Department at Dartmouth College. Her work is included in the collections of the Katonah Museum, the DeCordova Museum, the Dartmouth-Hitchcock Medical Center, Alliance Capital, among

C Y N T H I A R E E V E S p r o j e c t s

john gr ade johannes brus shen chen lianghong feng jaehyo lee anne lindberg lionel smit sar ah amos claire watkins

A R T M I A M I 2 0 1 0

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C Y N T H I A R E E V E S p r o j e c t s C Y N T H I A R E E V E S p r o j e c t s

Australian master printer Sarah Amos explores implied land-scape, both real and imagined in her unique works on paper. Mastery of the printmaking medium is a hallmark of her work. In this new series, Amos shifts her focus towards singular mo-tifs, favoring the graphic impact of monolithic shapes over pat-tern. Nonetheless, the works rely on overprinting and the artist’s use of multiple highly textured plates. Amos uses the traditional collograph printmaking technique in new and innovative ways by incising lines and adding relief or elevated textures onto the plate. Between multiple passes through the press, and the layering and ghosting of inks, Amos achieves a sumptuous, rich surface to her work. The resulting prints are complex and formal, with a marvelous depth of field and beautifully realized visual language.

A native of Australia, Sarah Amos maintains a studio in northern Vermont and divides her time between the United States and Australia. She is a vanguard of new approaches in printmaking, and continues to teach master classes throughout the United States and abroad. Most recently, she was a visiting studio art pro-fessor at Williams College in Williamstown, MA as well as a resident of the International Visiting Artist Residency Program at La Trobe University in Melbourne, Australia. Currently, she is a member of the Studio Art Department at Dartmouth College. Her work is included in the collections of the Katonah Museum, the DeCordova Museum, the Dartmouth-Hitchcock Medical Center, Alliance Capital, among many others.

S A R A H A M O S

Pile2010Collagraph79’x 77’


Johannes Brus is an established German photographer who pioneered the use of multiple negative prints. His distinctly rich color palette comes from the artist’s innovative use of varied chemical washes, which he paints directly onto his papers’ surfaces. In reaction to the hard-edged realism often present in photography, Brus began working in an almost painterly fashion with the developing agents. His subjects seem to emerge from a lush background of an altered, almost dreamlike, environment.

Brus’ position, when he first began working in Germany in the 1960’s, was decidedly anti-academic. The art world was still preoccupied with photography serving as a documentary tool, rather than as a means of artist expression akin with other older and more established media, like painting. Brus’ first series were surrealistic rather than documentarian,

and included fantastical subject matters like dancing cucumbers. Incorporating humor, fantasy, and a lack of seriousness have been persistent concerns of Brus’, who banded together with a group of like minded anti-establishment artists at the Düsseldorf Art Accademie, including Sigmar Polke, Bernhard Johannes Blume and Joseph Beuys, who was a professor at the academy. In pieces like the Maharajah Der Indore, Brus is attracted to images with intense connotations to cultural identity. Horses and eagles are symbols for the United States, the Ibis for Egypt and the Maharajah for India, yet the environments he places his cultural icons always remain surrealistic, allowing for viewers' individual interpretations of the fantasy scene presented.

J O H A N N E S B R U S

Der Maharajah von Indore2008Schwarz-weiss paper, coloriert86.5’x 75’


A Chinese painter who splits his time between New York City and Beijing, Shen Chen recapitulates the meditative and deliberative brushwork associated with traditional Chinese ink brush drawing. Chen’s ver-nacular, however, is decidedly contemporary. His fully abstract paintings are a study in line, color, and tonal-ity, and reference the aesthetic of 1960’s minimalism. Chen is fascinated by the permanence of brushwork within the ink-painting process; every time the brush touches the paper, its mark is permanently recorded. Chen’s current paintings continue his study of the disci-plined mark-making process and, in the most recent work, he continues to favor acrylic paint on unfinished canvas. “He discovered that acrylic could give him an even richer expression than Chinese ink without compromising the essence of ink. The painting surface is covered in carefully arranged layers upon layers, sometimes in color, sometimes in black and white,” writes Zhi Kong, independent Beijing-based curator and critic. The first works of this series have been exhibited at the Today Art Museum in Beijing and throughout Asia, to wonderful acclaim. Chen achieves a significant depth of field, despite his non-representational imagery and the medium’s inherently ‘flat’ finish. His interest in imbuing his paintings with volume originated from his early interest in traditional Chinese landscapes. Unlike Chen’s vertical lines, landscape painting, of course, offers recognizable imagery–mountains, trees, mist, etc. However, through a similar use of repetitive semi-opaque layers, traditional land-scapes and Chen’s works have a tremendous expanse, inviting viewers to enter – and linger – in their serene, albeit different, worlds.

