DECEMBER 10-18, 2016

Public Address presents I, too, live in Arcadia, a solo exhibition and PA-TV event by Bernard Yenelouis. The exhibition is open by appointment from Saturday, December 10th through Sunday, December 18th. Its reception is Saturday, December 10th, 6-9PM (EST). PA-TV will simulcast Yenelouis’ images of Tornado Over Saint Paul during the exhibition opening.


I, too, live in Arcadia is a mixed-media installation structured around motifs of elemental disaster and destruction. The primary work in the installation is a digital image sequence Tornado Over Saint Paul (2016), with supporting materials from the artist’s archive, using anonymous sources and work by Bruce Bellas (Bruce of Los Angeles), the Detroit News Photo Department, Edwin Locke, and Brian Weil, in tandem with his own photographs.


Bernard Yenelouis is an artist and writer based in Brooklyn. His writing and art has been published in Diacritics, 10x10 American Photobooks, Conveyor, Pastelgram and Bomb. His slide shows have been presented at the Four Walls Slide and Film Club, the German Studies Department at Cornell University, the ICP/Bard MFA Program, and Creative Time Art in the Anchorage. His most recent installation was How To Live In The City in Milstein Hall, College of Architecture, Art and Planning, Cornell University. His collaborative work with experimental filmmaker Marie Losier and artist Genesis Breyer P'Orridge was shown at Luxe Gallery, New York City, and the Arsenal Cinema, Berlin. He studied in the Residential College, University of Michigan-Ann Arbor, and in the MFA program at Cornell University.



I, too, live in Arcadia

OCTOBER 3-15, 2015

Patricia Brace and Rita Leduc are a collaborative duo who reposition their anxieties over time, place, and relationships through site-responsive performance-installations. For their exhibition at Public Address, Leduc will transform the gallery walls into a kinetic system that rejects its very purpose; if ever someone should touch the walls, they will shift, sway, and threaten collapse. On the walls are similarly precarious paintings. Only when “played” by Brace will the walls, and thus the paintings, obey. In her three public performances, experienced live both in person and on PA-TV, Brace will master the nine-walled instrument, conducting the flips and flaps into a musical score.


Push/Pull plays with the artists' roles as they navigate and innovate within pre-existing career, familial, and inter-personal structures. Push/Pull is Brace and Leduc’s first piece that unabashedly invites their respective backgrounds in dance and theatre design to inform - rather than passively influence - their artistic practice. However, while Leduc’s installation begins as a stage for Brace, it is soon revealed as the director, only to transform yet again into the instrument and, eventually, partner.


Push/Pull performances can be viewed on PA-TV.






w/MCs Alan & Michael Fleming

Public Address Television - Live


A nod to Baldessari Sings LeWitt, artists Alan & Michael Fleming host this karaoke event where participants are invited to sing lines from Sol LeWitt’s, “Sentences on Conceptual Art” to the tune of contemporary songs. The playfulness of the performance is evident through several juxtapositions that are at work. Similar to John Baldessari’s rendition, textual rhetoric is debunked from its original context; the clarity of its intent is challenged by melodic dictation. Where the Flemings deviate is within their display and utilization of karaoke to recite the sentences. When “Perception is subjective” is sung to Britney Spears’ Baby, One More Time ”—microphone in hand—it creates an incongruence between the statement and performance, while the bubble-gum-beat subverts the austerity of its prose.


Set against a “green-screen” backdrop, participants’ physical bodies are conflated among of various pop-cultural video clips, images, and effects as if they coexist in digital space.  By framing LeWitt’s sentences in this manner, the artists not only question these authoritative claims on art, but also create a space of possibility when faced with established ideologies.

AUGUST 1-14, 2015


a thing of this world




a thing of this world, Ryder Richards’ installation has evolved from researching civil power conflicts, primarily focusing on the relationship between police and citizens. Influenced by power/knowledge theory, the work uses the aesthetics of conflict while considering academic knowledge as a distancing mechanism from reality. The artist’s stark, detailed drawings, which depict a range of imagery from shielded police, plumes of smoke, to excerpts from theoretical text, frames a sense of civil escalation among police/citizen relations. Relative to the works on paper, Richard’s sculptural objects allude to conflations in the symbolic means-to power with figurative proxies in the form of a Kevlar® hoodie and a tower of batteries.


