Guten Morgen!

“What do you mean? Do you wish me a good morning, or mean that it is a good morning whether I want it or not; or that you feel good on this morning; or that it is a morning to be good on?”

- J.R.R. Tolkien

Murray Moss & Franklin Getchell presents Studio Job's masterwork, Robber Baron (the complete Suite) @ Moss

Studio Job's Robber Baron (the complete Suite)
tales of power, corruption, art and industry, cast in bronze

In May 2007, Moss previewed the Cabinet—the first fully realized piece from the Suite of five elements which comprise Studio Job’s ambitious masterwork, Robber Baron. The four additional pieces—Jewel Safe, Table, Standing Lamp and Mantle Clock—at the time as yet unrealized, were presented as drawings. One year later, we are proud to present Robber Baron, the complete Suite in polished, patinated, gilded and painted cast bronze.

Magnificent in scale, exceptionally finely detailed, with precision mechanical movements where required, and incorporating deeply carved iconographic reliefs, these works are guild-like in their master craftsmanship, each taking approximately one year to complete.

Their mirror finish reflecting the outrageous excesses of America's 19th century tycoons and Russia's new oligarchs, these surreal, highly-expressive furnishings, each a complex composition of multiple visual elements, represent an interior belonging to a powerful industrial leader, or their heirs. With clouds of pollution belching from towering smoke stacks, missiles and falcons and gas masks, warplanes and wrenches adorning golden surfaces, Robber Baron celebrates and shames both Art and Industry.

- Moss


Cabinet: This polished bronze cabinet, inspired by a 17th century armoire by Andre-Charles Boulle, in the Wallace Collection, London, is produced in a limited edition of five pieces.

Standing Lamp: A patinated bronze floor lamp in which three important icons of architecture - the Parthenon, the Empire State Building and Saint Peter’s Basilica - merge into one. The Zeppelin docked at the pinnacle symbolizes technological failure, and references the Empire State Building, whose top spire was originally intended as a mooring for Zeppelin airships. When illuminated, the hundreds of windows glow, diffused by a hand-blown frosted glass interior. The light bulbs can be changed by lifting the polished bronze ‘cloud’.

Table: A patinated bronze “factory”, whose architecture is derived from interpretations of various early 20th century works, including the AEG factory of Peter Behrens, the Battersea Power Station in London, and the Neo-Classical architecture of Albert Speer. The four chimneys produce a “polluted cloud” of polished bronze, which becomes the open-work tabletop.

Jewel Safe: A patined bronze ‘safe’ with a ‘Jack-in-the-Box’ popping up out of the craggy top. The polished bronze head is colored with oil-based pigments, highlighting the collar, nose and other features. The lock mechanism is operated by turning the clown’s nose, and the door hinge employs a ball bearing mechanism.

Mantle Clock: A patinated bronze pedestal clock supported by gilded oil barrels atop a model of the Florentine Galleria degli Uffizi, with Robber Baron reliefs. The dial of the clock is inspired by London’s Big Ben, circled by a futile railway running endless circles on a rocky landscape. The clock face can be shut with cast bronze stable doors. On top of the clock sits a Neo-Classical ‘dream house’, partially shrouded by a cloud.

Jean Royère (1902-1981)

Jean Royère made his career debut in 1933 with the fitting-out of the café-restaurant “Le Carlton” on the Champs-Elysées in Paris . The project met with immediate success, and Royère quickly became one of the regular participants of the large Parisian design shows of the time, such as the Salon d’Automne (Autumn Salon) or the Salon des Artistes Décorateurs (Artistic Decorators’ Salon). Royère’s innovative fresh, and liberal style distanced him from the conventionalism of his colleagues. He expressed a masterful command of the interior spaces he designed, as if he had an innate sense of decoration, where comfort does not alienate a richness of material and where a fanciful wistfulness is expressed through innovative shapes and vivid colors. Even before World War II, Royère appropriated the sinuous forms that prefigure the “free-form shapes” characteristic of the 1950s.

