30 under 30ish @ Victori + Mo

So happy to be included in Celine and Ed’s summer group show! I pasted an image of the painting I contributed below, as well as their press release.


30 Under 30ish
JULY 8 – JULY 31, 2016

VICTORI + MO is proud to present 30 Under 30ish, an exhibition of 30 works by 30 professional artists under 30ish years old, opening July 8 and on view through July 30.

A satirical commentary on the various and ostensibly influential “power” lists published by Forbes, Time, and the like, this aptly titled exhibition highlights the contradictory emotions that rest on the fringe of such rankings.  These lists hold a place in media history, and despite being founded on the premise of headline alliteration, landing a spot on any of them is like capturing a trophy of cultural and professional worthiness amongst peers.

We strive to be recognized as top performers by the media machine operators we’ve never met, however we also understand the somewhat dogmatic and nuanced publication of these lists.  Young professionals are striving to change the world today at an increasingly fast pace.  We’re all racing towards some top spot somewhere, list or no list.  So while we’re all pushing each other to higher success through healthy competition faster than rankings can, we can remove the power from the power-list makers and simply lend praise to the highly talented individuals in our contexts.

At the end of the day, these 30 artists are young professionals that VICTORI + MO admire, respect and would like to lend that praise to:

Conor Backman
Tyler Beard
Morgan Blair
Casey Bolding
Craig Callison
James Case-Leal
Jasmin Charles
Roman Cochet
Alexander Deschamps
Mark Dorf
Alex Ebstein
Sarah Faux
Dan Flanagan
Lizzie Gill
Edward Granger
Del Hardin Hoyle
Peter Hoffmeister
Will Hutnick
Kyle Kogut
Zach Meisner
Helena Parriott
Sean Phetsarath
Pawel Przewlocki
Peter Schenck
Emilie Selden
Matthew Speedy
Adrienne Elise Tarver
Virginia Wagner
Rachel Mica Weiss
Crys Yin

VICTORI+ MO is a collaboration of curators, dealers, collectors, and artists in Bushwick, Brooklyn dedicated to presenting and developing emerging and mid-career contemporary artists who engage with concepts and ideas relevant to life in an increasingly global community. By providing a space unmoored to particular doctrine, VICTORI+MO aims to transcend geographic and cultural boundaries and create dialogue, not only between the art world and viewing public, but across generations.

Gallery Hours
Thursday – Sunday, 1pm – 6pm
And by appointment

56 Bogart Street
Brooklyn, NY 11206

Gallery Contact

Hope Dreams @ Fresh Window Gallery


Hope Dreams

Curated by Alexander Deschamps

Dan Lucal, Joe Nanashe, Lillian Meisner, Alexander Deschamps

On View December 11, 2015 – January 10, 2016

Opening Reception December 11, 2015 7 – 9 PM

Fresh Window Gallery is pleased to present Hope Dreams, a group show curated by artist Alexander Deschamps. This show aims to speak to the position of the presidency itself, and to the celebrity and fascination that comes with it. It is an attempt to unravel and examine the american tendency to imbue in our leaders all of our hopes, dreams, fears, and even dysfunctions. It is an a-political view of our quintessential american politics, with a focus on the individual charisma of our elected officials, past and present, and how they affect the esteem, not the politics, of our people.

The title of the show is a riff on the classic 1994 longitudinal documentary Hoop Dreams by Steve James. In Hoop Dreams we follow two young Chicago boys as they try to build a basketball life, with the promise of playing in the NBA as the final reward. Ultimately, they both end their careers in college, with no professional hoops in their future. The documentary pivots on the question of deflated dreams. Can we rely on the all powerful force of the NBA to draw us out of despair and poverty? Can we rely on POTUS for the same? Who are the objects of american idolatry? And Why? Hope Dreams asks more questions than it answers.

Vandeavors Gallery


Dan Lucal

Expensive Art

June 13 – June 14, 2015

Northside Festival

Vandeavors Gallery is pleased to present new works and an installation by Dan Lucal. In the body of work presented in Expensive Art, we are given insight into Lucal’s views on scale, replication, and perspective, especially as they relate to commodity and the art market at large. The diorama-esque display, which is installed into the back of the van, serves not to diminish the art’s impact, but to dilate our perception. “I’m viewing the whole thing as a potential instagram photo,” says Lucal. If the end point is to produce a work that is contained in a documentary photograph, then what difference does size make? In fact, it is this tension between presentation, documentation and the real, that drove Lucal to start his expensive art series in the first place.

Find an interesting object. Through staging, and lighting, and the use of photography, reduce it to its most essential replicable form: the fine art print. Print it nice and big, put a slick frame on it, hang it in a gallery, and put a fat price tag on it. Expensive art.

It seems cheeky, but this formula is borne out of a very sincere place. Lucal’s obsession with beauty, and flair for rendering it upon strange and quotidian objects is undeniable. It is within this framework that the word expensive best operates. It is almost like a mantra for Lucal, who in pursuing the creation of art, is also acknowledging the absurdity of putting a price tag on a process of smoke and mirrors, but keeping his fingers crossed nonetheless.

What does price have to do with anything? Is it a construction that the viewer considers when assessing and appraising a work? As in, wow, this work is expensive, so it must be good. Or is price an assertion of value by the artist themselves? As in, this work is so good, I must make it expensive. Lucal aims to blow up both these ideas, and Expensive Art lands somewhere right in the middle of them. Surely it is a worthy pursuit, to obfuscate what it is that brings value to a work, through photo-replication, and display, which is then re-replicated, and re-displayed. The viewer is left wondering where the valuable nugget actually is, but knowing that they want it.