Barry Duncan | Reversibility 101
curated by Peter Hopkins and Wilson Duggan

February 2 – 11, 2018
Opening Reception:
Friday, February 2 | 6-9 PM

ArtHelix is excited to announce our final exhibition project at our gallery space on Meserole Street in Bushwick, Reversibility 101, headlined by Master Palindromist Barry Duncan and featuring contributions from ArtHelix’s past and frequent collaborators and friends. Please join us Friday, February 2nd from 6-9PM for a reception to celebrate the people and projects we’ve had the privilege to foster over the last six years.

In the Fall of 2012, having spun off from our time operating the Bogart Salon, ArtHelix launched its programming with our inaugural exhibition, Making Nothing Happen: The Strange Poetics of Barry Duncan . Duncan’s poetic and performative practice as a palindromist uniquely combines a multitude of disciplines. During the reception and for regular gallery hours on February 3rd and 4th, Duncan will occupy the gallery, interacting with gallery visitors and composing new work in situ, including a longer-form palindrome specially commissioned by ArtHelix. Duncan’s practice on full view will set the stage for further collaborations with some of ArtHelix’s regularly featured artists as well, who will be invited to populate the gallery and compose and exhibit new artworks guided by the concept and practice of reversibility.

Thus ArtHelix will conclude our time in Bushwick like a palindrome: right where we started and looking both backwards and forwards. Backwards to afford ourselves a chance to review and appreciate the projects we’ve had the pleasure to bring to fruition, and forwards past the boundaries and limitations of a permanent gallery and toward our future initiatives within the SHIM Network we have determinedly developed over the past three years.


United States of Wilson Duggan

May 19 – 21, 2017

Opening Reception:
Friday, May 19th | 6-9PM

ArtHelix is pleased to announce our forthcoming exhibition, United States of Wilson Duggan. Please join us for an opening reception on Friday, May 19th, from 6-9PM.

The exhibition covers four different series of work in Duggan’s oeuvre, each focused on its own unique formal and material concerns. For more information, you’ll have to ask the artist yourself what it is you’d like to know. It’s all rather complicated.

Duggan would like to thank the many friends and colleagues who have inspired the exhibition, especially Peter Hopkins, Christopher Stout, Lisa Levy, Brett Wallace, Josef Albers, Jasper Johns, Vik Muniz, and John Baldessari, among others.


Meghan Boody

The Unreliable Narrator
March 3rd – 26th, 2017

Opening Reception – Friday, March 3rd | 6-9PM
Bushwick Armory Week Late Night – Saturday, March 4th | 6-9PM

ArtHelix is pleased to announce The Unreliable Narrator, a group exhibition featuring works by Kathy Grove, Bonnie Rychlak, Ellen Brooks, Judith Linhares, Elaine Reichek, Rona Pondick, Susan Unterberg, Jeanne Silverthorne, Nancy Mladenoff, Jackie Cantwell, Maria Kreyn, Katelyn Alain, Angela Strassheim, Jessie Brugger, Meghan Boody, Mihyun Kang, Claire Watson, Cynthia Ruse, Christy Armendariz, Elizabeth Saveri, Joanne Ross, Hazel Santino, Sarah Smith, Katelin Hudson, and Yael Malka. Please join us for an opening reception to celebrate the exhibition on Friday, March 3rd from 6-9 PM. ArtHelix will also participate in the Bushwick Armory Week Late Night the following evening, and will have extended hours Saturday, March 4th from 6-9 PM.

This is an exhibition of some artists, all women, ranging in age from their early twenties to their seventies, who have endeavored, directly or indirectly, to “represent” themselves in their work. The title of the exhibition, “The Unreliable Narrator,” is a way to suggest that this effort is more complex than may at first seem.

The notion of the “unreliable narrator” comes initially from literature and then from film. An unreliable narrator is not simply a narrator who does not tell the truth—what fictional narrator ever tells the literal truth? Rather an unreliable narrator is one whose statements are untrue only by the standards of a particular audience who make certain assumptions about “norms and values.” As soon as the concept of the unreliable narrator was introduced into literary theory, there was an immediate and corresponding emphasis on the distinction between the narrator and the author. The visual arts have had no such history of separation. And perhaps that is what makes the application of this term—“the unreliable narrator”—so interesting at this moment. There has always been the assumption that the visual artist is presenting an unvarnished “truth.”

Unreliable narrators are almost by definition first-person narrators, and the work presented by the women here confronts issues of self-representation. They may do this in such a way as to highlight the contention that all representations—and perhaps specifically the representations of women and of the self—are a set of “unstable” meanings. Viewers want and possibly need to “trust their eyes,” to believe that the artists are trustworthy in their communications to us. The unreliable artist may therefore be a maverick, a trickster who questions the assertion that “seeing is believing.” These artists dispute claims to the verifiable, often taking what appears to be a fact of nature and unmasking it as the habit of ideology, or suggesting that every perception is also a distortion, simultaneously both true and untrue, that this paradox IS the configuration of a subject. Here we may have the artist presenting the persona of the “mad” person or “the clown,” for instance.

Other artists may feel forced into the role of the “braggart” unreliable narrator, beating the marketplace at its own game by presenting in their work images of women that are saleable, desirable, and glamorous, while reserving to themselves the less palatable self-images that are nobody’s business but their own. One might call this narrator unreliable by virtue of withholding vital information. The issue arising around such unreliability is this: why should any artist feel obligated to give the public potentially damaging information about their self-esteem? Who says an artist owes the public—a public now dominated by powerful collectors and their advisors—the truth, especially when this is in no way reciprocated?

There may be generational differences in these approaches—in fact that may be the best part of this exhibition—but a constant remains the sense of the necessity—ostensibly resisted or privately refused—to bow to the demands of a deforming majority viewpoint, be it that of “history” or the “marketplace” or fixed “gender identity,” or some other seemingly undeniable “reality,” some power that can feel impossible to displace. Meanwhile, women survive—by directly staring at themselves, by deceptive self-disparagement, by valiant confrontation or cunning simulation, perhaps by rejection of the very term “woman,” even by means that may elude our current understanding.

This is a modest attempt to engage an enormous issue. There are no ”answers” here. The exhibition attempts only to illustrate various artistic ideas that circulate around how women artist of different ages currently address this subject.


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Disputed Borders

Michael McKeown
Corbett Fogue
and Christopher Brace

March 25 – April 17, 2016
Opening Reception: March 25 | 6-9 PM

curated by Wilson Duggan

ArtHelix is pleased to present Disputed Borders, a group exhibition curated by Wilson Duggan that examines the boundaries and conflicts between places, people, memory, and time.

Disputed Borders features work by Michael McKeown, Corbett Fogue, and Christopher Brace. Please join us March 25th from 6-9PM for an opening reception at the gallery.

Michael McKeown constructs large-scale missile sculptures out of found materials and trashcans, designed as parodies of weapons built and maintained to cause destruction on a massive scale. McKeown’s work presents a socio-political critique of global militarization, particularly drawing on his memories of the Cold War and the effects of global nuclear armament. The choice of materials addresses with tongue in cheek the artist’s understanding of the “colossal waste of resources” that the global arms race perpetuates. A number of ink drawings composed on old military maps complement McKeown’s sculpture. Here, McKeown’s imagined missiles float atop the contours of the maps’ charted geography, employing bright colors and playful designs that contrast with the subject matter to an effect both somber and darkly humorous.