Royère went on to command an international clientele and even opened agencies in the Near-East and in South and Latin America. King Farouk of Egypt , King Hussein of Jordan and the Shah of Iran, all commissioned Royère with important projects. In 1972, Jean Royère retired from the profession, and spent his time between France and the United States . In 1980, he definitively left France for the States, where he passed away on May 14th, 1981, in Pennsylvania .

- ArtDaily


Jean Royère's "Daybed," covered in goat fur with curved maple edges, (23 x 83 x 38 inches), through SOLLO RAGO (Rago Arts and Auction Center).

Paul's Postcard: David Seidner (1957-1999)

In the 1990's Mr. Seidner, who had studied art history and literature and liked to bring what he called a ''philosophical perspective'' to his work, came to be known for his photography based on paintings and sculptures.

His fashion spreads often featured riffs on art. His last homage to painting, for example, was a spread in Vanity Fair last winter: he coiffed and powdered the models he was photographing until they all looked as if they had walked right out of a John Singer Sargent painting.

- New York Times


David Seidner's "Bernadette Jurkowski", 1994

"What I'm most interested in is evoking the spirit of a painting through the fold of fabric, the position of a hand, the quality of light on skin."

- David Seidner (LIFE)

For S. / Courtney Love / Malibu

R Gallery and curator Nessia Pope's Hugo França: The Story of the Tree (a História da Árvore) @ R 20th Century

Hugo França has an unparalleled talent for seeing forms for his designs in the untamed landscape of his native Brazil, capturing the beauty of the forest like no other artist working today. These one-of-a-kind pieces (furniture and objects), carved from fallen trees and discarded Amazonian Indian canoes, highlight the sensuality of the natural materials.

- R 20th Century

"What do you consider art?" / The Animals Respond... / via Roberta Fallon and Libby Rosof @ Artblog

Jakob Kolding

In the lovingly crafted collages by Jakob Kolding, the artist mixes his trademark visual vocabulary of modernist art and architecture, sociology phrases and characters from electronic music, comics and football. All these things seem to have overlapped in Koldings own upbringing in a suburb of Copenhagen and now form the ingredients of an ongoing work in progress. Kolding approaches the question of what happens when we let architecture structure our lives from a multitude of different angles. An idiosyncratic "Koldingesque" cityscape arises out of the mix, where one senses the artist’s own fascination and scepticism with the modernist utopias. In this urban space, art and architecture are often invaded, by people and phenomena that weren’t at all planned to exist there. One such figure is the skater who takes liberties with for example a minimalist sculpture by using it as a skateboard ramp.

In his collages he uncovers underlying ideas and attitudes behind our built environments and makes unexpected connections between popular culture and architecture in an effortless fusion of aesthetics and politics. In spite of his misgivings about settled life in the suburbs as envisioned by city planners, the artist betrays a clear preference for the spare design ideals of 60's and 70's architecture. A taste that recurs in the artist's interest in the formal analogies between the repetitious beats of electronic music, modernist architecture and the paired down aesthetics of minimalist sculpture

Jakob Kolding was born in Albertslund, Denmark in 1971. He studied sociology at Roskilde University and later went on to study art at The Royal Danish Academy of Fine Arts. He currently lives and works in Berlin.

- Marabou Park Annex

*Please Click On Image (Below)

"Future," 2005, mixed media on paper, (27.75 x 39.25 inches), through Team Gallery.

Sto

Space 1026 is hosting work this month curated by Brooklyn's ultra-hip Cinders Gallery, and the show is hipster lovable. So I'm in love.

The show if filled with work that mixes DIY and yearning for a simpler time; that brand of nostalgia is all over the place right now. But it's definitely a tip-top example of this sort of work--searching through American history for some kind of authenticity, and using DIY and arts & crafts techniques to evoke authenticity and the American spirit.

The highlights for me were the papier mache lights by Sto. It's not that I haven't seen achingly earnest DIY remakes of high-tech and deadpan takes on quotidian objects before. But Sto, besides making the flashlight and the desk lamp, also made into papier mache the yellow shafts of light the "lamps" emit. The light shaft then holds up the lights!

