios, more immediate than a website, but still with a distance. Even though Instagram gets modeled by Facebook with algorithms and advertisement, I am still participating, although sometimes I’m on the edge of quitting. I am happy though to have used Instagram as a tool to shape a show that brings together these artists from around the globe. All of the artists in this exhibition were contacted through Instagram, initially invited through DM messaging. I invited equal amounts of female and male artists. The reaction to this first contact had an outcome in the participation and created this particular group of artists. Most artists were excited to participate; some ignored or did not see my request; a few declined or teetered out in the process of arranging a selection of work or shipment. This process is a part of this show, which is deeply personal but is also questioning how choices are made on Instagram. I am very grateful for the trust and enthusiasm of all participating artists, believing in my idea of a dialogue that initiated in the digital but is coming together in the physical space of a gallery. -Markus Linnenbrink New York, November 2018 Markus Linnenbrink (b. 1961, Dortmund, Germany) is a multi-disciplinary artist based in Brooklyn, NY. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585172252181-ALL8ESTODWX0XEV8F75Z/IMG_0916.JPG #curatedbymarkuslinnenbrink - #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo, Dick Dougherty #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo, Dick Dougherty, Tal Fitzpatrick, Juan Pablo Garza, Joanne Greenbaum, Carlson Hatton, Daniel Herr, Jen Hitchings, David Huffman, Yasauki Kuroda, Renee Levi, Julius Linnenbrink, Robin Lowe, Songnyeo Lyoo, Irene Mamiye, Tom McFarland, Cyrilla Mozenter, Ryoichi Mizutani, Egan Rice, Daniel Rich, Kimberly Rowe, Nahuel Santiago, Chris Schank, Alberto Simon, Kelli Thompson, Hirosuke Yabe, Maria Magdalena Z’Graggen Instagram was created by Kevin Systrom and Mike Krieger in 2010, and acquired by Facebook in 2012. We all have our love/hate relationships with social media. I remember being pushed by friends to open a Facebook account early in its days to connect. After a week of inactivity and contemplation, I deleted my account. Back then, one could erase your profile completely without trace, unlike today where your data still lives on in Facebook’s digital underbellies. I’ve never regretted it a bit. As an artist, Instagram appealed to me as a strictly visual medium; a constant stream of images useful in the art world for easy access to information and a peek into artists’ studios, more immediate than a website, but still with a distance. Even though Instagram gets modeled by Facebook with algorithms and advertisement, I am still participating, although sometimes I’m on the edge of quitting. I am happy though to have used Instagram as a tool to shape a show that brings together these artists from around the globe. All of the artists in this exhibition were contacted through Instagram, initially invited through DM messaging. I invited equal amounts of female and male artists. The reaction to this first contact had an outcome in the participation and created this particular group of artists. Most artists were excited to participate; some ignored or did not see my request; a few declined or teetered out in the process of arranging a selection of work or shipment. This process is a part of this show, which is deeply personal but is also questioning how choices are made on Instagram. I am very grateful for the trust and enthusiasm of all participating artists, believing in my idea of a dialogue that initiated in the digital but is coming together in the physical space of a gallery. -Markus Linnenbrink New York, November 2018 Markus Linnenbrink (b. 1961, Dortmund, Germany) is a multi-disciplinary artist based in Brooklyn, NY. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585172191576-S3Z9PF3UP8BDRTGV3370/IMG_0925.JPG #curatedbymarkuslinnenbrink - #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo, Dick Dougherty #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo, Dick Dougherty, Tal Fitzpatrick, Juan Pablo Garza, Joanne Greenbaum, Carlson Hatton, Daniel Herr, Jen Hitchings, David Huffman, Yasauki Kuroda, Renee Levi, Julius Linnenbrink, Robin Lowe, Songnyeo Lyoo, Irene Mamiye, Tom McFarland, Cyrilla Mozenter, Ryoichi Mizutani, Egan Rice, Daniel Rich, Kimberly Rowe, Nahuel Santiago, Chris Schank, Alberto Simon, Kelli Thompson, Hirosuke Yabe, Maria Magdalena Z’Graggen Instagram was created by Kevin Systrom and Mike Krieger in 2010, and acquired by Facebook in 2012. We all have our love/hate relationships with social media. I remember being pushed by friends to open a Facebook account early in its days to connect. After a week of inactivity and contemplation, I deleted my account. Back then, one could erase your profile completely without trace, unlike today where your data still lives on in Facebook’s digital underbellies. I’ve never regretted it a bit. As an artist, Instagram appealed to me as a strictly visual medium; a constant stream of images useful in the art world for easy access to information and a peek into artists’ studios, more immediate than a website, but still with a distance. Even though Instagram gets modeled by Facebook with algorithms and advertisement, I am still participating, although sometimes I’m on the edge of quitting. I am happy though to have used Instagram as a tool to shape a show that brings together these artists from around the globe. All of the artists in this exhibition were contacted through Instagram, initially invited through DM messaging. I invited equal amounts of female and male artists. The reaction to this first contact had an outcome in the participation and created this particular group of artists. Most artists were excited to participate; some ignored or did not see my request; a few declined or teetered out in the process of arranging a selection of work or shipment. This process is a part of this show, which is deeply personal but is also questioning how choices are made on Instagram. I am very grateful for the trust and enthusiasm of all participating artists, believing in my idea of a dialogue that initiated in the digital but is coming together in the physical space of a gallery. -Markus Linnenbrink New York, November 2018 Markus Linnenbrink (b. 1961, Dortmund, Germany) is a multi-disciplinary artist based in Brooklyn, NY. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585172136231-RZDUURSLCLMFTKL9JP30/IMG_0913.JPG #curatedbymarkuslinnenbrink - #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo, Dick Dougherty, Tal Fitzpatrick, Juan Pablo Garza, Joanne Greenbaum, Carlson Hatton, Daniel Herr, Jen Hitchings, David Huffman, Yasauki Kuroda, Renee Levi, Julius Linnenbrink, Robin Lowe, Songnyeo Lyoo, Irene Mamiye, Tom McFarland, Cyrilla Mozenter, Ryoichi Mizutani, Egan Rice, Daniel Rich, Kimberly Rowe, Nahuel Santiago, Chris Schank, Alberto Simon, Kelli Thompson, Hirosuke Yabe, Maria Magdalena Z’Graggen Instagram was created by Kevin Systrom and Mike Krieger in 2010, and acquired by Facebook in 2012. We all have our love/hate relationships with social media. I remember being pushed by friends to open a Facebook account early in its days to connect. After a week of inactivity and contemplation, I deleted my account. Back then, one could erase your profile completely without trace, unlike today where your data still lives on in Facebook’s digital underbellies. I’ve never regretted it a bit. As an artist, Instagram appealed to me as a strictly visual medium; a constant stream of images useful in the art world for easy access to information and a peek into artists’ studios, more immediate than a website, but still with a distance. Even though Instagram gets modeled by Facebook with algorithms and advertisement, I am still participating, although sometimes I’m on the edge of quitting. I am happy though to have used Instagram as a tool to shape a show that brings together these artists from around the globe. All of the artists in this exhibition were contacted through Instagram, initially invited through DM messaging. I invited equal amounts of female and male artists. The reaction to this first contact had an outcome in the participation and created this particular group of artists. Most artists were excited to participate; some ignored or did not see my request; a few declined or teetered out in the process of arranging a selection of work or shipment. This process is a part of this show, which is deeply personal but is also questioning how choices are made on Instagram. I am very grateful for the trust and enthusiasm of all participating artists, believing in my idea of a dialogue that initiated in the digital but is coming together in the physical space of a gallery. -Markus Linnenbrink New York, November 2018 Markus Linnenbrink (b. 1961, Dortmund, Germany) is a multi-disciplinary artist based in Brooklyn, NY. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603299111497-KVLITJKB6TZDM2ROQDP4/install%2B5.jpg #curatedbymarkuslinnenbrink - #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603299055155-8MULID84I37XVTZTNE5W/install+6.jpg #curatedbymarkuslinnenbrink - #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603299057181-NYTD4WF1FATJDDRMTGL2/install3.jpg #curatedbymarkuslinnenbrink - #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603299057913-5P7EXED5C5XR3N7YDOZA/install4.jpg #curatedbymarkuslinnenbrink - #curated by Markus Linnenbrink at Cindy Rucker Gallery installation images, Cynthia Alberto, Dave Bopp, Henri Paul Broyard, Otis Hope Carey, Benjamin Cook, Kat Cox, Michael DeFeo https://www.cindyruckergallery.com/about-how-a-grape-may-float daily 0.75 2020-10-06 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585172761884-6P2PVVW1PPRBUDFSTGQO/Arce2.jpg About how a grape may float in the ocean - Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present the second solo exhibition by Javier Arce (b. 1973, Cantabria, Spain). About how a Grape may float on the Ocean contains two bodies of work that are differently crafted yet closely related. One is a series of assemblages of traditional North African textiles and photographs based on images obtained in Tangiers by Antonio Cavilla, a photographer of Italian origin settled in that city since the late 19th century. These works are titled with the phrase by 15th-century Arab philosopher and scientist Ibn Khaldun, which also serves as the title for the exhibition. The second is a series of collages that begins with the same repertoire of Orientalist images, for it, the artist has chosen a title that reflects Spanish philosopher Santiago Alba Rico's idea: What cannot be looked at becomes an image. With its extreme technical and visual concision, Javier Arce's work draws its complexity from intellectual references that reflect readings in a broad cultural spectrum running from philosophy to anthropology and poetry. The pieces in this exhibition connect references from history and popular material culture to fabric design and flimsy materials, ethnographic photography and aspects of the modernist tradition. In them, he explores different registers of the changing nature of cultural flows, the hybridization and instability of cultural belonging, the unstable relation between center and periphery and the marginal histories and hegemonic discourse of Western modernity. They work with the contrast between the ethnographic data in Cavilla's images, which present a world anchored in the past, and the sophisticated economic aesthetic of the Maghreb's material culture. These works by Javier Arce simultaneously illustrate and question the geographic, political and cultural distances between Arab referents and the Western context. The figuration in Cavilla's photographs have been partially masked among folds of cloth, folded, overlapped or half hidden behind a large lattice as metaphors for unawareness of the other, but also to propose an exercise of attention to the viewer. The effort and satisfaction of grasping these pieces involves unhurried contemplation, and this emerges as the viewer's reward: the more the viewer invests in reading the image, the more gratifying that reading will be. Javier Arce uses this partial concealment as a means of demanding attention, and to combat the anxious and instantaneous consumption of images, seeking a restful reference in the context of contemporary image consumption's escape velocity, because as Santiago Alba Rico also observed: speeding up the world is turning away from it. Javier Arce has turned to the Maghreb in search of what he may not have found among us: fragments of colored cloth, cultural forms that become tradition, a warmth whose feel we no longer recall. A sad paradox of cartography, as the mythical Orient domesticated by colonial impulses—in this case, Northern Morocco—is precisely the West. Maghreb, in Arabic, means the place where the Sun sets, as opposed to Machreq, the place where it rises. This is a terrible confusion of meridians and parallels for a culture like the West, which dreamed of a world made to measure. Marrakech is as Western as Lisbon, and Esauira—a city of Phoenician origin that the Portuguese know as Mogador—is even more Western. There is thus no Orientalism in these images, but rather a descent to the South in search of understanding it. In one of the pieces, a fragment of a photo partially hidden behind a belt from the Atlas Mountains becomes an embrace that hides the other in order to reveal him: a sort of enveloping frame. But unlike that Western device that serves to mark the border between art and everyday life, this cloth twists around it like a serpent, embracing it like a lover to reveal even more than it hides. Javier Arce's play is serious: showing what can no longer be seen because it has lost the base of its meaning, its terrain, the surroundings in which these images once spoke. Once more, "what cannot be looked at becomes an image." Francisco Javier San Martín. Madrid, October 2018 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585172810425-2X5X5G97IWWPLN27HVUF/Arce8.jpg About how a grape may float in the ocean - Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present the second solo exhibition by Javier Arce (b. 1973, Cantabria, Spain). About how a Grape may float on the Ocean contains two bodies of work that are differently crafted yet closely related. One is a series of assemblages of traditional North African textiles and photographs based on images obtained in Tangiers by Antonio Cavilla, a photographer of Italian origin settled in that city since the late 19th century. These works are titled with the phrase by 15th-century Arab philosopher and scientist Ibn Khaldun, which also serves as the title for the exhibition. The second is a series of collages that begins with the same repertoire of Orientalist images, for it, the artist has chosen a title that reflects Spanish philosopher Santiago Alba Rico's idea: What cannot be looked at becomes an image. With its extreme technical and visual concision, Javier Arce's work draws its complexity from intellectual references that reflect readings in a broad cultural spectrum running from philosophy to anthropology and poetry. The pieces in this exhibition connect references from history and popular material culture to fabric design and flimsy materials, ethnographic photography and aspects of the modernist tradition. In them, he explores different registers of the changing nature of cultural flows, the hybridization and instability of cultural belonging, the unstable relation between center and periphery and the marginal histories and hegemonic discourse of Western modernity. They work with the contrast between the ethnographic data in Cavilla's images, which present a world anchored in the past, and the sophisticated economic aesthetic of the Maghreb's material culture. These works by Javier Arce simultaneously illustrate and question the geographic, political and cultural distances between Arab referents and the Western context. The figuration in Cavilla's photographs have been partially masked among folds of cloth, folded, overlapped or half hidden behind a large lattice as metaphors for unawareness of the other, but also to propose an exercise of attention to the viewer. The effort and satisfaction of grasping these pieces involves unhurried contemplation, and this emerges as the viewer's reward: the more the viewer invests in reading the image, the more gratifying that reading will be. Javier Arce uses this partial concealment as a means of demanding attention, and to combat the anxious and instantaneous consumption of images, seeking a restful reference in the context of contemporary image consumption's escape velocity, because as Santiago Alba Rico also observed: speeding up the world is turning away from it. Javier Arce has turned to the Maghreb in search of what he may not have found among us: fragments of colored cloth, cultural forms that become tradition, a warmth whose feel we no longer recall. A sad paradox of cartography, as the mythical Orient domesticated by colonial impulses—in this case, Northern Morocco—is precisely the West. Maghreb, in Arabic, means the place where the Sun sets, as opposed to Machreq, the place where it rises. This is a terrible confusion of meridians and parallels for a culture like the West, which dreamed of a world made to measure. Marrakech is as Western as Lisbon, and Esauira—a city of Phoenician origin that the Portuguese know as Mogador—is even more Western. There is thus no Orientalism in these images, but rather a descent to the South in search of understanding it. In one of the pieces, a fragment of a photo partially hidden behind a belt from the Atlas Mountains becomes an embrace that hides the other in order to reveal him: a sort of enveloping frame. But unlike that Western device that serves to mark the border between art and everyday life, this cloth twists around it like a serpent, embracing it like a lover to reveal even more than it hides. Javier Arce's play is serious: showing what can no longer be seen because it has lost the base of its meaning, its terrain, the surroundings in which these images once spoke. Once more, "what cannot be looked at becomes an image." Francisco Javier San Martín. Madrid, October 2018 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585172779985-QK0KYOAH5A9B5NPRQBD1/Arce5.jpg About how a grape may float in the ocean - Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present the second solo exhibition by Javier Arce (b. 1973, Cantabria, Spain). About how a Grape may float on the Ocean contains two bodies of work that are differently crafted yet closely related. One is a series of assemblages of traditional North African textiles and photographs based on images obtained in Tangiers by Antonio Cavilla, a photographer of Italian origin settled in that city since the late 19th century. These works are titled with the phrase by 15th-century Arab philosopher and scientist Ibn Khaldun, which also serves as the title for the exhibition. The second is a series of collages that begins with the same repertoire of Orientalist images, for it, the artist has chosen a title that reflects Spanish philosopher Santiago Alba Rico's idea: What cannot be looked at becomes an image. With its extreme technical and visual concision, Javier Arce's work draws its complexity from intellectual references that reflect readings in a broad cultural spectrum running from philosophy to anthropology and poetry. The pieces in this exhibition connect references from history and popular material culture to fabric design and flimsy materials, ethnographic photography and aspects of the modernist tradition. In them, he explores different registers of the changing nature of cultural flows, the hybridization and instability of cultural belonging, the unstable relation between center and periphery and the marginal histories and hegemonic discourse of Western modernity. They work with the contrast between the ethnographic data in Cavilla's images, which present a world anchored in the past, and the sophisticated economic aesthetic of the Maghreb's material culture. These works by Javier Arce simultaneously illustrate and question the geographic, political and cultural distances between Arab referents and the Western context. The figuration in Cavilla's photographs have been partially masked among folds of cloth, folded, overlapped or half hidden behind a large lattice as metaphors for unawareness of the other, but also to propose an exercise of attention to the viewer. The effort and satisfaction of grasping these pieces involves unhurried contemplation, and this emerges as the viewer's reward: the more the viewer invests in reading the image, the more gratifying that reading will be. Javier Arce uses this partial concealment as a means of demanding attention, and to combat the anxious and instantaneous consumption of images, seeking a restful reference in the context of contemporary image consumption's escape velocity, because as Santiago Alba Rico also observed: speeding up the world is turning away from it. Javier Arce has turned to the Maghreb in search of what he may not have found among us: fragments of colored cloth, cultural forms that become tradition, a warmth whose feel we no longer recall. A sad paradox of cartography, as the mythical Orient domesticated by colonial impulses—in this case, Northern Morocco—is precisely the West. Maghreb, in Arabic, means the place where the Sun sets, as opposed to Machreq, the place where it rises. This is a terrible confusion of meridians and parallels for a culture like the West, which dreamed of a world made to measure. Marrakech is as Western as Lisbon, and Esauira—a city of Phoenician origin that the Portuguese know as Mogador—is even more Western. There is thus no Orientalism in these images, but rather a descent to the South in search of understanding it. In one of the pieces, a fragment of a photo partially hidden behind a belt from the Atlas Mountains becomes an embrace that hides the other in order to reveal him: a sort of enveloping frame. But unlike that Western device that serves to mark the border between art and everyday life, this cloth twists around it like a serpent, embracing it like a lover to reveal even more than it hides. Javier Arce's play is serious: showing what can no longer be seen because it has lost the base of its meaning, its terrain, the surroundings in which these images once spoke. Once more, "what cannot be looked at becomes an image." Francisco Javier San Martín. Madrid, October 2018 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585172776409-KCIKYNCVMGQ37BP367T8/Arce3.jpg About how a grape may float in the ocean - Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present the second solo exhibition by Javier Arce (b. 1973, Cantabria, Spain). About how a Grape may float on the Ocean contains two bodies of work that are differently crafted yet closely related. One is a series of assemblages of traditional North African textiles and photographs based on images obtained in Tangiers by Antonio Cavilla, a photographer of Italian origin settled in that city since the late 19th century. These works are titled with the phrase by 15th-century Arab philosopher and scientist Ibn Khaldun, which also serves as the title for the exhibition. The second is a series of collages that begins with the same repertoire of Orientalist images, for it, the artist has chosen a title that reflects Spanish philosopher Santiago Alba Rico's idea: What cannot be looked at becomes an image. With its extreme technical and visual concision, Javier Arce's work draws its complexity from intellectual references that reflect readings in a broad cultural spectrum running from philosophy to anthropology and poetry. The pieces in this exhibition connect references from history and popular material culture to fabric design and flimsy materials, ethnographic photography and aspects of the modernist tradition. In them, he explores different registers of the changing nature of cultural flows, the hybridization and instability of cultural belonging, the unstable relation between center and periphery and the marginal histories and hegemonic discourse of Western modernity. They work with the contrast between the ethnographic data in Cavilla's images, which present a world anchored in the past, and the sophisticated economic aesthetic of the Maghreb's material culture. These works by Javier Arce simultaneously illustrate and question the geographic, political and cultural distances between Arab referents and the Western context. The figuration in Cavilla's photographs have been partially masked among folds of cloth, folded, overlapped or half hidden behind a large lattice as metaphors for unawareness of the other, but also to propose an exercise of attention to the viewer. The effort and satisfaction of grasping these pieces involves unhurried contemplation, and this emerges as the viewer's reward: the more the viewer invests in reading the image, the more gratifying that reading will be. Javier Arce uses this partial concealment as a means of demanding attention, and to combat the anxious and instantaneous consumption of images, seeking a restful reference in the context of contemporary image consumption's escape velocity, because as Santiago Alba Rico also observed: speeding up the world is turning away from it. Javier Arce has turned to the Maghreb in search of what he may not have found among us: fragments of colored cloth, cultural forms that become tradition, a warmth whose feel we no longer recall. A sad paradox of cartography, as the mythical Orient domesticated by colonial impulses—in this case, Northern Morocco—is precisely the West. Maghreb, in Arabic, means the place where the Sun sets, as opposed to Machreq, the place where it rises. This is a terrible confusion of meridians and parallels for a culture like the West, which dreamed of a world made to measure. Marrakech is as Western as Lisbon, and Esauira—a city of Phoenician origin that the Portuguese know as Mogador—is even more Western. There is thus no Orientalism in these images, but rather a descent to the South in search of understanding it. In one of the pieces, a fragment of a photo partially hidden behind a belt from the Atlas Mountains becomes an embrace that hides the other in order to reveal him: a sort of enveloping frame. But unlike that Western device that serves to mark the border between art and everyday life, this cloth twists around it like a serpent, embracing it like a lover to reveal even more than it hides. Javier Arce's play is serious: showing what can no longer be seen because it has lost the base of its meaning, its terrain, the surroundings in which these images once spoke. Once more, "what cannot be looked at becomes an image." Francisco Javier San Martín. Madrid, October 2018 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585172823708-NR9N7LK11RNJZR94PNYM/Arce10.jpg About how a grape may float in the ocean - Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present the second solo exhibition by Javier Arce (b. 1973, Cantabria, Spain). About how a Grape may float on the Ocean contains two bodies of work that are differently crafted yet closely related. One is a series of assemblages of traditional North African textiles and photographs based on images obtained in Tangiers by Antonio Cavilla, a photographer of Italian origin settled in that city since the late 19th century. These works are titled with the phrase by 15th-century Arab philosopher and scientist Ibn Khaldun, which also serves as the title for the exhibition. The second is a series of collages that begins with the same repertoire of Orientalist images, for it, the artist has chosen a title that reflects Spanish philosopher Santiago Alba Rico's idea: What cannot be looked at becomes an image. With its extreme technical and visual concision, Javier Arce's work draws its complexity from intellectual references that reflect readings in a broad cultural spectrum running from philosophy to anthropology and poetry. The pieces in this exhibition connect references from history and popular material culture to fabric design and flimsy materials, ethnographic photography and aspects of the modernist tradition. In them, he explores different registers of the changing nature of cultural flows, the hybridization and instability of cultural belonging, the unstable relation between center and periphery and the marginal histories and hegemonic discourse of Western modernity. They work with the contrast between the ethnographic data in Cavilla's images, which present a world anchored in the past, and the sophisticated economic aesthetic of the Maghreb's material culture. These works by Javier Arce simultaneously illustrate and question the geographic, political and cultural distances between Arab referents and the Western context. The figuration in Cavilla's photographs have been partially masked among folds of cloth, folded, overlapped or half hidden behind a large lattice as metaphors for unawareness of the other, but also to propose an exercise of attention to the viewer. The effort and satisfaction of grasping these pieces involves unhurried contemplation, and this emerges as the viewer's reward: the more the viewer invests in reading the image, the more gratifying that reading will be. Javier Arce uses this partial concealment as a means of demanding attention, and to combat the anxious and instantaneous consumption of images, seeking a restful reference in the context of contemporary image consumption's escape velocity, because as Santiago Alba Rico also observed: speeding up the world is turning away from it. Javier Arce has turned to the Maghreb in search of what he may not have found among us: fragments of colored cloth, cultural forms that become tradition, a warmth whose feel we no longer recall. A sad paradox of cartography, as the mythical Orient domesticated by colonial impulses—in this case, Northern Morocco—is precisely the West. Maghreb, in Arabic, means the place where the Sun sets, as opposed to Machreq, the place where it rises. This is a terrible confusion of meridians and parallels for a culture like the West, which dreamed of a world made to measure. Marrakech is as Western as Lisbon, and Esauira—a city of Phoenician origin that the Portuguese know as Mogador—is even more Western. There is thus no Orientalism in these images, but rather a descent to the South in search of understanding it. In one of the pieces, a fragment of a photo partially hidden behind a belt from the Atlas Mountains becomes an embrace that hides the other in order to reveal him: a sort of enveloping frame. But unlike that Western device that serves to mark the border between art and everyday life, this cloth twists around it like a serpent, embracing it like a lover to reveal even more than it hides. Javier Arce's play is serious: showing what can no longer be seen because it has lost the base of its meaning, its terrain, the surroundings in which these images once spoke. Once more, "what cannot be looked at becomes an image." Francisco Javier San Martín. Madrid, October 2018 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585172797082-EW3J5PJL5M8WG76BXC8U/Arce6.jpg About how a grape may float in the ocean - Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Installation images of works by Javier Arce from his exhibition, About how a grape may float on the ocean, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present the second solo exhibition by Javier Arce (b. 1973, Cantabria, Spain). About how a Grape may float on the Ocean contains two bodies of work that are differently crafted yet closely related. One is a series of assemblages of traditional North African textiles and photographs based on images obtained in Tangiers by Antonio Cavilla, a photographer of Italian origin settled in that city since the late 19th century. These works are titled with the phrase by 15th-century Arab philosopher and scientist Ibn Khaldun, which also serves as the title for the exhibition. The second is a series of collages that begins with the same repertoire of Orientalist images, for it, the artist has chosen a title that reflects Spanish philosopher Santiago Alba Rico's idea: What cannot be looked at becomes an image. With its extreme technical and visual concision, Javier Arce's work draws its complexity from intellectual references that reflect readings in a broad cultural spectrum running from philosophy to anthropology and poetry. The pieces in this exhibition connect references from history and popular material culture to fabric design and flimsy materials, ethnographic photography and aspects of the modernist tradition. In them, he explores different registers of the changing nature of cultural flows, the hybridization and instability of cultural belonging, the unstable relation between center and periphery and the marginal histories and hegemonic discourse of Western modernity. They work with the contrast between the ethnographic data in Cavilla's images, which present a world anchored in the past, and the sophisticated economic aesthetic of the Maghreb's material culture. These works by Javier Arce simultaneously illustrate and question the geographic, political and cultural distances between Arab referents and the Western context. The figuration in Cavilla's photographs have been partially masked among folds of cloth, folded, overlapped or half hidden behind a large lattice as metaphors for unawareness of the other, but also to propose an exercise of attention to the viewer. The effort and satisfaction of grasping these pieces involves unhurried contemplation, and this emerges as the viewer's reward: the more the viewer invests in reading the image, the more gratifying that reading will be. Javier Arce uses this partial concealment as a means of demanding attention, and to combat the anxious and instantaneous consumption of images, seeking a restful reference in the context of contemporary image consumption's escape velocity, because as Santiago Alba Rico also observed: speeding up the world is turning away from it. Javier Arce has turned to the Maghreb in search of what he may not have found among us: fragments of colored cloth, cultural forms that become tradition, a warmth whose feel we no longer recall. A sad paradox of cartography, as the mythical Orient domesticated by colonial impulses—in this case, Northern Morocco—is precisely the West. Maghreb, in Arabic, means the place where the Sun sets, as opposed to Machreq, the place where it rises. This is a terrible confusion of meridians and parallels for a culture like the West, which dreamed of a world made to measure. Marrakech is as Western as Lisbon, and Esauira—a city of Phoenician origin that the Portuguese know as Mogador—is even more Western. There is thus no Orientalism in these images, but rather a descent to the South in search of understanding it. In one of the pieces, a fragment of a photo partially hidden behind a belt from the Atlas Mountains becomes an embrace that hides the other in order to reveal him: a sort of enveloping frame. But unlike that Western device that serves to mark the border between art and everyday life, this cloth twists around it like a serpent, embracing it like a lover to reveal even more than it hides. Javier Arce's play is serious: showing what can no longer be seen because it has lost the base of its meaning, its terrain, the surroundings in which these images once spoke. Once more, "what cannot be looked at becomes an image." Francisco Javier San Martín. Madrid, October 2018 https://www.cindyruckergallery.com/afterwards-no-one-will-remember daily 0.75 2020-10-06 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585243725703-WGEIQGJWNID7U0CJVFVV/IMG_9975.jpg Afterwards no one will remember - Installation images of sculpture and video works by Juan Pablo Langlois from his exhibition, Afterwards no one will remember, curated by Paula Solimano, at Cindy Rucker Gallery Installation images of sculpture and video works by Juan Pablo Langlois from his exhibition, Afterwards no one will remember, curated by Paula Solimano, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Afterwards no one will remember, Chilean artist Juan Pablo Langlois’s first solo show in the United States. The exhibition is a selection of sculptures and videos from the early 1980s and 2000s. In Chile during the years preceding the 1973 military coup, and throughout the right-wing dictatorship and return to democracy, Juan Pablo Langlois Vicuña (b. 1936, Santiago, Chile) has directed his shy, yet powerful gaze onto his everyday surroundings, translating it into a silent, solitary practice in his modest studios in Paine and Santiago. Employing a wide range of materials—all of which are low-cost, common, and accessible—he has created a body of work that is both diverse and remarkably consistent. In Afterwards no one will remember, nude lovers ache in desire, pain, and exhaustion, yet stand motionless and undisturbed. Made of tempera, wire, and paper, they appear more crude and real than our own flesh. They’ve been displaced from the margins and exposed in plain sight, forcing us to witness their fall—into despair, into holes, into each other. Then, a series of videos captures the destruction of other sculptural figures. Langlois’s characters are lost to the waves, violent passion, and chaos. But why does he give birth to these fictional creatures, if he insists on sentencing them to death? Already in 1984, Langlois wrote of himself, “Vicuña no longer holds faith in the importance of art, and all of his work is the commitment to that belief.” After creating his videos in 2011—his first exploration of the medium—he said: “I got excited by the act of destroying.” For over fifty years, Juan Pablo Langlois has explored the intersection of body and identity. In his seminal 1969 installation C uerpos Blandos (Soft Bodies), Langlois invaded Chile’s Museo Nacional de Bellas Artes with a 500-foot-long plastic sleeve filled with newspaper, surrounding the cold, smooth neoclassical sculptures and pillars with what looked like a large, pulsating intestine. After going through the second floor, the serpentine sleeve hung out the window and embraced a neighboring palm tree. What began from a place of restlessness and boredom became a milestone, as it positioned itself as the first large-scale installation in Chilean art history. Years later, Langlois’s approach equally turns on the sociological, anthropological, and emotional. Juan Pablo Langlois Vicuña (b. 1936, Santiago, Chile) is widely considered one of Chile’s most important contemporary artists. Throughout his fifty-year career, his work has been featured in group shows in Latin America and in the United States, and in 2012, he was given a retrospective at Santiago’s cultural center Matucana 100, titled J uan Pablo Langlois V. (1969-2012) . His artistic oeuvre has been studied by important scholars such as Andrea Giunta and Ana María Risco, and currently forms part of important public and private collections, including but not limited to Museo Nacional de Bellas Artes (Santiago, Chile), Museo Nacional de Bellas Artes (Caracas, Venezuela), and Princeton University. Paula Solimano is a Brooklyn-based curator and writer originally from Santiago, Chile. She has researched and collaborated with Juan Pablo Langlois Vicuña since 2017, and currently contributes articles and reviews that address inequality in the art world for the Spanish-language contemporary art portal Artishock . Solimano is also an editor and translator of other disciplines, such as economics and poetry. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585243683755-07DZTT7PSTDBJHAEGNRB/IMG_2557.jpg Afterwards no one will remember - Installation images of sculpture and video works by Juan Pablo Langlois from his exhibition, Afterwards no one will remember, curated by Paula Solimano, at Cindy Rucker Gallery Installation images of sculpture and video works by Juan Pablo Langlois from his exhibition, Afterwards no one will remember, curated by Paula Solimano, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Afterwards no one will remember, Chilean artist Juan Pablo Langlois’s first solo show in the United States. The exhibition is a selection of sculptures and videos from the early 1980s and 2000s. In Chile during the years preceding the 1973 military coup, and throughout the right-wing dictatorship and return to democracy, Juan Pablo Langlois Vicuña (b. 1936, Santiago, Chile) has directed his shy, yet powerful gaze onto his everyday surroundings, translating it into a silent, solitary practice in his modest studios in Paine and Santiago. Employing a wide range of materials—all of which are low-cost, common, and accessible—he has created a body of work that is both diverse and remarkably consistent. In Afterwards no one will remember, nude lovers ache in desire, pain, and exhaustion, yet stand motionless and undisturbed. Made of tempera, wire, and paper, they appear more crude and real than our own flesh. They’ve been displaced from the margins and exposed in plain sight, forcing us to witness their fall—into despair, into holes, into each other. Then, a series of videos captures the destruction of other sculptural figures. Langlois’s characters are lost to the waves, violent passion, and chaos. But why does he give birth to these fictional creatures, if he insists on sentencing them to death? Already in 1984, Langlois wrote of himself, “Vicuña no longer holds faith in the importance of art, and all of his work is the commitment to that belief.” After creating his videos in 2011—his first exploration of the medium—he said: “I got excited by the act of destroying.” For over fifty years, Juan Pablo Langlois has explored the intersection of body and identity. In his seminal 1969 installation C uerpos Blandos (Soft Bodies), Langlois invaded Chile’s Museo Nacional de Bellas Artes with a 500-foot-long plastic sleeve filled with newspaper, surrounding the cold, smooth neoclassical sculptures and pillars with what looked like a large, pulsating intestine. After going through the second floor, the serpentine sleeve hung out the window and embraced a neighboring palm tree. What began from a place of restlessness and boredom became a milestone, as it positioned itself as the first large-scale installation in Chilean art history. Years later, Langlois’s approach equally turns on the sociological, anthropological, and emotional. Juan Pablo Langlois Vicuña (b. 1936, Santiago, Chile) is widely considered one of Chile’s most important contemporary artists. Throughout his fifty-year career, his work has been featured in group shows in Latin America and in the United States, and in 2012, he was given a retrospective at Santiago’s cultural center Matucana 100, titled J uan Pablo Langlois V. (1969-2012) . His artistic oeuvre has been studied by important scholars such as Andrea Giunta and Ana María Risco, and currently forms part of important public and private collections, including but not limited to Museo Nacional de Bellas Artes (Santiago, Chile), Museo Nacional de Bellas Artes (Caracas, Venezuela), and Princeton University. Paula Solimano is a Brooklyn-based curator and writer originally from Santiago, Chile. She has researched and collaborated with Juan Pablo Langlois Vicuña since 2017, and currently contributes articles and reviews that address inequality in the art world for the Spanish-language contemporary art portal Artishock . Solimano is also an editor and translator of other disciplines, such as economics and poetry. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585243785338-VNXUH56X5LS376U1IOWD/IMG_9989.jpg Afterwards no one will remember - Installation images of sculpture and video works by Juan Pablo Langlois from his exhibition, Afterwards no one will remember, curated by Paula Solimano, at Cindy Rucker Gallery Installation images of sculpture and video works by Juan Pablo Langlois from his exhibition, Afterwards no one will remember, curated by Paula Solimano, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Afterwards no one will remember, Chilean artist Juan Pablo Langlois’s first solo show in the United States. The exhibition is a selection of sculptures and videos from the early 1980s and 2000s. In Chile during the years preceding the 1973 military coup, and throughout the right-wing dictatorship and return to democracy, Juan Pablo Langlois Vicuña (b. 1936, Santiago, Chile) has directed his shy, yet powerful gaze onto his everyday surroundings, translating it into a silent, solitary practice in his modest studios in Paine and Santiago. Employing a wide range of materials—all of which are low-cost, common, and accessible—he has created a body of work that is both diverse and remarkably consistent. In Afterwards no one will remember, nude lovers ache in desire, pain, and exhaustion, yet stand motionless and undisturbed. Made of tempera, wire, and paper, they appear more crude and real than our own flesh. They’ve been displaced from the margins and exposed in plain sight, forcing us to witness their fall—into despair, into holes, into each other. Then, a series of videos captures the destruction of other sculptural figures. Langlois’s characters are lost to the waves, violent passion, and chaos. But why does he give birth to these fictional creatures, if he insists on sentencing them to death? Already in 1984, Langlois wrote of himself, “Vicuña no longer holds faith in the importance of art, and all of his work is the commitment to that belief.” After creating his videos in 2011—his first exploration of the medium—he said: “I got excited by the act of destroying.” For over fifty years, Juan Pablo Langlois has explored the intersection of body and identity. In his seminal 1969 installation C uerpos Blandos (Soft Bodies), Langlois invaded Chile’s Museo Nacional de Bellas Artes with a 500-foot-long plastic sleeve filled with newspaper, surrounding the cold, smooth neoclassical sculptures and pillars with what looked like a large, pulsating intestine. After going through the second floor, the serpentine sleeve hung out the window and embraced a neighboring palm tree. What began from a place of restlessness and boredom became a milestone, as it positioned itself as the first large-scale installation in Chilean art history. Years later, Langlois’s approach equally turns on the sociological, anthropological, and emotional. Juan Pablo Langlois Vicuña (b. 1936, Santiago, Chile) is widely considered one of Chile’s most important contemporary artists. Throughout his fifty-year career, his work has been featured in group shows in Latin America and in the United States, and in 2012, he was given a retrospective at Santiago’s cultural center Matucana 100, titled J uan Pablo Langlois V. (1969-2012) . His artistic oeuvre has been studied by important scholars such as Andrea Giunta and Ana María Risco, and currently forms part of important public and private collections, including but not limited to Museo Nacional de Bellas Artes (Santiago, Chile), Museo Nacional de Bellas Artes (Caracas, Venezuela), and Princeton University. Paula Solimano is a Brooklyn-based curator and writer originally from Santiago, Chile. She has researched and collaborated with Juan Pablo Langlois Vicuña since 2017, and currently contributes articles and reviews that address inequality in the art world for the Spanish-language contemporary art portal Artishock . Solimano is also an editor and translator of other disciplines, such as economics and poetry. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585243742671-QWI3KEH4FSLYA80S9DVL/IMG_2550.jpg Afterwards no one will remember - Installation images of sculpture and video works by Juan Pablo Langlois from his exhibition, Afterwards no one will remember, curated by Paula Solimano, at Cindy Rucker Gallery Installation images of sculpture and video works by Juan Pablo Langlois from his exhibition, Afterwards no one will remember, curated by Paula Solimano, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Afterwards no one will remember, Chilean artist Juan Pablo Langlois’s first solo show in the United States. The exhibition is a selection of sculptures and videos from the early 1980s and 2000s. In Chile during the years preceding the 1973 military coup, and throughout the right-wing dictatorship and return to democracy, Juan Pablo Langlois Vicuña (b. 1936, Santiago, Chile) has directed his shy, yet powerful gaze onto his everyday surroundings, translating it into a silent, solitary practice in his modest studios in Paine and Santiago. Employing a wide range of materials—all of which are low-cost, common, and accessible—he has created a body of work that is both diverse and remarkably consistent. In Afterwards no one will remember, nude lovers ache in desire, pain, and exhaustion, yet stand motionless and undisturbed. Made of tempera, wire, and paper, they appear more crude and real than our own flesh. They’ve been displaced from the margins and exposed in plain sight, forcing us to witness their fall—into despair, into holes, into each other. Then, a series of videos captures the destruction of other sculptural figures. Langlois’s characters are lost to the waves, violent passion, and chaos. But why does he give birth to these fictional creatures, if he insists on sentencing them to death? Already in 1984, Langlois wrote of himself, “Vicuña no longer holds faith in the importance of art, and all of his work is the commitment to that belief.” After creating his videos in 2011—his first exploration of the medium—he said: “I got excited by the act of destroying.” For over fifty years, Juan Pablo Langlois has explored the intersection of body and identity. In his seminal 1969 installation C uerpos Blandos (Soft Bodies), Langlois invaded Chile’s Museo Nacional de Bellas Artes with a 500-foot-long plastic sleeve filled with newspaper, surrounding the cold, smooth neoclassical sculptures and pillars with what looked like a large, pulsating intestine. After going through the second floor, the serpentine sleeve hung out the window and embraced a neighboring palm tree. What began from a place of restlessness and boredom became a milestone, as it positioned itself as the first large-scale installation in Chilean art history. Years later, Langlois’s approach equally turns on the sociological, anthropological, and emotional. Juan Pablo Langlois Vicuña (b. 1936, Santiago, Chile) is widely considered one of Chile’s most important contemporary artists. Throughout his fifty-year career, his work has been featured in group shows in Latin America and in the United States, and in 2012, he was given a retrospective at Santiago’s cultural center Matucana 100, titled J uan Pablo Langlois V. (1969-2012) . His artistic oeuvre has been studied by important scholars such as Andrea Giunta and Ana María Risco, and currently forms part of important public and private collections, including but not limited to Museo Nacional de Bellas Artes (Santiago, Chile), Museo Nacional de Bellas Artes (Caracas, Venezuela), and Princeton University. Paula Solimano is a Brooklyn-based curator and writer originally from Santiago, Chile. She has researched and collaborated with Juan Pablo Langlois Vicuña since 2017, and currently contributes articles and reviews that address inequality in the art world for the Spanish-language contemporary art portal Artishock . Solimano is also an editor and translator of other disciplines, such as economics and poetry. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585243847567-915R7G4C184XLTK6NKRT/IMG_9974.jpg Afterwards no one will remember - Installation images of sculpture and video works by Juan Pablo Langlois from his exhibition, Afterwards no one will remember, curated by Paula Solimano, at Cindy Rucker Gallery Installation images of sculpture and video works by Juan Pablo Langlois from his exhibition, Afterwards no one will remember, curated by Paula Solimano, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Afterwards no one will remember, Chilean artist Juan Pablo Langlois’s first solo show in the United States. The exhibition is a selection of sculptures and videos from the early 1980s and 2000s. In Chile during the years preceding the 1973 military coup, and throughout the right-wing dictatorship and return to democracy, Juan Pablo Langlois Vicuña (b. 1936, Santiago, Chile) has directed his shy, yet powerful gaze onto his everyday surroundings, translating it into a silent, solitary practice in his modest studios in Paine and Santiago. Employing a wide range of materials—all of which are low-cost, common, and accessible—he has created a body of work that is both diverse and remarkably consistent. In Afterwards no one will remember, nude lovers ache in desire, pain, and exhaustion, yet stand motionless and undisturbed. Made of tempera, wire, and paper, they appear more crude and real than our own flesh. They’ve been displaced from the margins and exposed in plain sight, forcing us to witness their fall—into despair, into holes, into each other. Then, a series of videos captures the destruction of other sculptural figures. Langlois’s characters are lost to the waves, violent passion, and chaos. But why does he give birth to these fictional creatures, if he insists on sentencing them to death? Already in 1984, Langlois wrote of himself, “Vicuña no longer holds faith in the importance of art, and all of his work is the commitment to that belief.” After creating his videos in 2011—his first exploration of the medium—he said: “I got excited by the act of destroying.” For over fifty years, Juan Pablo Langlois has explored the intersection of body and identity. In his seminal 1969 installation C uerpos Blandos (Soft Bodies), Langlois invaded Chile’s Museo Nacional de Bellas Artes with a 500-foot-long plastic sleeve filled with newspaper, surrounding the cold, smooth neoclassical sculptures and pillars with what looked like a large, pulsating intestine. After going through the second floor, the serpentine sleeve hung out the window and embraced a neighboring palm tree. What began from a place of restlessness and boredom became a milestone, as it positioned itself as the first large-scale installation in Chilean art history. Years later, Langlois’s approach equally turns on the sociological, anthropological, and emotional. Juan Pablo Langlois Vicuña (b. 1936, Santiago, Chile) is widely considered one of Chile’s most important contemporary artists. Throughout his fifty-year career, his work has been featured in group shows in Latin America and in the United States, and in 2012, he was given a retrospective at Santiago’s cultural center Matucana 100, titled J uan Pablo Langlois V. (1969-2012) . His artistic oeuvre has been studied by important scholars such as Andrea Giunta and Ana María Risco, and currently forms part of important public and private collections, including but not limited to Museo Nacional de Bellas Artes (Santiago, Chile), Museo Nacional de Bellas Artes (Caracas, Venezuela), and Princeton University. Paula Solimano is a Brooklyn-based curator and writer originally from Santiago, Chile. She has researched and collaborated with Juan Pablo Langlois Vicuña since 2017, and currently contributes articles and reviews that address inequality in the art world for the Spanish-language contemporary art portal Artishock . Solimano is also an editor and translator of other disciplines, such as economics and poetry. https://www.cindyruckergallery.com/paradise-lost daily 0.75 2020-10-06 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602081459214-8NXRAYQYT51FGN5RL7D6/paradise1.jpg Paradise Lost? - Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas, Ernesto Oroza, Onajide Shabaka, Robert Thiele, Rick Ulysse, Susan Weiss, and Purvis Young “Space, like language, is socially constructed; and like the syntax of language, the spatial arrangements of our buildings and communities reflect and reinforce the nature of gender, race, and class relations in society. The uses of both language and space contribute to the power of some groups over others and the maintenance of human inequality” - Leslie Kanes Weisman (Discrimination by Design: A Feminist Critique of the Man-made Environment, 1994) The works selected for this exhibition represent four generations of South Florida artists whose practice is informed and rooted in the geography, community, and multicultural diversity of the region. These are artists who have endured and evolved as South Florida has changed, and yet still transcend the boundaries of expectation. The exhibition offers a glimpse into the prism of South Florida art through sculpture, painting, drawing, audio, and film. The works are derived from many different parts of the region and utilize a variety of concepts and scale. Exhibiting artists include the late Purvis Young, the first real home-grown talent whose prolific and complex work gained international critical acclaim well before the 2000s; Karen Rifas, whose expansive site-specific ephemeral installations have been a trademark and influence on the ever- evolving local scene since the 1970s; Robert Thiele, the first Florida artist to be included in the prestigious Whitney Biennial (1975); Juana Valdes, whose work has been included in various biennials, including the Havana and SITE Santa Fe Biennials. Onajide Shabaka, a visual artist, anthropologist, botanist and writer. A cultural practitioner whose artistic contributions, depth and influence in South Florida are unending. These are only a few of the many practitioners whose works will be highlighted in this glimpse of a Southern Florida collective. - William Cordova William Cordova is an interdisciplinary cultural practitioner born in Lima, Peru. Lives and works Lima/Miami/New York City. He received a BFA from The School of the Art Institute of Chicago, 1996 and an MFA from Yale University, 2004. Cordova been an artist in residence at The Studio Museum in Harlem, American Academy in Berlin, Germany, Museum of Fine Art in Houston’s CORE program, Headlands Center for the Arts, Artpace, Skowhegan School of Painting & Sculpture, Lower Manhattan Cultural Council among others. His work is in the public collection at the Whitney Museum of American Art, Guggenheim Museum, New York, NY, Walker Art Center, Minneapolis, MN, Harvard University, Cambridge, MA, Yale University, New Haven, CT, Museo de Arte de Lima, Lima, Peru, Ellipse Foundation, Cascais, Portugal, Perez Art Museum, Miami, FL, La Casa de las Americas, Havana, Cuba among others. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602081493906-C92CPI70DOB0WYUK7U2H/paradise2.jpg Paradise Lost? - Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas, Ernesto Oroza, Onajide Shabaka, Robert Thiele, Rick Ulysse, Susan Weiss, and Purvis Young “Space, like language, is socially constructed; and like the syntax of language, the spatial arrangements of our buildings and communities reflect and reinforce the nature of gender, race, and class relations in society. The uses of both language and space contribute to the power of some groups over others and the maintenance of human inequality” - Leslie Kanes Weisman (Discrimination by Design: A Feminist Critique of the Man-made Environment, 1994) The works selected for this exhibition represent four generations of South Florida artists whose practice is informed and rooted in the geography, community, and multicultural diversity of the region. These are artists who have endured and evolved as South Florida has changed, and yet still transcend the boundaries of expectation. The exhibition offers a glimpse into the prism of South Florida art through sculpture, painting, drawing, audio, and film. The works are derived from many different parts of the region and utilize a variety of concepts and scale. Exhibiting artists include the late Purvis Young, the first real home-grown talent whose prolific and complex work gained international critical acclaim well before the 2000s; Karen Rifas, whose expansive site-specific ephemeral installations have been a trademark and influence on the ever- evolving local scene since the 1970s; Robert Thiele, the first Florida artist to be included in the prestigious Whitney Biennial (1975); Juana Valdes, whose work has been included in various biennials, including the Havana and SITE Santa Fe Biennials. Onajide Shabaka, a visual artist, anthropologist, botanist and writer. A cultural practitioner whose artistic contributions, depth and influence in South Florida are unending. These are only a few of the many practitioners whose works will be highlighted in this glimpse of a Southern Florida collective. - William Cordova William Cordova is an interdisciplinary cultural practitioner born in Lima, Peru. Lives and works Lima/Miami/New York City. He received a BFA from The School of the Art Institute of Chicago, 1996 and an MFA from Yale University, 2004. Cordova been an artist in residence at The Studio Museum in Harlem, American Academy in Berlin, Germany, Museum of Fine Art in Houston’s CORE program, Headlands Center for the Arts, Artpace, Skowhegan School of Painting & Sculpture, Lower Manhattan Cultural Council among others. His work is in the public collection at the Whitney Museum of American Art, Guggenheim Museum, New York, NY, Walker Art Center, Minneapolis, MN, Harvard University, Cambridge, MA, Yale University, New Haven, CT, Museo de Arte de Lima, Lima, Peru, Ellipse Foundation, Cascais, Portugal, Perez Art Museum, Miami, FL, La Casa de las Americas, Havana, Cuba among others. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602081531506-AAZZQOMAS3RP9WZ0GXHG/paradise3.jpg Paradise Lost? - Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas, Ernesto Oroza, Onajide Shabaka, Robert Thiele, Rick Ulysse, Susan Weiss, and Purvis Young “Space, like language, is socially constructed; and like the syntax of language, the spatial arrangements of our buildings and communities reflect and reinforce the nature of gender, race, and class relations in society. The uses of both language and space contribute to the power of some groups over others and the maintenance of human inequality” - Leslie Kanes Weisman (Discrimination by Design: A Feminist Critique of the Man-made Environment, 1994) The works selected for this exhibition represent four generations of South Florida artists whose practice is informed and rooted in the geography, community, and multicultural diversity of the region. These are artists who have endured and evolved as South Florida has changed, and yet still transcend the boundaries of expectation. The exhibition offers a glimpse into the prism of South Florida art through sculpture, painting, drawing, audio, and film. The works are derived from many different parts of the region and utilize a variety of concepts and scale. Exhibiting artists include the late Purvis Young, the first real home-grown talent whose prolific and complex work gained international critical acclaim well before the 2000s; Karen Rifas, whose expansive site-specific ephemeral installations have been a trademark and influence on the ever- evolving local scene since the 1970s; Robert Thiele, the first Florida artist to be included in the prestigious Whitney Biennial (1975); Juana Valdes, whose work has been included in various biennials, including the Havana and SITE Santa Fe Biennials. Onajide Shabaka, a visual artist, anthropologist, botanist and writer. A cultural practitioner whose artistic contributions, depth and influence in South Florida are unending. These are only a few of the many practitioners whose works will be highlighted in this glimpse of a Southern Florida collective. - William Cordova William Cordova is an interdisciplinary cultural practitioner born in Lima, Peru. Lives and works Lima/Miami/New York City. He received a BFA from The School of the Art Institute of Chicago, 1996 and an MFA from Yale University, 2004. Cordova been an artist in residence at The Studio Museum in Harlem, American Academy in Berlin, Germany, Museum of Fine Art in Houston’s CORE program, Headlands Center for the Arts, Artpace, Skowhegan School of Painting & Sculpture, Lower Manhattan Cultural Council among others. His work is in the public collection at the Whitney Museum of American Art, Guggenheim Museum, New York, NY, Walker Art Center, Minneapolis, MN, Harvard University, Cambridge, MA, Yale University, New Haven, CT, Museo de Arte de Lima, Lima, Peru, Ellipse Foundation, Cascais, Portugal, Perez Art Museum, Miami, FL, La Casa de las Americas, Havana, Cuba among others. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602081562811-TSIDWI0QAUQ13NUWVVCS/paradise4.jpg Paradise Lost? - Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas, Ernesto Oroza, Onajide Shabaka, Robert Thiele, Rick Ulysse, Susan Weiss, and Purvis Young “Space, like language, is socially constructed; and like the syntax of language, the spatial arrangements of our buildings and communities reflect and reinforce the nature of gender, race, and class relations in society. The uses of both language and space contribute to the power of some groups over others and the maintenance of human inequality” - Leslie Kanes Weisman (Discrimination by Design: A Feminist Critique of the Man-made Environment, 1994) The works selected for this exhibition represent four generations of South Florida artists whose practice is informed and rooted in the geography, community, and multicultural diversity of the region. These are artists who have endured and evolved as South Florida has changed, and yet still transcend the boundaries of expectation. The exhibition offers a glimpse into the prism of South Florida art through sculpture, painting, drawing, audio, and film. The works are derived from many different parts of the region and utilize a variety of concepts and scale. Exhibiting artists include the late Purvis Young, the first real home-grown talent whose prolific and complex work gained international critical acclaim well before the 2000s; Karen Rifas, whose expansive site-specific ephemeral installations have been a trademark and influence on the ever- evolving local scene since the 1970s; Robert Thiele, the first Florida artist to be included in the prestigious Whitney Biennial (1975); Juana Valdes, whose work has been included in various biennials, including the Havana and SITE Santa Fe Biennials. Onajide Shabaka, a visual artist, anthropologist, botanist and writer. A cultural practitioner whose artistic contributions, depth and influence in South Florida are unending. These are only a few of the many practitioners whose works will be highlighted in this glimpse of a Southern Florida collective. - William Cordova William Cordova is an interdisciplinary cultural practitioner born in Lima, Peru. Lives and works Lima/Miami/New York City. He received a BFA from The School of the Art Institute of Chicago, 1996 and an MFA from Yale University, 2004. Cordova been an artist in residence at The Studio Museum in Harlem, American Academy in Berlin, Germany, Museum of Fine Art in Houston’s CORE program, Headlands Center for the Arts, Artpace, Skowhegan School of Painting & Sculpture, Lower Manhattan Cultural Council among others. His work is in the public collection at the Whitney Museum of American Art, Guggenheim Museum, New York, NY, Walker Art Center, Minneapolis, MN, Harvard University, Cambridge, MA, Yale University, New Haven, CT, Museo de Arte de Lima, Lima, Peru, Ellipse Foundation, Cascais, Portugal, Perez Art Museum, Miami, FL, La Casa de las Americas, Havana, Cuba among others. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602081590144-LGQ95HGTA095O8P2MZ5M/paradise5.jpg Paradise Lost? - Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas, Ernesto Oroza, Onajide Shabaka, Robert Thiele, Rick Ulysse, Susan Weiss, and Purvis Young “Space, like language, is socially constructed; and like the syntax of language, the spatial arrangements of our buildings and communities reflect and reinforce the nature of gender, race, and class relations in society. The uses of both language and space contribute to the power of some groups over others and the maintenance of human inequality” - Leslie Kanes Weisman (Discrimination by Design: A Feminist Critique of the Man-made Environment, 1994) The works selected for this exhibition represent four generations of South Florida artists whose practice is informed and rooted in the geography, community, and multicultural diversity of the region. These are artists who have endured and evolved as South Florida has changed, and yet still transcend the boundaries of expectation. The exhibition offers a glimpse into the prism of South Florida art through sculpture, painting, drawing, audio, and film. The works are derived from many different parts of the region and utilize a variety of concepts and scale. Exhibiting artists include the late Purvis Young, the first real home-grown talent whose prolific and complex work gained international critical acclaim well before the 2000s; Karen Rifas, whose expansive site-specific ephemeral installations have been a trademark and influence on the ever- evolving local scene since the 1970s; Robert Thiele, the first Florida artist to be included in the prestigious Whitney Biennial (1975); Juana Valdes, whose work has been included in various biennials, including the Havana and SITE Santa Fe Biennials. Onajide Shabaka, a visual artist, anthropologist, botanist and writer. A cultural practitioner whose artistic contributions, depth and influence in South Florida are unending. These are only a few of the many practitioners whose works will be highlighted in this glimpse of a Southern Florida collective. - William Cordova William Cordova is an interdisciplinary cultural practitioner born in Lima, Peru. Lives and works Lima/Miami/New York City. He received a BFA from The School of the Art Institute of Chicago, 1996 and an MFA from Yale University, 2004. Cordova been an artist in residence at The Studio Museum in Harlem, American Academy in Berlin, Germany, Museum of Fine Art in Houston’s CORE program, Headlands Center for the Arts, Artpace, Skowhegan School of Painting & Sculpture, Lower Manhattan Cultural Council among others. His work is in the public collection at the Whitney Museum of American Art, Guggenheim Museum, New York, NY, Walker Art Center, Minneapolis, MN, Harvard University, Cambridge, MA, Yale University, New Haven, CT, Museo de Arte de Lima, Lima, Peru, Ellipse Foundation, Cascais, Portugal, Perez Art Museum, Miami, FL, La Casa de las Americas, Havana, Cuba among others. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602081654123-NK335J3ZI164X15B6ZYI/paradise6.jpg Paradise Lost? - Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas Paradise Lost? The Alchemy of the Everyday, curated by William Cordova at Cindy Rucker Gallery, featuring works by Yanira Collado, Lou Anne Colodny, Juana Valdes, Charo Oquet, Karen Rifas, Ernesto Oroza, Onajide Shabaka, Robert Thiele, Rick Ulysse, Susan Weiss, and Purvis Young “Space, like language, is socially constructed; and like the syntax of language, the spatial arrangements of our buildings and communities reflect and reinforce the nature of gender, race, and class relations in society. The uses of both language and space contribute to the power of some groups over others and the maintenance of human inequality” - Leslie Kanes Weisman (Discrimination by Design: A Feminist Critique of the Man-made Environment, 1994) The works selected for this exhibition represent four generations of South Florida artists whose practice is informed and rooted in the geography, community, and multicultural diversity of the region. These are artists who have endured and evolved as South Florida has changed, and yet still transcend the boundaries of expectation. The exhibition offers a glimpse into the prism of South Florida art through sculpture, painting, drawing, audio, and film. The works are derived from many different parts of the region and utilize a variety of concepts and scale. Exhibiting artists include the late Purvis Young, the first real home-grown talent whose prolific and complex work gained international critical acclaim well before the 2000s; Karen Rifas, whose expansive site-specific ephemeral installations have been a trademark and influence on the ever- evolving local scene since the 1970s; Robert Thiele, the first Florida artist to be included in the prestigious Whitney Biennial (1975); Juana Valdes, whose work has been included in various biennials, including the Havana and SITE Santa Fe Biennials. Onajide Shabaka, a visual artist, anthropologist, botanist and writer. A cultural practitioner whose artistic contributions, depth and influence in South Florida are unending. These are only a few of the many practitioners whose works will be highlighted in this glimpse of a Southern Florida collective. - William Cordova William Cordova is an interdisciplinary cultural practitioner born in Lima, Peru. Lives and works Lima/Miami/New York City. He received a BFA from The School of the Art Institute of Chicago, 1996 and an MFA from Yale University, 2004. Cordova been an artist in residence at The Studio Museum in Harlem, American Academy in Berlin, Germany, Museum of Fine Art in Houston’s CORE program, Headlands Center for the Arts, Artpace, Skowhegan School of Painting & Sculpture, Lower Manhattan Cultural Council among others. His work is in the public collection at the Whitney Museum of American Art, Guggenheim Museum, New York, NY, Walker Art Center, Minneapolis, MN, Harvard University, Cambridge, MA, Yale University, New Haven, CT, Museo de Arte de Lima, Lima, Peru, Ellipse Foundation, Cascais, Portugal, Perez Art Museum, Miami, FL, La Casa de las Americas, Havana, Cuba among others. https://www.cindyruckergallery.com/knowledge-comes-with-deaths-release daily 0.75 2020-10-07 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602086845416-6QPXFOBXFR2C9MYPLP03/IMG_8633.jpg Knowledge Comes with Death's Release - Installation images of works by Beate Geissler/Oliver Sann from Knowledge Comes with Death’s Release at Cindy Rucker Gallery Installation images of works by Beate Geissler/Oliver Sann from Knowledge Comes with Death’s Release at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Knowledge Comes with Death’s Release featuring works by artist-duo Beate Geissler and Oliver Sann. This is the artists’ second show at the gallery. Despite their ubiquity and naïve promise of infinite companionship, technological products abandon us. The screens that deliver information and entertainment succumb to their fragility to reveal their mortal secrets previously hidden behind the black mirror. In these otherwise discarded objects, Geissler/Sann find reason to celebrate the patternless logic of these mechanical conflicts; the phosphors that once effortlessly composed the most intricate details are minimized to large swaths of ultramarine and vermillion. Horseshoe crabs, perhaps our longest partners, also threaten to depart: while their origin dates back to four hundred and eighty-five million years ago and they have survived at least a dozen extinctions, their population is dwindling due to overfishing for food and bait, and the harvesting of their blue blood for scientific purposes. As these ancient creatures are impossible to raise to adulthood while in captivity, their mortality in the blood-letting process stems from the amount of blood drawn and the stress experienced during handling and transport. In this exhibition aptly titled from David Bowie’s Nietzschean rock ballad Quicksand, Geissler/ Sann explore the beauty in the frail tension between scientific advancement, nature and those that inhabit both spaces simultaneously. Alongside the large panel sized prints lay two screens: one depicts a horseshoe crab’s slow traverse and the other etched with a centuries old geocentric map. Visual parallels between the circular map and the crab’s carapace underscore the parallels between the “center of the universe” attitude of humankind and the near casualty of the ancient creature alongside. Altogether, the photographs and videos on display are the result of a post-apocalyptical landscape in which both objects and subjects have cracked. However, while their cracks manifest mechanical stress, it is difficult to determine whether to interpret their image as death, weakness, or perhaps strength, like leaves with their guiding lines for growth. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602086866969-3EQPSWWI5BA7KCTH8QHR/IMG_8642.jpg Knowledge Comes with Death's Release - Installation images of works by Beate Geissler/Oliver Sann from Knowledge Comes with Death’s Release at Cindy Rucker Gallery Installation images of works by Beate Geissler/Oliver Sann from Knowledge Comes with Death’s Release at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Knowledge Comes with Death’s Release featuring works by artist-duo Beate Geissler and Oliver Sann. This is the artists’ second show at the gallery. Despite their ubiquity and naïve promise of infinite companionship, technological products abandon us. The screens that deliver information and entertainment succumb to their fragility to reveal their mortal secrets previously hidden behind the black mirror. In these otherwise discarded objects, Geissler/Sann find reason to celebrate the patternless logic of these mechanical conflicts; the phosphors that once effortlessly composed the most intricate details are minimized to large swaths of ultramarine and vermillion. Horseshoe crabs, perhaps our longest partners, also threaten to depart: while their origin dates back to four hundred and eighty-five million years ago and they have survived at least a dozen extinctions, their population is dwindling due to overfishing for food and bait, and the harvesting of their blue blood for scientific purposes. As these ancient creatures are impossible to raise to adulthood while in captivity, their mortality in the blood-letting process stems from the amount of blood drawn and the stress experienced during handling and transport. In this exhibition aptly titled from David Bowie’s Nietzschean rock ballad Quicksand, Geissler/ Sann explore the beauty in the frail tension between scientific advancement, nature and those that inhabit both spaces simultaneously. Alongside the large panel sized prints lay two screens: one depicts a horseshoe crab’s slow traverse and the other etched with a centuries old geocentric map. Visual parallels between the circular map and the crab’s carapace underscore the parallels between the “center of the universe” attitude of humankind and the near casualty of the ancient creature alongside. Altogether, the photographs and videos on display are the result of a post-apocalyptical landscape in which both objects and subjects have cracked. However, while their cracks manifest mechanical stress, it is difficult to determine whether to interpret their image as death, weakness, or perhaps strength, like leaves with their guiding lines for growth. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602086882425-R0F41HDQC2PWBVDVH8SD/IMG_8653.jpg Knowledge Comes with Death's Release - Installation images of works by Beate Geissler/Oliver Sann from Knowledge Comes with Death’s Release at Cindy Rucker Gallery Installation images of works by Beate Geissler/Oliver Sann from Knowledge Comes with Death’s Release at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Knowledge Comes with Death’s Release featuring works by artist-duo Beate Geissler and Oliver Sann. This is the artists’ second show at the gallery. Despite their ubiquity and naïve promise of infinite companionship, technological products abandon us. The screens that deliver information and entertainment succumb to their fragility to reveal their mortal secrets previously hidden behind the black mirror. In these otherwise discarded objects, Geissler/Sann find reason to celebrate the patternless logic of these mechanical conflicts; the phosphors that once effortlessly composed the most intricate details are minimized to large swaths of ultramarine and vermillion. Horseshoe crabs, perhaps our longest partners, also threaten to depart: while their origin dates back to four hundred and eighty-five million years ago and they have survived at least a dozen extinctions, their population is dwindling due to overfishing for food and bait, and the harvesting of their blue blood for scientific purposes. As these ancient creatures are impossible to raise to adulthood while in captivity, their mortality in the blood-letting process stems from the amount of blood drawn and the stress experienced during handling and transport. In this exhibition aptly titled from David Bowie’s Nietzschean rock ballad Quicksand, Geissler/ Sann explore the beauty in the frail tension between scientific advancement, nature and those that inhabit both spaces simultaneously. Alongside the large panel sized prints lay two screens: one depicts a horseshoe crab’s slow traverse and the other etched with a centuries old geocentric map. Visual parallels between the circular map and the crab’s carapace underscore the parallels between the “center of the universe” attitude of humankind and the near casualty of the ancient creature alongside. Altogether, the photographs and videos on display are the result of a post-apocalyptical landscape in which both objects and subjects have cracked. However, while their cracks manifest mechanical stress, it is difficult to determine whether to interpret their image as death, weakness, or perhaps strength, like leaves with their guiding lines for growth. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585248187073-U4QFT8DACX34RAP0LCU1/IMG_8630.JPG Knowledge Comes with Death's Release - Installation images of works by Beate Geissler/Oliver Sann from Knowledge Comes with Death’s Release at Cindy Rucker Gallery Installation images of works by Beate Geissler/Oliver Sann from Knowledge Comes with Death’s Release at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Knowledge Comes with Death’s Release featuring works by artist-duo Beate Geissler and Oliver Sann. This is the artists’ second show at the gallery. Despite their ubiquity and naïve promise of infinite companionship, technological products abandon us. The screens that deliver information and entertainment succumb to their fragility to reveal their mortal secrets previously hidden behind the black mirror. In these otherwise discarded objects, Geissler/Sann find reason to celebrate the patternless logic of these mechanical conflicts; the phosphors that once effortlessly composed the most intricate details are minimized to large swaths of ultramarine and vermillion. Horseshoe crabs, perhaps our longest partners, also threaten to depart: while their origin dates back to four hundred and eighty-five million years ago and they have survived at least a dozen extinctions, their population is dwindling due to overfishing for food and bait, and the harvesting of their blue blood for scientific purposes. As these ancient creatures are impossible to raise to adulthood while in captivity, their mortality in the blood-letting process stems from the amount of blood drawn and the stress experienced during handling and transport. In this exhibition aptly titled from David Bowie’s Nietzschean rock ballad Quicksand, Geissler/ Sann explore the beauty in the frail tension between scientific advancement, nature and those that inhabit both spaces simultaneously. Alongside the large panel sized prints lay two screens: one depicts a horseshoe crab’s slow traverse and the other etched with a centuries old geocentric map. Visual parallels between the circular map and the crab’s carapace underscore the parallels between the “center of the universe” attitude of humankind and the near casualty of the ancient creature alongside. Altogether, the photographs and videos on display are the result of a post-apocalyptical landscape in which both objects and subjects have cracked. However, while their cracks manifest mechanical stress, it is difficult to determine whether to interpret their image as death, weakness, or perhaps strength, like leaves with their guiding lines for growth. https://www.cindyruckergallery.com/out-of-the-box daily 0.75 2020-10-07 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602099020778-RU4QKZQBE03HT7D4CE2B/_IMG_2273.jpg Out of the Box - Installation image of sculptures by Gereon Krebber from, Out of the box, at Cindy Rucker Gallery Installation image of sculptures by Gereon Krebber from, Out of the box, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Out of the Box featuring works by Colognebased artist Gereon Krebber. This is Krebber’s fourth solo show at the gallery. Each work arises as “a dichotomy which has become sculpture,” between funny and revolting, pleasing and disturbing. The box shapes are contrasted with their strange inside; organic lumps seem to be caught gushing out. Covered with straws of polyurethane foam, their metallic hues with flesh colors give them a feeling of decay yet at the same time shine. In an attempt to disengage his works from the idea of the white cube and rejecting the classic paradigms of sculpture, Krebber compels the audience in sensory, nonintellectual ways, revealing the organic cycles that affect artworks and the spaces they inhabit. The sculptures’ measurements take a staunch from the feminine body ideal of 90-60-90, however, rather than delivering promising curves, their content is strangely bubbling and overflowing, countering our expectations. Gereon Krebber (b. 1973, Germany) received his B.F.A. in 2000 from the Art Academy of Düsseldorf, and his M.F.A. in 2002 from the Royal College of Art, London. Recent solo shows include Antagomorph at the Museum DKM, Duisburg, and Hat da nicht gerade was gezuckt at the Kunstmuseum, Gelsenkirchen. He has been commissioned several public sculptures, and has been a guest professor and lecturer in different universities around Europe. Currently, he teaches sculpture at the Kunstakademie Düsseldorf. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602099042701-2YAGLLGNPAAJFE59ZKII/_IMG_2279.jpg Out of the Box - Installation image of sculptures by Gereon Krebber from his 2018 exhibition, Out of the box, at Cindy Rucker Gallery Installation image of sculptures by Gereon Krebber from his 2018 exhibition, Out of the box, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Out of the Box featuring works by Colognebased artist Gereon Krebber. This is Krebber’s fourth solo show at the gallery. Each work arises as “a dichotomy which has become sculpture,” between funny and revolting, pleasing and disturbing. The box shapes are contrasted with their strange inside; organic lumps seem to be caught gushing out. Covered with straws of polyurethane foam, their metallic hues with flesh colors give them a feeling of decay yet at the same time shine. In an attempt to disengage his works from the idea of the white cube and rejecting the classic paradigms of sculpture, Krebber compels the audience in sensory, nonintellectual ways, revealing the organic cycles that affect artworks and the spaces they inhabit. The sculptures’ measurements take a staunch from the feminine body ideal of 90-60-90, however, rather than delivering promising curves, their content is strangely bubbling and overflowing, countering our expectations. Gereon Krebber (b. 1973, Germany) received his B.F.A. in 2000 from the Art Academy of Düsseldorf, and his M.F.A. in 2002 from the Royal College of Art, London. Recent solo shows include Antagomorph at the Museum DKM, Duisburg, and Hat da nicht gerade was gezuckt at the Kunstmuseum, Gelsenkirchen. He has been commissioned several public sculptures, and has been a guest professor and lecturer in different universities around Europe. Currently, he teaches sculpture at the Kunstakademie Düsseldorf. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602099072398-ASSXP2XR1D6OO9RUL0D0/_IMG_2284.jpg Out of the Box - Installation image of sculptures by Gereon Krebber from his 2018 exhibition, Out of the box, at Cindy Rucker Gallery Installation image of sculptures by Gereon Krebber from his 2018 exhibition, Out of the box, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Out of the Box featuring works by Colognebased artist Gereon Krebber. This is Krebber’s fourth solo show at the gallery. Each work arises as “a dichotomy which has become sculpture,” between funny and revolting, pleasing and disturbing. The box shapes are contrasted with their strange inside; organic lumps seem to be caught gushing out. Covered with straws of polyurethane foam, their metallic hues with flesh colors give them a feeling of decay yet at the same time shine. In an attempt to disengage his works from the idea of the white cube and rejecting the classic paradigms of sculpture, Krebber compels the audience in sensory, nonintellectual ways, revealing the organic cycles that affect artworks and the spaces they inhabit. The sculptures’ measurements take a staunch from the feminine body ideal of 90-60-90, however, rather than delivering promising curves, their content is strangely bubbling and overflowing, countering our expectations. Gereon Krebber (b. 1973, Germany) received his B.F.A. in 2000 from the Art Academy of Düsseldorf, and his M.F.A. in 2002 from the Royal College of Art, London. Recent solo shows include Antagomorph at the Museum DKM, Duisburg, and Hat da nicht gerade was gezuckt at the Kunstmuseum, Gelsenkirchen. He has been commissioned several public sculptures, and has been a guest professor and lecturer in different universities around Europe. Currently, he teaches sculpture at the Kunstakademie Düsseldorf. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602099096983-VFTWPZU4HIBBHTOO4SD3/_IMG_2349.jpg Out of the Box - Installation image of sculptures by Gereon Krebber from his 2018 exhibition, Out of the box, at Cindy Rucker Gallery Installation image of sculptures by Gereon Krebber from his 2018 exhibition, Out of the box, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Out of the Box featuring works by Colognebased artist Gereon Krebber. This is Krebber’s fourth solo show at the gallery. Each work arises as “a dichotomy which has become sculpture,” between funny and revolting, pleasing and disturbing. The box shapes are contrasted with their strange inside; organic lumps seem to be caught gushing out. Covered with straws of polyurethane foam, their metallic hues with flesh colors give them a feeling of decay yet at the same time shine. In an attempt to disengage his works from the idea of the white cube and rejecting the classic paradigms of sculpture, Krebber compels the audience in sensory, nonintellectual ways, revealing the organic cycles that affect artworks and the spaces they inhabit. The sculptures’ measurements take a staunch from the feminine body ideal of 90-60-90, however, rather than delivering promising curves, their content is strangely bubbling and overflowing, countering our expectations. Gereon Krebber (b. 1973, Germany) received his B.F.A. in 2000 from the Art Academy of Düsseldorf, and his M.F.A. in 2002 from the Royal College of Art, London. Recent solo shows include Antagomorph at the Museum DKM, Duisburg, and Hat da nicht gerade was gezuckt at the Kunstmuseum, Gelsenkirchen. He has been commissioned several public sculptures, and has been a guest professor and lecturer in different universities around Europe. Currently, he teaches sculpture at the Kunstakademie Düsseldorf. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585248804409-68WQHZCE19R4D0T8QJ6K/_IMG_2320.jpg Out of the Box - Installation image of sculptures by Gereon Krebber from his 2018 exhibition, Out of the box, at Cindy Rucker Gallery Installation image of sculptures by Gereon Krebber from his 2018 exhibition, Out of the box, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Out of the Box featuring works by Colognebased artist Gereon Krebber. This is Krebber’s fourth solo show at the gallery. Each work arises as “a dichotomy which has become sculpture,” between funny and revolting, pleasing and disturbing. The box shapes are contrasted with their strange inside; organic lumps seem to be caught gushing out. Covered with straws of polyurethane foam, their metallic hues with flesh colors give them a feeling of decay yet at the same time shine. In an attempt to disengage his works from the idea of the white cube and rejecting the classic paradigms of sculpture, Krebber compels the audience in sensory, nonintellectual ways, revealing the organic cycles that affect artworks and the spaces they inhabit. The sculptures’ measurements take a staunch from the feminine body ideal of 90-60-90, however, rather than delivering promising curves, their content is strangely bubbling and overflowing, countering our expectations. Gereon Krebber (b. 1973, Germany) received his B.F.A. in 2000 from the Art Academy of Düsseldorf, and his M.F.A. in 2002 from the Royal College of Art, London. Recent solo shows include Antagomorph at the Museum DKM, Duisburg, and Hat da nicht gerade was gezuckt at the Kunstmuseum, Gelsenkirchen. He has been commissioned several public sculptures, and has been a guest professor and lecturer in different universities around Europe. Currently, he teaches sculpture at the Kunstakademie Düsseldorf. https://www.cindyruckergallery.com/faithful-dog-man daily 0.75 2020-10-07 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585249062071-RMSVK049KJ2CXH64M3H5/DSC_0067.jpg Faithful Dog Man - Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Faithful Dog Man, featuring works by Hirosuke Yabe. This is his first solo exhibition in New York and in the United States. Based in Kanagawa Japan, Hirosuke Yabe creates wooden sculptures using a nata, a Japanese hatchet. With quick, short chops, Yabe conjures a menagerie of human expressions. Ranging in size from just a few inches to several feet high, he stacks faces atop faces, carves a smirk onto a dog, gives 6 legs to a torso blowing a kiss through articulated lips. Like Enkū, the Japanese Buddhist sculptor who carved 120,000 statutes, although some pieces reflect a series of work, no two sculptures are ever truly alike. Formally trained at Tokyo Zokei University, Yabe cites Eduardo Chilida, Richard Serra, the Mono-ha, and African masks among his early influences. As African masks symbolize a spirit, Yabe’s sculptures not only draw from the abstracted geometry of their forms as many Western art movements have, but they also address the universality of the human experience. After the 2011 Japanese earthquake and consequent tsunami and nuclear power plant meltdown, Yabe saw “that the ideal was broken and that our "modernity" had been driving it.” His work shifted from the more formal to an investigation. “What is it to be human? What is the human being?” the artist asks. The resulting pieces are animals, people, anthropomorphic creatures, even monsters, but all are metaphors of the human condition. They are silly, funny, cute, foolish, lovely, sweet. We connect with these pieces in different ways: my favorite is not necessarily your favorite. In our divided time, Hirosuke Yabe’s work is here to remind human kind of our humanity. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585249062127-BWRRFD822GFZKF67J0VJ/DSC_0072.jpg Faithful Dog Man - Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Faithful Dog Man, featuring works by Hirosuke Yabe. This is his first solo exhibition in New York and in the United States. Based in Kanagawa Japan, Hirosuke Yabe creates wooden sculptures using a nata, a Japanese hatchet. With quick, short chops, Yabe conjures a menagerie of human expressions. Ranging in size from just a few inches to several feet high, he stacks faces atop faces, carves a smirk onto a dog, gives 6 legs to a torso blowing a kiss through articulated lips. Like Enkū, the Japanese Buddhist sculptor who carved 120,000 statutes, although some pieces reflect a series of work, no two sculptures are ever truly alike. Formally trained at Tokyo Zokei University, Yabe cites Eduardo Chilida, Richard Serra, the Mono-ha, and African masks among his early influences. As African masks symbolize a spirit, Yabe’s sculptures not only draw from the abstracted geometry of their forms as many Western art movements have, but they also address the universality of the human experience. After the 2011 Japanese earthquake and consequent tsunami and nuclear power plant meltdown, Yabe saw “that the ideal was broken and that our "modernity" had been driving it.” His work shifted from the more formal to an investigation. “What is it to be human? What is the human being?” the artist asks. The resulting pieces are animals, people, anthropomorphic creatures, even monsters, but all are metaphors of the human condition. They are silly, funny, cute, foolish, lovely, sweet. We connect with these pieces in different ways: my favorite is not necessarily your favorite. In our divided time, Hirosuke Yabe’s work is here to remind human kind of our humanity. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585249063604-RGXAQSEI06QLUIWI2F50/DSC_0076.jpg Faithful Dog Man - Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Faithful Dog Man, featuring works by Hirosuke Yabe. This is his first solo exhibition in New York and in the United States. Based in Kanagawa Japan, Hirosuke Yabe creates wooden sculptures using a nata, a Japanese hatchet. With quick, short chops, Yabe conjures a menagerie of human expressions. Ranging in size from just a few inches to several feet high, he stacks faces atop faces, carves a smirk onto a dog, gives 6 legs to a torso blowing a kiss through articulated lips. Like Enkū, the Japanese Buddhist sculptor who carved 120,000 statutes, although some pieces reflect a series of work, no two sculptures are ever truly alike. Formally trained at Tokyo Zokei University, Yabe cites Eduardo Chilida, Richard Serra, the Mono-ha, and African masks among his early influences. As African masks symbolize a spirit, Yabe’s sculptures not only draw from the abstracted geometry of their forms as many Western art movements have, but they also address the universality of the human experience. After the 2011 Japanese earthquake and consequent tsunami and nuclear power plant meltdown, Yabe saw “that the ideal was broken and that our "modernity" had been driving it.” His work shifted from the more formal to an investigation. “What is it to be human? What is the human being?” the artist asks. The resulting pieces are animals, people, anthropomorphic creatures, even monsters, but all are metaphors of the human condition. They are silly, funny, cute, foolish, lovely, sweet. We connect with these pieces in different ways: my favorite is not necessarily your favorite. In our divided time, Hirosuke Yabe’s work is here to remind human kind of our humanity. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585249063588-VTK6MVOCSO8MG1V1X0AC/DSC_0079.jpg Faithful Dog Man - Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Faithful Dog Man, featuring works by Hirosuke Yabe. This is his first solo exhibition in New York and in the United States. Based in Kanagawa Japan, Hirosuke Yabe creates wooden sculptures using a nata, a Japanese hatchet. With quick, short chops, Yabe conjures a menagerie of human expressions. Ranging in size from just a few inches to several feet high, he stacks faces atop faces, carves a smirk onto a dog, gives 6 legs to a torso blowing a kiss through articulated lips. Like Enkū, the Japanese Buddhist sculptor who carved 120,000 statutes, although some pieces reflect a series of work, no two sculptures are ever truly alike. Formally trained at Tokyo Zokei University, Yabe cites Eduardo Chilida, Richard Serra, the Mono-ha, and African masks among his early influences. As African masks symbolize a spirit, Yabe’s sculptures not only draw from the abstracted geometry of their forms as many Western art movements have, but they also address the universality of the human experience. After the 2011 Japanese earthquake and consequent tsunami and nuclear power plant meltdown, Yabe saw “that the ideal was broken and that our "modernity" had been driving it.” His work shifted from the more formal to an investigation. “What is it to be human? What is the human being?” the artist asks. The resulting pieces are animals, people, anthropomorphic creatures, even monsters, but all are metaphors of the human condition. They are silly, funny, cute, foolish, lovely, sweet. We connect with these pieces in different ways: my favorite is not necessarily your favorite. In our divided time, Hirosuke Yabe’s work is here to remind human kind of our humanity. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585249064886-7NK2IFA1ZWM1L3OXCX1F/DSC_0088.jpg Faithful Dog Man - Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Faithful Dog Man, featuring works by Hirosuke Yabe. This is his first solo exhibition in New York and in the United States. Based in Kanagawa Japan, Hirosuke Yabe creates wooden sculptures using a nata, a Japanese hatchet. With quick, short chops, Yabe conjures a menagerie of human expressions. Ranging in size from just a few inches to several feet high, he stacks faces atop faces, carves a smirk onto a dog, gives 6 legs to a torso blowing a kiss through articulated lips. Like Enkū, the Japanese Buddhist sculptor who carved 120,000 statutes, although some pieces reflect a series of work, no two sculptures are ever truly alike. Formally trained at Tokyo Zokei University, Yabe cites Eduardo Chilida, Richard Serra, the Mono-ha, and African masks among his early influences. As African masks symbolize a spirit, Yabe’s sculptures not only draw from the abstracted geometry of their forms as many Western art movements have, but they also address the universality of the human experience. After the 2011 Japanese earthquake and consequent tsunami and nuclear power plant meltdown, Yabe saw “that the ideal was broken and that our "modernity" had been driving it.” His work shifted from the more formal to an investigation. “What is it to be human? What is the human being?” the artist asks. The resulting pieces are animals, people, anthropomorphic creatures, even monsters, but all are metaphors of the human condition. They are silly, funny, cute, foolish, lovely, sweet. We connect with these pieces in different ways: my favorite is not necessarily your favorite. In our divided time, Hirosuke Yabe’s work is here to remind human kind of our humanity. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585249064834-4Q6BYUSHNLR7FQ03JK7S/DSC_0099.jpg Faithful Dog Man - Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Faithful Dog Man, featuring works by Hirosuke Yabe. This is his first solo exhibition in New York and in the United States. Based in Kanagawa Japan, Hirosuke Yabe creates wooden sculptures using a nata, a Japanese hatchet. With quick, short chops, Yabe conjures a menagerie of human expressions. Ranging in size from just a few inches to several feet high, he stacks faces atop faces, carves a smirk onto a dog, gives 6 legs to a torso blowing a kiss through articulated lips. Like Enkū, the Japanese Buddhist sculptor who carved 120,000 statutes, although some pieces reflect a series of work, no two sculptures are ever truly alike. Formally trained at Tokyo Zokei University, Yabe cites Eduardo Chilida, Richard Serra, the Mono-ha, and African masks among his early influences. As African masks symbolize a spirit, Yabe’s sculptures not only draw from the abstracted geometry of their forms as many Western art movements have, but they also address the universality of the human experience. After the 2011 Japanese earthquake and consequent tsunami and nuclear power plant meltdown, Yabe saw “that the ideal was broken and that our "modernity" had been driving it.” His work shifted from the more formal to an investigation. “What is it to be human? What is the human being?” the artist asks. The resulting pieces are animals, people, anthropomorphic creatures, even monsters, but all are metaphors of the human condition. They are silly, funny, cute, foolish, lovely, sweet. We connect with these pieces in different ways: my favorite is not necessarily your favorite. In our divided time, Hirosuke Yabe’s work is here to remind human kind of our humanity. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1585249065753-Z1DBMX0WD9OVVYJNC9PJ/DSC_0102.jpg Faithful Dog Man - Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Installation image of sculptures by Hirosuke Yabe from his 2018 exhibition, Faithful Dog Man, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Faithful Dog Man, featuring works by Hirosuke Yabe. This is his first solo exhibition in New York and in the United States. Based in Kanagawa Japan, Hirosuke Yabe creates wooden sculptures using a nata, a Japanese hatchet. With quick, short chops, Yabe conjures a menagerie of human expressions. Ranging in size from just a few inches to several feet high, he stacks faces atop faces, carves a smirk onto a dog, gives 6 legs to a torso blowing a kiss through articulated lips. Like Enkū, the Japanese Buddhist sculptor who carved 120,000 statutes, although some pieces reflect a series of work, no two sculptures are ever truly alike. Formally trained at Tokyo Zokei University, Yabe cites Eduardo Chilida, Richard Serra, the Mono-ha, and African masks among his early influences. As African masks symbolize a spirit, Yabe’s sculptures not only draw from the abstracted geometry of their forms as many Western art movements have, but they also address the universality of the human experience. After the 2011 Japanese earthquake and consequent tsunami and nuclear power plant meltdown, Yabe saw “that the ideal was broken and that our "modernity" had been driving it.” His work shifted from the more formal to an investigation. “What is it to be human? What is the human being?” the artist asks. The resulting pieces are animals, people, anthropomorphic creatures, even monsters, but all are metaphors of the human condition. They are silly, funny, cute, foolish, lovely, sweet. We connect with these pieces in different ways: my favorite is not necessarily your favorite. In our divided time, Hirosuke Yabe’s work is here to remind human kind of our humanity. https://www.cindyruckergallery.com/new-page daily 0.75 2020-04-22 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1587572260206-SA6M5EN6AW6I9A3E62HV/installation-view3-1536x1536.jpg Press_New layout https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1587572013525-TQI1RY3PPNFDDSV8LRKO/Screen+Shot+2020-04-22+at+12.13.04+PM.png Press_New layout https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1587572077551-RMX9AIBG1XYI7ITO8OYP/Eddington-1.jpg Press_New layout https://www.cindyruckergallery.com/buffering daily 0.75 2020-05-20 https://www.cindyruckergallery.com/unfolding daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590176533051-U4JEW6VC0H3N4H87O2FW/unfolding1.jpg UNFOLDING - Installation image from UNFOLDING, curated by Eun Young Choi, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590176609901-QG2BKCOOIEIQD60MTMOV/unfolding3.jpg UNFOLDING - Installation image from UNFOLDING, curated by Eun Young Choi, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590176533222-EVMUS9S3GN9BGQZZWMPS/unfolding2.jpg UNFOLDING - Installation image from UNFOLDING, curated by Eun Young Choi, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590176611203-NJQMSUISZLKW9FJO67MO/unfolding4.jpg UNFOLDING - Installation image from UNFOLDING, curated by Eun Young Choi, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590176636276-O2HKYVEAMDN5D9QJV24K/unfolding5.jpg UNFOLDING - Installation image from UNFOLDING, curated by Eun Young Choi, at Cindy Rucker Gallery https://www.cindyruckergallery.com/martin-schwenk-1 daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602997737940-JZJISHZWHCK0VITGRTUT/DSC_0113%2Bs.jpg Martin Schwenk: Leaves and Tubes - Installation image from Martin Schwenk’s 2017 exhibition, Leaves and Tubes, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602997346936-QUMYOQP1QRIXHHLDTAJL/DSC_0117+s.jpg Martin Schwenk: Leaves and Tubes - Installation image from Martin Schwenk’s 2017 exhibition, Leaves and Tubes, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602997550312-EFE357W0WLMER37OK00U/DSC_0120%2Bs.jpg Martin Schwenk: Leaves and Tubes - Installation image from Martin Schwenk’s 2017 exhibition, Leaves and Tubes, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602997332155-DFRSUEKZSG6HDEI77390/Zink.jpg Martin Schwenk: Leaves and Tubes - Installation image from Martin Schwenk’s 2017 exhibition, Leaves and Tubes, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602997322789-A6E9T629WQBANM2TKUG6/DSC_0116.JPG Martin Schwenk: Leaves and Tubes - Installation image from Martin Schwenk’s 2017 exhibition, Leaves and Tubes, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602997378881-RPA4JB93BNRGM5XXD38O/DSC_0134.png Martin Schwenk: Leaves and Tubes - Installation image from Martin Schwenk’s 2017 exhibition, Leaves and Tubes, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602997396415-17B14AHRGI8RXBK1VB31/Bild+001a.jpg Martin Schwenk: Leaves and Tubes - Installation image from Martin Schwenk’s 2017 exhibition, Leaves and Tubes, at Cindy Rucker Gallery https://www.cindyruckergallery.com/the-physicality-of-revisiting-old-haunts daily 0.75 2020-10-07 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602355445781-CRC1HYNCUF6ECFR3CG9G/IMG_1965.jpg The Physicality of Revisiting Old Haunts - Installation image of works on paper by Rusty Shackleford from his 2017 exhibition, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery Installation image of works on paper by Rusty Shackleford from his 2017 exhibition, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery Copperheads. A shuffling of feet in the autumn leaves. Light of dusk. Silhouettes. Sherbert orange, orange pink, and cerulean blue. Drawings. Humidity. The length of my arm. My circumference. Ghosting. I learned this in Chicago. Chresten. Bunker Brew. Fenchel. Breathing. Long sheets of paper. Wanting to have the space to feel my circumference. Dust. Ink. Powder. Rubber. My forearm. My bicep. Crowded lungs. Cracking and breaking sticks of powder. A shattering. The Humidity. Color. Squinted eyes. Make-do. What have you? What is left? Bare Knuckles....The wrist. Mistakes. Gestures. Bad Habits. Mold. Exhilaration. Rotating and slicing. Breathing. Breathing. Breathing. Meandering. A crooked synthesis and a placid eureka. The space between looking and seeing. And finally stumbling into placement. - Rusty Shackleford, October 2017 Cindy Rucker Gallery is pleased to present The Physicality of Revisiting Old Haunts, an exhibition of new works by Rusty Shackleford. The works in this exhibition marks a departure from his more recent works as the artist has left the machinations of the scanner behind in order to re-embrace the large scale drawings of his past. The return of the artist’s hand as seen in this exhibition exchanges the happenstance collage for assiduous abstract drawing; the pieces are worked and reworked, the compositions hide and reveal its histories, arriving at it’s completion only after the artist has finished his decisions. Here he trades the interaction of paint and a found image for a full arm stretch as wide as height and as lingering as a full moment. Rusty Shackleford, born 1978, in Montgomery, Alabama, received his MFA from University of North Carolina at Greensboro in 2004 and has since been shown throughout the Midwest and Berlin, Germany. Shackleford’s work has been written about in Modern Painters, Beautiful Decay, Flavorpill, and ArtFCity in addition to others. He has been a resident at the Virginia Center for the Creative Arts and the Vermont Studio Center and Harold Arts. He has also been featured at MDW Art Fair with Hinge Gallery and Untitled Miami with Cindy Rucker Gallery. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602111003107-YB5N97TPX9GUCWSZVFKI/IMG_1966-2.jpg The Physicality of Revisiting Old Haunts - Installation image of works on paper by Rusty Shackleford from his 2017 exhibition, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery Installation image of works on paper by Rusty Shackleford from his 2017 exhibition, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery Copperheads. A shuffling of feet in the autumn leaves. Light of dusk. Silhouettes. Sherbert orange, orange pink, and cerulean blue. Drawings. Humidity. The length of my arm. My circumference. Ghosting. I learned this in Chicago. Chresten. Bunker Brew. Fenchel. Breathing. Long sheets of paper. Wanting to have the space to feel my circumference. Dust. Ink. Powder. Rubber. My forearm. My bicep. Crowded lungs. Cracking and breaking sticks of powder. A shattering. The Humidity. Color. Squinted eyes. Make-do. What have you? What is left? Bare Knuckles....The wrist. Mistakes. Gestures. Bad Habits. Mold. Exhilaration. Rotating and slicing. Breathing. Breathing. Breathing. Meandering. A crooked synthesis and a placid eureka. The space between looking and seeing. And finally stumbling into placement. - Rusty Shackleford, October 2017 Cindy Rucker Gallery is pleased to present The Physicality of Revisiting Old Haunts, an exhibition of new works by Rusty Shackleford. The works in this exhibition marks a departure from his more recent works as the artist has left the machinations of the scanner behind in order to re-embrace the large scale drawings of his past. The return of the artist’s hand as seen in this exhibition exchanges the happenstance collage for assiduous abstract drawing; the pieces are worked and reworked, the compositions hide and reveal its histories, arriving at it’s completion only after the artist has finished his decisions. Here he trades the interaction of paint and a found image for a full arm stretch as wide as height and as lingering as a full moment. Rusty Shackleford, born 1978, in Montgomery, Alabama, received his MFA from University of North Carolina at Greensboro in 2004 and has since been shown throughout the Midwest and Berlin, Germany. Shackleford’s work has been written about in Modern Painters, Beautiful Decay, Flavorpill, and ArtFCity in addition to others. He has been a resident at the Virginia Center for the Creative Arts and the Vermont Studio Center and Harold Arts. He has also been featured at MDW Art Fair with Hinge Gallery and Untitled Miami with Cindy Rucker Gallery. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602174897157-WOQMG5JPW5KRNG4YZJVW/IMG_2025+2.jpg The Physicality of Revisiting Old Haunts - Installation image of works on paper by Rusty Shackleford from his 2017 exhibition, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery Installation image of works on paper by Rusty Shackleford from his 2017 exhibition, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery Copperheads. A shuffling of feet in the autumn leaves. Light of dusk. Silhouettes. Sherbert orange, orange pink, and cerulean blue. Drawings. Humidity. The length of my arm. My circumference. Ghosting. I learned this in Chicago. Chresten. Bunker Brew. Fenchel. Breathing. Long sheets of paper. Wanting to have the space to feel my circumference. Dust. Ink. Powder. Rubber. My forearm. My bicep. Crowded lungs. Cracking and breaking sticks of powder. A shattering. The Humidity. Color. Squinted eyes. Make-do. What have you? What is left? Bare Knuckles....The wrist. Mistakes. Gestures. Bad Habits. Mold. Exhilaration. Rotating and slicing. Breathing. Breathing. Breathing. Meandering. A crooked synthesis and a placid eureka. The space between looking and seeing. And finally stumbling into placement. - Rusty Shackleford, October 2017 Cindy Rucker Gallery is pleased to present The Physicality of Revisiting Old Haunts, an exhibition of new works by Rusty Shackleford. The works in this exhibition marks a departure from his more recent works as the artist has left the machinations of the scanner behind in order to re-embrace the large scale drawings of his past. The return of the artist’s hand as seen in this exhibition exchanges the happenstance collage for assiduous abstract drawing; the pieces are worked and reworked, the compositions hide and reveal its histories, arriving at it’s completion only after the artist has finished his decisions. Here he trades the interaction of paint and a found image for a full arm stretch as wide as height and as lingering as a full moment. Rusty Shackleford, born 1978, in Montgomery, Alabama, received his MFA from University of North Carolina at Greensboro in 2004 and has since been shown throughout the Midwest and Berlin, Germany. Shackleford’s work has been written about in Modern Painters, Beautiful Decay, Flavorpill, and ArtFCity in addition to others. He has been a resident at the Virginia Center for the Creative Arts and the Vermont Studio Center and Harold Arts. He has also been featured at MDW Art Fair with Hinge Gallery and Untitled Miami with Cindy Rucker Gallery. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602355829023-MZBAI1GTDM3Q178U6XPJ/IMG_2070.jpg The Physicality of Revisiting Old Haunts - Rusty Shackleford, 2017, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery Painting by Rusty Shackleford from his 2017 exhibition, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602355635043-V84EAIITZAXEXR8WZQ03/IMG_1974.jpg The Physicality of Revisiting Old Haunts - Installation image of works on paper by Rusty Shackleford from his 2017 exhibition, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery Installation image of works on paper by Rusty Shackleford from his 2017 exhibition, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery Copperheads. A shuffling of feet in the autumn leaves. Light of dusk. Silhouettes. Sherbert orange, orange pink, and cerulean blue. Drawings. Humidity. The length of my arm. My circumference. Ghosting. I learned this in Chicago. Chresten. Bunker Brew. Fenchel. Breathing. Long sheets of paper. Wanting to have the space to feel my circumference. Dust. Ink. Powder. Rubber. My forearm. My bicep. Crowded lungs. Cracking and breaking sticks of powder. A shattering. The Humidity. Color. Squinted eyes. Make-do. What have you? What is left? Bare Knuckles....The wrist. Mistakes. Gestures. Bad Habits. Mold. Exhilaration. Rotating and slicing. Breathing. Breathing. Breathing. Meandering. A crooked synthesis and a placid eureka. The space between looking and seeing. And finally stumbling into placement. - Rusty Shackleford, October 2017 Cindy Rucker Gallery is pleased to present The Physicality of Revisiting Old Haunts, an exhibition of new works by Rusty Shackleford. The works in this exhibition marks a departure from his more recent works as the artist has left the machinations of the scanner behind in order to re-embrace the large scale drawings of his past. The return of the artist’s hand as seen in this exhibition exchanges the happenstance collage for assiduous abstract drawing; the pieces are worked and reworked, the compositions hide and reveal its histories, arriving at it’s completion only after the artist has finished his decisions. Here he trades the interaction of paint and a found image for a full arm stretch as wide as height and as lingering as a full moment. Rusty Shackleford, born 1978, in Montgomery, Alabama, received his MFA from University of North Carolina at Greensboro in 2004 and has since been shown throughout the Midwest and Berlin, Germany. Shackleford’s work has been written about in Modern Painters, Beautiful Decay, Flavorpill, and ArtFCity in addition to others. He has been a resident at the Virginia Center for the Creative Arts and the Vermont Studio Center and Harold Arts. He has also been featured at MDW Art Fair with Hinge Gallery and Untitled Miami with Cindy Rucker Gallery. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602106307077-0L9TOZF25IX1HQ4N2D04/IMG_1961-Recovered.jpg The Physicality of Revisiting Old Haunts - Installation image of works on paper by Rusty Shackleford from his 2017 exhibition, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery Installation image of works on paper by Rusty Shackleford from his 2017 exhibition, The Physicality of Revisiting Old Haunts, at Cindy Rucker Gallery Copperheads. A shuffling of feet in the autumn leaves. Light of dusk. Silhouettes. Sherbert orange, orange pink, and cerulean blue. Drawings. Humidity. The length of my arm. My circumference. Ghosting. I learned this in Chicago. Chresten. Bunker Brew. Fenchel. Breathing. Long sheets of paper. Wanting to have the space to feel my circumference. Dust. Ink. Powder. Rubber. My forearm. My bicep. Crowded lungs. Cracking and breaking sticks of powder. A shattering. The Humidity. Color. Squinted eyes. Make-do. What have you? What is left? Bare Knuckles....The wrist. Mistakes. Gestures. Bad Habits. Mold. Exhilaration. Rotating and slicing. Breathing. Breathing. Breathing. Meandering. A crooked synthesis and a placid eureka. The space between looking and seeing. And finally stumbling into placement. - Rusty Shackleford, October 2017 Cindy Rucker Gallery is pleased to present The Physicality of Revisiting Old Haunts, an exhibition of new works by Rusty Shackleford. The works in this exhibition marks a departure from his more recent works as the artist has left the machinations of the scanner behind in order to re-embrace the large scale drawings of his past. The return of the artist’s hand as seen in this exhibition exchanges the happenstance collage for assiduous abstract drawing; the pieces are worked and reworked, the compositions hide and reveal its histories, arriving at it’s completion only after the artist has finished his decisions. Here he trades the interaction of paint and a found image for a full arm stretch as wide as height and as lingering as a full moment. Rusty Shackleford, born 1978, in Montgomery, Alabama, received his MFA from University of North Carolina at Greensboro in 2004 and has since been shown throughout the Midwest and Berlin, Germany. Shackleford’s work has been written about in Modern Painters, Beautiful Decay, Flavorpill, and ArtFCity in addition to others. He has been a resident at the Virginia Center for the Creative Arts and the Vermont Studio Center and Harold Arts. He has also been featured at MDW Art Fair with Hinge Gallery and Untitled Miami with Cindy Rucker Gallery. https://www.cindyruckergallery.com/element daily 0.75 2020-06-25 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590782774087-R3TREFS1GOFP2XYK1T25/element1.jpg Element https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590782780099-0M8PVQZG3RK7Z9IB7I99/element2.jpg Element https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590782778054-H8HYA40VD4Y5XS2KZMBF/element3.jpg Element https://www.cindyruckergallery.com/were-all-gonna-die daily 0.75 2020-10-10 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590782621891-PWGHBS6EEP1V71AUBSQ5/we%27reallgonnadie.jpg We're all gonna die - Installation image from the Cindy Rucker Gallery 10th Anniversary Show, We're all gonna die. featuring works by Rob Andrade, Buhm Hong, Rachel Phillips, Andy Milien, Lucia Simek, Aaron Williams Installation image from the Cindy Rucker Gallery 10th Anniversary Show, We're all gonna die. (In loving memory of Ron Keyson), featuring works by Rob Andrade, Buhm Hong, Rachel Phillips, Andy Milien, Lucia Simek, Aaron Williams “Last year, when everything was great and wonderful, it was common practice for me and a friend to respond to each sparkling piece of good news with the refrain . . . We’re all gonna die. This was punctuated with the sound affect – pooouuucchhhh! This year, now that everything is awful and worrisome, it’s still common for my friend and me to evoke the refrain. The fact that my funny friend and I are both cancer survivors is not without significance – although this of course does not change the basic facts of life, on or under the ground.” -Ron Keyson, May 2009 As the gallery enters it’s 10th year, we’ve decided to celebrate our past collaborations with invited curators, a few of which were tasked with suggesting an artist to participate in this exhibition. We’re all gonna die. is a reprisal of an exhibition curated by Ron Keyson who passed away in 2011 due to complications from cancer. In his memory, and to pay homage to his darkly humorous exhibition, we (again) existentially bring to you: We’re all gonna die. Rob Andrade’s work examines the artificiality of materials that shape our modern urban landscape, specifically focusing on analyzing formal gardens designed to manipulate social interactions and individual contemplation. This artificial interaction is suspect; the artist asks to reconsider the artifice and gather your suspicions about what is happening beneath the surface. Buhm Hong is an artist that uses memories and their power to continuously shape our worldview, including our perception of real and imagined spaces. His video series Visit draws its imagery from real spaces recreated from memory. As the drawn images move and change, to the staccato soundtrack, the rooms oscillate between the unfamiliar and the eerily familiar, marking at points the places where we’ve already been and where we will all eventually arrive. Rachel Phillips is an artist that uses character-based imagery that expresses attitudes and emotions. Her brushwork moves instinctually, pushing a stream of consciousness composition into play with strong geometry and colors that range from primary to acrid. Her more recent works reflect the artist’s existential dread of the Trump presidency and the foreboding of what is to come. Andy Milien is a sculptor that explores how the mind is constantly trying to understand information. Paradoxically juxtaposing elements bound together by glue, screws, a weld, or tension results in a family that stands for a purpose. His untitled sculpture is composed of 3 elements: hand balls, a bicycle wheel and steel legs; an endless circle of frozen energy bound within a motionless wheel. In Lucia Simek’s video, Fountain (2013), we see the artist’s Sisyphean effort to contain the spill from an overflowing wheel barrow using a myriad of instruments that range from practical to absurd. In contrast, the video is accompanied by two works on paper with the text burnished into the surface until the words have a carpet texture. The bubbling text on the clean white surface to reveal the words GAS FIRE and CAR FIRE, not with a bang but with a whimper. Aaron Williams’s gradient blue photographs are a response to his struggle with mid-century painters. The images of sky were taken outside of de Kooning’s studio on Eastern Long Island. Originally shown alongside images of sky taken from outside the artist’s studio, the photos are a tacit record of place and the studio process, the characterless reference lends itself to an introspective investigation into the known and the unknown. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590782622054-ZYETPVUS9ULJ59T73H2O/we%27reallgonnadie2.jpg We're all gonna die - Installation image from the Cindy Rucker Gallery 10th Anniversary Show, We're all gonna die. featuring works by Rob Andrade, Buhm Hong, Rachel Phillips, Andy Milien, Lucia Simek, Aaron Williams Installation image from the Cindy Rucker Gallery 10th Anniversary Show, We're all gonna die. featuring works by Rob Andrade, Buhm Hong, Rachel Phillips, Andy Milien, Lucia Simek, Aaron Williams “Last year, when everything was great and wonderful, it was common practice for me and a friend to respond to each sparkling piece of good news with the refrain . . . We’re all gonna die. This was punctuated with the sound affect – pooouuucchhhh! This year, now that everything is awful and worrisome, it’s still common for my friend and me to evoke the refrain. The fact that my funny friend and I are both cancer survivors is not without significance – although this of course does not change the basic facts of life, on or under the ground.” -Ron Keyson, May 2009 As the gallery enters it’s 10th year, we’ve decided to celebrate our past collaborations with invited curators, a few of which were tasked with suggesting an artist to participate in this exhibition. We’re all gonna die. is a reprisal of an exhibition curated by Ron Keyson who passed away in 2011 due to complications from cancer. In his memory, and to pay homage to his darkly humorous exhibition, we (again) existentially bring to you: We’re all gonna die. Rob Andrade’s work examines the artificiality of materials that shape our modern urban landscape, specifically focusing on analyzing formal gardens designed to manipulate social interactions and individual contemplation. This artificial interaction is suspect; the artist asks to reconsider the artifice and gather your suspicions about what is happening beneath the surface. Buhm Hong is an artist that uses memories and their power to continuously shape our worldview, including our perception of real and imagined spaces. His video series Visit draws its imagery from real spaces recreated from memory. As the drawn images move and change, to the staccato soundtrack, the rooms oscillate between the unfamiliar and the eerily familiar, marking at points the places where we’ve already been and where we will all eventually arrive. Rachel Phillips is an artist that uses character-based imagery that expresses attitudes and emotions. Her brushwork moves instinctually, pushing a stream of consciousness composition into play with strong geometry and colors that range from primary to acrid. Her more recent works reflect the artist’s existential dread of the Trump presidency and the foreboding of what is to come. Andy Milien is a sculptor that explores how the mind is constantly trying to understand information. Paradoxically juxtaposing elements bound together by glue, screws, a weld, or tension results in a family that stands for a purpose. His untitled sculpture is composed of 3 elements: hand balls, a bicycle wheel and steel legs; an endless circle of frozen energy bound within a motionless wheel. In Lucia Simek’s video, Fountain (2013), we see the artist’s Sisyphean effort to contain the spill from an overflowing wheel barrow using a myriad of instruments that range from practical to absurd. In contrast, the video is accompanied by two works on paper with the text burnished into the surface until the words have a carpet texture. The bubbling text on the clean white surface to reveal the words GAS FIRE and CAR FIRE, not with a bang but with a whimper. Aaron Williams’s gradient blue photographs are a response to his struggle with mid-century painters. The images of sky were taken outside of de Kooning’s studio on Eastern Long Island. Originally shown alongside images of sky taken from outside the artist’s studio, the photos are a tacit record of place and the studio process, the characterless reference lends itself to an introspective investigation into the known and the unknown. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590782623486-Z0FSGVK3BN18GKO7MDDA/we%27reallgonnadie3.jpg We're all gonna die - Installation image from the Cindy Rucker Gallery 10th Anniversary Show, We're all gonna die. featuring works by Rob Andrade, Buhm Hong, Rachel Phillips, Andy Milien, Lucia Simek, Aaron Williams Installation image from the Cindy Rucker Gallery 10th Anniversary Show, We're all gonna die. featuring works by Rob Andrade, Buhm Hong, Rachel Phillips, Andy Milien, Lucia Simek, Aaron Williams “Last year, when everything was great and wonderful, it was common practice for me and a friend to respond to each sparkling piece of good news with the refrain . . . We’re all gonna die. This was punctuated with the sound affect – pooouuucchhhh! This year, now that everything is awful and worrisome, it’s still common for my friend and me to evoke the refrain. The fact that my funny friend and I are both cancer survivors is not without significance – although this of course does not change the basic facts of life, on or under the ground.” -Ron Keyson, May 2009 As the gallery enters it’s 10th year, we’ve decided to celebrate our past collaborations with invited curators, a few of which were tasked with suggesting an artist to participate in this exhibition. We’re all gonna die. is a reprisal of an exhibition curated by Ron Keyson who passed away in 2011 due to complications from cancer. In his memory, and to pay homage to his darkly humorous exhibition, we (again) existentially bring to you: We’re all gonna die. Rob Andrade’s work examines the artificiality of materials that shape our modern urban landscape, specifically focusing on analyzing formal gardens designed to manipulate social interactions and individual contemplation. This artificial interaction is suspect; the artist asks to reconsider the artifice and gather your suspicions about what is happening beneath the surface. Buhm Hong is an artist that uses memories and their power to continuously shape our worldview, including our perception of real and imagined spaces. His video series Visit draws its imagery from real spaces recreated from memory. As the drawn images move and change, to the staccato soundtrack, the rooms oscillate between the unfamiliar and the eerily familiar, marking at points the places where we’ve already been and where we will all eventually arrive. Rachel Phillips is an artist that uses character-based imagery that expresses attitudes and emotions. Her brushwork moves instinctually, pushing a stream of consciousness composition into play with strong geometry and colors that range from primary to acrid. Her more recent works reflect the artist’s existential dread of the Trump presidency and the foreboding of what is to come. Andy Milien is a sculptor that explores how the mind is constantly trying to understand information. Paradoxically juxtaposing elements bound together by glue, screws, a weld, or tension results in a family that stands for a purpose. His untitled sculpture is composed of 3 elements: hand balls, a bicycle wheel and steel legs; an endless circle of frozen energy bound within a motionless wheel. In Lucia Simek’s video, Fountain (2013), we see the artist’s Sisyphean effort to contain the spill from an overflowing wheel barrow using a myriad of instruments that range from practical to absurd. In contrast, the video is accompanied by two works on paper with the text burnished into the surface until the words have a carpet texture. The bubbling text on the clean white surface to reveal the words GAS FIRE and CAR FIRE, not with a bang but with a whimper. Aaron Williams’s gradient blue photographs are a response to his struggle with mid-century painters. The images of sky were taken outside of de Kooning’s studio on Eastern Long Island. Originally shown alongside images of sky taken from outside the artist’s studio, the photos are a tacit record of place and the studio process, the characterless reference lends itself to an introspective investigation into the known and the unknown. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1590782623813-6ZTTM0JAD4RFDJO4DF99/we%27reallgonnadie4.jpg We're all gonna die - Installation image from the Cindy Rucker Gallery 10th Anniversary Show, We're all gonna die. featuring works by Rob Andrade, Buhm Hong, Rachel Phillips, Andy Milien, Lucia Simek, Aaron Williams Installation image from the Cindy Rucker Gallery 10th Anniversary Show, We're all gonna die. featuring works by Rob Andrade, Buhm Hong, Rachel Phillips, Andy Milien, Lucia Simek, Aaron Williams “Last year, when everything was great and wonderful, it was common practice for me and a friend to respond to each sparkling piece of good news with the refrain . . . We’re all gonna die. This was punctuated with the sound affect – pooouuucchhhh! This year, now that everything is awful and worrisome, it’s still common for my friend and me to evoke the refrain. The fact that my funny friend and I are both cancer survivors is not without significance – although this of course does not change the basic facts of life, on or under the ground.” -Ron Keyson, May 2009 As the gallery enters it’s 10th year, we’ve decided to celebrate our past collaborations with invited curators, a few of which were tasked with suggesting an artist to participate in this exhibition. We’re all gonna die. is a reprisal of an exhibition curated by Ron Keyson who passed away in 2011 due to complications from cancer. In his memory, and to pay homage to his darkly humorous exhibition, we (again) existentially bring to you: We’re all gonna die. Rob Andrade’s work examines the artificiality of materials that shape our modern urban landscape, specifically focusing on analyzing formal gardens designed to manipulate social interactions and individual contemplation. This artificial interaction is suspect; the artist asks to reconsider the artifice and gather your suspicions about what is happening beneath the surface. Buhm Hong is an artist that uses memories and their power to continuously shape our worldview, including our perception of real and imagined spaces. His video series Visit draws its imagery from real spaces recreated from memory. As the drawn images move and change, to the staccato soundtrack, the rooms oscillate between the unfamiliar and the eerily familiar, marking at points the places where we’ve already been and where we will all eventually arrive. Rachel Phillips is an artist that uses character-based imagery that expresses attitudes and emotions. Her brushwork moves instinctually, pushing a stream of consciousness composition into play with strong geometry and colors that range from primary to acrid. Her more recent works reflect the artist’s existential dread of the Trump presidency and the foreboding of what is to come. Andy Milien is a sculptor that explores how the mind is constantly trying to understand information. Paradoxically juxtaposing elements bound together by glue, screws, a weld, or tension results in a family that stands for a purpose. His untitled sculpture is composed of 3 elements: hand balls, a bicycle wheel and steel legs; an endless circle of frozen energy bound within a motionless wheel. In Lucia Simek’s video, Fountain (2013), we see the artist’s Sisyphean effort to contain the spill from an overflowing wheel barrow using a myriad of instruments that range from practical to absurd. In contrast, the video is accompanied by two works on paper with the text burnished into the surface until the words have a carpet texture. The bubbling text on the clean white surface to reveal the words GAS FIRE and CAR FIRE, not with a bang but with a whimper. Aaron Williams’s gradient blue photographs are a response to his struggle with mid-century painters. The images of sky were taken outside of de Kooning’s studio on Eastern Long Island. Originally shown alongside images of sky taken from outside the artist’s studio, the photos are a tacit record of place and the studio process, the characterless reference lends itself to an introspective investigation into the known and the unknown. https://www.cindyruckergallery.com/hirosuke-yabe-charles-dunn daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591023502080-SAUMM2G2L5ST6997NUJE/yabedunn1.jpg Hirosuke Yabe / Charles Dunn - Installation image from the 2017 exhibition, Hirosuke Yabe / Charles Dunn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591023578176-ZAO2ZRNQ7Y1X1NROZL41/yabedunn5.jpg Hirosuke Yabe / Charles Dunn - Installation image from the 2017 exhibition, Hirosuke Yabe / Charles Dunn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591023577994-82TV6D831UFC3XXHGXW7/yabedunn4.jpg Hirosuke Yabe / Charles Dunn - Installation image from the 2017 exhibition, Hirosuke Yabe / Charles Dunn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591023502091-COHMZTHMGTCY5WB73MU3/yabedunn2.jpeg Hirosuke Yabe / Charles Dunn - Installation image from the 2017 exhibition, Hirosuke Yabe / Charles Dunn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591023578892-IP6S5FKIYS1WZVNI3A69/yabedunn6.jpg Hirosuke Yabe / Charles Dunn - Installation image from the 2017 exhibition, Hirosuke Yabe / Charles Dunn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591023502974-DW9Z1CPBS9K69YQAYWPT/yabedunn3.jpg Hirosuke Yabe / Charles Dunn - Installation image from the 2017 exhibition, Hirosuke Yabe / Charles Dunn, at Cindy Rucker Gallery https://www.cindyruckergallery.com/sound-ii daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591023838492-4IDNING69UV1OVQ4WZ50/soundii.jpg Sound II - Installation image from the 2017 exhibition, SOUND II, featuring works by Mikhail Iliatov & Thessia Machado, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602998857816-YZS44BS2ZOYNWA5E7AZ4/soundii3.jpg Sound II - Installation image from the 2017 exhibition, SOUND II, featuring works by Mikhail Iliatov & Thessia Machado, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591023839444-7S8KI18SFIUVLUE03CPR/soundii4.jpg Sound II - Installation image from the 2017 exhibition, SOUND II, featuring works by Mikhail Iliatov & Thessia Machado, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591023837718-DX8LOVAU4QDJUFKT6X2E/soundii2.jpg Sound II - Installation image from the 2017 exhibition, SOUND II, featuring works by Mikhail Iliatov & Thessia Machado, at Cindy Rucker Gallery https://www.cindyruckergallery.com/open-space-opening-spaces daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591025218583-P9S8LPHRVOE5YHQPFLC1/open3.jpg Open Space, Opening Spaces - Installation image from the 2016 exhibition, Open Space, Opening Spaces, featuring works by Shahrzad Changalvaee, Michael Cloud, Carlos Sandoval de Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603000224071-OF0ARYN2JGWKTC04UX04/DSC_0005.JPG Open Space, Opening Spaces - Installation image from the 2016 exhibition, Open Space, Opening Spaces, featuring works by Shahrzad Changalvaee, Michael Cloud, Carlos Sandoval de Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591025218244-A0VC21ABEDER8526ZFCI/open1.jpg Open Space, Opening Spaces - Installation image from the 2016 exhibition, Open Space, Opening Spaces, featuring works by Shahrzad Changalvaee, Michael Cloud, Carlos Sandoval de Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603000120680-2NQDFZOF3NXCXYEPPUK7/DSC_0067.jpg Open Space, Opening Spaces - Installation image from the 2016 exhibition, Open Space, Opening Spaces, featuring works by Shahrzad Changalvaee, Michael Cloud, Carlos Sandoval de Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591025219178-RZ8IZ24H7XI2Z8GSVY8L/open4.jpg Open Space, Opening Spaces - Installation image from the 2016 exhibition, Open Space, Opening Spaces, featuring works by Shahrzad Changalvaee, Michael Cloud, Carlos Sandoval de Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591025217693-XJVIJ0F6DC2WL38RO12I/open2.jpg Open Space, Opening Spaces - Installation image from the 2016 exhibition, Open Space, Opening Spaces, featuring works by Shahrzad Changalvaee, Michael Cloud, Carlos Sandoval de Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603000057266-YHEFSE13YOPROEREEY0P/DSC_0067.jpg Open Space, Opening Spaces https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603000263022-AKV1MPZP6CLJAS0ML7EK/DSC_0064.jpg Open Space, Opening Spaces - Installation image from the 2016 exhibition, Open Space, Opening Spaces, featuring works by Shahrzad Changalvaee, Michael Cloud, Carlos Sandoval de Leon, at Cindy Rucker Gallery https://www.cindyruckergallery.com/the-supreme-spasm daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591025943136-YSQ0EYR0X73TB3BJSCY4/supreme1.jpg Ann Oren: The Supreme Spasm - Ann Oren, The Supreme Spasm, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591025942686-F53OBLTHRZPMORD388YP/supreme2.jpg Ann Oren: The Supreme Spasm - Installation image from the 2016 Ann Oren exhibition, The Supreme Spasm, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591025945345-UEUMQOJBEPZ9PY4BG5WD/supreme3.jpg Ann Oren: The Supreme Spasm - Ann Oren exhibition, The Supreme Spasm, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591025945016-E3M4DP9GBYTLSB11JTDU/supreme4.jpg Ann Oren: The Supreme Spasm - Installation image from the 2016 Ann Oren exhibition, The Supreme Spasm, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603000431667-QIBV6VCE7PS14IKWF0VG/DSC_0079.JPG Ann Oren: The Supreme Spasm - Installation image from the 2016 Ann Oren exhibition, The Supreme Spasm, at Cindy Rucker Gallery https://www.cindyruckergallery.com/sound-i daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026283477-DVKXAO4LIYE2M01U1AI4/sound12.jpg Sound I - Installation image from the 2016 exhibition, SOUND I, featuring works by Richard Garet and Crystal Z. Campbell, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603001099363-9VB6K14IGYMBMHOP06TL/sound+1%2C+3.jpg Sound I - Installation image from the 2016 exhibition, SOUND I, featuring works by Richard Garet and Crystal Z. Campbell, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026283529-O369P7KIGU28CILOL9XU/sound1.jpg Sound I - Installation image from the 2016 exhibition, SOUND I, featuring works by Richard Garet and Crystal Z. Campbell, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026284639-XJJAYLIFFLMW31ZB6ADT/sound123.jpg Sound I - Installation image from the 2016 exhibition, SOUND I, featuring works by Richard Garet and Crystal Z. Campbell, at Cindy Rucker Gallery https://www.cindyruckergallery.com/kenya-robinson-fuckyourcouch daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026679448-OVMO1GHL5HUQYLR3HI4U/couch1.jpg FUCKYOURCOUCH - Installation image from the 2016 Kenya (Robinson) exhibition, FUCKYOURCOUCH, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026682880-0U2H37KTEBRFDQWW0WAO/couch5.jpg FUCKYOURCOUCH - Installation image from the 2016 Kenya (Robinson) exhibition, FUCKYOURCOUCH, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026681804-QC3WA8A0RF2AFP50XF00/couch3.jpg FUCKYOURCOUCH - Installation image from the 2016 Kenya (Robinson) exhibition, FUCKYOURCOUCH, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026682368-IMZ0TCY4KEYR4ZJL113O/couch4.jpg FUCKYOURCOUCH - Installation image from the 2016 Kenya (Robinson) exhibition, FUCKYOURCOUCH, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026683647-QI99H9C33DUUIK9V4374/couch6.jpg FUCKYOURCOUCH - Installation image from the 2016 Kenya (Robinson) exhibition, FUCKYOURCOUCH, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026684532-KWVXI38FAURVP9NZD7NJ/couch8.jpg FUCKYOURCOUCH - Installation image from the 2016 Kenya (Robinson) exhibition, FUCKYOURCOUCH, at Cindy Rucker Gallery https://www.cindyruckergallery.com/be-right-back daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026982739-2BSLVV8ATTX3ANRBMJDD/rightback.jpg Be Right Back! - Installation image from the 2016 exhibition, Be Right Back!, featuring works by Charles Dunn, Javier Arce, Beate Geissler & Oliver Sann, Christopher Daniels, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026978142-XN30LVI3Z4W1AM149VVG/rightback2.jpg Be Right Back! - Installation image from the 2016 exhibition, Be Right Back!, featuring works by Charles Dunn, Javier Arce, Beate Geissler & Oliver Sann, Christopher Daniels, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026983343-A3JJIPJM8PWD023OVMZQ/rightback3.jpg Be Right Back! - Installation image from the 2016 exhibition, Be Right Back!, featuring works by Charles Dunn, Javier Arce, Beate Geissler & Oliver Sann, Christopher Daniels, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026984552-BWNVFDY3PVOPCYI29D51/rightback4.jpg Be Right Back! - Installation image from the 2016 exhibition, Be Right Back!, featuring works by Charles Dunn, Javier Arce, Beate Geissler & Oliver Sann, Christopher Daniels, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591026986197-ZBR33HE51I9HVBMBLEMK/rightback5.jpg Be Right Back! - Installation image from the 2016 exhibition, Be Right Back!, featuring works by Charles Dunn, Javier Arce, Beate Geissler & Oliver Sann, Christopher Daniels, at Cindy Rucker Gallery https://www.cindyruckergallery.com/charles-dunn-rusty-shackleford daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591027328492-0MULTFOPNFDDZUPPLICQ/dunnshacke.jpg Charles Dunn / Rusty Shackleford - Installation image from the 2016 exhibition, Charles Dunn / Rusty Shackleford, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591027328720-2ERNJMZ73B7G4RKQVKLY/dunnshacke2.jpg Charles Dunn / Rusty Shackleford - Installation image from the 2016 exhibition, Charles Dunn / Rusty Shackleford, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591027329508-NKPBBP2X16ZRK5U4Q8OM/dunnshacke3.jpg Charles Dunn / Rusty Shackleford - Installation image from the 2016 exhibition, Charles Dunn / Rusty Shackleford, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591027332043-0FOOZEDWX7TM8R8449A2/dunnshacke7.jpg Charles Dunn / Rusty Shackleford - Installation image from the 2016 exhibition, Charles Dunn / Rusty Shackleford, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591027330076-A8FXQMA4YNI7T0QMN6SJ/dunnshacke4.jpg Charles Dunn / Rusty Shackleford - Installation image from the 2016 exhibition, Charles Dunn / Rusty Shackleford, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591027331271-UQ9CCJX71NY08M2G8X4X/dunnshacke6.jpg Charles Dunn / Rusty Shackleford - Installation image from the 2016 exhibition, Charles Dunn / Rusty Shackleford, at Cindy Rucker Gallery https://www.cindyruckergallery.com/winter-my-secret daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603003909919-LC7MJ41AVI5YM3Q5PZO8/winter4.jpg Winter: My Secret - Installation image from the 2016 exhibition, Winter: My Secret, curated by Brad Silk, featuring works by Jenn Dierdorf, Brad Parsons, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603003874190-G54WJVVK1QYR3ULQLEW3/winter2.jpg Winter: My Secret - Installation image from the 2016 exhibition, Winter: My Secret, curated by Brad Silk, featuring works by Jenn Dierdorf, Brad Parsons, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603003924069-67CJE9D2C1UQL5H6D6CX/winter5.jpg Winter: My Secret - Installation image from the 2016 exhibition, Winter: My Secret, curated by Brad Silk, featuring works by Jenn Dierdorf, Brad Parsons, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603003894265-GFRSNUHYF6VP2PXGUKU8/winter3.jpg Winter: My Secret - Installation image from the 2016 exhibition, Winter: My Secret, curated by Brad Silk, featuring works by Jenn Dierdorf, Brad Parsons, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603003856936-Z8U6DCCMQJ849BSUSUT0/winter1.jpg Winter: My Secret - Installation image from the 2016 exhibition, Winter: My Secret, curated by Brad Silk, featuring works by Jenn Dierdorf, Brad Parsons, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603003935928-VFDN3WVIYEP5RMY3Z84F/winter6.jpg Winter: My Secret - Installation image from the 2016 exhibition, Winter: My Secret, curated by Brad Silk, featuring works by Jenn Dierdorf, Brad Parsons, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603003947892-FFLEPKMA54B4433J2B97/winter7.jpg Winter: My Secret - Installation image from the 2016 exhibition, Winter: My Secret, curated by Brad Silk, Brad Parsons, at Cindy Rucker Gallery https://www.cindyruckergallery.com/the-emperor-of-ice-cream daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603039389835-RNW6CYDRRGAJOILSWBU2/IMG_4471.JPG The Emperor of Ice Cream - The Emperor of Ice Cream, Markus Linnenbrink, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603036469178-VE3PA8P4JOQWFH3NTP62/icecream2.jpg The Emperor of Ice Cream - Installation image from the 2015 exhibition, The Emperor of Ice Cream, featuring works by Adam Hayes, Matt Kleberg, Markus Linnenbrink, Don Porcella, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591028733561-VRMZKCE50KBKX32O6EKZ/icecream4.jpg The Emperor of Ice Cream - Installation image from the 2015 exhibition, The Emperor of Ice Cream, featuring works by Adam Hayes, Matt Kleberg, Markus Linnenbrink, Don Porcella, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591028732015-CPTP1B8MDWIGXEQWEWLR/icecream3.jpg The Emperor of Ice Cream - Installation image from the 2015 exhibition, The Emperor of Ice Cream, featuring works by Adam Hayes, Matt Kleberg, Markus Linnenbrink, Don Porcella, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591028733638-XXB8YMBW4I2QR5PLJZQK/icecream5.jpg The Emperor of Ice Cream - Installation image from the 2015 exhibition, The Emperor of Ice Cream, featuring works by Adam Hayes, Matt Kleberg, Markus Linnenbrink, Don Porcella, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603038221703-R9LQU3ERD1MCEEINPRE0/icecream6.jpg The Emperor of Ice Cream - Installation image from the 2015 exhibition, The Emperor of Ice Cream, featuring works by Adam Hayes, Matt Kleberg, Markus Linnenbrink, Don Porcella, at Cindy Rucker Gallery https://www.cindyruckergallery.com/pussy-dont-fail-me-now daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591029112560-JMFD834KMD7RX3H95998/pussy1.jpg Pussy Don't Fail Me Now - Installation image from the 2015 exhibition, Pussy Don't Fail Me Now, featuring works by Doreen Garner, Sophia Narrett, Kenya (Robinson), at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591029114528-MXSJ5S8LDINHGG0QAHJ2/pussy4.jpg Pussy Don't Fail Me Now - Installation image from the 2015 exhibition, Pussy Don't Fail Me Now, featuring works by Doreen Garner, Sophia Narrett, Kenya (Robinson), at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591029113115-A0EIV7M6PDO44B9D9GKV/pussy3.jpg Pussy Don't Fail Me Now - Installation image from the 2015 exhibition, Pussy Don't Fail Me Now, featuring works by Doreen Garner, Sophia Narrett, Kenya (Robinson), at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591029112558-0OG34GQWU5R0CTGKS5ZV/pussy2.jpg Pussy Don't Fail Me Now - Installation image from the 2015 exhibition, Pussy Don't Fail Me Now, featuring works by Doreen Garner, Sophia Narrett, Kenya (Robinson), at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591029115016-4RBJ7U33IWQICVI8V7WI/pussy6.jpg Pussy Don't Fail Me Now - Installation image from the 2015 exhibition, Pussy Don't Fail Me Now, featuring works by Doreen Garner, Sophia Narrett, Kenya (Robinson), at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591029114351-SJI7DY1W4WHY6NQE31B1/pussy5.jpg Pussy Don't Fail Me Now - Installation image from the 2015 exhibition, Pussy Don't Fail Me Now, featuring works by Doreen Garner, Sophia Narrett, Kenya (Robinson), at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603040385581-S90TP80UI8P8UEHYING0/IMG_3989.JPG Pussy Don't Fail Me Now - Installation image from the 2015 exhibition, Pussy Don't Fail Me Now, featuring works by Doreen Garner, Sophia Narrett, Kenya (Robinson), at Cindy Rucker Gallery https://www.cindyruckergallery.com/volatile-smile-the-poodles-core daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061288191-ZHHATZ4YAVA7FNJPWO9E/poodle1.jpg Volatile Smile: The Poodle's Core - Installation image from the 2015 Beate Geissler/Oliver Sann exhibition, Volatile Smile: The Poodle’s Core, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061238347-AQCWSQGZEX8YPHKS8ICQ/poodle2.jpg Volatile Smile: The Poodle's Core - Installation image from the 2015 Beate Geissler/Oliver Sann exhibition, Volatile Smile: The Poodle’s Core, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591029839391-PM0DM34QN67V9G4S3BXS/poodle3.jpg Volatile Smile: The Poodle's Core - Installation image from the 2015 Beate Geissler/Oliver Sann exhibition, Volatile Smile: The Poodle’s Core, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061326199-OYL9OOLEITXWBMIQ1H03/poodle4.jpg Volatile Smile: The Poodle's Core - Installation image from the 2015 Beate Geissler/Oliver Sann exhibition, Volatile Smile: The Poodle’s Core, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591029840686-5KKO3A0DYL6PWRWSH0N2/poodle5.jpg Volatile Smile: The Poodle's Core - Installation image from the 2015 Beate Geissler/Oliver Sann exhibition, Volatile Smile: The Poodle’s Core, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061397343-MY4BD377G0ZW6GTS0PJX/poodle6.jpg Volatile Smile: The Poodle's Core - Installation image from the 2015 Beate Geissler/Oliver Sann exhibition, Volatile Smile: The Poodle’s Core, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061357872-NA3FGWNRSW9LM9BBL1UL/poodle7.jpg Volatile Smile: The Poodle's Core - Installation image from the 2015 Beate Geissler/Oliver Sann exhibition, Volatile Smile: The Poodle’s Core, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061382138-385MG4MHHA6STWHU3M82/poodle8.jpg Volatile Smile: The Poodle's Core - Installation image from the 2015 Beate Geissler/Oliver Sann exhibition, Volatile Smile: The Poodle’s Core, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591029845822-T0RF0ZJB968WALWQU5YA/poodle10.jpg Volatile Smile: The Poodle's Core - Installation image from the 2015 Beate Geissler/Oliver Sann exhibition, Volatile Smile: The Poodle’s Core, at Cindy Rucker Gallery https://www.cindyruckergallery.com/limbic-turn daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061696987-0AYBT3BV6XGLTF9HWVVH/DSC_0232.JPG Limbic Turn - Installation image from the 2015 Gereon Krebber exhibition, Limbic Turn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061770936-BYANICEXHGSW1AB38S5Q/limbic2.jpg Limbic Turn - Installation image from the 2015 Gereon Krebber exhibition, Limbic Turn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061848969-KHFZF2FVQ9HOQ94OV6CR/limbic4.jpg Limbic Turn - Installation image from the 2015 Gereon Krebber exhibition, Limbic Turn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030348645-J2THDJADZJ0GEJ2F0VAE/limbic3.jpg Limbic Turn - Installation image from the 2015 Gereon Krebber exhibition, Limbic Turn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030353251-HSAFXCOQPAOO5DB1HP56/limbic.jpg Limbic Turn - Installation image from the 2015 Gereon Krebber exhibition, Limbic Turn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061895295-ORNMNQNML3KPSPP8MI8S/limbic5.jpg Limbic Turn - Installation image from the 2015 Gereon Krebber exhibition, Limbic Turn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061742991-T19CQJRUF9OAC55JJ3NC/limbic1.jpg Limbic Turn - Installation image from the 2015 Gereon Krebber exhibition, Limbic Turn, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603061703574-FVEHBCSIFYCQPRG9752F/GK+4+small.jpg Limbic Turn - Installation image from the 2015 Gereon Krebber exhibition, Limbic Turn, at Cindy Rucker Gallery https://www.cindyruckergallery.com/retry-the-life-experiment-in-the-communal daily 0.75 2020-10-18 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603062183439-VL1LWPYDVHQTC1HYFFV5/retry1.jpg Retry the life experiment in the communal - Installation image from the 2015 Javier Arce exhibition, Retry the life experiment in the communal, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030589817-2C37CBJQ8T3Q67E45493/retry2.jpg Retry the life experiment in the communal - Installation image from the 2015 Javier Arce exhibition, Retry the life experiment in the communal, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030601452-9867XQFBB1ORW1PLORLQ/retry5.jpg Retry the life experiment in the communal - Installation image from the 2015 Javier Arce exhibition, Retry the life experiment in the communal, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030597959-VVDYRSTUXDKM2NWC92HR/retry4.jpg Retry the life experiment in the communal - Installation image from the 2015 Javier Arce exhibition, Retry the life experiment in the communal, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030603087-KI5GG9C0VMFA76YALDTJ/retry6.jpg Retry the life experiment in the communal - Installation image from the 2015 Javier Arce exhibition, Retry the life experiment in the communal, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030606543-BFIDRITPLNVHOSOWRYFV/retry8.jpg Retry the life experiment in the communal - Installation image from the 2015 Javier Arce exhibition, Retry the life experiment in the communal, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030598745-92MG95PHCX2K3Q2AP67X/retry3.jpg Retry the life experiment in the communal - Installation image from the 2015 Javier Arce exhibition, Retry the life experiment in the communal, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030615945-UMRAE2YOMWQSA7QGRH89/retry12.jpeg Retry the life experiment in the communal - Installation image from the 2015 Javier Arce exhibition, Retry the life experiment in the communal, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591030613593-ZY3EYQ6XOUTRRL6GIA73/retry10.gif Retry the life experiment in the communal - Installation image from the 2015 Javier Arce exhibition, Retry the life experiment in the communal, at Cindy Rucker Gallery https://www.cindyruckergallery.com/the-trees-the-trees-the-trees daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603062390923-84B8SDSILUADSPF7ZLIA/DSC_0834.jpg the trees the trees the trees - Installation image from the 2015 exhibition, the trees the trees the trees, featuring works by Gereon Krebber, Ann Oren, Robyn Voshardt/Sven Humphrey, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593103328229-CKW9TXOCOV7C1SHSJV0O/DSC_0861.jpg the trees the trees the trees - Installation image from the 2015 exhibition, the trees the trees the trees, featuring works by Gereon Krebber, Ann Oren, Robyn Voshardt/Sven Humphrey, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593103304078-4TQR88HQTZFWN5SH40Y0/DSC_0811.jpg the trees the trees the trees - Installation image from the 2015 exhibition, the trees the trees the trees, featuring works by Gereon Krebber, Ann Oren, Robyn Voshardt/Sven Humphrey, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593103310844-6MMX9O3IJ13HWKBLD167/DSC_0822.jpg the trees the trees the trees - Installation image from the 2015 exhibition, the trees the trees the trees, featuring works by Gereon Krebber, Ann Oren, Robyn Voshardt/Sven Humphrey, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593103295188-K3XXKM49UZD1IQH6T9EK/apALFVtZi3wiAZ8ctVOmaCVFPiUfdnLIRrvfJwVLoCQ.jpg the trees the trees the trees - Installation image from the 2015 exhibition, the trees the trees the trees, featuring works by Gereon Krebber, Ann Oren, Robyn Voshardt/Sven Humphrey, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593103329665-Y1TVMGQ79GY071G0E9GI/DSC_0870.JPG the trees the trees the trees - Installation image from the 2015 exhibition, the trees the trees the trees, featuring works by Gereon Krebber, Ann Oren, Robyn Voshardt/Sven Humphrey, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593103316339-63SVLPBH8ODFLCZCWGYZ/1.jpg the trees the trees the trees - Installation image from the 2015 exhibition, the trees the trees the trees, featuring works by Gereon Krebber, Ann Oren, Robyn Voshardt/Sven Humphrey, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593103338258-3T7G45W8TW2S6J9MB2Q5/IMG_3532+%281%29.JPG the trees the trees the trees - Installation image from the 2015 exhibition, the trees the trees the trees, featuring works by Gereon Krebber, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593103341190-QR6PXXX83649XVXD934T/IMG_3533+%281%29.JPG the trees the trees the trees - Installation image from the 2015 exhibition, the trees the trees the trees, featuring works by Gereon Krebber, at Cindy Rucker Gallery https://www.cindyruckergallery.com/bad-years daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603067408238-W6TY9AW5IMDTYAA9EWX4/cd2.jpg Bad Years - Installation image from the 2014 Charles Dunn exhibition, Bad Years, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603067556301-G7TAU0TUHF3MF8WZHUXU/cd1.jpg Bad Years - Installation image from the 2014 Charles Dunn exhibition, Bad Years, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603067518298-532WVHGQY6WV2VRSI7PN/cd4.jpg Bad Years - Installation image from the 2014 Charles Dunn exhibition, Bad Years, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603067641051-9Q21CCMZYKBMH9S9XFO5/cd3.jpg Bad Years - Installation image from the 2014 Charles Dunn exhibition, Bad Years, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591290853844-14M5R7PLPUC4VF1UM98P/cd5.jpg Bad Years - Installation image from the 2014 Charles Dunn exhibition, Bad Years, at Cindy Rucker Gallery https://www.cindyruckergallery.com/we-seemed-to-be-unanimously-elected daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291088840-E5VU16YMEEX15TR1CCLF/install+view+1.jpg We Seemed to be Unanimously Elected - Installation image from the 2015 exhibition, We Seemed to be Unanimously Elected…, featuring works by Bethany Collins, Oasa Duverney, Kenya (Robinson), Lorna Williams, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603068124835-44PKIL85XVGCEZJKS6P6/install%2Bview%2B5.jpg We Seemed to be Unanimously Elected - Installation image from the 2015 exhibition, We Seemed to be Unanimously Elected…, featuring works by Bethany Collins, Oasa Duverney, Kenya (Robinson), Lorna Williams, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603068292774-5ITDBS50W479DHR56SCE/install+view+3.JPG We Seemed to be Unanimously Elected - Installation image from the 2015 exhibition, We Seemed to be Unanimously Elected…, featuring works by Bethany Collins, Oasa Duverney, Kenya (Robinson), Lorna Williams, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291101694-HZASY441VG9PTE6IUNIK/install+view+4.jpg We Seemed to be Unanimously Elected - Installation image from the 2015 exhibition, We Seemed to be Unanimously Elected…, featuring works by Bethany Collins, Oasa Duverney, Kenya (Robinson), Lorna Williams, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603067831289-UWKQ9YIKWS565A6SNZVS/install%2Bview%2B2.jpg We Seemed to be Unanimously Elected https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603068001999-2LG5488FV4UQAT46Q3UD/install%2Bview%2B6.jpg We Seemed to be Unanimously Elected - Installation image from the 2015 exhibition, We Seemed to be Unanimously Elected…, featuring works by Bethany Collins, Oasa Duverney, Kenya (Robinson), Lorna Williams, at Cindy Rucker Gallery https://www.cindyruckergallery.com/ten-a-curated-artists-salon daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291555524-GK3WO5VIWIDWGHX9UW9N/ten-wall-north-4-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603071523648-2O2CJ0I1J7DLCNI6K6CW/ten-party-performance-1-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291624863-SX18L4DVGI6SU3IPOPSX/ten-wall-west-cross-1-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291544727-BQD8HE9N1SJLH8K55L1Z/ten-wall-north-2-1500px.