Corbett Fogue’s multi-disciplinary practice as an artist addresses his memories of his late father, and the circumstances of his untimely death from an incurable lung condition. On view in the exhibition is a wall drawing from his series of Ark Studies, which draw from his memories visiting his father’s architecture studio as a child. The drawing is an invented and fantastic schematic of an ark or vessel that travel the boundary between life and death, transporting Fogue to reunite with his father. Fogue’s series of Breath Studies, represented here in an installation of drawings titled Drawing Breath, explore the act of breathing as a bodily function so fundamentally vital for all life, but so constant and basic that it is easily taken for granted.

Christopher Brace’s photographs capture the boundaries of time that constantly press us forward. Brace’s work deals in the aesthetics of nostalgia, depicting decaying signs and advertisements leftover from a different era, yet still present around the city. His eye for composition captures the grittiness of urban landscape with clear and direct focus, and in a style that exudes contemporary vibrance despite a subject that is fixed in a different time.

The artworks on view challenge other boundaries within the gallery itself. McKeown’s missile, initially proposed and realized as an outdoor installation, physically dominates the gallery space, stretching all the way to the ceiling and scrunched into a corner. Fogue’s Ark Study is composed directly on the gallery wall, bound to the physical limit of the space, and Drawing Breath flanks the gallery entrance, creating a portal that delineates the exhibition. Brace’s photographs of old city façades are framed and presented against the bricks of exactly that, an old Bushwick warehouse façade, now contained inside a gallery space built adjacent to the original structure. Exhibited together and with exposed tensions, the work of these three artists communes along a common perimeter.


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(not) Having It All

Angela Strassheim
Jackie Cantwell

February 12 – March 20, 2016
OPENING RECEPTION: Friday, February 12th | 6-9PM

ArtHelix is pleased to present a group exhibition of black and white photography by Angela Strassheim and Jackie Cantwell, curated by Gallery Director Peter Hopkins.

The art world is full of stories of newly discovered Masterworks found by chance after silently languishing for years, or decades in attics, basements, and long unopened boxes. The truth is that most art ever created is actually meant to die this way. Very few art works will ever find an audience. To pick out those few from the vast ocean of the discarded that may have been unduly consigned to neglect requires a keen eye, and a willingness to look hard and unflinchingly at something long left in the dark. Recently forty-three years of indifference was undone to 3 simple black and white photographs found in such a box. Now we must try here to decide if this “discovery” is worth our time.

This past September Jackie Cantwell was looking through the heaped contents of her Mother, Linda Cantwell’s belongings. She was trying to find the missing pieces that could explain how a young and promising art student with a girlish face (her Mom), but a fierce gaze, had chosen the life of a working middle class woman with 2 kids and an artist husband. Where had her aspirations gone? Was the “career” she had forsaken even a possibility. Had she chosen for herself, or had the “choice” actually been asentence with no choice whatsoever? So on this day she was not simply rummaging randomly, but rather searching for evidence. She was deciding if the mystery she was seeking to unravel was a “murder”, a “suicide”, or more likely simply “willful negligence”.

Jackie Cantwell decides to respond to her mother’s “questions” by inserting herself into that question.  Photographed by Maya Meissner, Jackie re-creates the 3 works and presents them to her Mom as a Christmas gift. This gift is also meant to be a provocative act. “Mom, what happened to you”?

Angela Strassheim is a very successful artist. She is also now expecting her second child. This is important, because while it seems to others Angela “has it all” she like most artists knows that there is no such thing as stability in the art world. Her life has changed since she began making her now iconic photographs. Mostly for the good, of course, but doubt is a crucial component of all great artists, and Angela is a great artist. How has her changed life changed her work? Is motherhood and an art career, even for those with means, as incommensurate now as it was for Linda Cantwell and other first generation feminists? Angela then becomes the second point on the continuum of this dialogue.

If Linda Cantwell is the “hidden” subject from the shadows being interrogated by the emerging daughter, then Angela is the culmination of the process looking backwards, even as she confidently asserts her place in the present. In her recent move from one studio to another and her own relocation to a new home she too “lost” or had misplaced a large body of works. These too are black and white photographs. They are 4×5 polaroids made as “tests” for her series of finished photographs that now hang in many museums, and are deservedly reproduced  in high quality catalogs available for all. These photographs, never exhibited before, show younger women in states of quiet turmoil and veiled risk, capturing the crucial time when girls and young women begin to claim the shifting nature of their own identities. These Polaroids are unique one-off magical moments that got stored away in the dark, and thus, in a way these works were also forgotten. Not because they had been deemed unworthy of an audience, but weirdly, because the later works on which these photographs rested were so successful that they had become pushed back into the dark.

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“The art world is overflowing with carefully curated, thoughtful, thematically consistent, dreadfully safe and boring shows. This is one more risky. Is it a mother-daughter therapy session masquerading as a thesis, or an entitled, self-congratulatory panel chat? Maybe both…or neither. The photographs here are all beautiful and powerful. The artists are proud of them, and they do not care if we like them. I asked a question, and now must step back and listen, and for now that’s enough.”

– Peter Hopkins, NYC, January, 2016


Kurt Steger

January 8th – February 7th, 2016
Opening Reception:
Friday, January 8th | 6-9PM

ArtHelix is pleased to present Reclaimed, an exhibition of new sculptures by Kurt Steger, on view from January 8th through February 7th, 2016.

The works in this exhibition are from Steger’s recent ‘Urban Structures’ series, which addresses the loss that cultures or communities experience from the destruction or demolition of spaces, particularly those with personal or spiritual importance. The artist’s recent travels in Tibet, where he observed peoples’ homes and places of worship destroyed, provided an impetus for this new series, as it reflected a similar experience back home witnessing the demolition and redevelopment of structures in the ongoing gentrification cycle here in Bushwick.

The works in Steger’s ‘Urban Structures’ series use this cycle of destruction as a literal foundation; each sculpture features a found piece of Bushwick concrete rubble as a base on which the artist designs form-fitting abstract shapes. These structures, inspired by Steger’s interest in architecture, are each a unique response to their concrete base, designed to balance and contrast with the jagged, uneven shapes and surfaces in the material. Through its reduction to rubble, the concrete begins to imitate the inherent randomness of natural forms, though often in the pieces Steger has selected for the series, a trace of former function remains, like the curved imprint left from a pipe or an angle that marked the edge of a curb.

Each structure is designed as a type of sacred space that honors the memory of its foundation’s past. In most of the works, the structures contain an object or material, such as earth from Steger’s travels in Tibet, white sage, seeds, or notes composed as prayers. The spiritual aspect of the work remains largely undefined and open to interpretation, not adhering to a specific religious tradition.

As art objects, Steger’s sculptures provoke contemplation about space, time, community, and man’s responsibilities to and within his environment. In the context of the exhibition, the sculptures transform the gallery into its own type of sacred space, which contains and helps reveal the artworks to the viewer.


Distance-Absence-Sea of Holes 1
Distance / Absence
Mari Rantanen
Curated by Bonnie Rychlak

October 23 – November 29, 2015
Opening Reception:

Friday, October 23 | 6-9PM


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Recent Work
Royce Weatherly and Douglas Degges

October 23 – November 29, 2015
Opening Reception:
Friday, October 23 | 6-9 PM

Curatorial Statement by Bonnie Rychlak for Mari Rantanen:

ArtHelix is proud to present, for a second time, the paintings of Mari Rantanen. Rantanen is a Finnish artist who has been living and working in Stockholm for almost 20 years and currently spends alternating three­month periods in New York City. Since her last exhibition at ArtHelix in October 2014, she has transitioned her paintings from sites that explored visual, historical, and cultural motifs, works that referenced those contextual patterns, colors, and designs, to a more complex emotional place that is at once exuberant and conflicted. Rantanen is now combining a more personal dissonance to her opus.