Sto uses the real objects underneath the papier mache. So the marble notebook has a marble notebook inside, and the scissors are real scissors, coated with papier mache. This isn't really gilding the lily. It's making the lily his own product.

- Libby Rosof (artblog)

*Please Click On Image (Below)

"lamp," 2008, (13''h x 18''w) and "alone time alarm clock," 2008, (2.5''h x 6.5''w), through Cinders Gallery.

Book: Beate Gütschow: LS/S (Aperture)

Beate Gütschow: LS/S
Photographs by Beate Gütschow
Interview by Natasha Egan and Akiko Ono
Publisher: Aperture

Beate Gütschow: LS/S, the first monograph of this exceptional artist, features two bodies of work that compel the viewer to think about humankind’s celebration of nature and our ceaseless desire to control it.

In these luscious, digitally produced photographs each detail, including the subtle nuances of the palette and light, is carefully controlled, culled from an archive of images taken specifically for use in these seamless collages. Every blade of grass, pebble, and nonchalant passerby has been painstakingly orchestrated by the artist, who draws on the work and traditions of Romantic-era painters and photo legends Lewis Baltz and Bernd and Hilla Becher.

The landscapes (series LS) are constructed to convey the “perfect” pastoral scene. In stark contrast, the cityscapes (series S) present an eerily familiar vision of a nonexistent but clearly dystopian form of architecture. Although the two series present seemingly tranquil settings that at first appear as binary opposites, in fact, they are equally fraught with issues of control, inauthenticity, and the pursuit of perfection.

Copublished with the Museum of Contemporary Photography, Columbia College Chicago

This project was made possible, in part, with generous support from Andrew and Nicole Bernheimer, James Danziger, Paul Pincus, Howard and Patty Silverstein, and Jerome and Ellen Stern.

1979 / Billy Corgan / Dayton and Faris

Shakedown 1979, cool kids never have the time / On a live wire right up off the street / You and I should meet / Junebug skipping like a stone / With the headlights pointed at the dawn / We were sure we'd never see an end to it all / And I don't even care to shake these zipper blues / And we don't know / Just where our bones will rest / To dust I guess / Forgotten and absorbed into the earth below / Double cross the vacant and the bored / They're not sure just what we have in store / Morphine city slipping dues down to see / That we don't even care as restless as we are / We feel the pull in the land of a thousand guilts / And poured cement, lamented and assured / To the lights and towns below / Faster than the speed of sound / Faster than we thought we'd go, beneath the sound of hope / Justine never knew the rules, / Hung down with the freaks and the ghouls / No apologies ever need be made, I know you better than you fake it / To see that we don't even care to shake these zipper blues / And we don't know just where our bones will rest / To dust I guess / Forgotten and absorbed into the earth below / The street heats the urgency of now / As you can see there's no one around

Postcard from Owen Reynolds Clements @ Team Gallery featuring work from the upcoming Ryan McGinley exhibit I Know Where the Summer Goes

Takashi Murakami

Commissioned in 2000 by the Peter Norton Family for their annual holiday gift, this project features a cartoon-like character called Oval, who sits atop a "cosmos ball," Murakami's name for the sphere covered with smiling flowers. The meditating figure is loosely based on a Japanese Buddha sculpture. Its multiple faces embody the full spectrum of human emotions and states of being: happiness, anger, wakefulness, sleep. The cosmos ball holds a CD with music composed and performed especially for this project by the Tokyo-based duo Zak Yumiko. Inside is a lotus flower, a form often used as a pedestal for Buddhist deities and a symbol of cosmic consciousness.




"Mr Wink (Oval Sitting Atop A Cosmos ball)," 2000, Polychrome plastic and vinyl sculpture with C.D. (music by Zak Yumiko) in base, Commissioned for the Peter Norton Family Christmas Project 2000, (10.25 x 7.5 inches).

