Gallery artist Timothy Hull is subject of an article by Ken Miller for Interview Magazine entitled Timothy Hull’s Brooklyn Is In Ruins.

“August is generally the month New Yorkers think about escaping the city to some exotic locale. But what if it turned out that an exotic ruin had appeared along a rugged stretch of downtown Brooklyn real estate? Commissioned by the Brooklyn Academy of Music, The Accelerated Ruin is a monumental sculpture by New York artist Timothy Hull and Future Expansion Architects.”

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Gallery artist Frohawk Two Feathers is the subject of an article by Ana Holguin for The Idler entitled (Re)Inventing The Past.

… “Frohawk Two Feathers’ commentary on authenticity and archives as it forms in this production of false-ish history is complex, revisionary, and playful. Depictions of these people — people important enough to be enunciated through art and whose renderings are then worthy of keeping as historical artifact — are refreshingly colorful, tattooed, and often outfitted in period costume with nods to modern day urban and ethnically marked looks. Men and women sport bandanas and teardrop tats on their brown (Native, Spanish, African, mixed) bodies while holding the poses of the noble people we overwhelmingly have encountered as white in our historical instruction. In creating these characters, he imagines a history in which people of color make the rules, set the fashions, mark the territory, and though it is no less war-mongering than the stories we already know, the insertion of color in this way not only creates a picture of pride and power where we rarely see one (as in a museum setting) but also critiques the level to which white history has been constructed as Truth.”

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LA-based art historian, editor, and writer Ellen C. Caldwell reviews Frohawk Two Feathers’ exhibition at the Museum of Contemporary Art Denver for New American Paintings.

On June 21^st, MCA hosted Frohawk Two Feathers’ (NAP #73) first solo museum show opening. Co-curated by Nora Burnett Abrams and Tricia Robson, Frohawk’s We Buy Gold, We Buy Everything, We Sell Souls, features 20+ paintings on both paper and stretched leather.  The leather sculptures include drums and stretched panels on wood.  And at times, the feaux-aged paper also appears sculptural with its deep divots and contours. – Ellen C. Caldwell, Los Angeles Contributor

With recent gallery shows in Los Angeles, Washington D.C., New York, and South Africa, Frohawk Two Feathers has continued to reveal and recount contiguous installments in his ever-evolving Frenglish saga.  Reimagining history, he plays with historical facts and fictions in retelling an invented past where France and England once united in the 1800s.  Often an oppositional combination of humor, violence, and solemnity, his work easily draws audiences in. Complex and layered, his work, at times, is hard to follow chronologically and logically (if one’s mind works in a strictly linear fashion).  This confusion can arise because his stories and saga installments time-travel and geographically-travel between exhibitions and cities, taking tumultuous turns throughout intricately recrafted and recast historical battles.

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Peter Frank reviews Charlene Liu for the Huffington Post.

Charlene works with handmade paper, frequently lacing it with pigmented pulp. She fashions her deliciously textured material into interwoven arabesques, quavering grids, and, often enough, stylized flowers and other referential motifs. The motifs are as referential to decorative tropes – not least those of Liu’s native Taiwan – as they are to actual flora. Liu’s approach, in fact, collapses several art-historical phenomena, from Art Nouveau to the handmade-paper and handmade-book movements of the 1970s. Rather than seeming coy and dated, however, these buoyant, cleverly composed and sweetly hued confabulations generate a refreshing busyness, a summery kind of energy.
– Peter Frank

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Los Angeles-based installation artist Chris Natrop transforms the Zillman Gallery into a mesmerizing environment of gleaming free form cutouts created from mirrored Plexiglas and acid-cut brass.  His wall-based Duplex Mirror Rush is composed of multiple elements of intricately shaped mirrors installed in the corner of the gallery. The silhouette shapes, which are derived from the artist’s original large-cut paper compositions, are digitally altered.

In much of his work, Natrop uses a utility knife to spontaneously cut away a large sheet of paper to create forms that reference plants and hanging vegetation.

After establishing himself in the San Francisco art scene, Chris Natrop moved to Los Angeles in 2005. With exhibitions at notable museums, galleries and art centers under his belt, it’s safe to say that the city of angels has welcomed his exquisite hand-cut multimedia installations with open arms.  Chris Natrop has been represented by Taylor De Cordoba since 2009.

Chris Natrop’s new work is on view at Umaine Museum of Art, 40 Harlow Street Bangor, ME 04401

June 22 – September 15, 2012