ART 3 Logo Large CROP.png
   CLAUDIA BAEZ    (American, b. 1960) Painter. Claudia Baez creates fictional tableaux as if they are concomitantly occurring, and records historical events yet universalizes them by emptying them of their identity. Baez works in the tradition of German exprssionism as she is trained to trust her individual flights of inspiration. Her rmost recent work inspired from Sherman’s Film Stils”,  Untitled Film Still Series #7 , was published in ARTnews February 2012 p. 85 Ilustrated.      Claudia Baez has gone all out in her appreciation  of Sherman’s work, appropriating the “Film Stills” in a series  of oil paintings including such classics as  Untitled Film    Still #7 , in which a slip-clad Sherman is framed in a window,  holding a martini glass. Below her looms a mysterious figure  in a straw hat. “I was born in 1960, so when Cindy’s work  came out in the ’80s it was revolutionary, it was amazing,”  Baez says. “She was the first woman who empowered  women at the time. Being a woman is an identity problem.  We are all every single one of those women that Cindy  created.” - Baez.
  DAN BAINBRIDGE (b. 1976)   Born in in Dubuque, Iowa 1976.   Bainbridge  his a multi-disciplinary artist whose work seems to be a refreshing take in the vain of a  Paul McCarthy or Mike Kelley.   He uses both found and made objects that are familiar to us to create mythological eerie creatures.  Other works comment on our celebrity obsessed society ( Britney and her friends)  as if we could own them as an object contained in a small crate.  Bainbridge has created his own world with creatures large and small, who all share a dystopian like feeling.      " Within the history of modern art there has been a healthy tradition of transgressing materiality in relation to a given subject. The notion that what lies in front of you could become something else with the addition of another disparate material and a subtle shifting of the mind might seem to have become ubiquitous in our age. Images tend to reign supreme.    Yet, Dan Bainbridge extends this tradition of genuine zeal without being scholarly. A bird could become a plant and end up becoming a person.    A healthy dose of the grotesque and an almost solipsistic choice of subject matter help press the issue of materiality and it's infinitely transformative potential. But the physical nature of the materials never takes a psychological back seat to the subject. The tension of this dichotomy is the true subject  ."       
David Cavaliero (b. 1984)
  Alexis de Chaunac   photographed by Adolfo Doring June 2014  © Adolfo Doring all rights reserved
   EARLY 21st CENTURY AMERICAN and COMING SOON COMING SOON TO A THEATER NEAR YOU    installation on view at ART 3 INAUGURAL EXHIBITION  17 May - 14 June 2014       ADOLFO DORING    (American, born in Mexico City 1962).  Multi-disciplinarian artist    whose work is as aesthetic as it     is informed by a preoccupation with societal structures. Doring’s work, whether in film, photography or video installation is deepened by undertones of wry humor. His work in music video has earned him an  MTV  music video award, his documentaries have earned him critical praise and his video installations have travelled the world over, most recently  “‘ Coming Soon ’  coming soon to a theater near you  “ was acquired into the permanent collection of the Museo Laboratorio di Arte  Contemporanea in Rome Italy and was exhibited at White Box Art Centerin New York during the ARMORY show 2014.     Presented at ART 3 inaugural exhibition is his critical acclaimed installation:   EARLY 21st CENTURY, AMERICAN which includes the HD single channel video COMING SOON, COMING SOON TO A THEATER NEAR YOU.       