Mari Rantanen’s new paintings move away from her oval shaped canvases, a shape that hearkens back to traditional portraiture. Now the oval motif is imbedded inside a rectangular frame. She sees the shapes as a forces of two worlds, occupied in one place to mingle. The novelist Jhumpa Lahiri, from a lecture that Rantanen attended, inspired these new paintings. Lahiri discussed her Indian heritage, having been born in India and raised in the U.S., she spoke of how her parents would systematically save their money to take the entire family back home to India every year. Traveling from one culture to another, Lahiri noted that when she was in the U.S., she felt the absence of her Indian culture, effected by her parents but conversely, when she was in India, there was a sense of absence from her more westernized daily life in the U.S. Her parents’ longing for India was constantly palpable; creating a home life that was filled with feelings of isolation and longing.

This lecture had a profound impact on Rantanen, recognizing for herself this cultural dilemma; a sad sense of something that is always lacking wherever she is working and living. The oval shapes within rectangular frames are tropes for Rantanen, seeing the motifs as a complex sense of absence and distance, where one shape lacks what the other contains. The oval in the rectangle is the absence, one world within the rectangle as the container, which is off in the distance, always in the background.

However unlike Jhumpa Lahiri, whose description of absence and distance is melancholy and discontented, Rantanen is exhilarated by what would seem to be a state of dearth and remoteness. The exuberant colors she uses are combative and optically cheerful and pleasurable. Her distance and absence composition holds an extremely vibrant palate, creating a dissonant and frantic visual excitement. Everything seems to be happening at the same time in Rantanen’s paintings. The light the paintings generate and reflect presses on our frontal lobe, almost blinding anyone who looks upon them but not sad for those who do not recognize her narrative.

Mari Rantanen’s work is in the private and public collections of most all Nordic countries. She is also represented in numerous collections in Germany, England, Holland, as well as the United States. In 2015 she will be included in an exhibition Dark Days, Light Nights at the Kemper Art Museum in Kansas City, Missouri, October 1, 2015 to February 20, 2016.


Happy Hour
Virginia Commonwealth University
Painting + Printmaking MFA Alumni Exhibition 2014 – 2015

Curated by Arnold J. Kemp and Jackie Klempay

August 28 – September 20, 2015

Friday, September 11 | 6-9PM
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Featuring work by:
Annie Albagli
Thomas Burkett
Adriane Connerton
Philip Hinge
Michael Hunter
Nicholas Irzyk
Harris Johnson
Aaron Koehn
Mike Linskie
Christine Navin
Lee Piechocki
Jason Rood
Aaron Storck
Grace Weaver
Matthew Yaeger

Image: Grace Weaver, In Search of Delicious, 2015
Oil on linen. 75 x 67 inches.



Bushwick Open Studios
June 5-7, 2015

ArtHelix, in collaboration with Chez Bushwick, is pleased to present a series of art installations and performances at Mona Liza Fine Furniture as part of our program for Bushwick Open Studios 2015. Please join us for a weekend of art, music, performance, and dance as we celebrate our neighborhood and community.

Mona Liza Fine Furniture
23 Meadow Street
Brooklyn, NY

Open Hours:
Friday June 5: 6PM – 10PM
Saturday June 6: 12PM – 2AM
Sunday June 7: 1PM – 6PM

Bushwick 1
a special sculpture installation by Michael McKeown


Audacious Auspicious Anfractuous Anomalous Asynchronous Autonomous Artists
Curated by norton

Featuring artwork by:
norton, Chris Ketchie, Patrick Paine, David Miller, Greg Reynolds, Joshua Rosenblatt, Yukari Edamitsu, Jeffrey Leder, Chen Dongfan, Chris Rucker, Angelino Salerno, Lindsay Packer, Levi Haske, Audrey Ryan, Rob Lomblad

with a performance by Bakarock Sunday, June 7, 5PM


La Gioconda
Curated by Wilson Duggan and Julie McKim

Featuring artwork by:
Albert Shelton, Amanda Millet-Sorsa, Beata Chrzanowska, Brett Wallace, Cannon Hersey, Christopher Tandy, Claudia Chaseling, Daniel Djuro-Goiricelaya, David Pierce, Ehren Clodfelter, Elia Bettaglio, Elizabeth Meggs, Eric LoPresti, Fanny Allié, George Horner, Guy Nelson, Hazel Lee Santino, Heather Green, Jaynie Crimmins, Jon Newman, Kelsey Shwetz, Kenneth Browne, Kiki Carrillo, Kurt Steger, Laura Charlton, Linda Schmidt, Luan Gashi, Marcy Rosenblat, Margaret Lanzetta, Mari Rantanen, Mary Cooke Cosh, Meer Musa, Michele Hemsoth, Miguel Libarnes, Patricia Fabricant, Patrick Farrar, Rachel Blackwell, Shingo Francis, Thomas Burr Dodd, Tif Robinette, Wilson Duggan …and more.

with a performance by Dirty Churches on Saturday, June 6 @ 9PM


a special presentation of work by Yuliya Skya


Performances from Chez Bushwick:
Sunday, June 7, 3-5PM

Sarah Lifson
Laurel Snyder
Alex Romania
Evvie Allison
and Judy Iocovozzi


Caption: Erik Hougen. Wells, 2015, Silkscreen on canvas, 30 x 40 inches

Somewhere Between

June 5 – June 14, 2015
OPENING RECEPTION: Friday, June 5, 2015 | 6-9PM

Curated by Julie McKim

A group exhibition featuring artwork by:
Sonya Blesofsky 
Matthew Conradt 
Angeles Cossio 
Jon Elliott 
Rob Fischer
Daniele Genadry 

Erik Hougen 
and Wyatt Nash

with performances throughout BOS weekend by:
Jeff Thompson | Performance for Modified Chord Organ and Laptop
Friday, June 5 at 8:30PM at ArtHelix

Jeff Thompson will perform using a modified chord organ outfitted for micro adjustments and a laptop running custom software, creating slowly shifting drones and subtle dissonances.

William Hempel | read red read
Saturday, June 6 at 4:00PM at ArtHelix

William Hempel is a New York City based conceptual and visual artist who creates language based works often pulled from the everyday landscape, both physical and mental.  Hempel uses strategies of collection to represent languages as aesthetic experiences and exercises in free thinking.  His multi person reading performances are read from texts prepared by these methods of language collection.

Dirty Churches | Saturday, June 6 at 8:45PM at Mona Liza Fine Furniture

Performance by Rachel Blackwell
Music by Jesse Gelaznik
Violin Carolin Pook
Viola Eric Elterman
Cello Eric Allen

ArtHelix is thrilled to host Somewhere Between as part of our program for Bushwick Open Studios 2015.

The work in Somewhere Between finds weight in the uncertain place between the familiar and the unknown. The eight artists in this show employ sculpture, site specific installation, painting, silkscreen and photography to look at memory, history and place. Pulling source material from their everyday lives and surroundings, they construct work that collapses times, balances between the abstract and the delineated, and is layered and fragmented. Their work offers fleeting glimpses into histories long forgotten, hints at unfounded narratives, and presents cloudy reminders of places, perhaps, never visited.