Postcard from Marleen Engbersen @ Claudy Jongstra featuring "curtains and rug we just realized for a client's office."

Living and working in rural Friesland, Claudy Jongstra, the Dutch-born fabric designer is constantly exploring methods of non-invasive farming techniques and researching new methods for improving care of her own flock of rare Drenthe Heath sheep and, hence, the quality of their wool. Creating textiles which straddle high technology and ancient handcraft, industrialized processes and alchemical, labor-intensive techniques, Jongstra designed her own manually-operated felting “machine” which mimics the different hand movements traditionally used to make felt over the past six millennium. The dyes she uses vary from natural vegetable dyes to the most sophisticated French dyes, working from a repertoire of over 500 formulas.

Jongstra has collaborated with many fashion designers, including John Galliano and Christian Lacroix, as well as with noted architects and industrial designers Rem Koolhaas, Jasper Morrison, Hella Jongerius, Ettore Sottsass and Maarten Baas. She has also worked in tandem with architects Steven Holl and Will Bruder to create acoustic-enhancing materials for residential projects. Her work is in the permanent collections of many museums, including the Museum of Modern Art and the Smithsonian Cooper-Hewitt National Design Museum, New York, the Victoria & Albert Museum, London, and the Stedelijk Museum, Amsterdam.

- Moss (New York)

Easter Greetings from Kathy Osborn

Kathy Osborn's The Bunny Family

Jorge Pensi's Raster storage system for Cassina

Jorge Pensi's Raster storage system (Bookcase) for Cassina in gauzily translucent methacrylate embodies a strong geometric rigour animated by the play of light. The freestanding bookcase's uprights and shelves are matte white lacquered wood. The edges of the panels and base are anodised aluminum. The vertical dividers and sliding doors are matte methacrylate and can be mounted on the front or the back of the open elements of the structure.

- Cassina

Postcard from Chris Cook @ Moss featuring the work of Maarten Baas

Wind by Maarten Baas

Monumental electric fans, hand-sculpted in chrome-glazed industrial clay, applied over a metal skeleton.

Each fan is hand-made in Baas’s studio; each size is produced in a signed and numbered limited edition of 8 pieces, exclusive to Moss.

Maarten Baas’s work in clay address the issue of form-giving in industrial design, revealing, literally, the designer's 'hand' in this intimate process, today normally concealed through the use of a computer (but there, none-the-less). Baas's use of the clay-modeling technique, traditionally employed in rendering the human form from life-study, magnifies the sculptural quality inherent in all functional objects.

- Moss

Otto Zitko

An ostensible contender for the month's ''My 8-Year-Old Could Do That'' prize is Otto Zitko, a 40-year-old Austrian painter who is having his first exhibition in the United States. Mr. Zitko is one in a line of what might be called sardonic European abstract painters, who trace their lineage, at least in part, back to Sigmar Polke and Martin Kippenberger. But he is also Austrian, which gives him a claim to the hotter, if equally irrational gesturalism of the Viennese Actionists.

Mr. Zitko has had a good time at Cheim and Read, scribbling with abandon, and oilstick, all over the walls of the gallery's big front room, and on several very large aluminum panels in the second room. He alternates between all-black works and those employing close-keyed tones of a single color, like red, blue or green.

Mr. Zitko's scribbles change density, direction and rhythm in ways that suggest concentration and skill, and that give each effort a different spirit and energy. These works may be only a footnote in the long history of all-over abstract painting, but they offer a blithe counterpoint to the literal and intellectual ponderousness of much large-scale art. The longer you look at them, the clearer it is that no 8-year-old and few 40-year-olds could have brought them off.

- Roberta Smith (The New York Times)


"Untitled," 2004, Oilstick on aluminum panel, (59 x 43.25 inches), through Cheim & Read.