On the rooftop, Richards will also exhibit a Shield: Monument, a project comprised of cast plaster staircases correlating to the fragility of movement.

JULY 4-18, 2015




Christina Leung | Neil Infalvi

Greg MacAvoy | Natassa Gavalas

Elizabeth Corkery | Graham McDougal

Naoko Komori | Noah Post

Nino Baumgartner | Karin Lehmann

Rita Leduc | Joseph Leduc

Sue Anne Rische | Ryder Richards

Michael Loverich | Antonio Torres (Bittertang Farm)

Baseera Khan | Jason Fox

Doug Johnston | Tomoe Matsuoka

Shabd Simon-Alexander | Antoine Catala

Mike Picos | Anne Wu

Vincent Stracquadanio | Elizabeth Burans

Jessi Binder | Brian Michael Dunn


Tanabata Matsuri, a Japanese summer festival characterized by the display of colorful paper decorations, public events, and young couples wearing yukata (summer kimonos), celebrates the annual crossing of two stars, Altair and Vega. These stars, separated by the Milky Way, represent two loves who are able to meet one day a year.


In the spirit of these festivities, Public Address asked artist, architect, designer, and curator couples/collaborators to participate in TANABATA. Each couple/collaborator was invited to create a single tanabata fukinagashi, which was encouraged to reflect the work or practice of both individuals. This exhibition focuses on the intersection of two distinct personalities coming together to produce something that celebrates their special relationship and unique interpretation of the prompt.

MARCH 7-21, 2015




"The galleries were full of fashionably dressed ladies, leaning over the balustrade and trying not to lose a single word of what was being said below."


Anna Karenina by Leo Tolstoy, Chapter XXX, Part VI. 1873

(Translated by Constance Black Garnett 1917)


Balustrade, a group exhibition with recent works by Nicholas Cueva, Paul Koneazny, and Anne Wu, augments the peripheralities of a spectacle. Similar to the experiences one has with public barriers during a city parade or the faux-marble remains of a Vegas casino’s demolition, the exhibition lauds adjacency-- the fringe activities synonymous to a performative display.  The paintings and objects employ patterning to activate their empirical sources through repetitions in the artists’ tactile surfaces and pictorial symbologies.

SEPTEMBER 13-27, 2015



Brian Michael Dunn will be exhibiting SHEETZ, a series of new paintings in the project gallery.  Using “z” to denote the title’s plurality pragmatically contexualizes the symbiotic nature of Dunn’s works, where SHEETZ signifies both the chain of national gas/rest stations in addition to a colloquialism for bed coverings.  Dunn’s works, intimate in scale, adopt the behaviors of various, common objects by bending and folding scraps of metal. These substrates generate awareness about a prior act; like the crease in a newspaper gutter only visible by opening its spread. Formally austere and chromatically responsive of their source, the paintings nod to a dry wit, where the pleated rectangular grid of an interstate road map dually purports the patterns of Ghanian textiles. Dunn looks to magnify the mundane, to supplant a fragmented memory of place by framing the exhibition space with his reliefs.

SEPTEMBER 13, 2014


How to Raise the Dead

How to Raise the Dead is a rooftop performance  and sonic event featuring Daren Kendall, Taylan Cihan, Valerie George, and Tyran Grillo. Blending visual, musical, and literary art forms, the ensemble of interdisciplinary artists will improvise in concert with materials, sounds, and spoken word. Inspired by the view overlooking Brooklyn and the Manhattan skyline, a sculptural framework will provide a base for collaborative activity amongst the evolving urban and performative soundscape.  Like the employees working within an industrial location, players assume roles as operators and specialists, performing tasks of menial labor while giving form to both materials and sounds.  The objective is to awaken the potential for creative life within systems of modern labor and production, while also giving meaning to the disciplined body at work. At the center of the system are the subjective minds of the artists, bound only to the dictum of individual choices and the contingent natures of their actions in turn. The script remains undetermined.



Welcome Back



PUBLIC ADDRESS is pleased to present Welcome Back, a group exhibition of painting by Madeleine Cichy, Freddie Greis, Luis Mejicanos, Sam Robbins, Libby Rosa, and Clayton Skidmore. The show takes place during Gowanus Open Studios weekend in Ti Art Studios, located at 183 Lorraine Street, 3rd FL, Room #60, Brooklyn, NY 11231. A reception will be held on Saturday, October 19, 4-6PM.


