Thursday, November 8, 2012


The 35th Starz Denver Film Festival is in full swing, and, along with the majority of our population, quite happy to now be past the US Presidential election.  This week we have some quick thoughts about a few notable films that have screened already, and one that we highly recommend catching this coming Sunday.

"Headshot" is the latest by Thailand director Pen-ek Ratanaruang, a director who has achieved notable acclaim over the last twenty years with breakout films like "Monrak Transistor" and "Last Life in the Universe" which had previously screened at the film festival.  I accidentally typed in "Headshit" when making notes about this film, but it's every bit as appropriate considering the head-trip that the film takes you on throughout, commencing with the lead character being shot in the head during an operation in which he seeks to assassinate a mysterious crime-boss.  He survives his near-death head-trauma but finds himself in an altered state in which his vision is literally turned upside down. It's a pretty wild premise, and one that we find our leading man embracing by films end, along with the crime-bosses daughter who materializes to save his life again. The festival programmed this as one of the late-night "Watching-hour" films, a move that makes some sense though it may have been more appropriate and appreciated by earlier timeslots and a general audience. Ratanaruang's pacing is definitely quite slow and thoughtful, while his imagery often slick and occasionally dipping into the strangely abstract. "Headshot" also has the distinction of delivering by far the most memorable line from the entire festival: "Where's the fried pork fat?"

You have to suspend almost all disbelief for the most part with the French film "Paris Under Watch,"  but that's a good thing as it quickly proves to be on the cutting edge of cinematic storytelling, perfectly discombobulating but rationally so as it utilizes the concept of mass-surveillance to weave a tale that keeps viewers engaged and guessing throughout. Mixing terrorism, public vigilantism, computer-system hacking and even, gasp, potential conspiracy relating to a presidential election (French, of course), this is a highly effective, fast paced, technology-obsessed fantasy. Ultimately the implausibility of the scenario tends to wear the premise down a bit, but director Cedric Jimenex has to be applauded in both his attempt and ability to pull this off. It could not have been easy and so deserves an audience for trying, particularly considering his limited experience directing, though he was the producer of previous Denver Festival visual mindbender "Eden Log."  Another great festival selection and discovery for those who caught it, and one that should most likely be available on the market at a later time in some form.

It seems like it has been a few years since the Denver Film Festival presented selections from the Austrian Avant Garde, but the festival has a long history for doing so and one has to wonder why this kind of work comes primarily from Austria, certainly another program like this could be culled from a broader international base or even another country? But that's besides the point, Austria has a long and deep history of supporting pure art and particularly as it relates to film.  As past festival chief and founder Ron Henderson put it during his introduction, "these are films that won't be found in theaters, but have shown primarily in museums and gallery settings" or something to that effect, which of course is what makes them worth going out of your way for. Mostly meditative and abstract, this year's selections are in perfect congruence with what one considers to be "avant-garde" in film throughout its history, defying both mainstream and even art-house categorization.  And for anyone who likes this type of experience, the whole program was terrific and so welcome.

                                                    A to A by Johann Lurf

Two features that follow a more experimental and "avant-garde" approach proved to be extremely successful, though both categorically fall into the realm of "personal-history" cinema.  The first, "Private Universe," is by way of the Czech Republic and filmmaker Helena Testikova.  It essentially follows a handsome young couple through their initial years of child-rearing on throughout in their children's adult lives. It's a strange but effective choice, kind of like a condensed version of the Up documentary series by Michael Apted, with no real bearing on what distinguishes the family for this type of treatment outside of perhaps their own personal interest in keeping an annual family diary. But the project started within a socialist system, and the development of all members within has a lot to say about that system's transformation during a crucial time in its history, something that may not be easy for all audiences to relate to but is intriguing in how it plays out. Particularly telling is the observation upon the birth of the couples third child that "there was nothing to buy, nowhere to travel, life was quiet," which made the decision to have children very easy. The footage is well conceived and the portrait very, very honest. You realize how special and different this family unit must be to be a part of such an experiment at all, sifting through plenty of philosophy while leaving no great revelations other than "this is how life is" and we deal with it as a family. Of particular note, at least in light of the recent amendment passed in Colorado's state election, is the depiction of marijuana use by the oldest son Honza, the primary focus of the proceedings. At one point the family smokes a joint with him because its Christmas, their willingness to be part of the experiment going full tilt!