The most successful among Zitko's abstract compositions possess an exhilarating, contracting and expanding beat akin to that found in Pollock's classic drip paintings. Like the American pictures, the Viennese artist's drawings originate in virtuosic sweeping gestures that articulate an ambiguous pictorial space with crisscrossing lines and segments of circles and ovals. A large (118 by 87 inches) vertical composition of 1997, executed with two contrasting red oil sticks on a white ground, was the most compelling work on aluminum. The more attenuated lines seem to recede, providing a mesh that visually supports the thicker, meatier lines bundled at rhythmic intervals in the foreground. Here, as with the wall drawing, Zitko evokes the richest, most abstract phase of Action painting with allover drawing that is achieved on a grand scale and fraught with reminiscences of the act of creation.

- Michael Amy (Art in America)


"Untitled," 2006, Oilstick on paper, (78.5 x 59.25 inches), through Cheim & Read.

Thomas Bangsted

In a world of digital hybrids, Thomas Bangsted is a purist. A photographer in the classic sense. Bangsted travels constantly, searching out landscapes with a surreal twist, or perhaps he searches out a place through which, he can tell his own story -a subtle tale of sly wit.

Working with a large format camera, he labours over the composition of each shot until it is delicately composed, so precisely imprecise that it often leaves the viewer questioning the whether or not the photograph is digitally constructed. In these images you will see the most elegant sinking ship, a herd of cows standing in a pool of what could at a glance, appear to be mint frosting and 'the last kiss' for an abandoned car and helicopter.

- Mia Nielsen (Curator of Looking The Other Way)


"Mockingbird Hill (Goat)," 2004, C-Print, (30 x 35 inches).

Thomas Bangsted's photograph of a goat on a peculiar wooden structure has so much energy, both in the absurdity of the subject and in the crafting of the image itself, that it has plenty of material to become a modern classic.

- Fotografisk Center / Denmark


"Untitled (Car with Helicopter)," 2005, C-Print, (29.6 x 38 inches).


"Tri-Dura," 2003, C-Print, (40 x 50.5 inches).

Bangsted's images invoke a range of pictorial modes, from historical landscape painting to 19th century photographic practices. They accumulate to form an aesthetic practice of history, where Romantic and picturesque imagery is reinvented and re-presented in service of a visual investigation of our notions about landscape as a repository of meaning and emotion.

- Aaron Schuman (SeeSaw)


"Watering Place (Cows)," 2005, C-Print, (23 x 48 inches), through Danziger Projects.

Kent Rogowski

Kent Rogowski's Bears is a series of portraits of the most unusual sort: ordinary teddy bears that have been turned inside out and restuffed. Each animal's appearance is determined by the necessities of the manufacturing process. Simple patterns and devices never meant to be seen are now prominent physical characteristics, giving each one a distinctly quirky personality: their fasteners become eyes, their seams become scars, and their stuffing creeps out in the most unexpected places. Together these images form a topology of strange yet oddly familiar creatures. They are at once hideous yet cuddly, disturbing yet endearing, absurd yet adorable, while offering a metaphor for us all to consider. These bears, which have lived and loved and lost as much as their owners, have suffered and endured through it all. It is by virtue of revealing their inner core might we better understand our own.

- Foley Gallery

"Kent Rogowski: Bears," at Foley Gallery.



"Bear 11," 2003, C-Print, (20 x 16 inches).

"Bear 23," 2006, C-Print, (20 x 16 inches).

"Bear 34," 2003, C-Print, (20 x 16 inches).

"Bear 13," 2006, C-Print, (20 x 16 inches).

"Bear 34," 2006, C-Print, (20 x 16 inches), sleuth of five Bears through Foley Gallery.

"130+ years after Thomas Eakins portrayed a group of bloody surgeons removing a tumor from a patient's thigh in The Gross Clinic (oil on canvas), Kent Rogowski turns our emblems of childhood comfort inside out. One of Eakins most famous and successful paintings, The Gross Clinic was rejected by the jury of the 1876 Centennial exhibition as 'unsightly' and eventually sold to a medical school for the paltry sum of $200. Perhaps Mr. Rogowski should sell his pictures to a day care center."