The visual clues offered seem both familiar and hard to place, taking the viewer on a circuitous hunt for recognizable forms and meaning. Once engaged in the work, only then is it discovered, that what appeared familiar, is actually unknown. The viewer is confronted with a memory, history, landscape that is not their own. It is here, in this limbo, between object and viewer that the work of these artists balances. This middle place where meaning is open ended, connotations multiple and subjective and possibilities infinite.


jesse moretti

along, align

June 5-7, 2015
OPENING RECEPTION: Friday, June 5, 2015 | 6-9PM

A group exhibition featuring artwork by:
Douglas Degges
Jesse Moretti
and Eric Oglander


Christopher Stout | A.O.

April 24 – May 17, 2015

Curated by Wilson Duggan

ArtHelix is thrilled to present A.O., an exhibition of paintings by Christopher Stout—the artist’s second project with ArtHelix and his first solo at the gallery.

Best known for working with cement and shredded writing, this series marks somewhat of a material departure as many of the works are fashioned from fused plaster cylinders on museum panel.

Stout has said of this work: “A.O. is about the discovery of telling a visual story while not using the entirety of the painting’s surface. To accomplish this, I built structural environments within the works that would allow the dynamic to be carried by the internal lines and negative space. A.O. is about an edifice to prominence.”

Christopher Stout is the Founder of Bushwick Art Crit Group (BACG), Brooklyn NYC’s nonprofit art think tank. BACG is obsessed with understanding Contemporary Art through the lens of the art & artists in Bushwick.

A.O. is on view at ArtHelix April 24th – May 17th. ArtHelix will be open Friday April 24th from 12-6PM, after which gallery hours are 12-6PM on Saturdays and Sundays, and by appointment.

The Artist reception for A.O. is Friday, May 1 from 6-9PM.

For more information and images of A.O. please contact Wilson Duggan, Gallery Manager, or visit

Exhibition Teaser Interview, courtesy the Bushwick Art Crit Group’s Artist Film Library


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David Packer

Curated by Bonnie Rychlak

March 6 – April 12, 2015

From the seemingly unending number of apocalyptic novels and subsequent movie adaptations, to the newfound relevance of modern classics, dystopias have made a cultural resurgence, reflecting the world’s growing unease with the surveillance state and government secrets, intensified by seemingly capricious urban bombings and terrorist acts.

On display at ArtHelix, hanging by chains from a 14-foot ceiling are David Packer’s blood red V8 engines that impose a demanding presence. A slaughterhouse trope perhaps or automobile shop initiatives, these finely crafted ceramic representations of the powerful Detroit engine allude to more than a degraded city or lost suburban consumers aspirations. The fast and beefy V8 machine is indeed a symbol of accelerated power but today it is directly associated with Detroit and the capitalist demise of a once powerful American city. The V8 engine ideal is now as hollow and useless as Packer’s ceramic renditions.

But the useless blood red V8s in this exhibition, as remains of a larger machine, read less like a metaphor for a derelict American city than for the “infernale machine” or “Buda Wagon.” In 1920, after the arrest of his comrades Sacco and Vanzetti, Mario Buda parked his horse-drawn wagon in the financial district of Manhattan, directly across from J. P. Morgan Company. Mario Buda disappeared before the explosion. Buda’s Wagon was, in essence, the prototype car bomb.

The V8 engines seen in relationship to David Packer’s other hardwearing objects, colorful ceramic bidons (water canisters), found dwarfed trucks transformed by rust, a decorative ceramic helicopter, and schematic drawings of airports, reinforce the darker reading of the V8s.

Plastic is the new ceramic in most third world countries and this fact was not lost on Packer while he was on a Fulbright in Morocco in 2013. The ubiquitous ceramic bidons were once a beautiful artisanal tradition in North Africa. The blue and white glazed ceramic water canisters are nowadays only produced in plastic but Packer flips the cultural switch back and casts the plastic bidons into brightly colored ceramic water vessels (or gas canisters) positing a suggestion of another fallen praxis.

Also on view are metal toy trucks or a miniature army of trucks but somehow they do not seem all that playful. In fact, there is an aggressive gesture in the way in which they are installed; lined up, side by side, constructing a wall of impasse. But on closer look, the little trucks are rusted and immobile, suggesting they were used, degraded, and now useless. Abandoned in a desert storm perhaps.

In the next room of the gallery is a ceramic helicopter that presents a visual twist on the airborne war machine. The surface of the helicopter is covered in cheerful colored decals of daisies. Is there nothing sinister here? Only a whirlybird that brings to mind Ride of the Valkyries from Apocalypse Now. The maps surrounding the hanging helicopter underpin this impression. Beautifully conceived and meticulously drawn, Packer has illustrated the schematic outlines of various airports, as seen by a drone or satellite. The runways and outlines of the airports in such places as Karachi, Addis Ababa, and even far-flung Las Vegas, deepen a sense of surveillance and foreboding.

There’s a long-standing tradition of ignoring the warnings of future-conscious artists and creative thinkers, but we do so at our own peril: deliberating dystopias can still teach us about ourselves and about how to alter our future. David Packer’s exhibition ingeniously helps us consider our situations.

Thank you to Wil Farr for his performance at the exhibition’s closing reception:


Type Indicators

Type Indicators
February 13 – March 1, 2015
Curated by Wilson Duggan

Featuring work by:

Daniel Djuro-Goiricelaya     Jayne Holsinger     Joana Ricou     Marina Ross     Nancy Baker     Patrick Farrar     Scott Robinson     Burr Dodd
Beata Chrzanowska     Christopher Tandy     Drew Van Diest     Jaynie Crimmins
Maya Meissner     Peter Hopkins     Shani Ha     Eliot Markell
Joshua Liebowitz     Margaret Lanzetta     George Horner
Vincent Stracquadanio     Brian Kenny     Jon Newman     Tom Kotik
Elizabeth Shoby     Erin Hael     Fanny Allié     Marcy Rosenblat
Michele Hemsoth     norton     Sara Jean-Baptiste     Wilson Duggan
Alyssa Maurin     Anne Gilman     Jeanne Tremel     Lynne Stone
Merav Ezer     Stephi Kix     Christopher Stout     David Packer
Linda Schmidt     Nico Dodd

Type Indicators is an exhibition concept and research project that explores the relationship between personality, identity, and artistic self-expression using the Myers-Briggs Type Indicator.

The Myers-Briggs Type Indicator, or MBTI, is a decades-old series of questions designed to assess how people interact with the world, both around them and within themselves. The questionnaire, first developed in the 1960’s and based on Jungian psychological principles, focuses on four fundamental questions. The combined response to these questions reveals a four letter score that identifies one of sixteen possible personality types.

1. Are you outwardly or inwardly focused? (Introverted or Extroverted)
2. How do you prefer to digest information? (Sensing or INtuition)
3. How do you prefer to make decisions? (Thinking or Feeling)
4. How do you prefer to live your external life? (Judging or Perceiving)

The aim of our project is to use these established psychological categories to examine the relationship between an artist’s personality and the artwork they create. Type Indicators will feature work by over 40 different artists, curated according to their Myers-Briggs personality types. The participating artists were brought together over several months, in response to an open call for participants.  The exhibition will also include a presentation of the data we collect, a kind of snapshot “personality map” of artists in Bushwick and beyond.