Nicolas Grospierre (b. 1975)
 Linda Karshan in her Connecticut Studio,  July 8, 2013     LINDA KARSHAN  (b.1947)     Born in Minneapolis, Minnesota, Linda Karshan is known for her drawings and prints derived from rhythmic repetition, forming a personal method of marking out time and movement.         Karshan was educated at Skidmore College, Saratogo Springs, New York (1965-67); the Sorbonne, Paris (1967-68); and, the Slade School of Art, University College London (1969). In 1983, she earned a Masters in Humanistic Psychology from Antioch Centre for British Studies, London. Her MA thesis, entitled "Play, Creativity and the Birth of the Self," focussed on D.W. Winnicott's theories of transitional space and creativity, which are central to Karshan's artistic practice.    In 1985, Karshan had her first solo exhibition at the ASB Gallery, London. Since then, Karshan exhibits regularly with several galleries in Europe: Redfern Gallery, London; Galerie Biedermann, Munich; Galerie Werner Klein, Cologne; Kit Schulte Contemporary Art, Berlin; and, Galerie Hein Elferink, Staphorst, NL, who also publishes her editions of prints and artist's books. Karshan has also had exhibitions in Copenhagen (Camille Rhode-Madsen), as well as exhibiting extensively in the USA, including: Cain Schulte Contemporary, San Francisco; Montgomery Glasoe, Minneapolis; and, Allen Stone, Lawrence-Monk, Sandra Gering, Dee-Glasoe, and Waterhouse & Dodd, New York.    The subject of several major solo exhibitions and retrospectives, Karshan's major solo museum exhibitions include Sir John Soane's Museum, London (2002); Institut Valencia d'Art Modern (IVAM) (2002); Kettle's Yard, Cambridge, UK (2003); Museum Pfalzgalerie, Kaiserslautern, Germany (2013); and a four-city tour of her work in Romania, touring Bucharest, Cuij, Baia Mare and Bistrizia (1998-99).     Her prints and drawings have featured in group exhibitions at Tang Gallery, Skidmore College, New York (2007); Folkwang Museum, Essen, Germany (2008-09); Graphische Sammlung, Munich (2009); British Museum, London (2010); Kupferstichkabnitt, Berlin (2013); the Courtauld Gallery, London (2012 and 2014) and  Kettle's Yard, Cambridge, UK (2013).        Karshan divides her time between studios in London, New York, and Lakeville, Connecticut. Her drawings, prints and artist's books are held in public and private collections internationally, including:            UK     Arts Council Collection    The Ashmolean, Oxford    The British Library, London    British Museum, London    Kettle's Yard, Cambridge    Middlesbrough Institute of Modern Art (MIMA)    Sir John Soane's Museum, London     Germany     Kupferstichkabinett, Berlin    die Lyrik Kabinett, Munich    Museum Folkwang, Essen    Museum Pfalzgalerie Kaiserslautern    Staatliche Graphische Sammlung Munich    Staatliche Kunstsammlungen Dresden     Spain     Institut Valencia d'Art Modern (IVAM)     France     La Biblioteque Nationale, Paris       USA    Achenbach Foundation for Graphic Arts, Museum of San Francisco    Fogg Museum, Harvard University, Cambridge, Mass.    The Frances Young Tang Teaching Museum, Saratoga Springs, New York    The Morgan Library and Museum, New York    Walker Art Center, Minneapolis                               
KIM KEEVER Abstract 7048, 2013
  Anthony Miler  (b. 1982) in Toledo, Ohio, Lives and works in Brooklyn NY.   "  I shy away from trying to define too much of what I'm doing with   language. It's not born in language, and besides that's someone else's value to add. I do relate to historical groups, a main one being COBRA. That group of artists speak to me a lot. I also think about Art Brut, and if i have to entertain the idea of a term, maybe I like an idea of Neo-Brut. I feel like we're reaching a moment of being ripe for this type of work again. It’s the opposite of all of these industrial production values, surface shine, and dehumanizing algorithms. I can't help but notice that the museum of Art Fort Lauderdale currently has a COBRA exhibition running. It's exciting to see the seeds of this raw kind of work coming around again, especially in the states."   - Anthony Miler      The COBRA Avant-Garde Mouvement  was formed by Karel Appel, Constant, Corneille, Christian Dotremont, Asger Jorn, and Joseph Noiret on 8 November 1948 in the Café Notre-Dame, Paris, with the signing of a manifesto, "La Cause Était Entendue" ("The Case Was Settled"), drawn up by Dotremont. Formed with a unifying doctrine of complete freedom of colour and form, as well as antipathy towards Surrealism, the artists also shared an interest in Marxism as well as modernism.  Their working method was based on spontaneity and experiment, and they drew their inspiration in particular from children’s drawings, from primitive art forms and from the work of Paul Klee and Joan Miro.  Coming together as an amalgamation of the Dutch group Reflex, the Danish group Høst and the Belgian Revolutionary Surrealist Group, the group only lasted a few years but managed to achieve a number of objectives in that time: the periodical  Cobra , a series of collaborations between various members called  Peintures-Mot  and two large-scale exhibitions. The first of these was held at the Stedelijk Museum in Amsterdam, November 1949, the other at the Palais des Beaux Arts in Liege in 1951.  In November 1949 the group officially changed its name to Internationale des Artistes Expérimentaux with membership having spread across Europe and the USA, although this name has never stuck. The movement was officially disbanded in 1951, but many of its members remained close, with Dotremont in particular continuing collaborations with many of the leading members of the group. The primary focus of the group consisted of semi-abstract paintings with brilliant color, violent brushwork, and distorted human figures inspired by primitive and folk art and similar to American action painting. Cobra was a milestone in the development of Tachisme and European abstract Expressionism.