MADELEINE CICHY was born in San Francisco, CA in 1987 and now lives and works in Seattle, WA. She makes soundless candy curtain paintings and sculpture that if approached could give you a trigger point face massage. She received her BA in Studio Art and Economics from Vassar College, and her MFA from Cornell University. She has been awarded the John Hartell Graduate Art Award, the Weitzel Barber Art Travel Prize, and an Edward Albee Foundation residency. Madeleine's work has been exhibited in San Francisco, Philadelphia, New York, Seattle, and Paris. In 2018, her work was featured in “10 Years: 100 Sculptures” at anonymous gallery in Mexico City.


FREDDIE GREIS was born in 1990, grew up in Madison NJ, and currently lives in New York City. He received his BFA from Cornell University in 2012 and recently completed the MFA program at Hunter College this year. His work explores nature, spiritual experience, pleasure, and humor.


LUIS MEJICANOS (b. 1995, Miami, FL) lives and works in Harlem, NY. He graduated from Fordham University in 2018 with a dual degree in Visual Arts and Art History, and attended the Yale Norfolk Summer School of Art in the summer of 2018. His work has been exhibited in New York and Miami. His paintings exist in a space that informed by a cultural and physical sense of oscillation between Latin America and Miami. His work lies somewhere between the two of them, in which these cultures collide in a way that is not contesting to be part of either or, but comfortable in an in-between space. His paintings cast a variety of characters that are borrowed from myths and legends indigenous to Latin America, but have evolved since colonization.


SAM ROBBINS (b. 1995 Baltimore, MD) is a Brooklyn-based artist and designer. His paintings, drawings, and prints present memories of experience, investigate temporalities, and challenge distinctions between representation and abstraction. He earned a dual BA in Visual Arts and New Media/Digital Design from Fordham University in 2018. Robbins has exhibited work in New York at the Hayden Hartnett Exhibition Space, Castellain Gallery, Lipani Gallery, and Greenpoint Gallery. In 2016, he was the recipient of the Ildiko Butler Travel Award.


LIBBY ROSA (b. 1993, Pittsburgh, PA) is an artist living and working in Philadelphia, PA. Her work is featured in New American Paintings (MFA, issue # 141) and Nightblock Magazine (edition # I I ). She’s had solo exhibitions at Bibliowicz Gallery (Sky Woman), Sweet Lorraine Gallery (SPACE), and Experimental Gallery (20 Ways to Make a Painting). She’s been included in group shows at Safe Gallery (Or High Water), Signal Gallery (Big Snack), Marquee Projects (Oil, Acrylic, Clay) and Proto Gallery (Soft Reboot). She’s curated group shows at Tjaden Gallery with Brice Peterson (Afterwordsness) and Sweet Lorraine Gallery with Chris Lucius (Missing Me One Place Search Another). Rosa has attended residencies at Trestle Art Space, ASMBLY Session #1 and VCU (SSP, 2015). She received her BFA from University of Wisconsin - Madison (2015) and her MFA from Cornell University (2019).


CLAYTON SKIDMORE was born in Dallas, TX (1986) and lives and works in Queens, NY. He received a BFA in Painting from the Kansas City Art Institute (2009) and an MFA from Cornell University (2017). Skidmore’s work has been shown at Life Lessons Garage Project, New York; Lovaas Projects, Munich; Tjaden Gallery, Ithaca; Caelum Gallery, New York; Homeland Security, Dallas; and Dolphin Gallery in Kansas City, MO.


PUBLIC ADDRESS sends Chris Lucius at Ti Art Studios a huge thanks! :)

DECEMBER 8, 2018 - JANUARY 13, 2019



Public Address is pleased to present Park, a group exhibition drawings and paintings by Teresa Baker, Maria Calandra, Angela Heisch and Amanda Konishi. The show brings together four artists who utilize mark-making within their work, while sharing idiosyncratic features of their respective drawing processes. In addition to this, the work also shares an affinity toward cultivating intimacy with their viewership demonstrated by thin ink lines, tightly arranged hatching, or a precisely placed dot, which draws one closer to their surfaces.