Our aim is to start a conversation within the community about our behavioral predilections and to potentially illuminate unlikely similarities between unlikely people. With the data and art we collect from Bushwick’s generous and open community, we hope to mount an exhibition that beautifully illustrates the connections between art and the people and personalities behind it.


Can You Move It All Up One Inch
The Art Handlers of the Whitney Museum

January 9 – February 15, 2015
Curated by norton

ArtHelix is thrilled to host Can You Move It All Up One Inch, an exhibition trilogy featuring work from the art handlers of the Whitney Museum of American Art.

January 9 – 18, 2015
Reception: January 9 | 6-9PM
norton      Chris Ketchie      Patrick Paine      David Miller
Richard Bloes      Joshua Rosenblatt      Tom Kotik      Ian Jones

January 23 – February 1, 2015
Reception: January 23 | 6-9PM
Patrick Burns      Eliza Proctor      Joe Leavenworth      Al Padrino
Sarah Anderson      Ryan Brown      Tom Burckhardt
Caitlin Bermingham      Chris Lesnewski

February 6 – 15, 2015
Reception: February 5 | 6-9PM
John Gatti      Chris Burton      Jason Phillips      Rob Lomblad
Ken Madore      Robert Gerhardt      Natalee Cayton      Greg Reynolds     Butcher Walsh
Royce Weatherly      Pablo Narvaez      Jesse Gelaznik / Dirty Churches / Wanting Hour



Jene Highstein
The Cape Breton Drawings

January 9 – February 8, 2015
Opening Reception: January 9, 2015 | 6-9PM

Curated by Bonnie Rychlak

ArtHelix is pleased to present an exhibition of drawings by the acclaimed artist, Jene Highstein. Made between 2008 and 2010, these drawings are part of the Cape Breton Drawings series that ArtHelix first presented in its inaugural exhibition in 2013.

Organized by artist and curator, Bonnie Rychlak, these drawings or watercolors on rice paper have obvious associations to landscapes with an immediacy of saturated color that bursts from the surface while the pigment is also clearly soaked deep into the paper, creating an ambiguity of density and weight on an almost ephemeral surface.

This selection of the Cape Breton Drawings exhibit an audacious yet soft and light use of color, horizontal eruptions that almost, but do not quite, establish narrative. The beauty of Highstein’s island surroundings on Cape Breton is illustrated as the drawings reveal the ability of nature to alter one’s consciousness.

As Highstein explained to Janet Goleas in an interview in 2013, his Cape Breton Drawings developed over time, more as collaboration with nature than as aesthetic observation. Highstein explained that he absorbed the natural world around him, intuiting it and recalling it in his mind’s eye when he retreated to the studio. He noted that in Chinese landscape painting, artists don’t paint on site — they absorb the landscape and carry it with them — painting it not only from memory but also from a psychic, or perhaps spiritual, connection.


_MG_3153 low

Claudia Chaseling
The Mutants

January 9 – February 8, 2015
Closing Reception: February 6, 2015 | 6-9PM

ArtHelix is pleased to present an exhibition of paintings, works on paper, and video by German artist Claudia Chaseling.

Chaseling’s work comprises large scale paintings and installations. Chaseling creates upside down landscapes with reversed or distorted perspectives. The imagery of her spatial paintings consists of estranged landscapes, mutated creatures and plants whose deformation is caused by radiation. The experience of the works alternates between the two and three-dimensional. Chaseling addresses the antagonistic relationship between structure and chaos, creating new compositions from a state of disorder. The result is an amor- phous system of complex fragments reminiscent of light reflections and objects in form of capsule-like creatures. She creates an atmosphere of alienation searching for the undiscovered Zeitgeist.

Claudia Chaseling was born in Munich, Germany and lives in Berlin and Canberra, Australia. She received Masters degrees in Visual Art from both the Berlin University of the Arts and the Australian National University in Canberra. Recent exhibitions include solo presentations at the Staatliche Kunsthalle Baden-Baden, Germany; Galerie Kornfeld, Berlin; Collection Krohne, Duisburg and Volta 10, Basel, Switzerland. Major grants and scholarships received include the DAAD; the Samstag Scholarship; the Studio Award of the Karl Hofer Society and the Australia Council for the Arts. She has participated in residencies at Burlington City Arts, the Texas A&M University and Yaddo.


fugue 1, 2014

Elizabeth Gourlay
New Work

January 9 – February 8, 2015
Closing Reception: February 6, 2015 | 6-9PM

ArtHelix is pleased to present a new series of paintings by the artist Elizabeth Gourlay.

“I think of the work as a meditation on color and form. The drawings and paintings emerge from a gradual yet progressive meditation that leads to a complex network of shifting shapes and colors. The shapes and lines create my own vocabulary of abstract forms. They are resonances with inner emotional states, elements of feelings or sub-conscious thoughts combined with conscious thought about color, form and geometric structure.

I often begin with a background layer of washes and then work with elements of line and shape in the foreground. The color may become muted and minimal, admixing into greys and earth tones or they may be vibrant and intense. There are parallels in musical composition, as looking at the work is a dynamic interaction and the eye moves around the piece element to element. The result is a play of tones, chords, dissonances and harmonies.”


– Elizabeth Gourlay, 2014

Following a fellowship at the Yale/Norfolk Summer School of Music and Art, Elizabeth Gourlay went on to receive a BA with First Class Honors from Edinburgh College of Art in Scotland, and an MFA in painting from Yale University School of Art. She has been awarded several grants and fellowships, including two Individual Artist Grants from the Connecticut Commission on the Arts. Elizabeth shows her work nationally and internationally, most notably at The Drawing Center, MASS MoCA, The National Academy and School of Fine Arts, The Cummings Arts Center at Connecticut College, The Hecksher Museum and the Widener Gallery at Trinity College.


HILMA-2014,140x100cm,akrylic+pigments on canvas 

Mari Rantanen
& Shingo Francis

ArtHelix Gallery I
Oct 24 – Nov 30, 2014

Curated by Bonnie Rychlak


ArtHelix is proud to present the work of Mari Rantanen and Shingo Francis in an exhibition in our main gallery.

-Codes of Color, Sites for Emotions-

Rantanen is a Finnish artist who has been living and working in Stockholm for almost 20 years. Her paintings reflect her interest in architecture and places or sites that people have constructed.  The history and presence of visual culture, the different systems and patterns that make life visible at these sites, as well as what is seen in everyday life, are evident in her work. Rantanen combines motifs from numerous cultures, creating what she hopes are exceptional places and spaces for emotions.

Mari Rantanen’s tries to organize chaos and intentionally disturb any order in her work, all the while integrating the languages of painting as she concurrently juxtaposes them. Her desire is one of making paintings that reflect a pluralist culture, that tell a story, and have a narrative.

Through the painting process, Rantanen creates surfaces that express the more positive side of life, hope and joy, surfaces that are sensual, colors that are vibrant. She attempts to capture light and produce a palpable sense of energy, working to make the visible more visible and to give form and color to that which is not immediately visible in her highly structured paintings.

The five large painted ovals in this exhibition are part of an ongoing series of “portraits” that Rantanen began in 2011 while on a fellowship in Rome 2011. She asserts that these paintings offer a visual and mental place for women. Inspired by her favorite women artists, each painting shares the first initial from the name of one of these artists, as a homage. Rantanen is conceptually connecting her work to the ways women make their lives perceptible.

Mari Rantanen’s work is in the private and public collections of most all Nordic countries. She is also represented in numerous collections in Germany, England, Holland, as well as the United States. In 2015 she will be included in an exhibition Dark Days, Light Nights at the Kemper Art Museum in Kansas City, Missouri.