- Alec Soth (Photographer)

Eileen Neff

Neff structures her photographs like abstract paintings, blocking them into geometric sections that go against the grain of the blur. Each part becomes a kind of figure that can stand out against the others; focusing on one changes the figure-ground relationship. In some works the blur becomes the atmospheric background for the landscape, in others the reverse occurs....If the blur represents unconscious feeling and the landscape self-conscious reflection, then Neff is struggling to overcome the split between reason and feeling, which T.S. Eliot called the curse of modernity.

- Donald Kuspit (ARTFORUM)

This work was featured in "Eileen Neff: Between Us," at the Institute of Contemporary Art, University of Pennsylvania.


"The Field and the Plane," 2007, C-Print mounted on aluminum, Edition of 7, (39 x 37.75 inches), through Locks Gallery.

Kehinde Wiley

"Louis XVI, The Sun King," 2006, Cast marble dust and resin, Edition of 250, (10 x 9.5 x 3 inches).

The first bust is a bernini influenced, baroque style composition positioning a young man dressed in contemporary urban street attire styled as a 17th century monarch. the heroic pose is vigorously alive and imperious. the cloak, or hoodie in this case, is swept up, as if by a gust of wind, and the figure turns with resolute composure in the direction of the wind, as if calmly facing a challenge.

- Cerealart


"St. Francis of Adelaide," 2006, Cast marble dust and resin, Edition of 250, (12 x 10 x 5.5 inches).

The 2nd Neoclassical bust was influenced was Jean-Auguste-Dominique Ingre's stained glass window, St. Francis of Adelaide in Paris at The Chapel of Saint Ferdinand. The strong, proud, athletic young man is dressed in street attire and holding a symbolic book and scepter. He appears as a learned monarch. His soul searching contemplative eyes have the feeling of Cezanne's "Still Life with Skull" or Rogier van der Weyden "Portrait of a Man Holding a Book." The composition is familiar but the influences are beyond easy recognition. The philosopher appears as a hero in pursuit of revealing the universal truth in the 21st Century.

- Cerealart



"After La Negresse, 1872," 2007, Cast marble dust and resin, Edition of 250, (11 x 10 x 9 inches), through Cerealart.



*Please Click On Image (Below)

"The Gypsy Fortune-Teller," 2007, (This tapestry composition is based upon François Boucher's "The Collation" in the collection of The Metropolitan Museum of Art), Jacquard Tapestry, Woven in Belgium, Italian Cotton, Hand signed and numbered, Edition of 48 plus 10 AP, (76 x 96 inches), through Cerealart.

Valentine's Day wishes from Malia Stewart @ Jackson Fine Art

Elliott Erwitt's California, 1955

Edouard Boubat's Les amoureux de Bologne, 1987

Mona Kuhn's Amsterdam V (The Kiss), 2004

Katherine Wolkoff

Katherine devised the complex lighting set-up for these silhouette portraits a few years ago and they have since been acquired by museums and collectors. She does her own printing - a rarity these days - and her prints are stunning.

A 2002 Yale MFA graduate, Katharine refuses to be pigeonholed and her two latest projects were a look at post-Katrina New Orleans in the context of the Southern landscape, and a special issue of 2wice Magazine where she photographed the Merce Cunningham Dance Company in the grounds of the historic Vizcaya estate in Miami.

- James Danziger (The Year in Pictures)


"Untitled (Anna 2)," 2004, C-Print, Edition of 7, (30 x 40 inches), through Danziger Projects.

Edna Andrade

Edna Andrade's limited edition set of pillows based on her pioneering Optical Paintings (Op Art) of the 1960s. This edition was featured in "Fête," at Locks Gallery.


"Radiant Ellipse 1," textile executed 2006, painting executed 1965, digitally printed with reactive dye on cotton steen, linen reverse, edition of 12, (16 x 16 x 5 inches).


Pillow (left) "Radiant Ellipse 1," textile executed 2006, painting executed 1965, digitally printed with reactive dye on cotton steen, linen reverse, edition of 12, (16 x 16 x 5 inches).