The second feature, and that can still be viewed this coming Sunday afternoon at the Pavilions, is the stunningly well crafted American meditation "City World" by Brent Chesanek.  Admittedly, I would not have gone out of the way to view this based solely on the brief description printed in the film guide, the focus on Orlando as the setting and prospect of a boys ruminations on family are accurate yet struggle to vie for attention. But I'm glad to have gotten past that hurdle, this is really such a beautiful work of art, one that undoubtedly resonates most effectively on the big screen. As we slowly weave our way through the strange Florida landscape, at times listening to a boys thoughts on that land and his upbringing, the perfectly controlled pacing and rich compositions transcend all levels of narration to simply become exquisite visual art. The bridge between nature and the man-made is deeply considered, an unusual stillness hanging throughout every frame no matter how close or wide a view is captured as if people simply didn't exist up till the very end. This is also not easy cinema to pull off effectively, but "City World" manages to do so profoundly and gracefully and is perhaps one of the best films at this years festival.


Two new takes on Susan Meyer's exhibition "Plato's Retreat" are out in the last week, the first by Westword art critic Michael Paglia in the current issue available on newsstands and online:

The second is by Denver artist Peter Illig who gives a thoughtful perspective to the show:
With the election now over, and the warm weather perhaps making its final transition to a more winter-like climate, we encourage everyone to get out and visit the gallery for Susan's outstanding exhibition and to see other terrific new and recent works by Plus Gallery's family of artists.


Plus Gallery artist Dave Yust will exhibit approximately 135 works at the Loveland Museum Gallery in the major exhibition "DAVE YUST - 40 + YEARS of PRINTMAKING: A RETROSPECTIVE."  This exhibition from one of Colorado's most enduring and endearing contemporary artists will open this Friday evening, November 9th with a member preview from 4-6pm and the general public welcome from 6-8pm.  Please join us that evening, Dave will share his thoughts about the exhibition and his long career in print-making at 6pm.

The Loveland Museum Gallery is publishing a 72 page catalog to accompany the exhibition that features interviews with Dave and images of his previous work in print as well as new heart-shaped monotypes on view in the exhibition.  Plus Gallery will have copies of the catalog available throughout the fall and leading up to Dave's upcoming solo exhibition in January of next year.

The Loveland Museum/Gallery is located at 503 N. Lincoln, Loveland, Colorado.  This exhibition will be on view through February 17th, 2013.

EXHIBIT FREE DAYS:  Saturday, December 29, Sunday, January 13, Thursday, February 7.

"Because looking through a window or a lens is, often, an all too commonplace choice - I have been compelled to have my art works exemplify objects in the world rather that to become windows to the world." - Dave Yust


The DAM Contemporaries hosted Logan Lectures will conclude their fall 2012 season with what will undoubtedly be one of the most rousing of the year, if not the decade both past and present.  Plus Gallery artist Bill Amundson, who has several works from the last decade in the  Denver Art Museum collection, as well as other collecting institutions in the state including the Colorado Springs Fine Arts Center and the CU Boulder Museum of Art, will return to Denver with several new works to show at Plus Gallery and to take the stage in the Denver Art Museum's auditorium to talk about his artwork and career.  The last time Amundson spoke was to a packed house at Plus Gallery in conjunction with last year's solo exhibition "Blurred Vision" in what was the most incredible evening in the gallery history.  For a taste of what's in store, we recommend watching a portion of that night on our youtube channel at:

Tickets may be ordered online for the lecture at

Plus Gallery will host a small exhibition of Bill's works in our upstairs viewing area starting Friday, November 30th in conjunction with Austin Parkhill's solo debut. Mark your calendars to join us then in engaging with two exceptional talents, one who has already made an impact in the state of Colorado and beyond, and one who certainly stands to in the future.


Plus Gallery artist R. Justin Stewart has new work on view in two New York exhibitions this fall, the group show "On Purpose" at the BRIC Rotunda Gallery in Brooklyn at 33 Clinton St and "It's a Thin Line" at Yeshiva University Museum, 15 W. 16th St.