Andre von Morisse (b. 1966)
  ROTGANZEN   is a Rotterdam-based artist collective formed in 2009 by Robin Stam (b. 1981), Joeri Horstink (b. 1982) and Mark van Wijk (b. 1984).     Rotganzen is a Dutch art collective consisting of three childhood friends trying to make a fortune. Their work is loud and obnoxious, completely unwilling to take the viewer into account, but unrelentingly craving approval. They see the promise their old toys hold and force it out, creating work that is happy at a first glance, yet is hiding something dire underneath.          GANGREDINE CONSUMPTUS PHANTASMATICUS    Solo show at LTD Gallery, Paris, 2013.     Photo by Thalia de Jong       
 18 pt 
 18 pt 
 /* Style Definitions */
	{mso-style-name:"Table Normal";
	mso-padding-alt:0in 5.4pt 0in 5.4pt;
	font-family:"Times New Roman";
	mso-fareast-font-family:"Times New Roman";
	mso-bidi-font-family:"Times New Roman";
      Jeremy Sheaffer (b. 1977)          In this current series Sheaffer explores the semiotics of an increasingly violent and disjointed world. The paintings keep to a strict process that evolves from free-form sketches inspired by a mixture of current events, comics, graffiti and skateboarding culture. The drawings then follow through into a digital process, where the computer – commonly used to organize elements of modern life – is instead used to re-imagine and reconfigure the image, highlighting the redundant and inefficient nature of information in a modern world over-run by data.         Ritual is a key component of the work , each painting going through the same laborious process of projections along with layers of meticulously cut tape and airbrushed paint. To a great degree the “hand” is removed from the work, evoking ideas of mass production and religious perfection. A dichotomy is created between the contrast of this strict and organized process against the discord of an imagery that reflects America’s fascination with violence and chaos.           To illustrate the process: The painting “Point of Power” is taken from a military PowerPoint presentation used to explain the road to military success in Afghanistan. The image was scanned and then superimposed onto another scanned image, of a giant sinkhole in Guatemala (both images found in issues of the New York Times), two layered images that inform each other without yielding any actual information. This new digital version is then manipulated with Adobe software, combining and then separating the two sources into an image with two final layers: black and white. The separate layers are then projected onto a canvas, taped, airbrushed and the untapped to reveal the final image.              Jeremy Sheaffer (American, b. 1977)   is a Brooklyn based artist working in painting and printmaking. Born 1977 in Tacoma, Washington, he lived in Alaska, North Carolina, Texas, and Nuremberg, Germany, before moving to New York.  He received his BFA at the University of Houston and received his MFA in Fine Arts at the School of Visual Arts.  He has exhibited in New York and internationally, including the University of Houston, TX; Wooster Gallery, NY; Visual Arts Gallery, NY; White Box Gallery, NY; Golden Parachutes, Berlin; and Waterhouse & Dodd, NY.  Currently a series of his prints are on tour with the   Personal Desire Propaganda   project, which was recently featured at the Queens Museum of Art, NY; Sculpture Center, NY; REH Kunst, Berlin; and the Columbus Museum of Art, Ohio.
Santiago Villanueva (b. 1964 in Madrid, Spain)