S H E N C H E N

Untitled No. 12244-092009Acrylic on canvas54’x 46’


Originally from Shanghai, Lianghong Feng now lives and works in Beijing. His brushwork references Abstract Expressionism as well as traditional Chinese calligraphy. Through his heavily worked surfaces, Feng builds up his paintings’ rich texture and color palette—two of his trademarks. As the paint is drying, Feng incises back into the surface with the wooden end of his brush, revealing the under-layers. His fine line work recalls the lyricism of calligraphy and imbues his surfaces with a wonderful tension. Feng says, “I must avoid my pre-existing knowledge and constructs, and en-ter my personal terra incognita.” Though he clearly channels the hands of 20th century abstract masters (and also cites urban graffiti as a primary painting inspira-tion), his spontaneity is honest and his lan-guage is his own. The images evoke ethereal landscapes, snatches of dreams, the beauty lurking in the countless corners of the urban environment. Fengs’ impromptu details, like the thick spontaneous brushstrokes in the paintings’ foreground, or the slight dashes of saturated color, inform the works narratives.

L I A N G H O N G F E N G

Scribble 0872009Oil on canvas79’x 75’


John Grade is a sculptor and installation artist based in Seattle. All of his proj-ects are site-specific; the carefully crafted sculptural elements evolve as they are sited out of doors and acted upon by the elements, sometimes over a period of several years. There is a fugitive aspect to Grade’s work, as his sculptures trans-form and, even, decay in the environment. His most recent project, Circuit, will be installed in February high in the Cascade Mountains for two years. For Collector, Grade submerged the sculpture in the Willapa Bay in Wash-ington State for one year. Grade then drove the piece across country from Washington to Utah, where it was suspended in a square armature awaiting “cleaning” by the desert floods. The floods never came, but all the seaweed was picked away by birds and the wooden frame was left clean.

Grade chose the Willapa Bay because oyster farms in other waters in Washington were adding chemicals to the water to keep away invasive algae. When the oysters are eaten, the pol-lution and chemicals enter the human system. When Grade periodically visited Collector in the bay to see how the sea life and environment were affecting the piece, he simultaneously tested the water. He used this data to compare and contrast the water quality in his “oyster bed” with the water quality of the oyster farms. This implicit relationship between art and environment is an essential platform of his inquiry.

J O H N G R A D E

Collector2007Wood 72” x 78” x 24”


Jaehyo Lee is a lauded South Korean sculptor, working in natu-ral materials and steel as his primary media. His work focuses on the use of natural materials, including hardwoods, bamboo, and leaves; and also incorporates steel spikes in an unusually complicated process of elegant patterning in charred wood. Lee has gained an international reputation for innovative sculpture, in both functional and non-functional approaches. Of the artist’s work, Jonathan Goodman wrote in Sculpture Magazine: “Allowing the materials to speak to him, he builds

self-contained worlds that mysteriously communicate with their outer surroundings…Texture is deeply im-portant to Lee, who emphasizes the façade of the wood, crosscut and planed to reveal the character of the grain. The surface thus reveals the character of its making, becoming indicative of the creative process and holding interest by itself.” (Sculpture Magazine, “The Possibilities of Nature”, May, 2009)

Lee graduated from Hong-Ik University in 1992, and is the prizewinner of the Hankook Ilbo Young Art-ists Award in 1997, the Osaka Triennial Award in 1998, the Kim Sae-Jung Award in 2000, the Sculpture in Woodland Award in 2002, and the Japan Hyogo International Competition Ward in 2004. His work is included in the permanent collections of the National Museum of Contemporary Art, Korea; Hyogo Prefec-ture Museum of Art, Japan; Busan Metropolitan Art Museum, South Korea; and the Osaka Contemporary Art Center, Japan. Most recently, his work was included in the Museum of Art and Design’s inauguration exhibition, Second Lives, in their new space at Columbus Circle.

J A E H Y O L E E

0121-1110=1091212 (Alphabet Tower)2009Stainless steel bold, nail & wood105”x 25 1/2”x 25 1/2”


Anne Lindberg creates large-scale line drawings and three-dimensional site-based installations that she also considers to be ‘drawings’. She pays acute attention to line, and the visual possibilities offered when an accumulation of thousands of marks create a unified form. Motion, either actual or tromp I’oeil, is evoked from the way in which she brings these myri-ad discreet lines into a coherent, vibrant whole. Lindberg’s work has been exhibited widely throughout the United States and abroad including the Kemper Museum of Contemporary Art, The Drawing Center, Daum Mu-seum of Contemporary Art, the Dennos Museum; Sheldon Memorial Art Gallery, University of Nebraska; the Belger Art Center, and Meadows Gallery, University of Texas, as well as venues in New Zealand, Canada and Japan.