Boundary Lines

Francis was raised in both Los Angeles and Tokyo, and currently works in Brooklyn, NY. He works in painting, drawing and large-scale drawing installations utilizing oil, acrylic and watercolor paints. Francis’ recent work explores the use of line, space and color as a means of boundaries and their psychological, cultural and social relationship, and how they affect or don’t affect our interaction with people, places and things in our environment and lives.

From the artist:

My work is an investigation into time, space and color. My work gives the viewer a sense of scale in regards to our natural environment that surrounds us everyday, but can be lost in our daily preoccupations. The horizontal composition is a timeless image that represents not only the landscape, but a boundary where the horizon ends. A vanishing point of sights end and also of time. We are limited in space and time in that we can only experience one day at a time and be in one place at a time although we have created many instruments to simulate different times and places. Tools such as photographs freeze time and refer to the past, or the telephone, and internet to simulate concurrent places. These are tools with a purpose, but can have psychological and emotional hooks that can distract us from our present time and place. My works are a critique of the desire to be in more than one place at a time, and the inability to be in the present.


01 Weatherly Camel_City

Royce Weatherly
ArtHelix Cube
Oct 24 – Nov 30, 2014

ArtHelix is proud to present an exhibition of works by Royce Weatherly, featuring three new works alongside two older paintings.

This exhibition will present to the viewer for the first time the gradual evolution of his painting from the classical “sfumato” technique used in his first significant works from the late 1980’s through the early 1990’s -whereby the painted objects appear without lines or borders, in the manner of smoke or beyond the focus plane- to the first beginnings of the new, more “clear” style, and finally through to the newest works from this past year. These three paintings continue an exploration that began in his revelatory 2012 exhibition in Bushwick at The Bogart Salon, and continued at ArtHelix former location in 2013.

Weatherly’s work is a profound investigation into the common materials of his childhood world, rendered with precision and a cool, unblinking eye, and held in tension by an eerie stillness.



Kurt Steger

ArtHelix Gallery II
Oct 24 – Nov 30, 2014

Kurt Steger incorporates melting ice, gravity, time, and motion to create spontaneous works on paper. Cast pods of melting ice slowly drip carbon, rust, metals, and various contaminants onto a rotating piece of paper. His work references the deterioration of the environment, and the accompanying meltdown of our connection to nature.

For more information about Kurt Steger and his work, please visit


Susak Press
Oct 23 – Nov 30, 2014

Natalia Kempowsky
Daniel Devlin
Keran James
and Herzog Dellafiore

ArtHelix is thrilled to be hosting Susak Press, presenting the work of four artists as part of Exchange Rates, a Bushwick-wide exhibition project produced by Sluice_, Theodore:Art, and Centotto.

Shared spaces and cultural currencies. Currencies tangible and intangible.
Variable valuations of the same.

Conceived and produced by arts organizations helmed by artists and curators in Bushwick, Brooklyn and London, England, Exchange Rates—known also in this inaugural iteration as The Bushwick Expo—is an international exposition of artworks and curatorial programs in which host spaces in one art community open their doors and share their walls with kindred spaces on visit from elsewhere.

Some exhibits will be integrated, some collaborative yet autonomous, some even spontaneous or virtual.
The rates of exchange, as such, will fluctuate, while the currencies of exchange—ideas and culture—remain fixed.

Visit one space to visit several. Visit Bushwick to get a glimpse of aesthetic endeavors both here and in a dozen other cities.

Come to Exchange Rates for a creative breath of fresh air.

It is an exposition, to wit. Not a fair.

For more information, please visit and



Salomé Brussieux
Urban Textile Jewel #7
Salomé Brussieux is an artist and fashion designer from Paris. She has her own brand, LEON ROSE MAGMA, of women’s ready-to-wear high-end. During her recent trip to New York, she mixed her discovery of the city with her artistic activity, working outdoors with garments and textiles to fabricate her “Urban Textile Jewelry”. In these works, she uses fabric from discarded New Yorkers’ clothes and leftover scraps from fashion district, repurposing these materials so that the city “wears” her designs. Inspired by street objects, like pipes, fire exits, cracks in walls, sometime trivial or insignificant, she tries to enhance and reclaim objects with her Urban Textile Jewelry. ArtHelix was thrilled to invite her to design and install a piece for our gallery, reclaiming part of our building’s industrial past.
For more information about Salomé’s work, please visit


Brian Gaman
An Exhibition of Works: 1987-2014
Sept 20 – Oct 19, 2014

Please join us to celebrate the life and honor the work
of Brian Gaman (December 28, 1948 – July 1, 2014)

299 Meserole Street
Brooklyn, NY 11206


Concurrent exhibition at
ArtHelix’s outdoor space:
16 Harrison Place
Brooklyn, NY 11206


photo 6
July 26 – Sept 7, 2014
Saturdays & Sundays | 12 – 6PM

16 Harrison Place, Brooklyn
(Near the Morgan Avenue L Train)

Participating Artists
Maya Meissner       Jackie Cantwell       Becky Chipkin
Alex Chipkin         Hazel Lee Santino       Kurt Steger
Caitlin Dutton           Margot Bird        Casey Velasquez
Taro Masushio          Yan Giguere    Annabelle Weatherly
Erin Anderson            Fanny Allie         Roberto Jamora
Adam Brazil             Patrick Berger         Cory Tamler
William Norton         Julia Rooney          Cynthia Tobar

[Click here for a PDF with a list of all participating artists and descriptions of their projects.]

For ArtHelix’s second summer season of The Lot at 16 Harrison Place, we will continue to investigate, through visual and creative means, new ideas of artistic community. Appalach-Wick is a light hearted play on the idea of a communal art space, here in Brooklyn, which both encourages and mimics the handcrafted art forms of rural appalachian America.

Like the culture of the Appalachian communities that found networks of independent craftspeople to support each other in hard times, Appalach-Wick is built on the premise that emerging artists will need to become far more locally self-sustaining and self-actualizing even as the wired world opens up the theoretical possibility of a universal community without borders.

Furthermore, we recognize the essential role community plays in the success of not only the artist but also the art form itself. In addition to displaying the work and its process, Appalach-Wick will serve as a sort of informal artisan’s guild, giving craftsmen the opportunity to share resources, materials and marketing opportunities with one another.

Over 6 weeks, The Lot at 16 Harrison Place will feature a group of like-minded local artists being asked to meet and create work in situ, but more importantly to talk to one another, sharing their own thoughts and fears, with the hope that new connections will arise and new models (and patterns) of behavior will emerge.

The event will host a dancer/choreographer, a sculptor, muralist, a poet, a photographer/blogger, and others who will create an experimental laboratory of 6 weekends from which a playful new concept of what “Bushwick” might mean someday will emerge.

Can artists be “forced” into meeting each other in a physical space in order to slowly reduce the alienation that comes from proximity, but no real contact?

For a photo gallery of all ongoing projects from Appalach-Wick participants, click here.
To join the Appalach-Wick discussion and get involved, check out our Facebook page.


Postcard Crop Final w Text

Denise Green
Papers from India | 1986-1987
Aug 2 – Sept 14, 2014
Curated by Wilson Duggan

299 Meserole Street, Brooklyn
(Near the Montrose Avenue L Train)

Friday, Sept 12, 6-9PM

Gallery Hours:
Fridays – Sundays | 12 – 6PM

ArtHelix’s summer 2014 exhibition glimpses a pivotal moment in the career of renowned international artist Denise Green. Papers from India features 18 works of handmade dyed paper, created in India in 1986 and 1987 by the Australia-born, New York-based painter. Green’s work and experiences in Asia during these years laid the groundwork for the ideas that she has pursued in her art and writings for nearly 30 years since.