On Purpose
Opening November 16th, 7-9pm
On view through December 21st 2012

BRIC Arts | Media | Bklyn presents On Purpose: Art & Design in Brooklyn, 2012, on view at BRIC Rotunda Gallery November 17 - December 21, 2012. Building upon BRIC's noteworthy history of presenting design-focused exhibitions, the show will feature inspiring work from a range of Brooklyn-based designers, architects, and visual artists working on projects that address the environmental challenges of contemporary urban living. All of the work included in the show will combine notions of sustainability with the desire for aesthetic beauty. Guest curated by Risa Shoup, the exhibition includes work by 596 Acres, FreelandBuck, Claudia Paneca, Rosa Ruey, Rob Stephenson, R. Justin Stewart and Thread Collective.
It's a Thin Line
October 28th 2012-June 30th 2013
R. Justin Stewart's most recent work, extruded (an eruv project), is comprised entirely of blue and white upholstery thread, stabilized and connected by small metal hooks and loops. This ephemeral installation presents the viewer with a visual timeline of the evolving locations of Manhattan's eruvim since 1907, when the very first was created. The eruv was established to converge public and private domains, a metaphorical wall allowing observant Jews to perform the act of carrying outside on Shabbat, traditionally restricted to inside the home. The eruvim are strung throughout Manhattan: small gossamer wires hang unobtrusively overhead. In "extruded (an eruv project)," a map of Manhattan descends from the ceiling, with the thread floating downward, each year represented by 1.25" inches of thread, spanning a total of 105 years.  The result is a network of ephemeral vertical thread fences that not only depicts the changing territories of the Manhattan eruv, but also speaks to the ephemeral nature of the eruv itself: that on one day of the week it symbolizes an enclosed special area, but for the remaining days, it is without meaning. "extruded (an eruv project)" created by R. Justin Stewart is part of It's a Thin Line at Yeshiva University Museum.


Plus Gallery artist Xi Zhang delivered a visual presentation and discussion about his artwork this week in Buenos Aires as part of his month-long residency with URRA, supported by Platform 5280 Denver Biennial of the Americas.  According to Xi his presentation was very well received, and so far he seems to be making many new friends as he gets to focus on his artwork from afar.

Keep up with Xi and his postings from Argentina on either the URRA facebook page at

Or on either Plus Gallery or Xi's own facebook page, both which can easily be found by those familiar with that system.

Saturday, November 3, 2012


Last night the 35th Starz Denver Film Festival launched at Ellie Caulkins Opera House with a major historic announcement, a spirited trailer tying into this year's "Vote Film" campaign, one of the most stilted speeches ever by a festival sponsor (Key Bank), and a feature film that left very, very little to the imagination. The major news was tremendous indeed, after 35 years of involvement in starting, running and most recently handing over the reins of the festival to a younger generation, festival founder Ron Henderson was beaming brighter than a projector bulb when he announced that the John and Anna Sie foundation had donated 2.5 million dollars to the organization in order to secure the Denver Film Center as the "permanent" home for the festival. This is big news indeed, the festival having struggled over the last decade with the need and desire to shift from the Auroria campus to a location that is crucial to a singular identity, one that they deserve and can be preserved because of ownership. It was a great announcement and one that no doubt Henderson is happy to be around to see make the light of day. Even though he is officially retired, it's hard for anyone to imagine the film festival and the center without him, and now he has his own permanent place to watch movies in for the rest of his days, along with all of those who appreciate the dedication to film and unique programming that he has inspired. And by the way, they make the best gin martini's in "Henderson's Lounge" at the film center, in glasses that fit perfectly in the cup holders.

While it was a real thrill to hear the announcement, what followed, Yaron Zilberman's "A Late Quartet," was less than thrilling, though not exactly a complete loss. The story revolves around a renowned NYC based string quartet one the verge of major upheaval due to the oldest members diagnosis of Parkinson's disease. The group is so tight-knit, having performed for 25 years, that the news has obvious complications, though one would never imagine those complications exploding in all the directions that spew forth in what is largely a paint-by-numbers fashion. There are many lessons to be learned and much territory quickly covered here, and obviously it seemed like the perfect film for the festival to select for opening night, their penchant for predicting oscar winners having a better than average track record over the years. But putting three terrific prior oscar winners into one bag (Christopher Walken, Catherine Keener, and Phillip Seymour Hoffman) along with currently in demand actors Mark Ivanir (who graciously attended the opening) and beauty Imogen Poots, does not necessarily equate to a new gold standard. The actors are great, almost too great in fact as their characters are thrown into a meat grinder that never really feels as genuine as it so excruciatingly tries. Certainly it will please and maybe even move some folks, parts of it should, but if you like your cinema to be a little more of the challenging variety, there are fortunately more opportunities awaiting in the coming ten days.