Pillow (center) "Ahmet Hello," textile executed 2006, painting executed 1965, digitally printed with reactive dye on cotton steen, linen reverse, edition of 12, (22 x 14 x 5 inches).

Pillow (right) "Radiant Ellipse 4," textile executed 2006, painting executed 1965, digitally printed with reactive dye on cotton steen, linen reverse, edition of 12, (16 x 16 x 5 inches).

Ezra Stoller

Ezra Stoller was the American architectural photographer whose memorable photographs of buildings by the 20th century’s leading designers popularised architecture for a whole generation. His striking black and white photographs, which are among the world’s most frequently reproduced architectural images, played a key role in the shaping of public perceptions of modern architecture. Ludwig Mies van der Rohe, Frank Lloyd Wright, Louis Kahn, Kenzo Tange and many others turned to Stoller to capture their buildings on film, and Philip Johnson once said that no modern building was complete until it had been “Stollerised”, or photographed by Stoller.

From the point of view of architects, Stoller’s appeal was twofold. He prepared his shoots with meticulous, painstaking detail, often visiting the site several times before photographing the building, to observe how the light affected it at different times of the day. His photographs were graphically powerful, with sharp contrasts between light and shadow. After years of observation, he knew how shade could best illustrate the form of a building while shadow could reveal its texture. He spent hours investigating the best angles from which to shoot, often drawing his own diagrams of the site to ensure he placed his large format camera in precisely the right spot from which to capture the finest essence of the building.

- The Times of London

These works were featured in "Ezra Stoller: Buildings of New York," at Danziger Projects.


"TWA Terminal, 1962," [Architect: Eero Saarinen], Silver Gelatin Print, (20 x 16 inches).


"Lever House Corporate Headquarters, NYC, 1952," [Architect: Skidmore, Owings & Merrill], Silver Gelatin Print, (20 x 16 inches).

Kathy Osborn's A Horse in the House and Other Strange But True Animal Stories

Whoever heard of a horse who lived in a house (while its owners lived next door)? Or two donkeys who had a marriage feast? Or an official spying cat who was wired for sound? These stories and many more -- all quite strange, all very true -- come from newspaper reports around the world. With paintings by Kathy Osborn hinting at magic realism and journalist Gail Ablow’s wonderfully witty text, this fascinating collection has much to say about creatures ranging from hippos to humans, who may in fact be the strangest animals of all.

- Candlewick Press


Kathy Osborn has illustrated several children’s books and one novel. She has worked as an editorial illustrator for Rolling Stone, Newsweek, The Washington Post, covers for The New Yorker, The New York Times and Town and Country among others. She began collecting news stories about animals in 1999 and wanted to illustrate them to satisfy her curiosity. She lives in Brooklyn, New York.

Gail Ablow is an award-winning broadcast journalist who has produced documentaries, news, and interviews for PBS, CNN, ABC, and other networks. She lives in Brooklyn, New York.

Patrick O'Dell

Photographing people and places he knows, Patrick O’Dell presents an honest survey of the subcultures that hang out on the streets and stay out late. These first hand exposures are chronicled on O’Dell’s widely popular web blog Epicly Later’d. For his first New York solo show, these candid moments will be exhibited at Fuse Gallery. Now based in New York, O’Dell hails from the Midwest and has traveled throughout the world documenting the skateboarder lifestyle. He was the senior photographer for Thrasher Magazine and is now the photo editor for Vice Magazine. His website, Epicly Later’d inspired the show of the same name that debuted on VBS.TV and MTV 2 this fall.

- Fuse Gallery

These works are featured in "Patrick O'Dell: Epicly Later'd," at Fuse Gallery.


"Horses," C-Print, (17 x 23 inches).

"Mountains Through the Window, Montana," C-Print, (17 x 23 inches).



"Bikes in the Snow, New York City," Digital Print, (14 x 17 inches).

Postcard from Kathy Osborn

Kathy Osborn's The Center of Attention

Martin and Muñoz

"Martin and Muñoz: Islands," at P·P·O·W Gallery, featuring The Mail Boat.