For more information about Denise Green and her work, please visit


Alain Kirili
Alain Kirili
Drawing in Space
May 30 – July 7, 2014
Curated by Bonnie Rychlak

299 Meserole Street, Brooklyn
(Near the Montrose Avenue L Train)

Friday, May 30, 6-9PM

Music and Dance Performance by Daniel Carter and Leena Conquest
Saturday, May 31, 5PM

ArtHelix is pleased to announce our inaugural exhibition at our new space at 299 Meserole Street, featuring new sculptures and works on paper by Alain Kirili.

Alain Kirili has long been recognized for his forged iron abstract sculptures and for his large-scale public works. His sculptures underscore his interests in verticality and modeling, his practice emphasizes the “aesthetics of spontaneity,” and seeks formal unity through the variety of materials. Kirili is employed in a quest for “organic simplicity.” He has received considerable critical interest and his work has been the subject of numerous gallery and museum exhibitions in America and Europe. He lives and works in Paris and New York.

For more information on Alain Kirili and his work, please visit


photo (1)
Michael McKeown
Winter Laundry
Jan 25 – April 30, 2014
Curated by Bonnie Rychlak

16 Harrison Place, Brooklyn
(1 Block from the Morgan Ave. L Train)
Sat – Sun 12-5 PM by appointment

In Northern England during the 1960s, Monday was washday. The drab back alleys festooned with drying laundry created line after line of billowing sails. The street was transformed, charged with the smells of soap and festival of sound. Geordie Foster, the one-armed coal deliveryman, made very few drops on Mondays, the back alleys made impassable by miles of laundry. This transfiguration of the back lots and alleys became a place to play, fuel for imaginations, space for adventure. A billowing pirate ship or arctic icebergs. It was only an alley but it was ours.

– Michael McKeown


Lost or Not

Brian Gaman – John Monti – Jennie Nichols
Nov 15 – Dec 30, 2013

16 Harrison Place, Brooklyn
(1 Block from the Morgan Ave. L Train)

Friday, November 15th 6-9PM

The building is gone.  There are no shadows on the ones bordering east and west but you know there was something there, now gone for some time.  Buildings come and go.  The lot’s not far from the Williamsburg Houses of the late 1930’s – first called Ten Eyck Houses – then the Bushwick Houses of the 1960’s. Blanca’s is nearby. Reservations only and no cellphones or cameras in the restaurant please.  Then walk around at night and look at the lighted spaces of art studios.  In the daytime you can pass by low-rise warehouses or cement plants on the way to galleries close by.  Welcome to the subculture of art in vacant spaces in New York, shared, linked to, blogged, Facebooked and Instagramed.

Now leave the circulation of images for a while and think about other kinds of ghosts.  Who’s been here and what’s happened here and what’s happening here now?  At 16 Harrison Place there is work by three artists that might be about what’s covered and not covered, empty or not empty, lost or not.  John Monti and Jennie Nichols install works that would be containers of sorts on this lot that is also one.  Monti’s look ancient, like something from a culture distant in time and space that we can only imagine.  Nichols’ wax cabinets seem to be from a time and place we think we know, looking as if they might have been carried out of Cripplebush — Captain Kidd’s Williamsburg long ago.  Brian Gaman’s two works look likewise sort of antique and down at what might be underneath.  Here, wherever.  Coffee from Swallow, walk around more.

[Lost or Not is presented in association with Dietl International]



Sept 6 – Oct 30, 2013
16 Harrison Place, Bushwick
[at the Morgan Ave L Train]

The Garden Party
Saturday, OCT 26 @ 1PM
The Flower Garden at 16 Harrison Place

The Flower Garden Symposium
Sunday, OCT 27 @ 2PM
56 Bogart Street

Head Gardener: Amy Anthony
Symposium Curator: Bonnie Rychlak
Project Manager: Maya Meissner

Flower Garden begins as a playful re-imagining of the iconic work, Seed Bed, created and first performed by Vito Acconci at Sonnabend Gallery in New York City in January 1972.  Seed Bed was at once groundbreaking and notorious, as Acconci constructed a shallow wooden ramp inside the gallery and then lay hidden beneath it, masturbating for eight hours a day over a three week period to the sounds of gallery viewers walking above him, all the while accompanied by a low murmur of spoken sexual statements, declarations, and commands to the imagined “subjects” above. The performance and later video produced for the work represent a historical moment in performative “body art” and sexual theatre.

Flower Garden is constructed not as a critique (although it may contain “critiques”), but rather as a sculptural installation/digital video interface/symposium by a multi-generational group of female curators, artists, writers, and viewers, coming together as participants to reinterpret Acconci’s performance through a contemporary lens. Where Acconci represented the “seed” in his performance, the counterpoint here is the motif of the “garden,” the public or communal space where the “seeds” are made visible. Where Seed Bed was imagined as dark, hidden, and vaguely threatening, the Flower Garden is a shared space in the open sun, with a private component.

Over a three-week period from September 6th through October 30th, a walkable garden will be constructed that allows for the viewer to sit and relax in an open setting in Bushwick, the newest edge for the contemporary art scene. This installation/sculpture will also have another facet, its own “secret garden,” a private cabin designed for one woman at a time to recreate the masturbatory element of the original Seed Bed. The resulting coda is that this “private” moment thenproduces a flower to be planted by the participant, adding to the overall complexity of the shared space.

This is the discursive component that we envision can make the secret garden project a fully realized social event. The users of the cabin are pre-interviewed for a live link up to various social media sites to inquire (if desired) what thoughts or desires motivated them to seek out inclusion in this event. A second “post” interview follows (if desired), thus allowing the participant to reflect on their experience and to comment on their preconceptions. This video diary, as well as a guest book for participants’ signatures and comments, will serve as a permanent record for each flower planted in the Flower Garden.

Finally, a one-day symposium, organized by ArtHelix curator, Bonnie Rychlak, will be held on the last date of the event, engaging a group of the curators, artists and participants, thus completing the event with a critical discussion of the project.

Flower Garden is imagined as a deeply playful model for communal art engagement; public and private, open and closed, “sunny” and “dark” all at once.