Could this possibly be Phillip Seymour Hoffman's daughter? 

One of those happens to be from Yorgos Lanthimos, one of the new auters that's reviving the reputation of Greece's film industry in recent year's. His 2009 film "Dogtooth" garnered high acclaim including a major award at that year's Cannes Film Festival, and he also starred in and co-produced "Attenberg," easily one of the best films from last year's Denver Film Festival.  He returns this year with "Alps," a narrative that's as strange and seductive as his 2009 breakthrough and one that gives greater definition to his sensibilities, which are decidedly different from opener Zilberman's. The title refers to a small group of associates, the leader of which chooses "Alps" as their moniker because the European mountains are the greatest in the world and cannot be surpassed. They behave in the strangest of ways, least of which is their own interactions with one another, though they seem loosely to be attuned to relieving the dramatic circumstances of others.  At times it is almost impossible to tell what the actual "reality" is of their nature or the narrative itself, it's more of a a puzzle in which all of the pieces have some entirely new system of fitting together, leading to a conclusion that never directly sorts itself out.  It is very disorienting and consists largely of stifled emotions and an overall expressionless society that might have direct allusions to the current Greek state of being.  It is also spiked with abrupt violence and threatening conditions that also made "Dogtooth" compelling and contradictory. As confounding as it is, it's visually rich and ripe for the mind, and the opposite end of the spectrum in almost all ways from something like "A Late Quartet." And most definitively it is the work of a compelling artist that should be one to follow for years to come.

Also fitting into the same category are two new films by Austrian director Ulrich Seidl, someone who has been around the block a bit more over the last 30 years honing a reputation as a true master of cinema. Though his most prominent films are still quite rare to even specialized audiences, "Dog Days" and "Import/Export" being the more widely known, he is a director with enough support to continue forging a solid path, one of distinction and singular vision. In 2012 he releases not one, or two, but three films in his "Paradise" trilogy, with the festival offering the rarest of double headers with the first two "Paradise - Love" and "Paradise - Faith."  These are two of the more rich narratives to be found at the festival, ones that deliver a non-threatening tension that pulls the audience along, never bludgeoning the viewer over the head like Zilberman's opener, though shocks do abound in both.  "Paradise - Love" opens with a profoundly enchanting view of a group of people with downs-syndrome experiencing the joy of bumper cars at an amusement park.  What this has to do with the trilogy might become more apparent at the conclusion of the trilogy, but the narrative proper starts with an obese, and we assume single, Austrian woman leaving her teenage daughter in order to join a friend on a vacation to Kenya. Why go to Kenya? Well, the climate is lovely, it's probably fairly inexpensive, but mostly because the natives are eager and willing to sexually satisfy the tourists. That's as good a premise as any, and in Seidl's hands it becomes a compelling, psychologically complex journey that reveals plenty about life, love and sex. Seidl's approach is never to over-dramatize, in fact he uses what might be considered a more documentary approach in his films, never adding unnecessary sound while amplifying that which exists in the action.  His compositions are stark and very artistically framed, in the more exquisitely banal sense that is common to a lot of current contemporary photography. This tends to create a tension between the purity of his narrative and his obvious intention to pose some sort of stance about the human condition, not to mention his obsessions with sex and spirituality.

This is also very much the case in the second "Paradise - Faith" which has nothing much in common with "love" except that it follows a single character, one who is supremely focused in trying to proselytize others with her all-consuming devotion to Christ. In some cases she is effective, twice we see her sitting at a dinner table with a large family directing their prayer to a crucifix or jesus-painting that takes the point of view of the camera. In others she is not, such as when she encounters a young Russian woman whose only concern is for alcohol and sex. Certainly she encounters people who could use a better outlook on life, but her situation as someone who spends every single moment of spare time outside of her hospital job in the service of Christ becomes upended when her husband returns, a paraplegic who we come to understand happens to have a different set of spiritual beliefs, ones that she perhaps embraced before his traumatic accident at the sacrifice of her own. Her encounters and what we learn about her devotion gradually unravel. Both features leave us feeling that life is full of illusions, traps, and grand paradoxes.  How could it possibly be otherwise!  Seidl is gradually proving himself to be one of the absolute masters of cinema in the world right now, and his double-dose at the festival should be applauded as one of this years most vital efforts. They are also both much more fun than they might sound, at least in their own strange way that is largely the point of Siedl's cinema.  We are not provoked to laugh in a conventional manner, yet there is great humor to be found in the folly that is life.