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291536286-TD0X0A2H3NTOD0WVA6FX/ten-wall-north-1-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291525930-VNW3FGLUC4U338LJCSJR/ten-wall-east-cross-1-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291564781-7QUL2Z2TAFE9VFG0NTZA/ten-wall-north-cross-1-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291575163-YNICAYB8DAQXCU831CTL/ten-wall-south-1-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291565154-YAXBRLFH7ICLJ8OGDIA6/ten-wall-northeast-cross-1-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291584923-LG8L354WTSGTI8DLGVKX/ten-wall-south-3-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291584576-0KL3NWFGUZB7LPW76KPD/ten-wall-south-2-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291611258-U53RJ3HSN6XLT8I8R1CB/ten-wall-west-2-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291602187-JAY5O8JKU3NAJKPHIPW5/ten-wall-south-cross-1-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591291593679-YZ2M0X0RL0GGVFPG8BB9/ten-wall-southeast-cross-1-1500w.jpg TEN: A Curated Artists Salon - TEN: A Curated Artists Salon, Curated by Eun Young Chi, Ian Cofré, William Cordova, David Andrew Frey, Jason Keeling, Rick Herron, Colette Robbins, Cindy Rucker, Brad Silk, Southfirst https://www.cindyruckergallery.com/carlos-sandoval-de-leon-2014 daily 0.75 2021-11-06 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603072527569-LC238XKFTTNUSYB4XUBZ/install03.jpg Carlos Sandoval de Leon (2014) - Installation image from the 2014 exhibition, Carlos Sandoval de León, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603072608069-1ORWHIPOWJVBDZVNGO5T/install01.jpg Carlos Sandoval de Leon (2014) - Installation image from the 2014 exhibition, Carlos Sandoval de León, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591288708224-1HALLP2XJJ8XUA49SRTL/install02.jpg Carlos Sandoval de Leon (2014) - Installation image from the 2014 exhibition, Carlos Sandoval de León, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603072751210-XPZJD2X3FOGTR22XLFAM/install3.jpg Carlos Sandoval de Leon (2014) - Installation image from the 2014 exhibition, Carlos Sandoval de León, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591288736793-4R850UYTM6MVE1CAREH5/installchairs.jpg Carlos Sandoval de Leon (2014) - Installation image from the 2014 exhibition, Carlos Sandoval de León, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603072773086-DWRDFASK5UZYCA7TNL5P/install1%2B%25281%2529.jpg Carlos Sandoval de Leon (2014) - Installation image from the 2014 exhibition, Carlos Sandoval de León, at Cindy Rucker Gallery https://www.cindyruckergallery.com/rusty-shackleford-repeater daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603073166778-GXOSKZ4RYHN4F7RWJX3A/DSC_0004.JPG Rusty Shackleford: Repeater - Installation image from the 2014 Rusty Shackleford exhibition, Repeater, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603073292629-QOPT4RY6I11753KRKANE/repeater004.jpg Rusty Shackleford: Repeater - Installation image from the 2014 Rusty Shackleford exhibition, Repeater, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603073078271-YCI2125MO4PX6I919XXR/DSC_0006+copy.JPG Rusty Shackleford: Repeater - Installation image from the 2014 Rusty Shackleford exhibition, Repeater, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591292180148-ZYHBJ0VJMVBIFBJGLF9A/repeater001.jpg Rusty Shackleford: Repeater - Installation image from the 2014 Rusty Shackleford exhibition, Repeater, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603073322658-QZTHTKZ27T9BCTIJ3GOD/repeater003.jpg Rusty Shackleford: Repeater - Installation image from the 2014 Rusty Shackleford exhibition, Repeater, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591292175945-8DXKMTUQK6WGBAVN5M8C/repeater002.jpg Rusty Shackleford: Repeater - Installation image from the 2014 Rusty Shackleford exhibition, Repeater, at Cindy Rucker Gallery https://www.cindyruckergallery.com/the-room-had-an-imposing-dominance-over-the-man daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591294028782-U8G8MU2DSMQ30LKBSAEB/DSC_0013.jpg The room had an imposing dominance over the man - Installation image from the 2013 Adam Hayes exhibition, The room had an imposing dominance over the man, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591293905092-5E9O4ODOMF9QKH6V8L2C/DSC_0005.jpg The room had an imposing dominance over the man - Installation image from the 2013 Adam Hayes exhibition, The room had an imposing dominance over the man, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591293935401-TYPAI4V6ZYV4JT2OIOIS/DSC_0007.jpg The room had an imposing dominance over the man - Installation image from the 2013 Adam Hayes exhibition, The room had an imposing dominance over the man, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591293869015-AJ9T3V0XY7YB2HRLTVUY/DSC_0003.jpg The room had an imposing dominance over the man - Installation image from the 2013 Adam Hayes exhibition, The room had an imposing dominance over the man, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591293967313-2JN1QMVZ3MCSAMW4KXQ9/DSC_0009.jpg The room had an imposing dominance over the man - Installation image from the 2013 Adam Hayes exhibition, The room had an imposing dominance over the man, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591294108369-SI72Q6B5H6NOLVWK9D6T/DSC_0018.jpg The room had an imposing dominance over the man - Installation image from the 2013 Adam Hayes exhibition, The room had an imposing dominance over the man, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591293964725-CMK4B26UUTKBVIV0VLQ1/DSC_0010.jpg The room had an imposing dominance over the man - Installation image from the 2013 Adam Hayes exhibition, The room had an imposing dominance over the man, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591294188194-TRFH5RWN7MOXRJQEU352/DSC_0024.jpg The room had an imposing dominance over the man - Installation image from the 2013 Adam Hayes exhibition, The room had an imposing dominance over the man, at Cindy Rucker Gallery https://www.cindyruckergallery.com/hello-nasty daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603076903296-3M68TX05NLOFUUTPO4TY/DSC_0007.jpg Hello Nasty - Hello Nasty, Curated by Chris Bors, featuring works by Chris Bors, Paul Brainard, Dawn Frasch, Aaron Johnson, Hein Koh, Tom Sanford, Aaron Zimmerman, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603076514517-E8DD2OLG3F3LLQOCEJBD/DSC_0012.jpg Hello Nasty - Hello Nasty, Curated by Chris Bors, featuring works by Chris Bors, Paul Brainard, Dawn Frasch, Aaron Johnson, Hein Koh, Tom Sanford, Aaron Zimmerman, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603076915615-UB3ULJPMVV4B2IMES71Y/DSC_0017.jpg Hello Nasty - Hello Nasty, Curated by Chris Bors, featuring works by Chris Bors, Paul Brainard, Dawn Frasch, Aaron Johnson, Hein Koh, Tom Sanford, Aaron Zimmerman, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603076910004-XN6TW2UX0CDRNR0ZBBNV/DSC_0013.jpg Hello Nasty - Hello Nasty, Curated by Chris Bors, featuring works by Chris Bors, Paul Brainard, Dawn Frasch, Aaron Johnson, Hein Koh, Tom Sanford, Aaron Zimmerman, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603076946705-NPNFTH206E1BYTAHLK8W/DSC_0019.jpg Hello Nasty - Hello Nasty, Curated by Chris Bors, featuring works by Chris Bors, Paul Brainard, Dawn Frasch, Aaron Johnson, Hein Koh, Tom Sanford, Aaron Zimmerman, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603076920693-JA0MDGVL4Y2ZKC172OP2/DSC_0021.jpg Hello Nasty - Hello Nasty, Curated by Chris Bors, featuring works by Chris Bors, Paul Brainard, Dawn Frasch, Aaron Johnson, Hein Koh, Tom Sanford, Aaron Zimmerman, at Cindy Rucker Gallery https://www.cindyruckergallery.com/wet daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603078344432-D62XVFG9E5220BNERF8U/install02.jpg Wet - Installation image from the 2013 exhibition, Wet, Curated by Brad Silk, featuring works by David Schoerner & Lyndsy Welgos, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603078343126-T48F36IMVO05Y3F3HCAJ/install04.jpg Wet - Installation image from the 2013 exhibition, Wet, Curated by Brad Silk, featuring works by David Schoerner & Lyndsy Welgos, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603078351710-N810UKB0W5NY6W6MGLWM/install06.jpg Wet - Installation image from the 2013 exhibition, Wet, Curated by Brad Silk, featuring works by David Schoerner & Lyndsy Welgos, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603078350956-2Q8ODMFRK4VQ2VF6SJ2M/install05.jpg Wet - Installation image from the 2013 exhibition, Wet, Curated by Brad Silk, featuring works by David Schoerner & Lyndsy Welgos, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603078358390-HRAS60YHKQY9ZIMY21GS/install09.jpg Wet - Installation image from the 2013 exhibition, Wet, Curated by Brad Silk, featuring works by David Schoerner & Lyndsy Welgos, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603078357484-JDHNR0ZFY3V6EEFULGF4/install07.jpg Wet - Installation image from the 2013 exhibition, Wet, Curated by Brad Silk, featuring works by David Schoerner & Lyndsy Welgos, at Cindy Rucker Gallery https://www.cindyruckergallery.com/adrin-esparza-transfigurative daily 0.75 2020-06-25 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603078997355-PJX8032GEZBTXTIF6RS0/install1-1.jpg Transfigurative - Installation image from the 2013 Adrián Esparza exhibition, Transfigurative, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603079026293-340IP0WQYDB4BB1LGZ55/install3.jpg Transfigurative - Installation image from the 2013 Adrián Esparza exhibition, Transfigurative, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603078997327-ZPY95VFGQ1FPKLN6IVLT/install2-1.jpg Transfigurative - Installation image from the 2013 Adrián Esparza exhibition, Transfigurative, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603079314728-Z2YWS8BFOEFF75D0DOOB/installsculptures.jpg Transfigurative - Installation image from the 2013 Adrián Esparza exhibition, Transfigurative, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603079023813-V55DA63OFUD65I89DEBO/install1.jpg Transfigurative - Installation image from the 2013 Adrián Esparza exhibition, Transfigurative, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603079023768-4VEMJRGES2VF53EO20P0/install2.jpg Transfigurative - Installation image from the 2013 Adrián Esparza exhibition, Transfigurative, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603079526345-FCTVW7F03ZV5QJA4EWG8/installamerican.jpg Transfigurative - Installation image from the 2013 Adrián Esparza exhibition, Transfigurative, at Cindy Rucker Gallery https://www.cindyruckergallery.com/the-culture-of-curation daily 0.75 2020-06-01 https://www.cindyruckergallery.com/martin-schwenk-alpengluehn daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1601912038526-307DSDBBFQCJZ5LNWXK1/install1.jpg Martin Schwenk: Alpine Glow - Installation image from the 2013 Martin Schwenk exhibition, Alpine Glow, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1601912623797-4C6ED2F51MYM3TMXPYMY/install2.jpg Martin Schwenk: Alpine Glow - Installation image from the 2013 Martin Schwenk exhibition, Alpine Glow, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603080453968-8BWID7YGAKBP026DSF6V/install5.jpg Martin Schwenk: Alpine Glow - Installation image from the 2013 Martin Schwenk exhibition, Alpine Glow, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603080430628-E2O910FBLBKTCENQRTF4/install4.jpg Martin Schwenk: Alpine Glow - Installation image from the 2013 Martin Schwenk exhibition, Alpine Glow, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603080301791-N5I12DA8R22IKZBDEGLP/_DSC2573.jpg Martin Schwenk: Alpine Glow - Installation image from the 2013 Martin Schwenk exhibition, Alpine Glow, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603080381092-UN6PSPPCCMZMYEXQZLL3/install3.jpg Martin Schwenk: Alpine Glow - Installation image from the 2013 Martin Schwenk exhibition, Alpine Glow, at Cindy Rucker Gallery https://www.cindyruckergallery.com/alan-michael-fleming-studio-audience-cindy-rucker-gallery daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603080859750-GRCTXTA5CI3DYM0G6K18/StudioAudience1.JPG Studio Audience - Installation image from the 2013 exhibition, Studio Audience, featuring works by Alan and Michael Fleming, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603080866816-OX1K17ASS1AD5VHLN89K/StudioAudience7.JPG Studio Audience - Installation image from the 2013 exhibition, Studio Audience, featuring works by Alan and Michael Fleming, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603080859635-VHMPIQ1JR8R0D4SMI0R0/StudioAudience2.JPG Studio Audience - Installation image from the 2013 exhibition, Studio Audience, featuring works by Alan and Michael Fleming, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603080866868-A4LYAZXCXXKFSHVU7JDW/StudioAudience6.JPG Studio Audience - Installation image from the 2013 exhibition, Studio Audience, featuring works by Alan and Michael Fleming, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603080863093-RSUSJ82U4V6K02XFZORW/StudioAudience3.JPG Studio Audience - Installation image from the 2013 exhibition, Studio Audience, featuring works by Alan and Michael Fleming, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603080863033-1B7JRSFTDX8XJUAGLU0B/StudioAudience4.JPG Studio Audience - Installation image from the 2013 exhibition, Studio Audience, featuring works by Alan and Michael Fleming, at Cindy Rucker Gallery https://www.cindyruckergallery.com/strange-lands daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603082235325-F8VHSYEQI7H3912REDM4/strangelands1.jpg Strange Lands - STRANGE LANDS Josh Slater, Richard Colman, Marissa Textor, Matt Craven, Matt Stone, Elias Kafouros, Benjamin Edmiston, Dan Hernandez, Palden Weinreb, Casey Smith, Renato Nicolodi, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603082238978-ADAT2TI24TMID6CSLD5J/strangelands7.jpg Strange Lands - STRANGE LANDS Josh Slater, Richard Colman, Marissa Textor, Matt Craven, Matt Stone, Elias Kafouros, Benjamin Edmiston, Dan Hernandez, Palden Weinreb, Casey Smith, Renato Nicolodi, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603082235377-ZNNIV5LJ0Y2ZB56WCU07/strangelands4.jpg Strange Lands - STRANGE LANDS Josh Slater, Richard Colman, Marissa Textor, Matt Craven, Matt Stone, Elias Kafouros, Benjamin Edmiston, Dan Hernandez, Palden Weinreb, Casey Smith, Renato Nicolodi, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603082240872-IAXGOL8H56G9PQH7J5BC/strangelands8.jpg Strange Lands - STRANGE LANDS Josh Slater, Richard Colman, Marissa Textor, Matt Craven, Matt Stone, Elias Kafouros, Benjamin Edmiston, Dan Hernandez, Palden Weinreb, Casey Smith, Renato Nicolodi, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603082240878-GVFIRF9HDPMIAQZ9LMT4/strangelands11.jpg Strange Lands - STRANGE LANDS Josh Slater, Richard Colman, Marissa Textor, Matt Craven, Matt Stone, Elias Kafouros, Benjamin Edmiston, Dan Hernandez, Palden Weinreb, Casey Smith, Renato Nicolodi, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603082238915-URB64BWEAXJ4IFAEGO5Q/strangelands6.jpg Strange Lands - STRANGE LANDS Josh Slater, Richard Colman, Marissa Textor, Matt Craven, Matt Stone, Elias Kafouros, Benjamin Edmiston, Dan Hernandez, Palden Weinreb, Casey Smith, Renato Nicolodi, Cindy Rucker Gallery https://www.cindyruckergallery.com/adam-hayesrusty-shackleford daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603081573228-ZIPHO82J3AIUUH15HOMU/HAYESSHACKLEFORD2.jpg Adam Hayes/Rusty Shackleford - Installation image from the 2012 exhibition, Adam Hayes/Rusty Shackleford, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603081572830-A76QTZLTO1XQEIFUY9BU/DSC_0042.JPG Adam Hayes/Rusty Shackleford - Installation image from the 2012 exhibition, Adam Hayes/Rusty Shackleford, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603081570819-EEO5NMFR739W4C9BI46S/HAYESSHACKLEFORD1.jpg Adam Hayes/Rusty Shackleford - Installation image from the 2012 exhibition, Adam Hayes/Rusty Shackleford, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603081578186-LF9XANWP0K6NDJZ5CCM8/HAYESSHACKLEFORD6.jpg Adam Hayes/Rusty Shackleford - Installation image from the 2012 exhibition, Adam Hayes/Rusty Shackleford, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603081578205-99GMPDW2DY76NSF159YH/HAYESSHACKLEFORD8.jpg Adam Hayes/Rusty Shackleford - Installation image from the 2012 exhibition, Adam Hayes/Rusty Shackleford, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603081579462-AHXQY7J14IC88OP4Q59I/HS.jpg Adam Hayes/Rusty Shackleford - Installation image from the 2012 exhibition, Adam Hayes/Rusty Shackleford, at Cindy Rucker Gallery https://www.cindyruckergallery.com/forget-the-words daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603083615180-UBJ249MQYTWTWNGN8Q2P/DSC_0014.JPG Forget the words - Forget the words: Fifth anniversary show, Benjamin Edminston, Benjamin Houlihan, Joey Kötting, Thomas Martin, Hermes Payruber, Amy Sarkisian, Philip Seibel, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603083614891-X2SNYPYJ6YA7TMDV8AO7/DSC_0004.JPG Forget the words - Forget the words: Fifth anniversary show, Benjamin Edminston, Benjamin Houlihan, Joey Kötting, Thomas Martin, Hermes Payruber, Amy Sarkisian, Philip Seibel, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603083273294-61GPMR3VL5LXE2W02KRS/DSC_0011.JPG Forget the words - Forget the words: Fifth anniversary show, Benjamin Edminston, Benjamin Houlihan, Joey Kötting, Thomas Martin, Hermes Payruber, Amy Sarkisian, Philip Seibel, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603083260738-GN62LM7GMEE1X9FGFG0Z/DSC_0006.JPG Forget the words https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603083267681-HJOVEBNZ1W8VYCIMRIM1/DSC_0008.JPG Forget the words - Forget the words: Fifth anniversary show, Benjamin Edminston, Benjamin Houlihan, Joey Kötting, Thomas Martin, Hermes Payruber, Amy Sarkisian, Philip Seibel, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603083255285-B6DTRFRAGYFJ453C1YIP/DSC_0002.JPG Forget the words - Forget the words: Fifth anniversary show, Benjamin Edminston, Benjamin Houlihan, Joey Kötting, Thomas Martin, Hermes Payruber, Amy Sarkisian, Philip Seibel, at Cindy Rucker Gallery https://www.cindyruckergallery.com/hidden-in-plain-sight daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603084339711-RLXOQR2PZF774GXIZ9QJ/install5.jpg Hidden in Plain Sight - Hidden in Plain Sight, Curated by David Andrew Frey, featuring works by Jon Bocksel, Joy Drury Cox, Stephanie Prussin, Elliott Wright, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603084341583-P0PW97WPB3X4HIXT6KT4/install6.jpg Hidden in Plain Sight - Hidden in Plain Sight, Curated by David Andrew Frey, featuring works by Jon Bocksel, Joy Drury Cox, Stephanie Prussin, Elliott Wright, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603084338987-O6P9OQHXIUAFUCA3Z5W7/install2.jpg Hidden in Plain Sight - Hidden in Plain Sight, Curated by David Andrew Frey, featuring works by Jon Bocksel, Joy Drury Cox, Stephanie Prussin, Elliott Wright, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603084339671-P0WY8ER17N4EXBY4S624/install4.jpg Hidden in Plain Sight - Hidden in Plain Sight, Curated by David Andrew Frey, featuring works by Jon Bocksel, Joy Drury Cox, Stephanie Prussin, Elliott Wright, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603084341637-C7GJ6JF1KHUJE236YP59/install9.jpg Hidden in Plain Sight - Hidden in Plain Sight, Curated by David Andrew Frey, featuring works by Jon Bocksel, Joy Drury Cox, Stephanie Prussin, Elliott Wright, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603084338985-61RT86942A40FHFB1TD6/install3.jpg Hidden in Plain Sight - Hidden in Plain Sight, Curated by David Andrew Frey, featuring works by Jon Bocksel, Joy Drury Cox, Stephanie Prussin, Elliott Wright, at Cindy Rucker Gallery https://www.cindyruckergallery.com/gereon-krebber-contrary-data daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603085567640-1R8T8C55CDPRDXR47353/DSC_0023.JPG Contrary Data - Installation image from the 2012 Gereon Krebber exhibition, Contrary Data, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603085566408-4LEH4Q1CFBBDYI34N2D1/DSC_0045.JPG Contrary Data - Installation image from the 2012 Gereon Krebber exhibition, Contrary Data, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603085573548-6O1NA8SAWD42GKVW10KO/DSC_0087.jpg Contrary Data - Installation image from the 2012 Gereon Krebber exhibition, Contrary Data, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603085579820-9EGDELDXQI89FIXHH3F6/DSC_0092.JPG Contrary Data - Installation image from the 2012 Gereon Krebber exhibition, Contrary Data, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603085573037-Q9RVFE53YGJVD9R90478/DSC_0047.JPG Contrary Data - Installation image from the 2012 Gereon Krebber exhibition, Contrary Data, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603085580295-DP1OLGLI773A8U74FGP3/DSC_0097.JPG Contrary Data - Installation image from the 2012 Gereon Krebber exhibition, Contrary Data, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603085587258-BTYOQ959PHD6QKPLWEHN/DSC_0149.JPG Contrary Data - Installation image from the 2012 Gereon Krebber exhibition, Contrary Data, at Cindy Rucker Gallery https://www.cindyruckergallery.com/california-dreamin daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603068803345-K9EZ00CT816686KA9YEX/install1.jpg California Dreamin' - Installation image from the 2014 exhibition, California Dreamin’, Curated by Ginger Shulick, featuring works by Jose Arenas, Patrick Dintino, Amir H. Fallah, and Don Porcella, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603069066682-YAV8SM5GL6XRELV0TPYO/install2.jpg California Dreamin' - Installation image from the 2014 exhibition, California Dreamin’, Curated by Ginger Shulick, featuring works by Jose Arenas, Patrick Dintino, Amir H. Fallah, and Don Porcella, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591295016650-JWN3940Y1X8I42TUTNN5/install8.jpg California Dreamin' - Installation image from the 2014 exhibition, California Dreamin’, Curated by Ginger Shulick, featuring works by Jose Arenas, Patrick Dintino, Amir H. Fallah, and Don Porcella, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603069079837-C8N4TJ1OHT44JEU9SEX5/install4.jpg California Dreamin' - Installation image from the 2014 exhibition, California Dreamin’, Curated by Ginger Shulick, featuring works by Jose Arenas, Patrick Dintino, Amir H. Fallah, and Don Porcella, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603069071852-77AQAJI255ES5VO4NU8J/install3.jpg California Dreamin' - Installation image from the 2014 exhibition, California Dreamin’, Curated by Ginger Shulick, featuring works by Jose Arenas, Patrick Dintino, Amir H. Fallah, and Don Porcella, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591295007408-6L7C6NB3AOX3XCETKEUJ/install6.jpg California Dreamin' - Installation image from the 2014 exhibition, California Dreamin’, Curated by Ginger Shulick, featuring works by Jose Arenas, Patrick Dintino, Amir H. Fallah, and Don Porcella, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603069154721-2HF7I78N1Y9SMI8C2E96/install5.jpg California Dreamin' - Installation image from the 2014 exhibition, California Dreamin’, Curated by Ginger Shulick, featuring works by Jose Arenas, Patrick Dintino, Amir H. Fallah, and Don Porcella, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591295018120-BV26OCL8QNWFF0LZVGJB/install9.jpg California Dreamin' - Installation image from the 2014 exhibition, California Dreamin’, Curated by Ginger Shulick, featuring works by Jose Arenas, Patrick Dintino, Amir H. Fallah, and Don Porcella, at Cindy Rucker Gallery https://www.cindyruckergallery.com/local-heads daily 0.75 2020-09-20 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1597260496101-PJ4IVT6YFC3D57WWN872/IMG_1775.jpg Local Heads - Paintings, drawings and sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Paintings, drawings and sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present new works by Brooklyn-based artist Frederick Hayes. In this exhibition, Hayes continues to explore the representation of the self and the urban landscape through abstraction, likeness, and difference. Using different media, Hayes intends to shed light on the human condition as it relates to the working-class African Americans, as well as larger communities of men and women. Raised in the South as part of a family that watched the 6-o’clock news, read Ebony and Jet, as well as the local newspapers, Hayes developed a strong interest in picture-making—the basic ideas of looking, recording, and interpreting—and portraiture early on. Through painting and drawing, Hayes creates ad hoc communities where the good and the bad, the heroes and the villains coexist; much like in reality, his characters possess diverse personalities, habits, and ways of seeing the world. His sculptural practice, on the other hand, is steered by a more open exploration of abstraction, where the verticality and geometry of the landscape marries the detritus of the city, the direct result of his wanderings through different neighborhoods. “Because no one really knows thyself,” the artist writes, images of the self “constantly morph from one image to the next, providing a glimpse before reshaping into something else.” “As a child we learn to present ourselves the way we want people to see us, but not always how we really are,” he states, suggesting that self is bound to be an ongoing, life-long process. Frederick Hayes (b. 1955, Atlanta) lives and works in Brooklyn, New York. He has exhibited at Hallwalls Contemporary Arts Center in Buffalo, the Kingston Sculpture Biennial in Kingston, NY., Patricia Sweetow Gallery, and Number 35, among other venues. Hayes’s work is held by SFMoMA, The Addison Gallery of American Art, The New Museum, and The Studio Museum in Harlem. Frederick Hayes has received the Richard R. Diebenkorn Teaching Fellowship at the San Francisco Art Institute, the Pollock-Krasner Foundation Grant, and the Eureka Fellowship. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1597260507433-KOP2BUPPH5V3I8SHJU2K/IMG_1774.jpg Local Heads - Paintings, drawings and sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Paintings, drawings and sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present new works by Brooklyn-based artist Frederick Hayes. In this exhibition, Hayes continues to explore the representation of the self and the urban landscape through abstraction, likeness, and difference. Using different media, Hayes intends to shed light on the human condition as it relates to the working-class African Americans, as well as larger communities of men and women. Raised in the South as part of a family that watched the 6-o’clock news, read Ebony and Jet, as well as the local newspapers, Hayes developed a strong interest in picture-making—the basic ideas of looking, recording, and interpreting—and portraiture early on. Through painting and drawing, Hayes creates ad hoc communities where the good and the bad, the heroes and the villains coexist; much like in reality, his characters possess diverse personalities, habits, and ways of seeing the world. His sculptural practice, on the other hand, is steered by a more open exploration of abstraction, where the verticality and geometry of the landscape marries the detritus of the city, the direct result of his wanderings through different neighborhoods. “Because no one really knows thyself,” the artist writes, images of the self “constantly morph from one image to the next, providing a glimpse before reshaping into something else.” “As a child we learn to present ourselves the way we want people to see us, but not always how we really are,” he states, suggesting that self is bound to be an ongoing, life-long process. Frederick Hayes (b. 1955, Atlanta) lives and works in Brooklyn, New York. He has exhibited at Hallwalls Contemporary Arts Center in Buffalo, the Kingston Sculpture Biennial in Kingston, NY., Patricia Sweetow Gallery, and Number 35, among other venues. Hayes’s work is held by SFMoMA, The Addison Gallery of American Art, The New Museum, and The Studio Museum in Harlem. Frederick Hayes has received the Richard R. Diebenkorn Teaching Fellowship at the San Francisco Art Institute, the Pollock-Krasner Foundation Grant, and the Eureka Fellowship. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1597260531856-8KITVO59AIYU1PYRMBM9/IMG_1723.jpg Local Heads - Sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present new works by Brooklyn-based artist Frederick Hayes. In this exhibition, Hayes continues to explore the representation of the self and the urban landscape through abstraction, likeness, and difference. Using different media, Hayes intends to shed light on the human condition as it relates to the working-class African Americans, as well as larger communities of men and women. Raised in the South as part of a family that watched the 6-o’clock news, read Ebony and Jet, as well as the local newspapers, Hayes developed a strong interest in picture-making—the basic ideas of looking, recording, and interpreting—and portraiture early on. Through painting and drawing, Hayes creates ad hoc communities where the good and the bad, the heroes and the villains coexist; much like in reality, his characters possess diverse personalities, habits, and ways of seeing the world. His sculptural practice, on the other hand, is steered by a more open exploration of abstraction, where the verticality and geometry of the landscape marries the detritus of the city, the direct result of his wanderings through different neighborhoods. “Because no one really knows thyself,” the artist writes, images of the self “constantly morph from one image to the next, providing a glimpse before reshaping into something else.” “As a child we learn to present ourselves the way we want people to see us, but not always how we really are,” he states, suggesting that self is bound to be an ongoing, life-long process. Frederick Hayes (b. 1955, Atlanta) lives and works in Brooklyn, New York. He has exhibited at Hallwalls Contemporary Arts Center in Buffalo, the Kingston Sculpture Biennial in Kingston, NY., Patricia Sweetow Gallery, and Number 35, among other venues. Hayes’s work is held by SFMoMA, The Addison Gallery of American Art, The New Museum, and The Studio Museum in Harlem. Frederick Hayes has received the Richard R. Diebenkorn Teaching Fellowship at the San Francisco Art Institute, the Pollock-Krasner Foundation Grant, and the Eureka Fellowship. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1597260538703-104A8W7HR6P4WU9FK3IV/email.jpg Local Heads - Paintings installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Paintings installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present new works by Brooklyn-based artist Frederick Hayes. In this exhibition, Hayes continues to explore the representation of the self and the urban landscape through abstraction, likeness, and difference. Using different media, Hayes intends to shed light on the human condition as it relates to the working-class African Americans, as well as larger communities of men and women. Raised in the South as part of a family that watched the 6-o’clock news, read Ebony and Jet, as well as the local newspapers, Hayes developed a strong interest in picture-making—the basic ideas of looking, recording, and interpreting—and portraiture early on. Through painting and drawing, Hayes creates ad hoc communities where the good and the bad, the heroes and the villains coexist; much like in reality, his characters possess diverse personalities, habits, and ways of seeing the world. His sculptural practice, on the other hand, is steered by a more open exploration of abstraction, where the verticality and geometry of the landscape marries the detritus of the city, the direct result of his wanderings through different neighborhoods. “Because no one really knows thyself,” the artist writes, images of the self “constantly morph from one image to the next, providing a glimpse before reshaping into something else.” “As a child we learn to present ourselves the way we want people to see us, but not always how we really are,” he states, suggesting that self is bound to be an ongoing, life-long process. Frederick Hayes (b. 1955, Atlanta) lives and works in Brooklyn, New York. He has exhibited at Hallwalls Contemporary Arts Center in Buffalo, the Kingston Sculpture Biennial in Kingston, NY., Patricia Sweetow Gallery, and Number 35, among other venues. Hayes’s work is held by SFMoMA, The Addison Gallery of American Art, The New Museum, and The Studio Museum in Harlem. Frederick Hayes has received the Richard R. Diebenkorn Teaching Fellowship at the San Francisco Art Institute, the Pollock-Krasner Foundation Grant, and the Eureka Fellowship. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1597260562400-6O498KDIEZ70624RTAR5/IMG_1766.jpg Local Heads - Paintings, drawings and sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Paintings, drawings and sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present new works by Brooklyn-based artist Frederick Hayes. In this exhibition, Hayes continues to explore the representation of the self and the urban landscape through abstraction, likeness, and difference. Using different media, Hayes intends to shed light on the human condition as it relates to the working-class African Americans, as well as larger communities of men and women. Raised in the South as part of a family that watched the 6-o’clock news, read Ebony and Jet, as well as the local newspapers, Hayes developed a strong interest in picture-making—the basic ideas of looking, recording, and interpreting—and portraiture early on. Through painting and drawing, Hayes creates ad hoc communities where the good and the bad, the heroes and the villains coexist; much like in reality, his characters possess diverse personalities, habits, and ways of seeing the world. His sculptural practice, on the other hand, is steered by a more open exploration of abstraction, where the verticality and geometry of the landscape marries the detritus of the city, the direct result of his wanderings through different neighborhoods. “Because no one really knows thyself,” the artist writes, images of the self “constantly morph from one image to the next, providing a glimpse before reshaping into something else.” “As a child we learn to present ourselves the way we want people to see us, but not always how we really are,” he states, suggesting that self is bound to be an ongoing, life-long process. Frederick Hayes (b. 1955, Atlanta) lives and works in Brooklyn, New York. He has exhibited at Hallwalls Contemporary Arts Center in Buffalo, the Kingston Sculpture Biennial in Kingston, NY., Patricia Sweetow Gallery, and Number 35, among other venues. Hayes’s work is held by SFMoMA, The Addison Gallery of American Art, The New Museum, and The Studio Museum in Harlem. Frederick Hayes has received the Richard R. Diebenkorn Teaching Fellowship at the San Francisco Art Institute, the Pollock-Krasner Foundation Grant, and the Eureka Fellowship. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1597260579590-GLS0UO15YK1F9MVEG3T4/IMG_1764.jpg Local Heads - Paintings installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Paintings installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present new works by Brooklyn-based artist Frederick Hayes. In this exhibition, Hayes continues to explore the representation of the self and the urban landscape through abstraction, likeness, and difference. Using different media, Hayes intends to shed light on the human condition as it relates to the working-class African Americans, as well as larger communities of men and women. Raised in the South as part of a family that watched the 6-o’clock news, read Ebony and Jet, as well as the local newspapers, Hayes developed a strong interest in picture-making—the basic ideas of looking, recording, and interpreting—and portraiture early on. Through painting and drawing, Hayes creates ad hoc communities where the good and the bad, the heroes and the villains coexist; much like in reality, his characters possess diverse personalities, habits, and ways of seeing the world. His sculptural practice, on the other hand, is steered by a more open exploration of abstraction, where the verticality and geometry of the landscape marries the detritus of the city, the direct result of his wanderings through different neighborhoods. “Because no one really knows thyself,” the artist writes, images of the self “constantly morph from one image to the next, providing a glimpse before reshaping into something else.” “As a child we learn to present ourselves the way we want people to see us, but not always how we really are,” he states, suggesting that self is bound to be an ongoing, life-long process. Frederick Hayes (b. 1955, Atlanta) lives and works in Brooklyn, New York. He has exhibited at Hallwalls Contemporary Arts Center in Buffalo, the Kingston Sculpture Biennial in Kingston, NY., Patricia Sweetow Gallery, and Number 35, among other venues. Hayes’s work is held by SFMoMA, The Addison Gallery of American Art, The New Museum, and The Studio Museum in Harlem. Frederick Hayes has received the Richard R. Diebenkorn Teaching Fellowship at the San Francisco Art Institute, the Pollock-Krasner Foundation Grant, and the Eureka Fellowship. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1597260605800-Q589H3EYRQXWCJWYZVYR/IMG_1718.jpg Local Heads - Sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present new works by Brooklyn-based artist Frederick Hayes. In this exhibition, Hayes continues to explore the representation of the self and the urban landscape through abstraction, likeness, and difference. Using different media, Hayes intends to shed light on the human condition as it relates to the working-class African Americans, as well as larger communities of men and women. Raised in the South as part of a family that watched the 6-o’clock news, read Ebony and Jet, as well as the local newspapers, Hayes developed a strong interest in picture-making—the basic ideas of looking, recording, and interpreting—and portraiture early on. Through painting and drawing, Hayes creates ad hoc communities where the good and the bad, the heroes and the villains coexist; much like in reality, his characters possess diverse personalities, habits, and ways of seeing the world. His sculptural practice, on the other hand, is steered by a more open exploration of abstraction, where the verticality and geometry of the landscape marries the detritus of the city, the direct result of his wanderings through different neighborhoods. “Because no one really knows thyself,” the artist writes, images of the self “constantly morph from one image to the next, providing a glimpse before reshaping into something else.” “As a child we learn to present ourselves the way we want people to see us, but not always how we really are,” he states, suggesting that self is bound to be an ongoing, life-long process. Frederick Hayes (b. 1955, Atlanta) lives and works in Brooklyn, New York. He has exhibited at Hallwalls Contemporary Arts Center in Buffalo, the Kingston Sculpture Biennial in Kingston, NY., Patricia Sweetow Gallery, and Number 35, among other venues. Hayes’s work is held by SFMoMA, The Addison Gallery of American Art, The New Museum, and The Studio Museum in Harlem. Frederick Hayes has received the Richard R. Diebenkorn Teaching Fellowship at the San Francisco Art Institute, the Pollock-Krasner Foundation Grant, and the Eureka Fellowship. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1597260612841-I84N8HTWGS3JWH5P0UH3/IMG_1720.jpg Local Heads - Sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Sculpture installation images, Frederick Hayes : Local Heads exhibition at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present new works by Brooklyn-based artist Frederick Hayes. In this exhibition, Hayes continues to explore the representation of the self and the urban landscape through abstraction, likeness, and difference. Using different media, Hayes intends to shed light on the human condition as it relates to the working-class African Americans, as well as larger communities of men and women. Raised in the South as part of a family that watched the 6-o’clock news, read Ebony and Jet, as well as the local newspapers, Hayes developed a strong interest in picture-making—the basic ideas of looking, recording, and interpreting—and portraiture early on. Through painting and drawing, Hayes creates ad hoc communities where the good and the bad, the heroes and the villains coexist; much like in reality, his characters possess diverse personalities, habits, and ways of seeing the world. His sculptural practice, on the other hand, is steered by a more open exploration of abstraction, where the verticality and geometry of the landscape marries the detritus of the city, the direct result of his wanderings through different neighborhoods. “Because no one really knows thyself,” the artist writes, images of the self “constantly morph from one image to the next, providing a glimpse before reshaping into something else.” “As a child we learn to present ourselves the way we want people to see us, but not always how we really are,” he states, suggesting that self is bound to be an ongoing, life-long process. Frederick Hayes (b. 1955, Atlanta) lives and works in Brooklyn, New York. He has exhibited at Hallwalls Contemporary Arts Center in Buffalo, the Kingston Sculpture Biennial in Kingston, NY., Patricia Sweetow Gallery, and Number 35, among other venues. Hayes’s work is held by SFMoMA, The Addison Gallery of American Art, The New Museum, and The Studio Museum in Harlem. Frederick Hayes has received the Richard R. Diebenkorn Teaching Fellowship at the San Francisco Art Institute, the Pollock-Krasner Foundation Grant, and the Eureka Fellowship. https://www.cindyruckergallery.com/new-page-2 daily 0.75 2020-06-04 https://www.cindyruckergallery.com/sabine-boehl-fp-bou-sebastian-freytag daily 0.75 2021-02-11 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603073990839-VMDW6D50TGUUSZ2ITJB5/winters08.jpg Sabine Boehl, F.P. Boué, Sebastian Freytag - Installation image from the 2013 exhibition, Sabine Boehl, F.P. Boué, Sebastian Freytag, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603073949516-LRVBDK0DADJADRYYMMLR/winter04.JPG Sabine Boehl, F.P. Boué, Sebastian Freytag - Installation image from the 2013 exhibition, Sabine Boehl, F.P. Boué, Sebastian Freytag, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603073956044-6IHFOIT0NEKIYEOP527K/winters01.jpg Sabine Boehl, F.P. Boué, Sebastian Freytag - Installation image from the 2013 exhibition, Sabine Boehl, F.P. Boué, Sebastian Freytag, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603074002837-3DLMQ83EGRWC2YT5PPQE/winters11.jpg Sabine Boehl, F.P. Boué, Sebastian Freytag - Installation image from the 2013 exhibition, Sabine Boehl, F.P. Boué, Sebastian Freytag, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603074153421-82SQF360V3AWNMPGUZA9/photo+2.JPG Sabine Boehl, F.P. Boué, Sebastian Freytag - Installation image from the 2013 exhibition, Sabine Boehl, F.P. Boué, Sebastian Freytag, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603074011441-99W72NMIBY85PM9046L7/winters13.jpg Sabine Boehl, F.P. Boué, Sebastian Freytag - Installation image from the 2013 exhibition, Sabine Boehl, F.P. Boué, Sebastian Freytag, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603073966204-8PGSZZ2D9NG731DVI5RR/winters05.jpg Sabine Boehl, F.P. Boué, Sebastian Freytag - Installation image from the 2013 exhibition, Sabine Boehl, F.P. Boué, Sebastian Freytag, at Cindy Rucker Gallery https://www.cindyruckergallery.com/photoplay daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591717952948-LWHP1KVXTOTV6G3W5V1Y/Piraino_Valerie_03.jpg Photoplay - Installation image from the 2013 Valerie Piraino exhibition, Photoplay, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593106022730-94A00JJFLDXR12Y96NEU/Valerie_Piraino_Photoplay_01.jpg Photoplay - Installation image from the 2013 Valerie Piraino exhibition, Photoplay, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593105884514-E9NKOWEUVIQ8YZSFSA7A/Valerie_Piraino_Flat_Relief_03.jpg Photoplay - Installation image from the 2013 Valerie Piraino exhibition, Photoplay, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593105729161-C0XH1LOE8D66DV4MSSDC/Valerie_Piraino_01.jpeg Photoplay - Installation image from the 2013 Valerie Piraino exhibition, Photoplay, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593105827764-7QYMVBJGKW7NUNS6WG2E/Valerie_Piraino_Flat+Relief_01.jpg Photoplay - Installation image from the 2013 Valerie Piraino exhibition, Photoplay, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593106063451-CYCN22PZKPPROJ21GYKF/Valerie_Piraino_Photoplay_02.jpg Photoplay - Installation image from the 2013 Valerie Piraino exhibition, Photoplay, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593105829648-67QJ6HKND0OZET5MD1PP/Valerie_Piraino_Flat+Relief_02.jpg Photoplay - Installation image from the 2013 Valerie Piraino exhibition, Photoplay, at Cindy Rucker Gallery https://www.cindyruckergallery.com/hell-on-earth daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603087216310-55CBVWNC461RGHX0RROS/install6.JPG hell on earth - Installation image from the 2012 Charles Dunn exhibition, hell on earth, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603087206657-O5V6R4TVZFMA1ZFRF13D/install2.JPG hell on earth - Installation image from the 2012 Charles Dunn exhibition, hell on earth, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603087207032-41T6GD7RHME892ABK7Y9/DSC_0019.JPG hell on earth - Installation image from the 2012 Charles Dunn exhibition, hell on earth, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603087216777-LLEDQMXZAGBFIDEFXOIE/install7.JPG hell on earth - Installation image from the 2012 Charles Dunn exhibition, hell on earth, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603087212151-5LXTIA2A21NFG4FDQPY9/install5.JPG hell on earth - Installation image from the 2012 Charles Dunn exhibition, hell on earth, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603087211543-XAP0GI1X6V9CWUU1WB29/install4.JPG hell on earth - Installation image from the 2012 Charles Dunn exhibition, hell on earth, at Cindy Rucker Gallery https://www.cindyruckergallery.com/same-but-indifferent daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591725730244-K0AWLO7UNF2D775HU6PJ/still1.jpg Same but indifferent - Installation image from the 2012 Robyn Voshardt/Sven Humphre exhibition, SAME BUT INDIFFERENT, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603087459816-9NOMK0WIVQAANSS8T6QN/Voshardt_Humphrey_Cursory_Momentum_RGB.jpg Same but indifferent - Installation image from the 2012 Robyn Voshardt/Sven Humphre exhibition, SAME BUT INDIFFERENT, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591725746655-2OC195XDVZSQ72BTN51A/still2.jpg Same but indifferent - Installation image from the 2012 Robyn Voshardt/Sven Humphre exhibition, SAME BUT INDIFFERENT, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603087461686-1RJTRDKV6Y5L0KE26T49/Voshardt_Humphrey_Interference_RGB.jpg Same but indifferent - Installation image from the 2012 Robyn Voshardt/Sven Humphre exhibition, SAME BUT INDIFFERENT, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591725749534-IHKRQCDXSD3Y8EQV2061/still3.jpg Same but indifferent - Installation image from the 2012 Robyn Voshardt/Sven Humphre exhibition, SAME BUT INDIFFERENT, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603087459820-TQ0NNODG1N3P445ZHELH/Voshardt_Humphrey_Domination_of_Red_I_RGB.jpg Same but indifferent - Installation image from the 2012 Robyn Voshardt/Sven Humphre exhibition, SAME BUT INDIFFERENT, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591725751177-BE2NP9BAMS3B0QNARL2K/still4.jpg Same but indifferent - Installation image from the 2012 Robyn Voshardt/Sven Humphre exhibition, SAME BUT INDIFFERENT, at Cindy Rucker Gallery https://www.cindyruckergallery.com/subliminallight daily 0.75 2021-02-11 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603088476440-MXNKOZ4NYU1J8MT1O91C/DSC_2675.jpg Subliminal Sunlight - Subliminal Sunlight, Hidenori Iishi, Mark Warren Jacques, Maya Hayuk, Hisham Akira Bharoocha, Jacob Kubizne, Alicia Mccarthy, Chris Johanson, Dalek Marshall, Markus Linnenbrink, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603088483462-LHZ3MBS5P6YZ6HJSDQ1W/DSC_2678.jpg Subliminal Sunlight - Subliminal Sunlight, Hidenori Iishi, Mark Warren Jacques, Maya Hayuk, Hisham Akira Bharoocha, Jacob Kubizne, Alicia Mccarthy, Chris Johanson, Dalek Marshall, Markus Linnenbrink, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603088496834-830NR2JDD26N9OWJFNOK/DSC_0009.JPG Subliminal Sunlight - Subliminal Sunlight, Hidenori Iishi, Mark Warren Jacques, Maya Hayuk, Hisham Akira Bharoocha, Jacob Kubizne, Alicia Mccarthy, Chris Johanson, Dalek Marshall, Markus Linnenbrink, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591730102945-3N76KUIUGEPFOHR58BF7/DSC_0010.jpg Subliminal Sunlight - Subliminal Sunlight, Hidenori Iishi, Mark Warren Jacques, Maya Hayuk, Hisham Akira Bharoocha, Jacob Kubizne, Alicia Mccarthy, Chris Johanson, Dalek Marshall, Markus Linnenbrink, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603088494064-DZLXH8XX9IHJVV3VAO71/DSC_2680.jpg Subliminal Sunlight - Subliminal Sunlight, Hidenori Iishi, Mark Warren Jacques, Maya Hayuk, Hisham Akira Bharoocha, Jacob Kubizne, Alicia Mccarthy, Chris Johanson, Dalek Marshall, Markus Linnenbrink, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603088476675-WGU5LWVPSW0PP5A5DQYB/DSC_2676.jpg Subliminal Sunlight - Subliminal Sunlight, Hidenori Iishi, Mark Warren Jacques, Maya Hayuk, Hisham Akira Bharoocha, Jacob Kubizne, Alicia Mccarthy, Chris Johanson, Dalek Marshall, Markus Linnenbrink, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603088483962-F5MV53YU42SI9RHU0XXA/DSC_2704.jpg Subliminal Sunlight - Subliminal Sunlight, Hidenori Iishi, Mark Warren Jacques, Maya Hayuk, Hisham Akira Bharoocha, Jacob Kubizne, Alicia Mccarthy, Chris Johanson, Dalek Marshall, Markus Linnenbrink, Cindy Rucker Gallery https://www.cindyruckergallery.com/soda-pop daily 0.75 2021-02-11 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603089359336-1DXIQ1XJ2RNVN5TIIBA1/P1050500.JPG Soda Pop - Installation image from the 2011 exhibition, Soda Pop: Effervescence and Abstraction , featuring works by Charles Dunn, Nicole Poko, Brendan Smith, Jeremiah Teipen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603089358360-XC14N0THSWVMZLE4GCHU/P1050499.JPG Soda Pop - Installation image from the 2011 exhibition, Soda Pop: Effervescence and Abstraction , featuring works by Charles Dunn, Nicole Poko, Brendan Smith, Jeremiah Teipen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603089348371-QPGU2306682GK432FK10/P1050490.JPG Soda Pop - Installation image from the 2011 exhibition, Soda Pop: Effervescence and Abstraction , featuring works by Charles Dunn, Nicole Poko, Brendan Smith, Jeremiah Teipen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603089347951-ZLEXV5U5U840WTGEKB9S/P1050487.JPG Soda Pop - Installation image from the 2011 exhibition, Soda Pop: Effervescence and Abstraction , featuring works by Charles Dunn, Nicole Poko, Brendan Smith, Jeremiah Teipen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603089353835-5YPXWFIICF1WF5LRCX4D/P1050495.JPG Soda Pop - Installation image from the 2011 exhibition, Soda Pop: Effervescence and Abstraction , featuring works by Charles Dunn, Nicole Poko, Brendan Smith, Jeremiah Teipen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603089499088-5FESM6EF5BZU86WQLNFJ/P1050493.jpg Soda Pop - Installation image from the 2011 exhibition, Soda Pop: Effervescence and Abstraction , featuring works by Charles Dunn, Nicole Poko, Brendan Smith, Jeremiah Teipen, at Cindy Rucker Gallery https://www.cindyruckergallery.com/a-sense-of-where-you-are daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603090143778-1XY2AX6AY28W09FHX9RK/P1050466.JPG A Sense of Where You Are - Installation image from the 2011 Hannes Kater exhibition, A SENSE OF WHERE YOU ARE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603090155942-LYI1DC6QKICNPQUJN238/P1050476.JPG A Sense of Where You Are - Installation image from the 2011 Hannes Kater exhibition, A SENSE OF WHERE YOU ARE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603090142635-4B74WB7ESZV0BU11ZV4Z/P1050467.JPG A Sense of Where You Are - Installation image from the 2011 Hannes Kater exhibition, A SENSE OF WHERE YOU ARE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603090155198-C7KX3A8BEC4JHXKEN6D7/P1050479.JPG A Sense of Where You Are - Installation image from the 2011 Hannes Kater exhibition, A SENSE OF WHERE YOU ARE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603090149264-XSJTME1IYZQM8CLR8JFV/P1050473.jpg A Sense of Where You Are - Installation image from the 2011 Hannes Kater exhibition, A SENSE OF WHERE YOU ARE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603090148923-PK11D3LV5K87HV8AKH4J/P1050469.JPG A Sense of Where You Are - Installation image from the 2011 Hannes Kater exhibition, A SENSE OF WHERE YOU ARE, at Cindy Rucker Gallery https://www.cindyruckergallery.com/new-page-3 daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603090740512-ZGP8DZFL4RWQ7OTPSAA2/untitled4.jpg Sight and Appearance - Installation image from the 2011 Dunja Evers exhibition, Sight and Appearance, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603090739334-BRR8ELO73VQB3CX31A43/untitled1.jpg Sight and Appearance - Installation image from the 2011 Dunja Evers exhibition, Sight and Appearance, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603090818040-7UVSMLFTZWN5D4BPPWTP/dunjaevers.jpg Sight and Appearance - Installation image from the 2011 Dunja Evers exhibition, Sight and Appearance, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603090739385-ZTWSH93B4M7RG43BE5V8/untitled2.jpg Sight and Appearance - Installation image from the 2011 Dunja Evers exhibition, Sight and Appearance, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603090740047-371BGKYPS7RLO87Z0QWN/untitled3.jpg Sight and Appearance - Installation image from the 2011 Dunja Evers exhibition, Sight and Appearance, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591733180266-NSL46N5LAVXGN383H4TX/Screen+Shot+2020-06-09+at+4.04.46+PM.png Sight and Appearance - Installation image from the 2011 Dunja Evers exhibition, Sight and Appearance, at Cindy Rucker Gallery https://www.cindyruckergallery.com/there-not-there daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603091626779-7AGHZJ8WMQEYQJG3CKLL/untitled3.jpg There/Not There - Installation image, There/Not There, featuring works by Daniele Genadry, Adam Hayes, Alexa Kreissl, Christian Nguyen, Carlos Sandoval De Leon, Voshardt/Humphrey, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603091625632-R2YV2Z3121BU9HCISK9X/untitled2.jpg There/Not There - Installation image, There/Not There, featuring works by Daniele Genadry, Adam Hayes, Alexa Kreissl, Christian Nguyen, Carlos Sandoval De Leon, Voshardt/Humphrey, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603091625885-AZV8QR3H7Q4XA8WCEGPX/untitled1.jpg There/Not There - Installation image, There/Not There, featuring works by Daniele Genadry, Adam Hayes, Alexa Kreissl, Christian Nguyen, Carlos Sandoval De Leon, Voshardt/Humphrey, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603091646052-HH10DIG7FCFXZUIWYZAT/a11.gif There/Not There - Installation image, There/Not There, featuring works by Daniele Genadry, Adam Hayes, Alexa Kreissl, Christian Nguyen, Carlos Sandoval De Leon, Voshardt/Humphrey, at Cindy Rucker Gallery https://www.cindyruckergallery.com/of-the-triumph-it-hosted daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603092355074-SGJTDDQEXMDATV1VK81Q/P1050398.JPG Of the triumph it hosted - Installation image from the 2011 Adam Hayes exhibition, Of the triumph it hosted, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603092373536-YKROIFCS48WS1WJLEPZW/P1050401.JPG Of the triumph it hosted - Installation image from the 2011 Adam Hayes exhibition, Of the triumph it hosted, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591734165108-4W74D81BF4RAFBDTA9UY/P1050404.jpg Of the triumph it hosted - Installation image from the 2011 Adam Hayes exhibition, Of the triumph it hosted, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591734170539-FZ9UM9L037NXJC1OC2OC/P1050405.jpg Of the triumph it hosted - Installation image from the 2011 Adam Hayes exhibition, Of the triumph it hosted, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603092357491-U6DRH5JJ5MRJAXXVXJ89/P1050400.JPG Of the triumph it hosted - Installation image from the 2011 Adam Hayes exhibition, Of the triumph it hosted, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591734182031-HCZQET01BWS655NPJ86W/P1050406.jpg Of the triumph it hosted - Installation image from the 2011 Adam Hayes exhibition, Of the triumph it hosted, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603092375075-I8K5VMLL6RRKXMBQZUIA/P1050408.JPG Of the triumph it hosted - Installation image from the 2011 Adam Hayes exhibition, Of the triumph it hosted, at Cindy Rucker Gallery https://www.cindyruckergallery.com/people-doing-different-things daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603093063433-ZA8V90I3NUQYAOHS5I5P/P1050443.JPG People Doing Different Things - Installation image from the 2011 Christopher Daniels exhibition, People Doing Different Things, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603093047560-GV0IYRZ6QZ0Z70F9LD06/P1050442.JPG People Doing Different Things - Installation image from the 2011 Christopher Daniels exhibition, People Doing Different Things, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591735667797-K9O4Y0J0LFXZD45KCQLV/IMG_1168.JPG People Doing Different Things - Installation image from the 2011 Christopher Daniels exhibition, People Doing Different Things, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603093069285-O5GEI46HNDXY51JEQCRG/space4.jpg People Doing Different Things - Installation image from the 2011 Christopher Daniels exhibition, People Doing Different Things, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591735910085-RSFPLTTS70B0GP974Y06/IMG_1173.JPG People Doing Different Things - Installation image from the 2011 Christopher Daniels exhibition, People Doing Different Things, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603093066881-DOQI9IHR5OQOKUYYPGR5/space+5.jpg People Doing Different Things - Installation image from the 2011 Christopher Daniels exhibition, People Doing Different Things, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591736324345-AJGQNVXQLUNBGXHJC5IN/IMG_1196.JPG People Doing Different Things - Installation image from the 2011 Christopher Daniels exhibition, People Doing Different Things, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603093067373-1IOSA24HYIXJIR0EFOPL/P1050451.JPG People Doing Different Things - Installation image from the 2011 Christopher Daniels exhibition, People Doing Different Things, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591736131499-79S55NMJX3E0MI3TVZTX/IMG_1175.JPG People Doing Different Things - Installation image from the 2011 Christopher Daniels exhibition, People Doing Different Things, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603093043066-JNP1A5GEOG6Q077CHYZ3/P1050439.JPG People Doing Different Things - Installation image from the 2011 Christopher Daniels exhibition, People Doing Different Things, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1591738635244-URHIELCGAQRTAHWTUETC/IMG_1398.JPG People Doing Different Things - Installation image from the 2011 Christopher Daniels exhibition, People Doing Different Things, at Cindy Rucker Gallery https://www.cindyruckergallery.com/recontext daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603094854908-BEN7ZQWDH28M40A3JQ1H/P1050175.JPG re:CONTEXT - re:CONTEXT, Curated by Brad Silk, featuring works by Steven Cossman, Joy Drury Cox, Matthew Craven, Wyatt Kahn, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603094864908-2GUUQ25MB7N3QF8CV8DS/P1050188.JPG re:CONTEXT - re:CONTEXT, Curated by Brad Silk, featuring works by Steven Cossman, Joy Drury Cox, Matthew Craven, Wyatt Kahn, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603094872554-HE2B7TAGE46HY2CKSQZH/P1050210.JPG re:CONTEXT - re:CONTEXT, Curated by Brad Silk, featuring works by Steven Cossman, Joy Drury Cox, Matthew Craven, Wyatt Kahn, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603094854865-QST8VXFEFW1ZL000SLUK/P1050185.JPG re:CONTEXT - re:CONTEXT, Curated by Brad Silk, featuring works by Steven Cossman, Joy Drury Cox, Matthew Craven, Wyatt Kahn, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603094871896-5J736TBQLNBV0B2ZN8B0/P1050203.JPG re:CONTEXT - re:CONTEXT, Curated by Brad Silk, featuring works by Steven Cossman, Joy Drury Cox, Matthew Craven, Wyatt Kahn, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603094864627-YMDFLICU3DY4G636IZY5/P1050190.JPG re:CONTEXT - re:CONTEXT, Curated by Brad Silk, featuring works by Steven Cossman, Joy Drury Cox, Matthew Craven, Wyatt Kahn, Jeremy Jacob Schlangen, at Cindy Rucker Gallery https://www.cindyruckergallery.com/new-page-5 daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603095518885-R49O50VQJLZ9X1PUTW2J/P1050135.JPG Whoever you are - Whoever you are, Curated by Gavin Morrison, featuring works by Thomas Feulmer, Fraser Stables, Catherine Street, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603095577827-MSAA1AXN8YS5IH3XEDGR/P1050117.JPG Whoever you are - Whoever you are, Curated by Gavin Morrison, featuring works by Thomas Feulmer, Fraser Stables, Catherine Street, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603095537868-IM3XY77EBN1AU4U8CFAE/P1050140.JPG Whoever you are - Whoever you are, Curated by Gavin Morrison, featuring works by Thomas Feulmer, Fraser Stables, Catherine Street, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603095527128-69EYBMENS875J86FV5WT/P1050139.JPG Whoever you are - Whoever you are, Curated by Gavin Morrison, featuring works by Thomas Feulmer, Fraser Stables, Catherine Street, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603095540179-FTB7YMIGQYTI7FK5F2E4/P1050130.JPG Whoever you are - Whoever you are, Curated by Gavin Morrison, featuring works by Thomas Feulmer, Fraser Stables, Catherine Street, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603095524361-0UBFTYBQH921RUGKR1W9/P1050137.JPG Whoever you are - Whoever you are, Curated by Gavin Morrison, featuring works by Thomas Feulmer, Fraser Stables, Catherine Street, at Cindy Rucker Gallery https://www.cindyruckergallery.com/carlos-sandoval-2010 daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603096917514-IN6KTOWD0YWXD83NBZEF/P1050078.JPG Carlos Sandoval 2010 - Installation image from the 2010 exhibition, Carlos Sandoval De Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603096905031-FNQ1S14SQX3MECR0D7EM/P1050072.JPG Carlos Sandoval 2010 - Installation image from the 2010 exhibition, Carlos Sandoval De Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603096890671-UNMJNTEVVZN0V4UTSBS7/P1050058.JPG Carlos Sandoval 2010 - Installation image from the 2010 exhibition, Carlos Sandoval De Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603096891353-CKRIVP0KPZ7U60632PSM/P1050062.JPG Carlos Sandoval 2010 - Installation image from the 2010 exhibition, Carlos Sandoval De Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603096921820-3OWQ7A4F3R0D3CAK1TK8/P1050075.JPG Carlos Sandoval 2010 - Installation image from the 2010 exhibition, Carlos Sandoval De Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603096904813-GXG8O4LJ8X9Q817GS189/P1050069.JPG Carlos Sandoval 2010 - Installation image from the 2010 exhibition, Carlos Sandoval De Leon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603096925833-MJ98SP398LR3TTUMT7AA/P1050094.JPG Carlos Sandoval 2010 - Installation image from the 2010 exhibition, Carlos Sandoval De Leon, at Cindy Rucker Gallery https://www.cindyruckergallery.com/nomatterwhereyougothereyouare daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603097926588-IGXEM1L2HCIJ6VUFG91A/DSC_2308.JPG NOMATTERWHEREYOUGOTHEREYOUARE - Installation image from the 2010 Markus Linnenbrink exhibition, NOMATTERWHEREYOUGOTHEREYOUARE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603097922314-GY27RFET97K3DWB6Y0WD/DSC_2289.JPG NOMATTERWHEREYOUGOTHEREYOUARE - Installation image from the 2010 Markus Linnenbrink exhibition, NOMATTERWHEREYOUGOTHEREYOUARE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603097940828-8M3JXYBWU6KGDSUEFM8X/DSC_2312.JPG NOMATTERWHEREYOUGOTHEREYOUARE - Installation image from the 2010 Markus Linnenbrink exhibition, NOMATTERWHEREYOUGOTHEREYOUARE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603097935756-2XYQEMFB6MJKLVCSCTMZ/DSC_2339.JPG NOMATTERWHEREYOUGOTHEREYOUARE - Installation image from the 2010 Markus Linnenbrink exhibition, NOMATTERWHEREYOUGOTHEREYOUARE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603097941738-QW5Q5UB50SYGZ1ZCAL33/Linnenbrink+install+2.jpg NOMATTERWHEREYOUGOTHEREYOUARE - Installation image from the 2010 Markus Linnenbrink exhibition, NOMATTERWHEREYOUGOTHEREYOUARE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603097948679-5X7VR78H31EOC72JMOPY/view4.jpg NOMATTERWHEREYOUGOTHEREYOUARE - Installation image from the 2010 Markus Linnenbrink exhibition, NOMATTERWHEREYOUGOTHEREYOUARE, at Cindy Rucker Gallery https://www.cindyruckergallery.com/new-page-35 daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603099038947-O8JZAEEYD9DTT3KJG0OO/P1040854.JPG What Becomes of a Broken Heart - Installation image from the 2010 Keith O. Anderson exhibition, What Becomes of a Broken Heart, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603099048328-82OCT7RZH5FZSO978RXC/P1040858.JPG What Becomes of a Broken Heart - Installation image from the 2010 Keith O. Anderson exhibition, What Becomes of a Broken Heart, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603099039341-IPVZPEL4MQNHZDV15K4M/P1040853.JPG What Becomes of a Broken Heart - Installation image from the 2010 Keith O. Anderson exhibition, What Becomes of a Broken Heart, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603099050021-EJBZRLGK8WJZKGUL9W7E/P1040857.JPG What Becomes of a Broken Heart - Installation image from the 2010 Keith O. Anderson exhibition, What Becomes of a Broken Heart, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603099055240-ZWHS4YVACMJR8G1R2V79/P1040862.JPG What Becomes of a Broken Heart - Installation image from the 2010 Keith O. Anderson exhibition, What Becomes of a Broken Heart, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603099057521-IM5MEHYP088SQTETGU0V/P1040864.JPG What Becomes of a Broken Heart - Installation image from the 2010 Keith O. Anderson exhibition, What Becomes of a Broken Heart, at Cindy Rucker Gallery https://www.cindyruckergallery.com/the-secret-life-of-plants daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603098477878-MKP6G5CVRUWSLYHUR2D7/P1050051.JPG The Secret Life of Plants - Installation image from the 2010 Martin Schwenk exhibition, The Secret Life of Plants, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592328323547-YSXDRXGOJHMDK0P3SLZ6/Schwenk+invite.jpg The Secret Life of Plants - Installation image from the 2010 Martin Schwenk exhibition, The Secret Life of Plants, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603098478002-GJOTWPTQK3XP8O78JH9Z/P1050049.JPG The Secret Life of Plants - Installation image from the 2010 Martin Schwenk exhibition, The Secret Life of Plants, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603098555962-FXJQCWMBBO9BGAITMXPV/29.jpg The Secret Life of Plants - Installation image from the 2010 Martin Schwenk exhibition, The Secret Life of Plants, at Cindy Rucker Gallery https://www.cindyruckergallery.com/demons daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603099448212-SQQJCYJX49VK4MCSSPTC/P1040800.JPG Demons - Installation image from the 2010 Charles Dunn exhibition, Demons, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603099450970-TB25YA8QLUXWT9WB0B0C/P1040814.JPG Demons - Installation image from the 2010 Charles Dunn exhibition, Demons, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603099451025-XMHR7IYU0WCI3VJYT9L5/greenblackpinkweb.jpg Demons - Installation image from the 2010 Charles Dunn exhibition, Demons, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603099451697-WB96PECF5ZLWMNZ1Z9SW/pinkpurpleweb.jpg Demons - Installation image from the 2010 Charles Dunn exhibition, Demons, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603099508160-KUA6O8XX9U53IJY1EGZB/Untitledsculptureweb.jpg Demons - Installation image from the 2010 Charles Dunn exhibition, Demons, at Cindy Rucker Gallery https://www.cindyruckergallery.com/charles-dunngary-rugh daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603100102555-MM6K1W0OBDZR7EV8XBBP/P1020451.JPG Charles Dunn/Gary Rough - Installation image from the 2009 exhibition, Charles Dunn/Gary Rough, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603100094591-D0MY43OAZH9LTC56DMG5/Dunn%3ARough+5.jpg Charles Dunn/Gary Rough - Installation image from the 2009 exhibition, Charles Dunn/Gary Rough, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603100089817-BCTOXTNHKU04SZOO6VSQ/Dunn%3ARough+1.jpg Charles Dunn/Gary Rough - Installation image from the 2009 exhibition, Charles Dunn/Gary Rough, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603100090057-47S5IQJ60KQ581HGIS2K/Dunn%3ARough+2.jpg Charles Dunn/Gary Rough - Installation image from the 2009 exhibition, Charles Dunn/Gary Rough, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603100094657-F8451PQJ2XAOFKZ4MJHA/Dunn%3ARough+3.jpg Charles Dunn/Gary Rough - Installation image from the 2009 exhibition, Charles Dunn/Gary Rough, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603100100359-69ESAY3X0FNCQVGOHK0R/P1020448.JPG Charles Dunn/Gary Rough - Installation image from the 2009 exhibition, Charles Dunn/Gary Rough, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603100100030-2X5MF5S3RAAIEB3IV7IN/P1020450.JPG Charles Dunn/Gary Rough - Installation image from the 2009 exhibition, Charles Dunn/Gary Rough, at Cindy Rucker Gallery https://www.cindyruckergallery.com/fred-hayes daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603101351513-SGFVHLDWXG3XXHMQEMW4/P1040645.JPG BUILDING AN EMPIRE - Installation image from the 2009 Frederick Hayes exhibition, BUILDING AN EMPIRE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603101494507-WVDDN6NPELTXZANLFEBK/P1040634.jpg BUILDING AN EMPIRE - Installation image from the 2009 Frederick Hayes exhibition, BUILDING AN EMPIRE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603101347093-6U0NLL5FAXHCOJ90CL6I/P1040631.JPG BUILDING AN EMPIRE - Installation image from the 2009 Frederick Hayes exhibition, BUILDING AN EMPIRE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603101339867-DMLSXB328G3N5S050TB0/P1040636.JPG BUILDING AN EMPIRE - Installation image from the 2009 Frederick Hayes exhibition, BUILDING AN EMPIRE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603101355760-EZQVN5E3LQN9L6WBVVAJ/P1040640.JPG BUILDING AN EMPIRE - Installation image from the 2009 Frederick Hayes exhibition, BUILDING AN EMPIRE, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603101346067-KQO2K0BMJ76Y8T04AVTJ/P1040639.JPG BUILDING AN EMPIRE - Installation image from the 2009 Frederick Hayes exhibition, BUILDING AN EMPIRE, at Cindy Rucker Gallery https://www.cindyruckergallery.com/modern-indoor-gardening daily 0.75 2020-10-06 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1601964399195-6W2N2DRJCWC90SA648QK/P1040606+edited.jpg Modern Indoor Gardening - Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Number 35 is pleased to present new works by Danish artist Marianne Vierø. In her first solo exhibition in New York, Vierø has created a layered installation exploring ambiguity in a multitude of natural, synthetic and industrial materials. Marianne Vierø works primarily in the field of photography and installation, usually as one inseparable entity, where even the flat surface of the photograph expresses spatial properties. In this exhibition, panels and small structures are painted with different kinds of industrial paints: the structures are sprayed with car-lacquer that has an extremely glossy finish while the panels are painted with matte latex, sometimes mixed with low-durability pigments. In direct contrast to these painted areas are the rough, unfinished surfaces of the industrially manufactured wood, some still showcasing the marks of the machine that formed it. She further manipulates the objects through placement and proximity. This undoes the expectation in the object’s purpose and subverts an immediate interpretation. Also included in the exhibition are two photographs which nod to her earlier still life works present malleable clay lumps, thereby capturing this primal material before it comes to exist as an object. Walking through the installation, there is a shift between dry, almost empty views and extremely colorful, densities that invite for intimate inspection. There are big monochrome surfaces and small, angled clusters of material. These deconstructed Minimalist cubes not only reference Judd and the ultra-slick surfaces of McCracken, but also the rich tradition of Japanese wood joinery, and thus introduce an element of craftsmanship to the seemingly abstract forms and industrial materials. Vierø's work is a never ending renegotiation of the values we have assigned to the objects and concepts that surround us. Born in Copenhagen, Vierø has exhibited most recently at the Kunsthaus Essen, Fotografisk Center in Copenhagen and the Arsenale Novissimo in Venice. She is currently a resident at the Rijksakademie van beeldende Kunsten in Amsterdam. Vierø lives and works in Amsterdam. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1601964727332-HUPB4QLVBRSWHKPAYZBO/P1040627.jpg Modern Indoor Gardening - Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Number 35 is pleased to present new works by Danish artist Marianne Vierø. In her first solo exhibition in New York, Vierø has created a layered installation exploring ambiguity in a multitude of natural, synthetic and industrial materials. Marianne Vierø works primarily in the field of photography and installation, usually as one inseparable entity, where even the flat surface of the photograph expresses spatial properties. In this exhibition, panels and small structures are painted with different kinds of industrial paints: the structures are sprayed with car-lacquer that has an extremely glossy finish while the panels are painted with matte latex, sometimes mixed with low-durability pigments. In direct contrast to these painted areas are the rough, unfinished surfaces of the industrially manufactured wood, some still showcasing the marks of the machine that formed it. She further manipulates the objects through placement and proximity. This undoes the expectation in the object’s purpose and subverts an immediate interpretation. Also included in the exhibition are two photographs which nod to her earlier still life works present malleable clay lumps, thereby capturing this primal material before it comes to exist as an object. Walking through the installation, there is a shift between dry, almost empty views and extremely colorful, densities that invite for intimate inspection. There are big monochrome surfaces and small, angled clusters of material. These deconstructed Minimalist cubes not only reference Judd and the ultra-slick surfaces of McCracken, but also the rich tradition of Japanese wood joinery, and thus introduce an element of craftsmanship to the seemingly abstract forms and industrial materials. Vierø's work is a never ending renegotiation of the values we have assigned to the objects and concepts that surround us. Born in Copenhagen, Vierø has exhibited most recently at the Kunsthaus Essen, Fotografisk Center in Copenhagen and the Arsenale Novissimo in Venice. She is currently a resident at the Rijksakademie van beeldende Kunsten in Amsterdam. Vierø lives and works in Amsterdam. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1601964680004-PBKJW3SQ5S0WFRNMV5LY/P1040624.jpg Modern Indoor Gardening - Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Number 35 is pleased to present new works by Danish artist Marianne Vierø. In her first solo exhibition in New York, Vierø has created a layered installation exploring ambiguity in a multitude of natural, synthetic and industrial materials. Marianne Vierø works primarily in the field of photography and installation, usually as one inseparable entity, where even the flat surface of the photograph expresses spatial properties. In this exhibition, panels and small structures are painted with different kinds of industrial paints: the structures are sprayed with car-lacquer that has an extremely glossy finish while the panels are painted with matte latex, sometimes mixed with low-durability pigments. In direct contrast to these painted areas are the rough, unfinished surfaces of the industrially manufactured wood, some still showcasing the marks of the machine that formed it. She further manipulates the objects through placement and proximity. This undoes the expectation in the object’s purpose and subverts an immediate interpretation. Also included in the exhibition are two photographs which nod to her earlier still life works present malleable clay lumps, thereby capturing this primal material before it comes to exist as an object. Walking through the installation, there is a shift between dry, almost empty views and extremely colorful, densities that invite for intimate inspection. There are big monochrome surfaces and small, angled clusters of material. These deconstructed Minimalist cubes not only reference Judd and the ultra-slick surfaces of McCracken, but also the rich tradition of Japanese wood joinery, and thus introduce an element of craftsmanship to the seemingly abstract forms and industrial materials. Vierø's work is a never ending renegotiation of the values we have assigned to the objects and concepts that surround us. Born in Copenhagen, Vierø has exhibited most recently at the Kunsthaus Essen, Fotografisk Center in Copenhagen and the Arsenale Novissimo in Venice. She is currently a resident at the Rijksakademie van beeldende Kunsten in Amsterdam. Vierø lives and works in Amsterdam. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1601964869497-9ZFOQ8XC2QWKS1YMUO1N/P1040615.jpg Modern Indoor Gardening - Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Number 35 is pleased to present new works by Danish artist Marianne Vierø. In her first solo exhibition in New York, Vierø has created a layered installation exploring ambiguity in a multitude of natural, synthetic and industrial materials. Marianne Vierø works primarily in the field of photography and installation, usually as one inseparable entity, where even the flat surface of the photograph expresses spatial properties. In this exhibition, panels and small structures are painted with different kinds of industrial paints: the structures are sprayed with car-lacquer that has an extremely glossy finish while the panels are painted with matte latex, sometimes mixed with low-durability pigments. In direct contrast to these painted areas are the rough, unfinished surfaces of the industrially manufactured wood, some still showcasing the marks of the machine that formed it. She further manipulates the objects through placement and proximity. This undoes the expectation in the object’s purpose and subverts an immediate interpretation. Also included in the exhibition are two photographs which nod to her earlier still life works present malleable clay lumps, thereby capturing this primal material before it comes to exist as an object. Walking through the installation, there is a shift between dry, almost empty views and extremely colorful, densities that invite for intimate inspection. There are big monochrome surfaces and small, angled clusters of material. These deconstructed Minimalist cubes not only reference Judd and the ultra-slick surfaces of McCracken, but also the rich tradition of Japanese wood joinery, and thus introduce an element of craftsmanship to the seemingly abstract forms and industrial materials. Vierø's work is a never ending renegotiation of the values we have assigned to the objects and concepts that surround us. Born in Copenhagen, Vierø has exhibited most recently at the Kunsthaus Essen, Fotografisk Center in Copenhagen and the Arsenale Novissimo in Venice. She is currently a resident at the Rijksakademie van beeldende Kunsten in Amsterdam. Vierø lives and works in Amsterdam. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1601965003163-YMTDI1FATJXPP3SO1IWO/P1040610.jpg Modern Indoor Gardening - Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Number 35 is pleased to present new works by Danish artist Marianne Vierø. In her first solo exhibition in New York, Vierø has created a layered installation exploring ambiguity in a multitude of natural, synthetic and industrial materials. Marianne Vierø works primarily in the field of photography and installation, usually as one inseparable entity, where even the flat surface of the photograph expresses spatial properties. In this exhibition, panels and small structures are painted with different kinds of industrial paints: the structures are sprayed with car-lacquer that has an extremely glossy finish while the panels are painted with matte latex, sometimes mixed with low-durability pigments. In direct contrast to these painted areas are the rough, unfinished surfaces of the industrially manufactured wood, some still showcasing the marks of the machine that formed it. She further manipulates the objects through placement and proximity. This undoes the expectation in the object’s purpose and subverts an immediate interpretation. Also included in the exhibition are two photographs which nod to her earlier still life works present malleable clay lumps, thereby capturing this primal material before it comes to exist as an object. Walking through the installation, there is a shift between dry, almost empty views and extremely colorful, densities that invite for intimate inspection. There are big monochrome surfaces and small, angled clusters of material. These deconstructed Minimalist cubes not only reference Judd and the ultra-slick surfaces of McCracken, but also the rich tradition of Japanese wood joinery, and thus introduce an element of craftsmanship to the seemingly abstract forms and industrial materials. Vierø's work is a never ending renegotiation of the values we have assigned to the objects and concepts that surround us. Born in Copenhagen, Vierø has exhibited most recently at the Kunsthaus Essen, Fotografisk Center in Copenhagen and the Arsenale Novissimo in Venice. She is currently a resident at the Rijksakademie van beeldende Kunsten in Amsterdam. Vierø lives and works in Amsterdam. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1601964533098-GZQ2834O484VJ8OPUOXM/P1040613.jpg Modern Indoor Gardening - Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Number 35 is pleased to present new works by Danish artist Marianne Vierø. In her first solo exhibition in New York, Vierø has created a layered installation exploring ambiguity in a multitude of natural, synthetic and industrial materials. Marianne Vierø works primarily in the field of photography and installation, usually as one inseparable entity, where even the flat surface of the photograph expresses spatial properties. In this exhibition, panels and small structures are painted with different kinds of industrial paints: the structures are sprayed with car-lacquer that has an extremely glossy finish while the panels are painted with matte latex, sometimes mixed with low-durability pigments. In direct contrast to these painted areas are the rough, unfinished surfaces of the industrially manufactured wood, some still showcasing the marks of the machine that formed it. She further manipulates the objects through placement and proximity. This undoes the expectation in the object’s purpose and subverts an immediate interpretation. Also included in the exhibition are two photographs which nod to her earlier still life works present malleable clay lumps, thereby capturing this primal material before it comes to exist as an object. Walking through the installation, there is a shift between dry, almost empty views and extremely colorful, densities that invite for intimate inspection. There are big monochrome surfaces and small, angled clusters of material. These deconstructed Minimalist cubes not only reference Judd and the ultra-slick surfaces of McCracken, but also the rich tradition of Japanese wood joinery, and thus introduce an element of craftsmanship to the seemingly abstract forms and industrial materials. Vierø's work is a never ending renegotiation of the values we have assigned to the objects and concepts that surround us. Born in Copenhagen, Vierø has exhibited most recently at the Kunsthaus Essen, Fotografisk Center in Copenhagen and the Arsenale Novissimo in Venice. She is currently a resident at the Rijksakademie van beeldende Kunsten in Amsterdam. Vierø lives and works in Amsterdam. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1601964913732-7DFOO921MTQ3U3CDAPPU/P1040628.jpg Modern Indoor Gardening - Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Number 35 is pleased to present new works by Danish artist Marianne Vierø. In her first solo exhibition in New York, Vierø has created a layered installation exploring ambiguity in a multitude of natural, synthetic and industrial materials. Marianne Vierø works primarily in the field of photography and installation, usually as one inseparable entity, where even the flat surface of the photograph expresses spatial properties. In this exhibition, panels and small structures are painted with different kinds of industrial paints: the structures are sprayed with car-lacquer that has an extremely glossy finish while the panels are painted with matte latex, sometimes mixed with low-durability pigments. In direct contrast to these painted areas are the rough, unfinished surfaces of the industrially manufactured wood, some still showcasing the marks of the machine that formed it. She further manipulates the objects through placement and proximity. This undoes the expectation in the object’s purpose and subverts an immediate interpretation. Also included in the exhibition are two photographs which nod to her earlier still life works present malleable clay lumps, thereby capturing this primal material before it comes to exist as an object. Walking through the installation, there is a shift between dry, almost empty views and extremely colorful, densities that invite for intimate inspection. There are big monochrome surfaces and small, angled clusters of material. These deconstructed Minimalist cubes not only reference Judd and the ultra-slick surfaces of McCracken, but also the rich tradition of Japanese wood joinery, and thus introduce an element of craftsmanship to the seemingly abstract forms and industrial materials. Vierø's work is a never ending renegotiation of the values we have assigned to the objects and concepts that surround us. Born in Copenhagen, Vierø has exhibited most recently at the Kunsthaus Essen, Fotografisk Center in Copenhagen and the Arsenale Novissimo in Venice. She is currently a resident at the Rijksakademie van beeldende Kunsten in Amsterdam. Vierø lives and works in Amsterdam. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1601964399195-6W2N2DRJCWC90SA648QK/P1040606+edited.jpg Modern Indoor Gardening - Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery (Copy) Marianne Vierø: Modern Indoor Gardening installation images at Cindy Rucker Gallery Number 35 is pleased to present new works by Danish artist Marianne Vierø. In her first solo exhibition in New York, Vierø has created a layered installation exploring ambiguity in a multitude of natural, synthetic and industrial materials. Marianne Vierø works primarily in the field of photography and installation, usually as one inseparable entity, where even the flat surface of the photograph expresses spatial properties. In this exhibition, panels and small structures are painted with different kinds of industrial paints: the structures are sprayed with car-lacquer that has an extremely glossy finish while the panels are painted with matte latex, sometimes mixed with low-durability pigments. In direct contrast to these painted areas are the rough, unfinished surfaces of the industrially manufactured wood, some still showcasing the marks of the machine that formed it. She further manipulates the objects through placement and proximity. This undoes the expectation in the object’s purpose and subverts an immediate interpretation. Also included in the exhibition are two photographs which nod to her earlier still life works present malleable clay lumps, thereby capturing this primal material before it comes to exist as an object. Walking through the installation, there is a shift between dry, almost empty views and extremely colorful, densities that invite for intimate inspection. There are big monochrome surfaces and small, angled clusters of material. These deconstructed Minimalist cubes not only reference Judd and the ultra-slick surfaces of McCracken, but also the rich tradition of Japanese wood joinery, and thus introduce an element of craftsmanship to the seemingly abstract forms and industrial materials. Vierø's work is a never ending renegotiation of the values we have assigned to the objects and concepts that surround us. Born in Copenhagen, Vierø has exhibited most recently at the Kunsthaus Essen, Fotografisk Center in Copenhagen and the Arsenale Novissimo in Venice. She is currently a resident at the Rijksakademie van beeldende Kunsten in Amsterdam. Vierø lives and works in Amsterdam. https://www.cindyruckergallery.com/michael-paul-britto-carlos-sandoval-de-leon-diane-wah daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603102535328-6E6OLFPB3BP7TVTYOMQ5/P1040577.JPG Stereo Types - Stereo Types, featuring works by Michael Paul Britto, Carlos Sandoval de Leon, Diane Wah, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603102501559-8BMXMYTVW3X5MIEXI8FO/P1040567.JPG Stereo Types - Stereo Types, featuring works by Michael Paul Britto, Carlos Sandoval de Leon, Diane Wah, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603102520420-URU5W4CZSABIH45LZU4D/P1040569.JPG Stereo Types - Stereo Types, featuring works by Michael Paul Britto, Carlos Sandoval de Leon, Diane Wah, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603102539287-7TNC7ZKF9YG5ITLQ1FOW/P1040590.JPG Stereo Types - Stereo Types, featuring works by Michael Paul Britto, Carlos Sandoval de Leon, Diane Wah, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603102524887-IX2Y8843JESPQYFRL31P/P1040576.JPG Stereo Types - Stereo Types, featuring works by Michael Paul Britto, Carlos Sandoval de Leon, Diane Wah, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603102501466-61XFECPCL904QI8TO42C/P1040561.JPG Stereo Types - Stereo Types, featuring works by Michael Paul Britto, Carlos Sandoval de Leon, Diane Wah, at Cindy Rucker Gallery https://www.cindyruckergallery.com/were-all-gonna-die-1 daily 0.75 2021-02-11 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603103968631-OST05KK9Y9Y4ZT5Q704E/P1040066+copy.jpg We’re all gonna die - We’re all gonna die., curated by Ron Keyson, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603103942871-ESD05FDNM0I1IHLUNWNQ/P1040063.JPG We’re all gonna die - We’re all gonna die., curated by Ron Keyson, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603103989250-75OEPEZJPWT229JRLVCL/P1040070.JPG We’re all gonna die https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603103989709-YDPN884FD06HOIMYTSSF/P1040068.JPG We’re all gonna die - We’re all gonna die., curated by Ron Keyson, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603104069337-BRVF7OMVWGZKLIZ0AMG3/P1040078.JPG We’re all gonna die - We’re all gonna die., curated by Ron Keyson, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603103943373-TA6XJJ8B0Y53CJISCR7B/P1040064.JPG We’re all gonna die - We’re all gonna die., curated by Ron Keyson, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603103981331-7FV26Y6ZXX08PTX1TNB8/Daniels%2Bdetail%2B2.jpg We’re all gonna die - We’re all gonna die., curated by Ron Keyson, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603104002051-UOWTNVRK8YGP2FIF5SB4/P1040071.JPG We’re all gonna die - We’re all gonna die., curated by Ron Keyson, at Cindy Rucker Gallery https://www.cindyruckergallery.com/concrete-universe daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592342526691-RKIW5LE7UINTLBIHE3BK/P1040004.jpg Concrete Universe - Installation image from the 2009 Miyeon Lee exhibition, CONCRETE UNIVERSE, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592342714340-U0DLKPM388N0HPQL6FC3/P1030998.jpg Concrete Universe - Installation image from the 2009 Miyeon Lee exhibition, CONCRETE UNIVERSE, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592342598010-O3EV5HPFQPCQ458H3T3V/P1040009.jpg Concrete Universe - Installation image from the 2009 Miyeon Lee exhibition, CONCRETE UNIVERSE, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592342576858-8QDBZ7U19EPVKFTWR7JM/P1040008.jpg Concrete Universe - Installation image from the 2009 Miyeon Lee exhibition, CONCRETE UNIVERSE, at Cindy Rucker Gallery, Number 35 https://www.cindyruckergallery.com/i-want-to-tell-you daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603105074295-XUK1MA03EDEPUY5YH7BU/P1030905.JPG I WANT TO TELL YOU - Installation image from the 2009 Gary Rough exhibition, I WANT TO TELL YOU, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603105096251-8JD8O9HUSRKPA9WG0Y1R/P1030915.JPG I WANT TO TELL YOU - Installation image from the 2009 Gary Rough exhibition, I WANT TO TELL YOU, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603105069635-WQ0SMV302IXHOJC1OVYB/P1030906.JPG I WANT TO TELL YOU - Installation image from the 2009 Gary Rough exhibition, I WANT TO TELL YOU, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603105095940-S0819JJSKZ6DIL5BCRT7/P1030918.JPG I WANT TO TELL YOU - Installation image from the 2009 Gary Rough exhibition, I WANT TO TELL YOU, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603105103923-XXI6OBPCI7IUOTM6HVF3/P1030926.JPG I WANT TO TELL YOU - Installation image from the 2009 Gary Rough exhibition, I WANT TO TELL YOU, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603105105977-RI9EAWJPJ6V64KT8GGEX/south+and+west+wall.jpg I WANT TO TELL YOU - Installation image from the 2009 Gary Rough exhibition, I WANT TO TELL YOU, at Cindy Rucker Gallery, Number 35 https://www.cindyruckergallery.com/boards-with-bumps daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603105306040-PX2A0B3JZMAB99D5E5P9/P1030685.JPG Boards with Bumps - Installation image from the 2009 Gereon Krebber exhibition, Boards with Bumps, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592344959782-EMEJ7ZTWNY8Z146XPP1Q/krebber+web+image.jpg Boards with Bumps - Installation image from the 2009 Gereon Krebber exhibition, Boards with Bumps, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592345297880-XQRBV7JNUJHFUG3REPME/P1030697.JPG Boards with Bumps - Installation image from the 2009 Gereon Krebber exhibition, Boards with Bumps, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603105305226-SBR7WPBNME4PE4YDX99X/P1030692.JPG Boards with Bumps - Installation image from the 2009 Gereon Krebber exhibition, Boards with Bumps, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592345250896-HQSTSO0COEUKX0MO476B/P1030695.JPG Boards with Bumps - Installation image from the 2009 Gereon Krebber exhibition, Boards with Bumps, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592345130226-S1JBZ8C3XOCP1GCJH6EG/P1030691.JPG Boards with Bumps - Installation image from the 2009 Gereon Krebber exhibition, Boards with Bumps, at Cindy Rucker Gallery, Number 35 https://www.cindyruckergallery.com/frederick-hayesjayson-keeling daily 0.75 2020-06-25 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592345843968-O6XUM42D5QHHQJY5XM5H/Untitled-1.jpg Frederick Hayes/Jayson Keeling https://www.cindyruckergallery.com/access-to-the-magnificent-room daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603106093594-TU8YNMNYPSXQ2MTI2DWF/P1030625.JPG Access to the Magnificent Room - Installation image from the 2008 Adam Hayes exhibition, Access to the Magnificent Room, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603106088873-CKOWOOEDWT84BI9UE0IN/P1030622.JPG Access to the Magnificent Room - Installation image from the 2008 Adam Hayes exhibition, Access to the Magnificent Room, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603106101615-2LNC73ZEJP0UDGLA1KKY/P1030626.JPG Access to the Magnificent Room - Installation image from the 2008 Adam Hayes exhibition, Access to the Magnificent Room, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603106106800-WRVKOFT8NAWBN1E3CZ9W/P1030628.JPG Access to the Magnificent Room - Installation image from the 2008 Adam Hayes exhibition, Access to the Magnificent Room, at Cindy Rucker Gallery, Number 35 https://www.cindyruckergallery.com/bends-back-on daily 0.75 2021-02-11 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603106673672-GZ8D4RX01TWI236BDA2H/IMG_0007_2.JPG Bends Back On - Bends Back On., featuring works by Robert Dupree & Claudia Saimbert , at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603106702617-Q276USZDFXRYYV0IIB1E/IMG_0011.JPG Bends Back On - Bends Back On., featuring works by Robert Dupree & Claudia Saimbert , at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603106711876-FII3Z4ILO7V75TZ87Z8F/IMG_0012.JPG Bends Back On - Bends Back On., featuring works by Robert Dupree & Claudia Saimbert , at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603106681174-LM6PJ2EAERJ70J7UPD5P/IMG_0008.JPG Bends Back On - Bends Back On., featuring works by Robert Dupree & Claudia Saimbert , at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603106735317-5N1OL6YJ3W5XFYY3O5I8/IMG_0013.JPG Bends Back On - Bends Back On., featuring works by Robert Dupree & Claudia Saimbert , at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603106740489-OW7KJF4KYCF2L0JFU4GT/IMG_0021.JPG Bends Back On - Bends Back On., featuring works by Robert Dupree & Claudia Saimbert , at Cindy Rucker Gallery https://www.cindyruckergallery.com/white-on-white daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603107759803-9MMAM9JJ7GH8PYT10AKK/W+on+W+install+2.jpg White on White - White on White, Curated by Eun Young Choi, featuring works by Boyce Cummings, Larry Lee, Miyeon Lee, K. Min, Jeremiah Teipen, Heeseop Yoon , at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603107759690-ZQA36MZL1P4ZC5JVAZQ8/W+on+W+install+1.jpg White on White - White on White, Curated by Eun Young Choi, featuring works by Boyce Cummings, Larry Lee, Miyeon Lee, K. Min, Jeremiah Teipen, Heeseop Yoon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592349407182-65RZ2GUTZ271YTA7JS0N/Teipen+install+thumb.jpg White on White - White on White, Curated by Eun Young Choi, featuring works by Boyce Cummings, Larry Lee, Miyeon Lee, K. Min, Jeremiah Teipen, Heeseop Yoon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603107815517-O4M1EK5YKCJ296VKZ08U/P1030486.JPG White on White - White on White, Curated by Eun Young Choi, featuring works by Boyce Cummings, Larry Lee, Miyeon Lee, K. Min, Jeremiah Teipen, Heeseop Yoon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603107776464-P9AT2DOSJPQG2IC0G9YJ/Cummings+Puma.jpg White on White - White on White, Curated by Eun Young Choi, featuring works by Boyce Cummings, Larry Lee, Miyeon Lee, K. Min, Jeremiah Teipen, Heeseop Yoon, at Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1592349405034-3U2XK27HWZTI3PGW0ZST/Open+Closed+-+Miyeon+Lee+thumb.jpg White on White - White on White, Curated by Eun Young Choi, featuring works by Boyce Cummings, Larry Lee, Miyeon Lee, K. Min, Jeremiah Teipen, Heeseop Yoon, at Cindy Rucker Gallery https://www.cindyruckergallery.com/hannes-kater-right-drawing-in-wrong-settings daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603108292416-XKT0ZN9LKO95ZHTUVP87/_DSC7697.JPG Right Drawing in Wrong Settings - Installation image from the 2008 Hannes Kater exhibition, Right Drawings in Wrong Settings, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603108276921-VFJIYXTY4DRWGOSEBO46/_DSC7624.JPG Right Drawing in Wrong Settings - Installation image from the 2008 Hannes Kater exhibition, Right Drawings in Wrong Settings, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603108276492-YVV31XJZOAD49D84LDFT/_DSC7668.JPG Right Drawing in Wrong Settings - Installation image from the 2008 Hannes Kater exhibition, Right Drawings in Wrong Settings, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603108291721-1EOKRYMO2D7H6TMCS4ZQ/_DSC7695.JPG Right Drawing in Wrong Settings - Installation image from the 2008 Hannes Kater exhibition, Right Drawings in Wrong Settings, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603108301544-920GDJF1N5U5EU2TD4R5/_DSC7724.JPG Right Drawing in Wrong Settings - Installation image from the 2008 Hannes Kater exhibition, Right Drawings in Wrong Settings, at Cindy Rucker Gallery, Number 35 https://www.cindyruckergallery.com/the-long-way daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603108690149-PT22XDFCPBCVKOV7RHCX/where+the+road+install.jpg The Long Way - Installation image from the 2008 Christopher Daniels exhibition, The Long Way, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603108696899-8BP4YY1FW773MOD9WOWV/within+the+sea+3.jpg The Long Way - Installation image from the 2008 Christopher Daniels exhibition, The Long Way, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603108817967-C9OXM1PF5WS6NSJFL9BL/Where+the+Road-left+detail.jpg The Long Way - Installation image from the 2008 Christopher Daniels exhibition, The Long Way, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603108686505-1JIPQELJGH9Q52EC41UO/back+area.jpg The Long Way - Installation image from the 2008 Christopher Daniels exhibition, The Long Way, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603108811720-O7JHNAP0RMZ1N9H5SNZV/Untitled+9.8+x+8.jpg The Long Way - Installation image from the 2008 Christopher Daniels exhibition, The Long Way, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603108694009-U1X9GY6WCLY0I2LQ4YBF/where+the+road%3Aback+area.jpg The Long Way - Installation image from the 2008 Christopher Daniels exhibition, The Long Way, at Cindy Rucker Gallery, Number 35 https://www.cindyruckergallery.com/der-zweite-garten daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109851031-U2OCNIFAB3HDXSFG870D/DSC_0061.JPG Der Zweite Garten - Installation image from the 2008 Martin Schwenk exhibition, Der Zweite Garten, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109858117-UC9IGLLGG1H6AWZE982E/P1030207.JPG Der Zweite Garten - Installation image from the 2008 Martin Schwenk exhibition, Der Zweite Garten, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109858318-KWG5KGPNBG5456BRB9PF/P1030204.JPG Der Zweite Garten - Installation image from the 2008 Martin Schwenk exhibition, Der Zweite Garten, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109869275-PQWP3VRCQEY4SWJFGOPM/PUSchram.jpg Der Zweite Garten - Installation image from the 2008 Martin Schwenk exhibition, Der Zweite Garten, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109850826-E26VN3ZIM7VU8J852Y28/DSC_0053.JPG Der Zweite Garten - Installation image from the 2008 Martin Schwenk exhibition, Der Zweite Garten, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109868861-C165HJV6QHDGY1S5SW33/P1030212.JPG Der Zweite Garten - Installation image from the 2008 Martin Schwenk exhibition, Der Zweite Garten, at Cindy Rucker Gallery, Number 35 https://www.cindyruckergallery.com/holiday-reading daily 0.75 2021-02-11 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603110475592-APBGWVOH2G5KQMD54FKK/P1030071.JPG Holiday Reading - Holiday Reading, curated by Ron Keyson, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603110446614-SWC8JV6X2HVREZROURCW/P1030025.JPG Holiday Reading - Holiday Reading, curated by Ron Keyson, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603110460908-XCW4L3ZWE859830CUB1P/P1030030.JPG Holiday Reading - Holiday Reading, curated by Ron Keyson, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603110448109-8ZJ3SKKPIK2FL1GTOFRJ/P1020996.JPG Holiday Reading - Holiday Reading, curated by Ron Keyson, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603110462135-T2FTSW9JQTWH34V2F8O0/P1030055.JPG Holiday Reading - Holiday Reading, curated by Ron Keyson, at Cindy Rucker Gallery, Number 35 https://www.cindyruckergallery.com/thicket daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603110983192-UZISTYWD3HU1PQ2JLEB1/Thicket+6.jpg Thicket - Installation image from the 2007 Catarina Leitão exhibition, THICKET, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603110983710-X88D1S1RDK611XF1TMDV/Thicket+7.jpg Thicket - Installation image from the 2007 Catarina Leitão exhibition, THICKET, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603110994093-MKGQHD2VWIY9EBIDERHV/Thicket+11.jpg Thicket - Installation image from the 2007 Catarina Leitão exhibition, THICKET, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603110994617-0DLIA1B0DUZ0WOY032SB/Thicket+12.jpg Thicket - Installation image from the 2007 Catarina Leitão exhibition, THICKET, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603111005155-NVWYVHODJ5NLSX2NLI3G/Thicket+13.jpg Thicket - Installation image from the 2007 Catarina Leitão exhibition, THICKET, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603111005943-BACQ6JP2BZ5XN3EOU1TY/Thicket+14.jpg Thicket - Installation image from the 2007 Catarina Leitão exhibition, THICKET, at Cindy Rucker Gallery, Number 35 https://www.cindyruckergallery.com/new-page-90 daily 0.75 2020-10-19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109343352-G8P4FG3CSSVSH2V08WII/P1030259.JPG First Thing Tomorrow Morning - Installation image from the 2008 Kreissl & Kerber exhibition, First Thing Tomorrow Morning, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109310501-U81I5KHEVGXUZ3LSDBG5/P1030225.JPG First Thing Tomorrow Morning - Installation image from the 2008 Kreissl & Kerber exhibition, First Thing Tomorrow Morning, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109328455-ZN7YBBLOQWP6I3L0SKL6/P1030226.JPG First Thing Tomorrow Morning - Installation image from the 2008 Kreissl & Kerber exhibition, First Thing Tomorrow Morning, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109324765-LCBI2NYAS9QFV7W1ZRNI/P1030228.JPG First Thing Tomorrow Morning - Installation image from the 2008 Kreissl & Kerber exhibition, First Thing Tomorrow Morning, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109340070-A1FL9I7OVGMCMCM222B5/P1030232.JPG First Thing Tomorrow Morning - Installation image from the 2008 Kreissl & Kerber exhibition, First Thing Tomorrow Morning, at Cindy Rucker Gallery, Number 35 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603109310132-MWOSWS8AD6OBAFEIBRQR/P1030223.JPG First Thing Tomorrow Morning - Installation image from the 2008 Kreissl & Kerber exhibition, First Thing Tomorrow Morning, at Cindy Rucker Gallery, Number 35 https://www.cindyruckergallery.com/group-motivation daily 0.75 2020-10-07 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602099844464-1G429B6VPVPCL9FEDERP/DSC_0014.jpg Group Motivation - Installation image of works by Eve Ackroyd & Kara Rooney from their 2017 exhibition, Group Motivation, at Cindy Rucker Gallery Installation image of works by Eve Ackroyd & Kara Rooney from their 2017 exhibition, Group Motivation, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Group Motivation, an exhibition featuring works by New York based artists Eve Ackroyd and Kara Rooney. This exhibition explores the body as a vehicle for expression, restriction, politics, and individual and collective freedom. Eve Ackroyd’s paintings depict women’s figures in intimate, colorful surroundings. Their bodies stretch energetically to fill the confines of each canvas; caged in stretch, awaiting the breakout moment. Clouds and the surrounding outside world encroach on the pulsing, sentient bodies that exude a sense of confidence and preparation, ready for a decisive moment of strength. Shadows ripple through the paintings like visible traces of where the body has been. Both delicate and anchored in reality, they serve as reminders of how bodies negotiate space. Kara Rooney's Hydrocal and resin sculptures inscribe the body through gestural absence. Implied in their surfaces and human scaled forms is the spectre of movement, left as a residual echo from the works' utilization in the artist's multidisciplinary performances and collaborative actions. The barrier motif, in particular, references the multitudinous directionalities of perspective--its task is to mark and in movement, negotiate the problematic dualisms of inclusion/exclusion, presence/absence, feminine/masculine, movement/stasis, self/other. As demarcations or thresholds that can be traversed, moved, or penetrated by the body, these objects act as visual semaphores for the expansion of language and meaning in general, the definition of which is open-ended, fluid, fragile. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602100041938-HQZWZNTR0BWI777CNX6I/DSC_0006.jpg Group Motivation - Installation image of works by Eve Ackroyd & Kara Rooney from their 2017 exhibition, Group Motivation, at Cindy Rucker Gallery Installation image of works by Eve Ackroyd & Kara Rooney from their 2017 exhibition, Group Motivation, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Group Motivation, an exhibition featuring works by New York based artists Eve Ackroyd and Kara Rooney. This exhibition explores the body as a vehicle for expression, restriction, politics, and individual and collective freedom. Eve Ackroyd’s paintings depict women’s figures in intimate, colorful surroundings. Their bodies stretch energetically to fill the confines of each canvas; caged in stretch, awaiting the breakout moment. Clouds and the surrounding outside world encroach on the pulsing, sentient bodies that exude a sense of confidence and preparation, ready for a decisive moment of strength. Shadows ripple through the paintings like visible traces of where the body has been. Both delicate and anchored in reality, they serve as reminders of how bodies negotiate space. Kara Rooney's Hydrocal and resin sculptures inscribe the body through gestural absence. Implied in their surfaces and human scaled forms is the spectre of movement, left as a residual echo from the works' utilization in the artist's multidisciplinary performances and collaborative actions. The barrier motif, in particular, references the multitudinous directionalities of perspective--its task is to mark and in movement, negotiate the problematic dualisms of inclusion/exclusion, presence/absence, feminine/masculine, movement/stasis, self/other. As demarcations or thresholds that can be traversed, moved, or penetrated by the body, these objects act as visual semaphores for the expansion of language and meaning in general, the definition of which is open-ended, fluid, fragile. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602100274213-JTW6OB8NSD644Z2SP7F4/DSC_0004.jpg Group Motivation - Installation image of works by Eve Ackroyd & Kara Rooney from their 2017 exhibition, Group Motivation, at Cindy Rucker Gallery Installation image of works by Eve Ackroyd & Kara Rooney from their 2017 exhibition, Group Motivation, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Group Motivation, an exhibition featuring works by New York based artists Eve Ackroyd and Kara Rooney. This exhibition explores the body as a vehicle for expression, restriction, politics, and individual and collective freedom. Eve Ackroyd’s paintings depict women’s figures in intimate, colorful surroundings. Their bodies stretch energetically to fill the confines of each canvas; caged in stretch, awaiting the breakout moment. Clouds and the surrounding outside world encroach on the pulsing, sentient bodies that exude a sense of confidence and preparation, ready for a decisive moment of strength. Shadows ripple through the paintings like visible traces of where the body has been. Both delicate and anchored in reality, they serve as reminders of how bodies negotiate space. Kara Rooney's Hydrocal and resin sculptures inscribe the body through gestural absence. Implied in their surfaces and human scaled forms is the spectre of movement, left as a residual echo from the works' utilization in the artist's multidisciplinary performances and collaborative actions. The barrier motif, in particular, references the multitudinous directionalities of perspective--its task is to mark and in movement, negotiate the problematic dualisms of inclusion/exclusion, presence/absence, feminine/masculine, movement/stasis, self/other. As demarcations or thresholds that can be traversed, moved, or penetrated by the body, these objects act as visual semaphores for the expansion of language and meaning in general, the definition of which is open-ended, fluid, fragile. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602100205454-XRK0AYASOPK8JWFKZRYZ/DSC_0018.JPG Group Motivation - Installation image of works by Eve Ackroyd & Kara Rooney from their 2017 exhibition, Group Motivation, at Cindy Rucker Gallery Installation image of works by Eve Ackroyd & Kara Rooney from their 2017 exhibition, Group Motivation, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Group Motivation, an exhibition featuring works by New York based artists Eve Ackroyd and Kara Rooney. This exhibition explores the body as a vehicle for expression, restriction, politics, and individual and collective freedom. Eve Ackroyd’s paintings depict women’s figures in intimate, colorful surroundings. Their bodies stretch energetically to fill the confines of each canvas; caged in stretch, awaiting the breakout moment. Clouds and the surrounding outside world encroach on the pulsing, sentient bodies that exude a sense of confidence and preparation, ready for a decisive moment of strength. Shadows ripple through the paintings like visible traces of where the body has been. Both delicate and anchored in reality, they serve as reminders of how bodies negotiate space. Kara Rooney's Hydrocal and resin sculptures inscribe the body through gestural absence. Implied in their surfaces and human scaled forms is the spectre of movement, left as a residual echo from the works' utilization in the artist's multidisciplinary performances and collaborative actions. The barrier motif, in particular, references the multitudinous directionalities of perspective--its task is to mark and in movement, negotiate the problematic dualisms of inclusion/exclusion, presence/absence, feminine/masculine, movement/stasis, self/other. As demarcations or thresholds that can be traversed, moved, or penetrated by the body, these objects act as visual semaphores for the expansion of language and meaning in general, the definition of which is open-ended, fluid, fragile. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1602100304056-GA95UPEJMC49UUQUZ36D/DSC_0001.jpg Group Motivation - Installation image of works by Eve Ackroyd & Kara Rooney from their 2017 exhibition, Group Motivation, at Cindy Rucker Gallery Installation image of works by Eve Ackroyd & Kara Rooney from their 2017 exhibition, Group Motivation, at Cindy Rucker Gallery Cindy Rucker Gallery is pleased to present Group Motivation, an exhibition featuring works by New York based artists Eve Ackroyd and Kara Rooney. This exhibition explores the body as a vehicle for expression, restriction, politics, and individual and collective freedom. Eve Ackroyd’s paintings depict women’s figures in intimate, colorful surroundings. Their bodies stretch energetically to fill the confines of each canvas; caged in stretch, awaiting the breakout moment. Clouds and the surrounding outside world encroach on the pulsing, sentient bodies that exude a sense of confidence and preparation, ready for a decisive moment of strength. Shadows ripple through the paintings like visible traces of where the body has been. Both delicate and anchored in reality, they serve as reminders of how bodies negotiate space. Kara Rooney's Hydrocal and resin sculptures inscribe the body through gestural absence. Implied in their surfaces and human scaled forms is the spectre of movement, left as a residual echo from the works' utilization in the artist's multidisciplinary performances and collaborative actions. The barrier motif, in particular, references the multitudinous directionalities of perspective--its task is to mark and in movement, negotiate the problematic dualisms of inclusion/exclusion, presence/absence, feminine/masculine, movement/stasis, self/other. As demarcations or thresholds that can be traversed, moved, or penetrated by the body, these objects act as visual semaphores for the expansion of language and meaning in general, the definition of which is open-ended, fluid, fragile. https://www.cindyruckergallery.com/new-page-10 daily 0.75 2020-06-25 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1593092318940-U4ZYXMA4VCO5BZA0EOBN/Screen+Shot+2020-06-25+at+9.24.56+AM.png New Page https://www.cindyruckergallery.com/dunn-depression daily 0.75 2020-10-28 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603913347997-BFBI2Q5G0CTKX5CCMJ7C/IMG_2270.jpg Dunn depression https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603913356326-6P47IXNX8HMFVCOQO8F1/IMG_2272.jpg Dunn depression https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603913372218-GNOMGIG9BX16FC2IM14F/IMG_2274.jpg Dunn depression https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603913392730-ODQ3U8S3SOQ59E9CK9RE/IMG_2285.jpg Dunn depression https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1603913400670-Q4Y4GAFG8ORAGTWEXQRH/IMG_2286.jpg Dunn depression https://www.cindyruckergallery.com/artichoke daily 0.75 2020-12-08 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1607439516060-WOSW3H5S1V7W95CWES66/IMG_2467.jpg ARTICHOKE https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1607439553078-BGO1JPRAQZYLB9OE6SHA/IMG_2506.jpg ARTICHOKE https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1607439563053-HTX1JKHGJHBR6VU1TIE2/IMG_2508.jpg ARTICHOKE https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1607439592551-TNZDHDS89QFF6JVUUC11/IMG_2470.jpg ARTICHOKE https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1607439546096-MCEXATSZIOEP02MFLC2D/IMG_2472.jpg ARTICHOKE https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1607439598240-TEV6VUAAFD2JI0F8U224/IMG_2469.jpg ARTICHOKE https://www.cindyruckergallery.com/cicatrix daily 0.75 2021-02-01 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1612204340966-9FULQ6BUZOARP81SS2A3/logoblock-all.jpg Cicatrix Special thanks to our cultural partners who made this exhibition possible: https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1612203564094-BLGH2TRB0MB7L4E2PHZC/Install+View+1.jpg Cicatrix https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1612203580964-4ZZJN749Z9HUS1JIWBUH/Install+View+2.jpg Cicatrix https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1612203585739-PA3W5VJKUIPQSD5OVFZ3/Install+View+3.jpg Cicatrix https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1612203599968-67JMGE0052BLX9S4MTSY/Install+View+4.jpg Cicatrix https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1612203603785-V6CK9V9KS0ZU10RCFYOI/Install+View+5.jpg Cicatrix https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1612203610766-UMECEVGLG4XDUIJG7ZLR/Install+View+6.jpg Cicatrix https://www.cindyruckergallery.com/floating daily 0.75 2021-05-11 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1620773590588-75FALKS23YCLTYILUDIF/install+14.jpg floating https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1620773669665-FFWY8COWCLCYA33M6X2Q/install+5.jpg floating https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1620773717851-6N2ZY3SRKPRJV63MOJ5S/install+8.jpg floating https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1620773784277-0BV39PXLINADCCPU5N6E/install+4.jpg floating https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1620773740762-9PDJEH1OYUR79M3AKX4H/install+13.jpg floating https://www.cindyruckergallery.com/persistent-object daily 0.75 2022-02-05 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1625153306446-Q0WT35W7IIBYW19ELHYB/IMG_3360+copy.jpg Persistent Object https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1625153285184-A2352IDQF4VT2RJH6MEA/IMG_3391+copy.jpg Persistent Object https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1625153297211-OC7NSVP5UR0GNZNMNW4O/IMG_3358.jpg Persistent Object https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1625153340581-7EJ49REHLUHNGTKYX9S2/IMG_3376.jpg Persistent Object https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1625153346408-Q2A0OPSB4U4I578IS7KQ/IMG_7792+copy.jpg Persistent Object https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/258c2268-9784-4cd0-9fe6-bd38189fb7d0/PR+image.jpg Persistent Object - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.cindyruckergallery.com/play daily 0.75 2021-08-11 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1628705335149-7A9M0GNXOYFOF5AVK9SL/install+9.jpg Play https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1628705353959-4W1B060YYQCDPKO49VNR/install+3.jpg Play https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1628705363747-NCQJICV8V1430UMDNI2F/install+4.jpg Play https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1628705345508-CBJAEQ8NJ3673L6LZ5JO/install+6.jpg Play https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1628705370611-OGW6N4OH3WKMNQGYW0V0/install+1.jpg Play https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1628705413368-29TPZY2HC7A9SO9RDJPR/install+5.jpg Play https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1628705474535-ZQZ90W3LBTDE9FWVMOJQ/autumndate_12x9_2021.jpg Play https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1628705483198-RKPQ6B0FLS01VVTZ84Q8/Drunk+in+a+Yellow+Bathroom+2020.jpg Play https://www.cindyruckergallery.com/collado-villarino daily 0.75 2021-10-21 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1634837186299-M9LXM3ZM30L5ENASSWIG/install+7.jpg Collado Villarino https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1634837213090-6BD6NW9WZBY8BVNOZK6N/install+4.jpg Collado Villarino https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1634837227465-EOMRX56TT8TQN36UHGHZ/install+6.jpg Collado Villarino https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1634837232268-81PS4JW8M3GWOU9A50P1/install+2.jpg Collado Villarino https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1634837247809-16AVEJVIJVULZGMT30SP/install+5.jpg Collado Villarino https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1634837254064-WHJBEXE44BBY8TFTFMAC/DSC_7675.jpg Collado Villarino https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1634837271739-4M3LMSGLX7OSD1KHJGIY/install+3.jpg Collado Villarino https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1634837276612-QN96N2WQA763L8XVVC7Z/install+9.jpg Collado Villarino https://www.cindyruckergallery.com/after-ann-oren-amy-sarkisian daily 0.75 2022-01-05 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1641681043821-SHG4OOW9LPYBVBUR7RP9/DSC_8218.jpg Ann Oren | Amy Sarkisian https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1641681089763-5MROYOFPX7PY4JQWX31G/DSC_8208.jpg Ann Oren | Amy Sarkisian https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1641682122223-ISZVOSIGKKBI2BI8LKDG/DSC_8199.jpg Ann Oren | Amy Sarkisian https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1641329929986-9MSWUP9I6FZZE9LSSA0K/AnnOren.png Ann Oren | Amy Sarkisian https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1641682238306-T08L1Z03CJK1M2LMP88E/DSC_8191.jpg Ann Oren | Amy Sarkisian https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1641329364562-5NHLVM1VBYNQP3Q6VV6Q/AnnOren.png Ann Oren | Amy Sarkisian https://www.cindyruckergallery.com/testing-current-exhibition-page daily 0.75 2022-01-04 https://www.cindyruckergallery.com/julius-linnenbrink-charles-dunn daily 0.75 2022-04-29 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1645305425697-9KPRAZLIKGABV69WE4W5/DSC_8753.jpg Insoluble - Julius Linnenbrink, Charles Dunn, Installation image, 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1645305471228-5ACSKIAGJLPJ38K1H4W7/DSC_8783.jpg Insoluble - Julius Linnenbrink, Installation image, 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1645305430842-19F8QNYU2A5FOZMREVJZ/DSC_8756.jpg Insoluble - Julius Linnenbrink, Charles Dunn, Installation image, 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1645305436713-TZKP26XYTHZFAOPYRQ6E/DSC_8761.jpg Insoluble - Julius Linnenbrink, Charles Dunn, Installation image, 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1645305443843-3TJW32CXPN6KKMUA2IO6/DSC_8802.jpg Insoluble - Julius Linnenbrink, Charles Dunn, Installation image, 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1645305477932-7NE2R03ODL3X272Y10ZP/DSC_8772.jpg Insoluble - Charles Dunn, Installation image, 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1645305461610-EZ5F4AH32NO57Z07YKIV/DSC_8778.jpg Insoluble - Julius Linnenbrink, Installation image, 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1645305466333-1MN2L5X9CI3CZZMGOZXV/DSC_8781.jpg Insoluble - Julius Linnenbrink, Installation image, 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1645121159223-N33JYY65SIBUAONHAD8X/untitled%2B%2528dioxazine_purple_turquoise%2529%2B100x90%2B2020.jpg Insoluble https://www.cindyruckergallery.com/this-is-not-an-ideal-time daily 0.75 2022-05-05 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1649618243477-OO7UHPNP4667H2KGH1OE/____Four+Fish+to+Sell+32%2C+40+CM.jpg This is not an ideal time - Lesia Maruschak, Four Fish To Sell (from the Project MARIA series), 2022 This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi.Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1650743108760-XMORNDERA31J780Q9Y7R/DSC_8958.jpg This is not an ideal time - Installation View This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1649618604432-FVGHOKNCP00FWOECEDEL/MPA_9608.jpg This is not an ideal time - Mikhail Palinchak, Untitled (Ukraine), 2022 This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1649618120502-VDHL5RIWQY73XLP7JFXN/This+is+not+an+ideal+time%2C+Luba+Drozd+installation+image+2022%2C+photo+by+Anastasiya+Shelest+6.jpg This is not an ideal time - Installation view - Luba Drozd This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1650398237803-0QEQZMXPDPEX8QZE5745/DSC_9948.jpg This is not an ideal time - Edik Kryzhanovsky, Untitled (Ukraine), 2022 This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1650742971433-46PSB3MLL3LT3LVOLW8O/DSC_8971.jpg This is not an ideal time - Installation View - Lesia Maruschak This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1649618031402-M8XDLD9IAGYRWDQU98IH/This+is+not+an+ideal+time%2C+installation+image+2022%2C+photo+by+Anastasiya+Shelest+4.jpg This is not an ideal time - Installation view - Roman Pashkovskiy This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1649618591848-BE1DNAV70RHPYD4QIT1Z/_PRV2355.JPG This is not an ideal time - Roman Pashkovskiy, Untitled (Ukraine), 2022 This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1649617998870-M8CD32UW4T9X5PBZ4UAB/This+is+not+an+ideal+time%2C+installation+image+2022%2C+photo+by+Anastasiya+Shelest+1.jpg This is not an ideal time - Installation view This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1649618603528-ZLTYJ0R0UX8OQSF9OGHT/MPA_7378.jpg This is not an ideal time - Mikhail Palinchak, Untitled (Ukraine), 2022 This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1650743123970-K4WHK1PXE7QRIII1LC3H/DSC_8964.jpg This is not an ideal time - Installation View - Lesia Maruschak This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1649618268612-39JVD9Z40D82COT8JTE6/____HOUSE+40%2C40+CM.jpg This is not an ideal time - Lesia Maruschak, House (from the Transfiguration series), 2022 This is not an ideal time, curated by Anastasiya Shelest, features contemporary Ukrainian artists, Luba Drozd, Lesia Maruschak, Mikhail Palinchak, Roman Pashkovskiy, and Eduard Kryzhanivskyi. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1649103280334-YGAQRCMLZ0LD4B5GS39Y/****Four+Fish+to+Sell+32%2C+40+CM.jpg This is not an ideal time https://www.cindyruckergallery.com/rusty-shackleford-2022 daily 0.75 2022-05-14 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1652559000547-SQ31L95PKZ1I986XEVB7/Image+7+DSC_9104.jpg Between the Surface - Rusty Shacklefor, Installation image 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1652558949816-MPYPMX0JWEYRJN9T48VP/Image+2+DSC_9126.jpg Between the Surface - Rusty Shacklefor, Installation image 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1652558945835-JI8X1MV6Z4CD1HEX5LNI/Image+1+DSC_9128.jpg Between the Surface - Rusty Shacklefor, Installation image 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1652558965628-Z7X91LTOO8UDVUJIXLAE/Image+4+DSC_9118.jpg Between the Surface - Rusty Shacklefor, Installation image 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1652558979869-JRE06IAUYC2GRQAQYUKY/Image+5+DSC_9108.jpg Between the Surface - Rusty Shacklefor, Installation image 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1652558963660-C9M3W1P2LIV6ZS0XYP76/Image+3+DSC_9123.jpg Between the Surface - Rusty Shacklefor, Installation image 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1652559099940-I1HN18IJADSTD5E2GK8U/image2.jpeg Between the Surface - Rusty Shacklefor, Installation image 2022, Cindy Rucker Gallery https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1656519588750-YMLYGADFGZB3VOKZZ70A/gxs-vspc-03.jpg Between the Surface https://www.cindyruckergallery.com/andor daily 0.75 2022-10-26 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/8a389984-ea7e-400b-88e1-afe58068ea31/ND+11.jpg Current - Make it stand out Nathaniel Donnett, Untitled, 2022, Graphite, Conté, paper, ink, folder, parchment paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1e313b69-2e20-4355-beb1-6153c44c6c31/%2522two+sides+of+a+dream%2522+2021+4.5+x+6.5+collageon+paper.JPG Current N. Masani Landfair, Two Sides of. a Dream 202, Mixed media on Aluminum Composite Board, 4.5 x 6 in (11.5 cm x 15.25 cm) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/679235f1-99f4-4d72-b090-01aeb2445fa7/ND+01.jpg Current - Make it stand out Nathaniel Donnett, Juke Joint: A Place Where Time Travelers Dwell, 2022, Duct tape, fabric, reclaimed backpacks, shoelaces, tambourine jingles, trash bags, curtains, record albums, books, objects, paper, 154” x 85” (391 x 216 cm) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/926aa041-e70f-42fb-8c8d-92c33a91125f/%2522I+AM+A+MAN+%281968+sanitation+strike%29+for+Baxter+Leach+2019+9+x+12+Collage+on+Paper....JPG Current - Make it stand out N. Masani Landfair, I AM A MAN (1968 Sanitation Strike) for Baxter Leach, 2019, Collage on paper, 9 x 12 in (23 x 30.5 cm) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/db67b5b9-7d39-42b6-824b-911cc3a86fd0/ND+09.jpg Current Nathaniel Donnett, Second Line; Couplet, 2022, Duct tape, reclaimed backpacks & zippers, house paint https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/c4c1baca-8bdb-475f-a42e-c101a8004165/_end+the+beginning_+2021+48+x+108+inches+%28Triptych%29+collage+on+board+N.+Masani+Landfair.JPG Current - Make it stand out N. Masani Landfair, end the beginning, 2021, Collage on archival board paper (aged plain and numbered paper from 60 to 100 year old books), mirror, glass, 3 panels each 44.25 x 28.25 in (112.4 x 72 cm), 45.75 x 29.75 x 2 in (116 x 75.5 x 5 cm) framed https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666796497008-1ZOST056DT41EZBHZ239/04.+ND.jpg Current https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/c07c250d-2828-4117-9039-70a44fb88ffe/ND+05.jpg Current - Make it stand out Nathaniel Donnett, You Can’t Swerve a Lane You’ve Never Entered, 2021, Ink, duct tape, graphite, charcoal, paper, 16 x 12 in (40.5 x 30.5 cm) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666795930997-98O6VZ2QIN3XAFDH7Q51/%E2%80%9Camerican+pathology+%28not+passing+the+paper+bag+test%29%E2%80%9D+2022+mix+media+on+paper.JPG Current https://www.cindyruckergallery.com/twoflags daily 0.75 2022-07-13 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740482432-YOBHX0SROHY1BMKU24U9/IMG_5197.JPG Two Flags https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740509900-9GMXM45I7IFRV0QKJNJ2/p03.jpeg Two Flags https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740543048-FP4FQASS6TOZH5U02Z0L/IMG_5240+copy.jpg Two Flags https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740550774-JPLUIS4O90QHNYNO9B8H/IMG_5241+copy.jpg Two Flags https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740748658-IDKET1MLLRE9YGY5JIXI/IMG_5242+copy.jpg Two Flags https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740762141-M1YC10V8M500RVLK8IC1/p04.jpeg Two Flags https://www.cindyruckergallery.com/bopp-viewing-room daily 0.75 2022-11-22 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1665870538236-V6Y083GIH0DWJE10ORG8/Incursion%2B1%2B2022%2B50x79.jpg Bopp Viewing Room - Incursion I, 2022, Mixed Media on Aluminum Composite Board, 60 x 79 in. $10,000 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1665870564073-12GJPMUVGGX9H051UD1V/Incursion%2B2%2B2022%2B50x79in.jpg Bopp Viewing Room - Incursion II, 2022, Mixed Media on Aluminum Composite Board, 60 x 79 in. $10,000 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1662567670680-Q9XUXLWZZMXOBI70M9UK/Juggernaut%2C2021%2Cmixed+media+on+aluminum+composite+board%2C79x120in.jpg Bopp Viewing Room - Juggernaut, 2021, Mixed Media on Aluminum Composite Board, 79 x 120 in. $16,500 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/18e6450a-7cae-40d1-a3d1-83d8d5e236d2/Forge+2021+71x91in.png Bopp Viewing Room - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/95ad0d17-24d7-4022-a6eb-a3123d3b8b6b/Untitled+%2322-18%2C2022%2Cmixed+media+on+aluminum+composite+board%2C9%2C4x7%2C8+inches.jpg Bopp Viewing Room Above: Untitled #22-17, 2022, Mixed media on Aluminum Composite Board, 9.4 x 7.8 in. $900 Left: Untitled #22-18, 2022, Mixed media on Aluminum Composite Board, 9.4 x 7.8 in. SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/16ba9555-f911-4bd9-8780-3633885571e2/Untitled+%2322-09%2C2022%2Cmixed+media+on+aluminum+composite+board%2C27.5x33in.jpg Bopp Viewing Room Untitled #22-09, 2022, Mixed Media on Aluminum Composite Board, 27.5 x 33 in. $4000 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/19dbd749-0a9d-40a1-aac7-d848c106b93a/Conjunction+After+Sunset+2022+31.5x39in.png Bopp Viewing Room Conjunction After Sunset, 2022, Mixed media on Aluminum Composite Board, 31.5 x 39 in. $4000 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/0ec04e30-bf87-486b-a91c-e2c11734893d/Untitled+%2322-10%2C2022%2Cmixed+media+on+aluminum+composite+board%2C35x43in.jpg Bopp Viewing Room Left: Untitled #22-10, 2022, Mixed Media on Aluminum Composite Board, 35 x 43 in. $4500 Below: Forge, 2021, Mixed Media on Aluminum Composite Board, 79 x 91 in. $13,500 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1662567013396-BG6KTNF1F015M6NI7RGN/Untitled+%2322-14%2C2022%2Cmixed+media+on+aluminum+composite+board%2C15%2C7x13%2C4+inches.jpg Bopp Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1662566483274-ACDCN9PP6KGPCJRZNDTT/Untitled+%2322-19%2C2022%2Cmixed+media+on+aluminum+composite+board%2C9%2C4x7%2C8+inches.jpg Bopp Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1662566499358-NYI4EAM2DV7CGE9GTPGS/Untitled+%2322-16%2C2022%2Cmixed+media+on+aluminum+composite+board%2C13%2C4x11%2C2+inches.jpg Bopp Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1662566530665-CDN4V4PSP3U9V12UTRSU/Untitled+%2322-15%2C2022%2Cmixed+media+on+aluminum+composite+board%2C11%2C2x13%2C4+inches.jpg Bopp Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1662566545084-9JVI1HYP3VQR6GBHKET6/Untitled+%2322-13%2C2022%2Cmixed+media+on+aluminum+composite+board%2C15%2C7x13%2C4+inches.jpg Bopp Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/02744595-9257-4650-a11d-a492e6982df0/Untitled+%2322-08%2C2022%2Cmixed+media+on+aluminum+composite+board%2C33.5x39in.jpg Bopp Viewing Room - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/d5d226a8-ffcb-4dea-96d0-9556277b565c/Untitled+%2322-17%2C2022%2Cmixed+media+on+aluminum+composite+board%2C9%2C4x7%2C8+inches.jpg Bopp Viewing Room - Dave Bopp https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/e05a7211-4f8c-4eae-aecf-259ad0656031/Vessel+2022+41x36in.png Bopp Viewing Room Right: Vessel, 2022, Mixed media on Aluminum Composite Board, 41 x 36 in. $4500 Below: Untitled #22-08, Mixed media on Aluminum Composite Board, 33.5 x 39 in. $4500 https://www.cindyruckergallery.com/twoflags-2 daily 0.75 2022-09-07 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740482432-YOBHX0SROHY1BMKU24U9/IMG_5197.JPG twoflags https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740509900-9GMXM45I7IFRV0QKJNJ2/p03.jpeg twoflags https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740543048-FP4FQASS6TOZH5U02Z0L/IMG_5240+copy.jpg twoflags https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740550774-JPLUIS4O90QHNYNO9B8H/IMG_5241+copy.jpg twoflags https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740748658-IDKET1MLLRE9YGY5JIXI/IMG_5242+copy.jpg twoflags https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1657740762141-M1YC10V8M500RVLK8IC1/p04.jpeg twoflags https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1662557164891-4WGH1MRV28WVB18GEVSK/Incursion+1+2022+50x79.png twoflags https://www.cindyruckergallery.com/15th-anniversary-show daily 0.75 2022-12-09 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666370608742-TJBHGB1FIBEG869WC4FA/FIREFLIESANDEMPTYSKIES%2BII%2B2.jpg 15th Anniversary Show https://www.cindyruckergallery.com/andorexistence-viewing-room daily 0.75 2022-10-21 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/a93f341b-9e3d-4088-85f3-7db7bb5f08f0/ND+01.jpg and/or/existence Viewing Room Nathanial Donnett, Juke Joint; A Place Where Time Travelers Dwell, 2022 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666371632660-VXDTLJLL8L6Q34HTFZAN/%252522broken%2Bhome%2Bpareidolia%252522%2B%2B%2B2019%2B6.5%2Bx%2B4%2Bcollage%2Bon%2Bpaper%2BN.%2BMasani%2BLandfair.jpg and/or/existence Viewing Room - N. Masani Landfair, broken home pareidolia, 2019, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666371662462-YFULO86I3WSKIWLDHDA2/%252522eye%2Bfor%2Ban%2Beye%252522%2B2021%2B6.5.%2Bx%2B4.5%2Bcollage%2Bon%2Bpaper.jpg and/or/existence Viewing Room - N. Masani Landfair, eye for an eye, 2021, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666371707042-V6QO9V3XM4RYBD697QAA/%25E2%2580%259Camerican%2Bpathology%2B%2528not%2Bpassing%2Bthe%2Bpaper%2Bbag%2Btest%2529%25E2%2580%259D%2B2022%2Bmix%2Bmedia%2Bon%2Bpaper.jpg and/or/existence Viewing Room - N. Masani Landfair, american pathology (not passing the paper bag test), 2022, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666371769961-DUVG9XJ05H7J6MTUCK1A/%252522horizons....%252522%2B2020%2B4.5%2Bx%2B6.5%2Bcollage%2Bon%2Bpaper%2Bcopy.jpg and/or/existence Viewing Room - N. Masani Landfair, horizons...., 2020, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666371791536-RST0MVHTRTKKWT6B8TNL/%252522I%2BAM%2BA%2BMAN%2B%25281968%2Bsanitation%2Bstrike%2529%2Bfor%2BBaxter%2BLeach%2B2019%2B9%2Bx%2B12%2BCollage%2Bon%2BPaper....jpg and/or/existence Viewing Room - N. Masani Landfair, I AM A MAN (1968 sanitation strike/for Baxter Leach), 2019, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666371857367-TGU0J1LFW0KC7Q9BEV6Z/%25E2%2580%259CLand%2Bdoes%2Bnot%2Bbelong%2Bto%2Bus%25E2%2580%259D%2B2020%2B4.5%2Bx%2B6.5%2BCollage%2Bon%2Bpaper.%2B.jpg and/or/existence Viewing Room - N. Masani Landfair, Land does not belong to us, 2020, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666372279462-4M7VC2U8QE83R3U4Y8X1/%25E2%2580%259Csacred%2Bfeminine%2Bin%2Bisolation%25E2%2580%259D%2B2020%2B8x10%2Bcollage%2Bon%2Bpaper.jpg and/or/existence Viewing Room - N. Masani Landfair, Sacred feminine in isolation, 2019, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666372381617-R1N58DF6HJ709RQS0MKW/%25E2%2580%259CSOLITUDE%2BAND%2BJOY%252522%2B2019%2B8%2BX%2B10%2Bcollage%2Bon%2Bpaper%2BN.%2BMasani%2BLandfair.jpg and/or/existence Viewing Room - N. Masani Landfair, solitude and joy, 2019, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666372313859-0E5ES9VOLSWVX3S67DA5/%25E2%2580%259CUntitled%25E2%2580%259D%2B2018%2B8%2Bx%2B10%2Bcollage%2Bon%2Bpaper.jpg and/or/existence Viewing Room - N. Masani Landfair, Untitled, 2018, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666372333298-PKO45G5SHQ0BUEZ2DRR9/%252522No%2BContact%2BIII%252522%2B2018%2B9%2BX%2B12%2BCollage%2Bon%2Bpaper%2BN.%2BMasani%2BLandfair.jpg and/or/existence Viewing Room - N. Masani Landfair, No contact III, 2019, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666372406289-WQ5JZ6LL3V3MDVYI975R/%252522not%2Bmy%2Bpeer%2B%2528washington%2Bthief%2529%2B2021%2B6.5%2Bx%2B4.5%2Bcollage%2Bon%2Bpaper%2BN.%2BMasani%2BLandfair.jpg and/or/existence Viewing Room - N. Masani Landfair, not my peer (washington thief), 2021, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666372504934-YAY8NGYJM6JUWLH1BBJA/%252522saddness%252522%2B6.5%2Bx%2B4.5%2B2020%2Bcollage%2Bon%2Bpaper%2BN.%2BMasani%2BLandfair.jpg and/or/existence Viewing Room - N. Masani Landfair, saddness, 2020, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666372549843-A0ML78G5102DSRXNCBW1/%252522turned%2Bsideways%252522%2B2019%2B6.5.x%2B4.5%2Bcollage%2Bon%2Bpaper%2Bcopy.jpg and/or/existence Viewing Room - N. Masani Landfair, turned sideways, 2019, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666372592655-E2DP2VYYPQN1X6IF7965/%252522two%2Bsides%2Bof%2Ba%2Bdream%252522%2B2021%2B4.5%2Bx%2B6.5%2Bcollageon%2Bpaper.jpg and/or/existence Viewing Room - N. Masani Landfair, two sides of a dream, 2021, Collage on paper https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/050cbe14-8ef5-4454-89f5-448ee2913086/%E2%80%9Camerican+pathology+%28not+passing+the+paper+bag+test%29%E2%80%9D+2022+mix+media+on+paper.jpg and/or/existence Viewing Room - and/or/existence Nathaniel Donnett & N. Masani Landfair https://www.cindyruckergallery.com/dave-bopp daily 0.75 2022-10-26 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/3afc2fa7-66d7-4398-a4d2-78e786e15936/Juggernaut%2C2021%2Cmixed+media+on+aluminum+composite+board%2C200x305cm.jpg dave-bopp - Make it stand out Juggernaut, 2021, Mixed media on Aluminum Composite Board, 79 x 120 in (200.7 x 304.8 cm) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/6b979400-657e-41a4-b304-dde879554cf8/Untitled+%2322-17%2C2022%2Cmixed+media+on+aluminum+composite+board%2C9%2C4x7%2C8+inches.jpg dave-bopp Untitled #22-17, 2022, Mixed media on Aluminum Composite Board, 9.4 x 7.8 in (23.9 x 19.8 cm) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/b1d1fbbf-44b3-41dd-90a9-5a38371934b5/Untitled+%2322-10%2C2022%2Cmixed+media+on+aluminum+composite+board%2C35x43in.jpg dave-bopp - Make it stand out Untitled #22-10, 2022, Mixed media on Aluminum Composite Board, 35 x 43 in (88.9 x 109.2 cm) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/dcd224a2-48bd-4f88-b511-bfec94060f01/Untitled+%2322-14%2C2022%2Cmixed+media+on+aluminum+composite+board%2C15%2C7x13%2C4+inches.jpg dave-bopp Untitled #22-14, 2022, Mixed media on Aluminum Composite Board, 15.7 x 13.4 in (39.9 x 34 cm) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/b90173d1-d440-4d4d-b033-ee911d21824a/Incursion+1+2022+50x79.png dave-bopp - Make it stand out Incursion 1, 2022, Mixed media on Aluminum Composite Board, 50 x 79 in (152.4 x 200.7 cm) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/b23844ac-4c72-49da-99aa-99f4600b11b2/Vessel+2022+41x36in.png dave-bopp - Make it stand out Vessel, 2022, Mixed media on Aluminum Composite Board, 41 x 36 in (104.1 x 90.4 cm) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/c6a1090f-717a-460e-8203-5a5441e68cee/Incursion+2+2022+50x79in.png dave-bopp - Make it stand out Incursion 2, 2022, Mixed media on Aluminum Composite Board, 50 x 79 in (152.4 x 200.7 cm) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1663692509917-SEW5I322AE60HJN5Q01R/DSC_9959.jpg dave-bopp - Dave Bopp: Fear of the Invisible - Installation image 2022 - Cindy Rucker Gallery (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1663692739398-JZ4WH40Z529V54DATHFG/DSC_9988.jpg dave-bopp - Dave Bopp: Fear of the Invisible - Installation image 2022 - Cindy Rucker Gallery (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1663692678668-L9YJMXVBREV6KY16R539/DSC_9950.jpg dave-bopp - Dave Bopp: Fear of the Invisible - Installation image 2022 - Cindy Rucker Gallery (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1663883417691-QRP2J0LVNIXZ8E10JJZF/DSC_0145.jpg dave-bopp - Dave Bopp: Fear of the Invisible - Installation image 2022 - Cindy Rucker Gallery (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1663692724252-OT50DUZ7CU4GNHKNP4I5/DSC_9962.jpg dave-bopp - Dave Bopp: Fear of the Invisible - Installation image 2022 - Cindy Rucker Gallery (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1663692775939-MGD9D6R115YLUHOYOF9B/DSC_9967.jpg dave-bopp - Dave Bopp: Fear of the Invisible - Installation image 2022 - Cindy Rucker Gallery (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1663883453348-D4AMBW0M4IKH0MA10M7M/DSC_9973.jpg dave-bopp https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1663883974287-1MTDGPENUWV1I830X9LB/DSC_0168.jpg dave-bopp - Dave Bopp: Fear of the Invisible - Installation image 2022 - Cindy Rucker Gallery (Copy) https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1666795930997-98O6VZ2QIN3XAFDH7Q51/%E2%80%9Camerican+pathology+%28not+passing+the+paper+bag+test%29%E2%80%9D+2022+mix+media+on+paper.JPG dave-bopp https://www.cindyruckergallery.com/untitled-miami-2022-preview daily 0.75 2022-11-25 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/b1d1fbbf-44b3-41dd-90a9-5a38371934b5/Untitled+%2322-10%2C2022%2Cmixed+media+on+aluminum+composite+board%2C35x43in.jpg UNTITLED Miami 2022 Preview https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/314f4c4e-3fe6-4c33-933f-218a472f5145/Untitled+Cellphone+6+2022.jpeg UNTITLED Miami 2022 Preview https://www.cindyruckergallery.com/frederick-hayes-viewing-room daily 0.75 2024-06-04 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/bd6b58d6-ba6f-46b0-8f4f-a3f365ec3501/Untitled+Cellphone+8+2022.jpeg Frederick Hayes Viewing Room High Yellow (Screen Test Screen Shot #13), 2022, Watercolor on paper, 30 x 33 in (76.2 x 55.9 cm). $3500 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1668798768414-YRHCZ67NM2CONFA5P2QD/IMG_0948.jpg Frederick Hayes Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1668798773735-IDE3HXKFU7WCDNLKC73J/IMG_0952.jpg Frederick Hayes Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1668798781377-YT5NR36A6WDK44UWWAKD/Untitled+Cellphone+6+2022.jpeg Frederick Hayes Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1717533017787-L1OM2JM9AE9ROT4VR4GX/woman+24+x+18+copy.jpg Frederick Hayes Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1717533273368-EMK8LXTQDFV1E57S0GVQ/30+x+24.jpg Frederick Hayes Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/4aeb1f50-90c3-4906-9615-49ee3a170eed/Untitled+Cellphone+3+2021.jpeg Frederick Hayes Viewing Room Untitled (Michael Brown Hugging Himself Composite), 2022, Watercolor on paper, 30 x 33 in (76.2 x 55.9 cm). $3500 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/30166e12-195e-42e2-ab9e-09a2077cbf24/grid+copy.jpg Frederick Hayes Viewing Room - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1668800613571-A3Q7DMRPR7BX7ZCOQFSA/IMG_1591.jpg Frederick Hayes Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1668799151334-6ZRPTCP8HMER13G5KASB/Untitled+Cellphone+2+2021.jpeg Frederick Hayes Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1668799357005-3MI9YO86O9UKCX445SF4/IMG_1608.jpg Frederick Hayes Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/416a6e9c-9ef8-40ff-8343-cee08f318ea6/untitled+cellphone+1+2021.PNG Frederick Hayes Viewing Room Above: Untitled (Blue Jacket Composition), 2022. $3500 Watercolor on paper, 30 x 22 in (76.2 x 55.9 cm). $3500 Left: Untitled (Back Seat Back View), 2021 Watercolor on paper, 30 x 22 in (76.2 x 55.9 cm). $3500 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/3bf6619a-47ce-4112-aa31-c380f8465178/IMG_0950.jpg Frederick Hayes Viewing Room - Frederick Hayes https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1717532939784-SA38FGFBSQA68EBX1LI8/24+x+18+copy.jpg Frederick Hayes Viewing Room https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1668796119761-DZW6QCF3CTRE74DGRT38/IMG_1592.jpg Frederick Hayes Viewing Room - Out of Line Out of Time, 2020 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1668797066729-E6YJY1RFJW4BU084B9AA/IMG_1594.jpg Frederick Hayes Viewing Room - Earlobe, 2020 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1668797498875-93IIX33LDG2NN28M8Z92/IMG_1599.jpg Frederick Hayes Viewing Room - Sweet, 2020 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1668797178284-HEKMWUBZ7WG7YT1K3Y77/IMG_1614.jpg Frederick Hayes Viewing Room - Yellow Blue Green Jersey, 2020 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1717532953110-0KPHBFW2B60PBZTWQ5TK/40+x+30+copy.jpg Frederick Hayes Viewing Room https://www.cindyruckergallery.com/andorexistence daily 0.75 2023-01-07 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1667080562927-7HOBYSZUFTZBEFCBXC2K/DSC_0171.jpg and/or/existence https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1667080570023-YCIDZRG1IPOLDDXQU6XB/DSC_0173.jpg and/or/existence https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1667080584521-ZAAS73QSUIWV9ZQRRKPU/DSC_0192.jpg and/or/existence https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1667080636369-K17R867QJ25GZO2QBOB1/DSC_0207.jpg and/or/existence https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1667080729786-ZOALRD4KIVPHIUM23N3W/DSC_0210.jpg and/or/existence https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1667080741286-17F7OZCFKCPT9SQNRTZG/DSC_0212.jpg and/or/existence https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1673121038222-AJNOMQUMUO1IT2YPH692/install+4.jpg and/or/existence https://www.cindyruckergallery.com/feria-material-2023-krebber daily 0.75 2023-02-12 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675458705353-8BNSVD5ID7NECMY9FQVU/Micks+CR+V+2.jpg Feria Material 2023 - Krebber - Micks CR V (single stroke, greenblack), 2020 2.3 x 1.3 x 1.1 in (5.8 x 3.3 x 2.8 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675458905981-2138CJUW645MWF94HF77/Micks+CR+XVIII.jpg Feria Material 2023 - Krebber - Micks CR XVIII (purpleblack), 2020 2.5 x 1.3 x 0.8 in (6.4 x 3.3 x 2 cm) $200 USD/185 Euros/3794 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675458714892-TLXLW7G5QU1CXZFV4WRE/Micks+CR+IX+2.jpg Feria Material 2023 - Krebber - Micks CR IX (yellowwhite), 2020 2.4 x 1.3 x 0.9 in (6.1 x 3.3 x 2.3 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675458730655-UY5TCWKDI567U1MWBWX3/Micks+CR+X+2.jpg Feria Material 2023 - Krebber - Micks CR X (green), 2020 2.4 x 1.3 x 0.8 in (6.1 x 3.3 x 2 cm) $250 USD/232 Euros/4741 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675458761493-DR3MGOCPP7BL9XI3W95V/Micks+CR+XVII.jpg Feria Material 2023 - Krebber - Micks CR XVII (no spot/no stroke, greenblack), 2020 2.2 x 1.3 x 0.9 in (5.6 x 3.3 x 2.3 cm) $200 USD/185 Euros/3794 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675458779231-MJTWK651FYBK5UNANDER/Micks+CR+VI+2.jpg Feria Material 2023 - Krebber - Micks CR VI (single stroke, redblack), 2020 2.8 x 1.4 x 0.9 in (7.1 x 3.6 x 2.8 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675458855951-PTPJ9LR0ES1WNNB8JOLE/Double+To%CC%88ffel+2.jpg Feria Material 2023 - Krebber - Double Töffel CR III + IV (lightbluered), 2020 1.6 x 1.4 x 1.1 in (4.1 x 3.6 x 2.8 cm) each $300 USD/278 Euros/5690 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675458737439-RITXFX13HBI9Y2XP5EAG/Micks+CR+XXI+2.jpg Feria Material 2023 - Krebber - Micks CR XXI (no spot/no stroke, greenishpurple), 2020 2.3 x 1.3 x 0.9 in (5.8 x 3.3 x 2.3 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/4797ce04-b01e-4e2d-899e-393c61a5a738/Quaps+CR+V.jpg Feria Material 2023 - Krebber - Make it stand out Quaps CR V (large, orangeyellowwhite), 2020, Glazed ceramic, 11.3 x 9.4 x 4.9 in (28.7 x 23.9 x 12.4 cm), $2800 USD/2594 Euros/53088 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/ca9c8cd6-5418-45a3-976a-eaddcb9fb557/Smavoo+4.jpg Feria Material 2023 - Krebber Smavoo (greenblue), 2020 Glazed ceramic 26 x 12 x 10 in (66 x 30.5 x 25.4 cm) $4200 USD/3890 Euros/79687 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1620773669665-FFWY8COWCLCYA33M6X2Q/install+5.jpg Feria Material 2023 - Krebber - Gereon Krebber Feria Material - Booth B19 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675465140503-DSUI7HAFDC0KWMP1HOQY/Quipsy+CR+2.jpg Feria Material 2023 - Krebber - Quipsy CR (whitebluered), 2020 9.5 x 3.5 x 3.2 in (24.1 x 8.9 x 8.1 cm) $1350 USD 1250 Euros/25596 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675465154684-AGY9N9C9YORKM7RX5FYT/Mesanthro+CR.jpg Feria Material 2023 - Krebber - Mesanthro CR (pale), 2020 3.4 x 3.1 x 2 in (8.6 x 7.9 x 5.1 cm) $550 USD/514 Euros/10264 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675462447225-48JZ1DTF2U6W6Q32G6QN/Quaps+EM+I+4.jpg Feria Material 2023 - Krebber - Quaps EM I (blueorange), 2020 9 x 7.5 x 3.8 in (22.9 x 19.1 x 9.7 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675462461495-IBRGF0R62RSVOD5L4OB8/Quaps+EM+I+3.jpg Feria Material 2023 - Krebber https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675463027021-TQYWIMM99XSKPRER9OSF/Quakefingers+CR+I+2.jpg Feria Material 2023 - Krebber - Quakefingers CR I (orangeblack), 2020 4.5 x 3.2 x 1.9 in (11.4 x 8.1 x 4.8 cm) $780 USD/723 Euros/14790 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675463067152-2SLQXZLPHUMDBXG82SEN/Quaps+CR+IV+2.jpg Feria Material 2023 - Krebber - Quaps CR IV (green-blackblue), 2020 9.4 x 7.5 x 3.9 in (23.9 x 19.1 x 9.9 cm) $1800 USD/1667 Euros/34132 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675463122238-W579750133Q00U8PRQSD/Quendal+CR.jpg Feria Material 2023 - Krebber - Quendal CR (bluecut), 2020 9.8 x 3.3 x 3.3 in (24.9 x 8.4 x 8.4 cm) $1350 USD/1250 Euros/25596 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675463181610-LMQ1ZJHU7FI15CSCLQW8/Quagoo+comp+CR+III.jpg Feria Material 2023 - Krebber - Quagoo comp CR III (blacklightblue), 2020 3.9 x 4.6 x 2.4 in (9.9 x 11.7 x 6.1 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675463377787-V0N5W22CXCQ5A782WKGZ/Quesmo+CR+2.jpg Feria Material 2023 - Krebber - Quesmo CR (yellow), 2020 2.2 x 1.8 x 1.4 in (5.6 x 4.6 x 3.6 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675463233133-6W1FJP0Q7X5HP3HCIKIN/Quaps+CR+II.jpg Feria Material 2023 - Krebber - Quaps CR II (pinkgrey-blue), 2020 9.5 x 7.7 x 4.3 in (24.1 x 19.6 x 10.9 cm) $1650 USD/1528 Euros/31296 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1674595008535-V054VYGTN0JG8QMF74ER/IMG_6200.jpg Feria Material 2023 - Krebber - Quaps EM II (large, turquoisgreyorange), 2020 10.2 x 9.5 x 4.8 in (25.9 x 24.1 x 12.2 cm) $1800 USD/1667 Euros/34319 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1674595020681-CLIP143P4IR4LTTBP9KT/IMG_6164.jpg Feria Material 2023 - Krebber - Micks EM IV (greenpurpleblack), 2020 2.4 x 1.1 x 0.8 in (6.1 x 2.8 x 2 cm) $250 USD/232 Euros/4741 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1674595032847-0MR7JWNMS3FFW3045X63/IMG_6143.jpg Feria Material 2023 - Krebber - Wir waren uns so nah (Micks EM I, purplesalmon), 2020 3.1 x 1.2 x 0.6 in (7.9 x 3 x 1.5 cm) $250 USD/232 Euros/4741 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1674595050320-YL6QP63LPSDGOKZEZYC8/IMG_6190.jpg Feria Material 2023 - Krebber - Nelfo EM (pinkblue), 2020 9.5 x 3 x 2.4 in (24.1 x 7.6 x 6.1 cm) $1350 USD/1525 Euros/31291 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/7edcd0b3-5199-4edd-88a4-455dbf507e11/Maulapfel+2.jpg Feria Material 2023 - Krebber Maulapfel, 2019-20 Glazed ceramic 26 x 22 x 15 in (66 x 55.9 x 38.1 cm) $6500 USD/6020 Euros/123280 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675461094296-RFY0U0QXLC2I18CNBKL0/Nelfo+CR+II.jpg Feria Material 2023 - Krebber - Nelfo CR II (purpleblue), 2020 12.7 x 3.9 x 3.5 in (32.3 x 9.9 x 8.9 cm) $1350 USD/1250 Euros/25596 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675461100762-VL49SLM4T8SHGBTRPOZB/Po%CC%88rps+CR.jpg Feria Material 2023 - Krebber - Pörps CR (canton blue), 2020 6.1 x 4.7 x 4.7 in (15.5 x 11.9 x 11.9 cm) $1500 USD/1390 Euros/28443 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675461127940-8FH1SJM2QEHO69IFCLXX/Quaps+CR+III.jpg Feria Material 2023 - Krebber - Quaps CR III (double stitch, grey), 2020 7.9 x 7.3 x 4.3 in (20.1 x 18.5 x 10.9 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675461141000-3DP2DW6BP9S3PRQ5M8OI/Quastos+CR+2.jpg Feria Material 2023 - Krebber - Quastos CR (purple-white), 2020 9.8 x 6.1 x 3.9 in (24.9 x 15.5 x 9.9 cm) $1500 USD/13980 Euros/28443 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675461178108-B32IOZ7MXXAFRHEKQX05/Quabble+CR.jpg Feria Material 2023 - Krebber - Quabble CR (green), 2020 4.1 x 3.7 x 3.6 in (10.4 x 9.4 x 9.1 cm) $780 USD/723 Euros/14790 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675461205780-RH06HTFMAB8QIVW54ZGY/Quiddos+CR.jpg Feria Material 2023 - Krebber - Quiddos CR (brickredblue), 2020 9.3 x 4.5 x 3.5 in (23.6 x 11.4 x 8.9 cm) $1500 USD/1390 Euros/28443 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675464564412-IIOSNJQ2F7A7XAQ8UQRR/Bitte+erspace+2.jpg Feria Material 2023 - Krebber - Bitte erspace es uns (Micks EM III, pinkblack), 2020 3.2 x 2 x 1.5 in (8.1 x 5.1 x 3.8 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675464573189-2LDL9KH5KDYX6GNZMXSP/Ich+warte+die+ganze+%28MIcks+EM+VI%29.jpg Feria Material 2023 - Krebber - Ich warte die ganze Zeit (Micks EM VI, greypurple), 2020 3 x 1.5 x 1.2 in (7.6 x 3.8 x 3 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675464585016-V5ZROVT94X7RD8X6POUW/Dann+mu%CC%88sstest+%28Micks+EM+II%29.jpg Feria Material 2023 - Krebber - Dann müsstest Du nicht so häufig an uns zurückdenken (Micks EM II, green), 2020 4.5 x 2.6 x 1.5 in (11.4 x 6.6 x 3.8 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675459006459-ZI4NW3537W6ZSX11IZOH/Nelfo+CR+I.jpg Feria Material 2023 - Krebber - Nelfo CR I (pinkred-green), 2020 8.7 x 2.8 x 2.7 in (22.1 x 7.1 x 6.9 cm) $1350 USD/1250 Euros/25599 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675459017546-BULELB6D4L0QAWTPVZAX/Quagoo+CR+I+2.jpg Feria Material 2023 - Krebber - Quagoo CR I (greybrick-redblue), 2020 6.3 x 4.9 x 1.9 in (16 x 12.4 x 4.8 cm) $780 USD/723 Euros/14790 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675459025015-EKGKVNCZ5F47N0QM5YBH/Quabbly+drain+CR+2.jpg Feria Material 2023 - Krebber - Quabbly drain CR (pinkbluered), 2020 4.6 x 3.9 x 3.3 in (11.7 x 9.9 x 8.4 cm) $780 USD/723 Euros/14790 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675462683932-XNYKGYVRAEOUUDA64J8H/Quagoo+CR+II.jpg Feria Material 2023 - Krebber - Quagoo CR II (inkyblue), 2020 6.5 x 5.3 x 2.2 in (16.5 x 13.5 x 5.6 cm) $780 USD/723 Euros/14790 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675462708370-0VG32HPYK2TF3L3A944S/Quaps+CR+I.jpg Feria Material 2023 - Krebber - Quaps CR I (pinkgrey), 2020 7.7 x 7.2 x 4.4 in (19.6 x 18.3 x 11.2 cm) $1650 USD/1528 Euros/31296 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/fb862e5a-a8e2-4780-ab12-141cb6238ca5/Quemo+CR.jpg Feria Material 2023 - Krebber - Make it stand out Quermo CR (pinkpurplered), 2020, Glazed ceramic, 7.5 x 3.1 x 3 in (19.1 x 7.9 x 7.6 cm), $780 USD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675465025383-5UXZ6B1UTVUXL8CA23ZD/Quamo+CR+2.jpg Feria Material 2023 - Krebber - Quamo CR (greyoramgepurple), 2020 7.1 x 2.6 x 2.6 in (18 x 6.6 x 6.6 cm) SOLD https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675465047758-2GGXRU01S58STT1QYZC6/Quimo+CR+2.jpg Feria Material 2023 - Krebber - Quimo CR (purplebrickredgrey), 2020 11.6 x 3 x 3 in (29.5 x 7.6 x 7.6 cm) $1500 USD/1390 Euros/28443 MXN https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1675465057666-4P4M4Q9UIQTOCDWR7BKK/Quaps+CR+VI.jpg Feria Material 2023 - Krebber - Quaps CR VI (lightyellowgreypetrol), 2020 9.8 x 7.1 x 4.1 in (24.9 x 18 x 10.4 cm) SOLD https://www.cindyruckergallery.com/how-did-we-get-here daily 0.75 2023-02-28 https://images.squarespace-cdn.com/content/v1/5e053f6c8c0a456f278c7430/1674065428817-P36SHD2M9W0BBGL0VARH/IMG_3629+copy.jpg How did we get 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