The Reflektors
October 18th / 19th
299 Meserole Street, Brooklyn
ArtHelix was pleased to host Arcade Fire (aka The Reflektors) at 299 Meserole in support of their forthcoming album.
*image by Maria Gotay, courtesy of Bushwick Daily



July 18 – 21, 2013

Kunsthalle Detroit
5001 Grand River Ave, Detroit, MI


Confronting Bushwick 2: The Politics of Empty Buildings
May 30, 2013
299 Meserole Street, Brooklyn

A Panel Discussion with:
Peter Hopkins
Savonah Bailey
Katarina Hybenova
Carlton Newton
George Ferrandi

After the Panel:
Bushwick Daily hosts the launch of their NO BS BOS Guide to Bushwick Open Studios 2013


VCUarts Recent MFA Alumni
Virginia Commonwealth University School of the Arts
Department of Sculpture and Extended Media

MAY 24 – JUNE 2, 2013
12 – 6 PM


Jon Bobby Benjamin
Ryan Crowley
Sacha Ingber
Jessica Kain
Carl Marin
Melanie McLain
Lior Modan
Jesse Potts
Leslie Rogers
Tom Simon
Rotem Tamir
Alina Tenser



April 12 – May 11, 2013

Elizabeth Saveri     Bennett Vadnais    Wendy Small

Royce Weatherly   Don Hamerman   Bonnie Rychlak

Opening Reception:
Friday, April 12, 6-9pm

ArtHelix Gallery
56 Bogart Street, Brooklyn
Opposite the Morgan exit on the L train


The Modest Sublime represents the work of 6 artists working in a curious scale, either of small objects in a large format, or enormous subject matter rendered in detail. They are all looking very hard at things most of us simply ignore, or cannot imagine as subject matter worthy of deep and continuous scrutiny. Elizabeth Saveri paints in excruciatingly small fashion the panoramic sunsets and landscapes of her native Southern California on the plastic fasteners that close commercial bread bags, while Bennett Vadnais reduces the landscape of familiar Bushwick buildings into meticulous small format paintings curiously devoid of human presence. Don Hamerman, well known for his “forensic” images of found baseballs now rescales battered toy cars into photographic essays of some strange Lilliputian world. Wendy Small takes the detritus of medical fixtures and throwaway plastic gee-gaws and constructs simple and delicate photo-grams reminiscent of a late 19th century kaleidoscope. Bonnie Rychlak carefully hand carves manhole covers or drains from cast wax, transforming the enduring pedestrian fixture into a useless, vulnerable, and ultimately ephemeral object. Finally, Royce Weatherly returns with his own unique paintings of anonymous and mundane objects brilliantly and painstakingly observed until they appear as “almost” abstractions. Reducing the enormous into the minute, or finding the universe in the small and commonplace these six artists ask that we look more closely at our world and find as the American poet Kay Ryan “the silence that exists inside every object”.


Green Eggs and Spam

Green Eggs and Spam: Teen Dregs and Scam
April 4, 2013

In the lore of Theodore S. Geisel – better known as “Dr. Seuss” – is a tiny told tale of inspiration. The legend has that his editor Bennett Cerf one day came to him and said: “I bet you can’t write a book using only 50 words.” From this simple challenge came the indispensable children’s book Green Eggs and Ham. His instantly recognizable sing-song verse, that hid a simple wisdom of “anarchic kindness”, originally intended for children has now become a classic for all ages, and for one evening in Bushwick we wonder…would you fill the shoes of Seuss…could you fill the shoes of Seuss?

We bet you can…

So come to 56 Bogart St. on Thursday, April 4th for a night of interactive and participatory merrymaking culminating in “prizes and glory”. Chow down on green eggs and spam, have a drink with strangers, bond over the wonders of language, and then collaborate on a one-night-only text-piece, to be displayed at ArtHelix, and published in the zine TEEN DREGS AND SCAM. Hosted by Brandon Johnson of Food I Corp Enterprise, and Jacob and Matt of Mellow Pages Library, and ring-led by our Cat in the Hat, Peter Hopkins of ArtHelix gallery, this event will promise to be just as weird and innovative and fun as the Man who famously “heard a Who” … now can you?


Single and Looking Banner

March 12-25, 2013

ArtHelix, in association with Brooklyn Fire Proof, is pleased to announce its new exhibition, Single and Looking.

Curated by Wilson Duggan, Single and Looking was organized using online dating sites to find single gay, straight, and bisexual men and women in Brooklyn who self-identify as artists on their dating profiles. Of the dozens of people invited to apply, the 8 artists selected for the show represent a wide range of artistic practices and styles.

At the closing party for the show, Saturday, March 16th, the artists will be available for speed-dating with the audience; all of the artwork on view will be up for sale in a silent auction format, as will dates with the artists themselves.

Investment in a work of art is often in reality an investment in the artwork’s creator. By exhibiting these artworks alongside the artist’s themselves, Single and Looking hopes to explore this blurred line between the social and commercial aspects of art, dating, and the marketplace.

The exhibition will be on view at Brooklyn Fire Proof East
119 Ingraham Street
Tuesday, March 12 – Thursday, March 14.

The exhibition will then move to ArtHelix Gallery
56 Bogart Street
Friday, March 15 – Sunday, March 25.
Saturday, March 16th, 6PM – Midnight.

(For Subway Transportation, take the L Train to Morgan Ave.)


Beca Acosta (24/F/Straight)
Zachary Ares (25/M/Gay)
Sam Carcamo (26/M/Straight)
Juan Cerda (30/M/Gay)
Beata Chrzanowska (25/F/Gay)
Jordan Cooperman (26/M/Straight)
Lake Latent (30/F/Straight)
Autumn Whisman (27/F/Bisexual)

For additional information, please contact Wilson Duggan:


Cape Breton Drawings

Jene Highstein
The Cape Breton Drawings
Jan 11 – Mar 11, 2013

Opening Reception: Jan 11, 6PM – 9PM

Curated by Bonnie Rychlak
Courtesy of the Danese Gallery

56 Bogart St. Brooklyn, NY
(Morgan Ave stop on the L)

ArtHelix is pleased to present its premiere exhibition:
a series of drawings by the acclaimed artist Jene Highstein, one of America’s
eminent post minimalist sculptors. Made between 2008 and 2012, a selection
of the Cape Breton drawings will be exhibited for the first time in New York.


Jene Highstein’s drawings have heretofore been made on etching paper with
dry pastel or chalk but more recently he switched to hand mixed watercolors.
They have been almost exclusively in black. While reflective of his object-
making, the black drawings addressed his minimalist concerns along with “anti-
illusionist” strategies of process and the mechanics of gravity. Highstein’s recent
sculptures, although of a pared down appearance, continue to relate to the
natural world, referencing vortexes as well as plant and animal forms.


The Cape Breton Series of colorful drawings charts these more recent sculptural
concerns while continuing to illustrate “hidden underpinnings” of meaning that
Highstein has explored throughout his process; a channeling of the natural world
with an inspiring heuristic Asian component. However, any specific relationship
to a specific tradition such as Chinese calligraphy is loose, having more of a
philosophical kinship than one of imitation. In these expressive, and sublime
musings, repeated over and over, the beauty of Highstein’s island’s surroundings
reveal the ability of nature to alter one’s consciousness.

bi-fold for HighsteinOutside 2

These watercolors on rice paper have the most immediate associations to
calligraphy but it is the immediacy of the splatters and drips that enforce a
sensation of gravity that seems to exert a force that subverts and overtakes any
emphasis to handwriting. The almost pictorial cursive drips are either absorbed
by the thin paper or run down the page along numerous registers. These
drawings are aggressive and yet soft and light in tone without establishing a
narrative. Viewers may still find their own symbols and images within Highstein’s
purely abstract compositions.
In recent years, Cape Breton, a headland located at the Northeastern extremity
of the Canadian province of Nova Scotia, has been a summer retreat for
Jene Highstein. With heart-stopping views around every corner, from the wild
Highland mountain range that towers above the clear blue Atlantic Ocean, to the
sun rising over the waters of the Bras d’Or Lakes this Acadia continues to be a
muse for Highstein. This series of drawings from 2008 to 2012 is aptly named
after the afflatus of this island.

To see more of Jene Highstein’s work, please visit his website at


Barry Duncan1

Make Nothing Happen: The Strange Poetics of Barry Duncan
Nov 16-18, 2012

The Seltzer Room
102 Ingraham Street, Brookyln

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