One more film deserving mention, albeit briefly here, is Kevin Schreck's documentary "Persistence of Vision", which makes its US debut at the festival this week. The description of the film from the director's facebook page reads: "Striving to make the greatest animated film of all time, visionary and acclaimed animator Richard Williams ("Who Framed Roger Rabbit") toiled for more than a quarter of a century on his masterpiece -- only to have it torn from his hands. Filmmaker Kevin Schreck has woven together mind-blowing animation, rare archival footage, and exclusive interviews with key animators and artists who worked with Williams on his ill-fated magnum opus to bring this legendary story to the screen. A tale of art, obsession, and dreams, PERSISTENCE OF VISION is the untold story of the greatest animated film never made."  It's hardly necessary to say much more, the title alone has tremendous meaning, but this is really a very rare gem that speaks heavily towards a greater understanding of artistic excellence, perseverance and evolution within a medium that is one of the most common and embraced in the world today.


Susan Meyer will discuss her current exhibition "Plato's Retreat" at Plus Gallery this Friday evening starting at 7pm. Join us for this rare encounter with one of Denver's most thoughtful and forward thinking artists. The gallery will remain open this evening past our regular hours in conjunction with First Friday and the launch of the now annual Denver Arts Week, an opportunity to get out and discover the exciting and multi-faceted art-scene that has developed into a prominent component of Denver's national prestige.

Images from Meyer's exhibition at Plus Gallery are now posted on our website on the current exhibition page, take a look at


Plus Gallery welcomed Laura Krudener into our family of artists this fall after watching her bold abstract works mature in both complexity and scale over the last few years. This Friday evening Krudener will open the doors of her Denver studio, located at 3507 Ringsby Court Suite 114 in the Taxi complex just north-west of Plus Gallery in the River North Arts District, from 6-9pm for the public also in conjunction with Denver Arts Week and super-first friday. Stop by and meet Laura and experience her terrific works firsthand.


The prominent international contemporary art network ARTSLANT has once again selected Plus Gallery artist Susan Meyer to represent their platform at the Aqua Art Fair in Miami this December as one of their award recipients, along with Veronica Bruce, Steven Vasquez Lopez and Timothy Gaewsky. This is no trivial award, the jurors for ArtSlant are prestigous curators from around the world including:

John Leo, Director, Lambert Fine Arts, New York
Abigail Satinsky, Director, threewalls, Chicago
Katarina Sjogren. Co-Director, Crystal Contemporary, Stockholm
Lesley Heller, Director, Lesley Heller Workspace, New York
Helen Brown, Curator, Berlin
Sandra Q. Firmin, Curator, University of Buffalo Art Galleries, New York
David Castillo, Director and owner of David Castillo Gallery, Miami
Danielle Horn, Director and owner of NETTIE HORN, London
Chuck Mobley, Curator, San Francisco Camerawork, San Francisco
Odile Ouizeman, Director and owner, Galerie Odile Ouizeman, Paris
Michel Allen, Director, Allen Projects, New York
Sree Goswami, Director, Project 88, Mumbai
Anat Ebgi and Annie Wharton, Co-Directors, The Company, Los Angeles
Eleanor Harwood, Director and owner, Eleanor Harwood Gallery, San Francisco
François Ghebaly, Director and owner, François Ghebaly Gallery, Los Angeles
Jette Rudolph, Director and owner, Jette Rudolph Gallery, Berlin
Anyone who wishes to support Susan's journey may consider purchasing one of the works in the exhibition such as "Shelter Rock" or any of her exquisite sculptural forms such as "Vinyl," "Shaft" (which was exhibited two years prior with Artslant in Miami) and her most recent "Stack."