Lindberg has been the recipient of numerous awards and honors, most notably the Charlotte Street Foundation Award; two ArtsKC Fund Inspiration Grant; and a Mid-America/National Endowment for the Arts Fellow-ship. She was Visiting Artist-in-Residence/Head of Department at Cranbrook Academy of Art in Michigan in 2005 and taught for nine years at the Kansas City Art Institute. Anne Lindberg received her BFA from Miami University, Oxford, OH in 1985 and her MFA from Cranbrook Academy, Bloomfield Hills, MI, in 1988.

A N N E L I N D B E R G

Shadow2010stainless steel wire, graphite, acrylic54”x 96”


Lionel Smit is a self taught South African artist, who lives in the South African Western Cape. His lushly painted canvases focus on native South Africans, particularly Cape Malayans, as the subjects of his oversized portraits. These paintings are a juxtaposition of Abstract Expressionist brushwork and elegant line portraiture. As a young white South African growing up in the shadow of Apartheid, Lionel reflects that it was only after the country’s transition to democracy that he truly came to realize the impact of political segrega-tion on those around him. In these portraits, the artist aims to embrace and embody the cultural diver-sity of the world’s Rainbow Nation. By unreservedly layering bold and evocative brush strokes, Lionel captures the intense emotional duress to which the native people of South Africa had been subjected for decades.

The portraits are at the same time reminiscent of the ideals of a post-Mandela legacy that symbolizes equality, tolerance and hope for the future. Lionel’s motivation is not, how-ever, primarily political, but rather focuses on how politics can act as a catalyst for exploring the human condition. By portraying African subjects through Abstract Expression-ism, the artist explores the result of two seemingly different worlds colliding on canvas.

L I O N E L S M I T

Residue Series #142010Oil on canvas90’x 65’


Claire Watkins is a Brooklyn-based artist who often describes her ki-netic sculptures as machines. Indeed, her works of art utilize simple technology such as motors and electricity. Watkins has always been fascinated by science and nature, finding inspiration especially in the incredibly fragile and yet resilient, complicated systems of the human body. She brings an inventive mind and offers confounding ways of re-imagining ordinary materials. Watkins’s sculptures visually incite the same amazement and sheer fascination one experiences when learning about natural and scientific phenomena for the first time.

In Untitled (Lungs) viewers encounter delicately rendered larger than life metal “arteries”, visually resembling the pulmonary arteries servicing the human lungs and heart. The kinetic sculpture moves, in synch with imagined lungs, in an inhalation and exhalation pattern. Watkins earned her B.F.A. from the Kansas City Art Institute, Kansas City, MO in 1996. She received her M.F.A. in sculpture from Virginia Commonwealth University, Richmond, in 2004. Since then, Watkins has been featured in numerous exhibitions, including Tanya Bonakdar Gallery, Kim Foster Gallery, 3rd Ward and Smack Mellon (all in New York) as well as the Urban Institute of Contemporary Art, in Grand Rapids, MI, the Albuquerque Contemporary Art Center, University of Arkansas and the Arlington Arts Center in Arlington, VA. Watkins has exhibited her work internationally in London at the Steps Gallery and Keith Tyson Gallery and in Japan at the 2005 World Expo. Watkins was the 2008 recipient of the Saint-Gaudens Memorial Fellowship.

C L A I R E W A T K I N S

Untitled (Lungs)2007Stainless steel, wires, motorsDimensions variable


C Y N T H I A - R E E V E S . C O M 2 1 2 . 7 1 4 . 0 0 4 4 I N F O @ C Y N T H I A - R E E V E S . C O M

A R T M I A M IDecember 1st - 5th, 2010


Booth A24

At Art Miami 2010, CYNTHIA-REEVES features work with an approach that is process apparent, based on strong conceptual foundations and an innova-tive use of everyday materials. Represented artists’ works demonstrate technical prowess, powerful mark making, impeccable craftsmanship, and an engagement with textural concerns. Much of the art reflects an ongoing inquiry into use of natural media and their transformation into unexpected and extraordinary sculp-tural works or environments. Collectively the work demonstrates that art is an intellectual and aesthetic inquiry that includes both visual and visceral experiences.

The Art Miami Pavilion, The Miami Midtown Arts DistrictMidtown Blvd (NE 1st Avenue) between NE 32nd & NE 31st Street

C O M P L E T E L I S T O F

P A R T I C I P A T I N G A R T I S T S

S a r a h A m o sE d B a t c h e l l e rJ o h a n n e s B r u s

S h e n C h e nL i a n g h o n g F e n g

J o h n G r a d eZ h a n g H u a n

Ya n H u a n J a e h y o L e e

A n n e L i n d b e r gS h o n a M a c D o n a l dG e o r g e S h e r w o o d

L i o n e l S m i tH e n r i e k e S t r e c k e r

C l a i r e Wa t k i n s

Documents

Department at Dartmouth College. Her work is included in the collections of the Katonah Museum, the DeCordova Museum, the Dartmouth-Hitchcock Medical Center, Alliance Capital, among