Susan Meyer - "Shelter Rock" from current exhibition "Plato's Retreat"


Plus Gallery just received the latest large-scale drawing by legendary artist Bill Amundson, a visually rich masterpiece that certainly speaks to this year's election and more broadly to current times. "In the Valley of the Job Creators" is one of Bills most elaborate and time consuming works to date, one that has engrossed his attention for the better part of this year. Bill describes it as "a large, apocalyptic humorous fantasy picture" that riffs on both the old war comic "Star Spangled War Stories" and the right-wing's catchphrase for rich folks. Like his previous tower drawings, everything builds from the ground up into a complex machine that weaves Bill's penchant for depicting grotesque figures (this time a handful of portraits straight from the Sexy Executives website....for real!), soul-less slogans and a dense labyrinth of modern development, complete with a variety of outlandish ghouls attacking those who make it to the top. According to Bill, "The words, or "text" as they call them in the art business, are taken from a wide variety of sources, including talk radio, Fox News and numerous motivational business and personal self help tomes.  I'm not sure they add up to a lot."  We sure think they do, few artists have taken such a direct approach to the "Hard Times" that have plagued our nation since the economic collapse in 2008, and even fewer have done so with such precise skill, wit and visual pleasure.

Bill Amundson - "In the Valley of the Job Creators"

Undecided voters might want to get a load of this before next week's election, and everyone else should stop by to view in advance of Bill's visit to Denver at the end of November, when he travels from his swing-state of Wisconsin back to his previous home and swing-state of Colorado for what is certain to be one of the most rousing and uproarious Logan Lectures ever on November 28th, and to celebrate 60 years of life on the planet.  We all know it just wouldn't be the same without Bill's outstanding talent and candor!


Many sources across the country have picked up on, blogged about, or commented on Plus Gallery artist Allie Pohl and her profoundly current, multi-faceted career.  But few have been as thoughtful and honest, particularly about her most recent "bathroom" series of photographs, as this week's report from Denver Syntax, a great source for what's relevant in and from Denver's burgeoning scene.  Check it out at


Plus Gallery artist Wes Magyar is known as one of the great painters in the region, his talent has raised eyebrows and engaged our senses for over a decade throughout Denver's art scene.  He's maintained a fairly low profile in the last couple of years, his time being monopolized between child-rearing and as one of the go-to people throughout the region for artwork documentation.  Magyar has, however, been included in a number of terrific exhibitions this year, most recently at Denver International Airport as well as the Arvada Center's summer show "Faces, Places and Spaces," his work being of the "Faces" segment of the exhibition.  And he continues to paint, having recently completed a new commissioned portrait for two of our most dedicated patrons. We expect to see more new work soon from Wes, a recent visit to his studio showing initial progress towards a new body of work that we'll most likely be unveiling sometime in the coming year.

Wes Magyar - Portrait of "Nate"


Manifest Gallery in Cincinnati, Ohio will open the group exhibition "Lost Horizon" on Friday, November 9th.  Curated by Tim Parsley from over 600 artwork entries, the exhibition involves art about history, and includes works from sixteen national and international artists including Plus Gallery's own Melissa Furness with her 2009 painting "Wake."  Parsley's exhibition statement is as follows:

Everything that has ever happened, ever, has led to this moment...

A small slice of the leading edge of the wave of time is documented, encapsulated, and frozen in the form of human history. They say that history is written by the winners. Perhaps it is more true to say that it is written by those who survive, and only for the brief time in which they can still talk (or make art) about it. That, we suppose, would be the collective 'us.'

History is generally divided into two philosophies, speculative and critical. Regardless of which, key words apply, and include terms such as progress, truth, fact, civilization, cycles, patterns, society, past, direction, humanity, linear, evolution, and so on. Inevitably, history is a view of humanity across time.

How do artists reflect upon, and even participate in history? Surely some do it consciously, as a subject of focus. Others may have it in mind, without the intention of feeding into or addressing it at all. Whatever the case may be, Manifest offers Lost Horizon as a survey of how artists working today make work which is in one way or another about history.

Find out more about the program and exhibition at

Melissa Furness - "Wake"


Plus Gallery artist Donald Fodness repertoire of talent is broad and fascinating, including some unusual furniture works that he devised a few years back.  That furniture has been brought to light on Yahoo! Homes website, check out their profile at
Don's latest mixed media installation "When Nature Takes its Course" is currently on view at Redline as part of their resident artists showcase "Material Engagements."

Don Fodness - "When Nature Takes It's Course"


Plus Gallery artist Xi Zhang arrived in Buenos Aires, Argentina late last night for his month-long residency with URRA.  We'll be posting updates and images over the next few weeks once he settles in, and those who want to can also keep track of what's happening at the residency program on their facebook page, which can be found at:

Xi Zhang with new friends in Argentina