Using select architectural and anthropomorphic abstract language within her paintings, Angela Heisch develops psychological spaces through self-referential and associative systems that are often confrontational, ordered, and at times, uncooperative.  The work also elicits a feeling of invitation demonstrated by a formal openness in the central portions of their compositions. Painted with gouache, the meticulous execution of their flat surfaces imbue the work with a sense of strict control, only to be challenged by pluming bands of color strewn across the ground.  In some areas, black circles seem to create holes in this ground, but in others, they rest atop as tiny dots which punctuate, yet reinforce the grandiosity of larger geometric shapes.


John Muir, an advocate for the preservation of American National Parks, stated “The clearest way into the Universe is through a forest wilderness.” Maria Calandra uses dry and liquid graphite to conjure her own wilderness, sourced from both real and imagined experiences that she encounters on hikes. Her drawings are dense, in fact, they are compressed, with trippy renderings of plantlife, animal, and celestial objects. The artist credits her process to a channeling of an intuitive consciousness that liberates the images from rational ordering. In some areas, astral orbs slip behind mirror-like vacancies and rich fern growth melts into Calandra’s billowing clouds and stones. The incongruous presence of her references coupled with the richness of mark-making recalls Henri Rousseau’s Exotic Landscape (1908) or drawings by Madge Gill and Joseph Yoakum.


Amanda Konishi’s paintings serve as examinations to navigate stimuli and observations from the world in order to reassess the meaningfulness of experience. Although the work draws influence from a range of sources, the artist is not constructing a narrative from the past. Instead, through abstraction, her work situates the viewer to consider how a contemplative space can be created between chance, beauty and meaning. The work also celebrates how complexities found in nature can mirror sentient experiences. Darky, dominantly composed of cool blue and green hues, presents an expansive, floral-like form, where striped ribbons and leafy petals seem to erupt from its center. This outwardly moving activity is halted by the paper’s edge, and the wealth of the artist’s repetitive mark-making, embroidery and layering of paint is held within the painting’s contour.


Teresa Baker’s process oriented work shares how a visceral experience can be shared through visual means. The artist uses sturdy materials, like Astroturf, which allow for a painting to maintain its own structure when hung on the wall. Furthermore, their fibrous, grass-like surfaces provide a strong, but impermanent bond with yarn, which is used to create discrete and continuous marks against her shaped substrates. When you look at Baker’s work, you consider the quietness and humility of its presence in space. The choice of turf and yarn may conjure feelings of painterly irreverence, in the way Richard Tuttle’s 3rd Rope Piece (1974) denies connoisseurship. Nevertheless, they display insightful curiosity in how a static experience can cultivate dynamic reads. In Standing, sweeping mint lines funnel paths through a field of chromium green.


TERESA BAKER is an enrolled member of the Three Affiliated Tribes in Western, ND. She lives and works in Los Angeles, CA. Baker has exhibited works throughout the U.S. including recent solo exhibitions at The Art Museum of Southeast Texas, Beaumont, TX and Gray Contemporary, Houston, TX. Group exhibitions include Yerba Buena Center for the Arts, San Francisco, CA, di Rosa, Napa, CA, the Wattis Institute, San Francisco, CA, The Alice, Seattle, WA, Et Al, San Francisco, CA, Interface Gallery, Oakland, CA, among others. She was a Tournesol Award Artist in Residence at the Headlands Center for the Arts and Artist in Residence at The MacDowell Colony. Baker received her MFA from California College of the Arts and her BA from Fordham University.


MARIA CALANDRA was born in 1976 in London, England and lives and works in Brooklyn, NY. She is the artist and writer behind the project Pencil in the Studio which she started in 2011. In this project she spends the day with artists in their studios while drawing their space and talking to them about their life and work. She holds a BFA from Ohio University and received an MFA from Cornell University in 2006. She has shown in both New York City and across the United States previously exhibiting with Andrew Edlin Gallery, Shrine Gallery, Romeo, White Columns, Freight and Volume, Klaus von Nichtssagend Gallery, Sardine, and Mindy Solomon Gallery. She recently completed a large scale mural for the Wythe Hotel in Brooklyn, NY.


ANGELA HEISCH is an artist living and working in Brooklyn, New York. She received her MFA from SUNY Albany in 2014. She was awarded the Dedalus Foundation Fellowship in 2014, and has been a resident at Saltonstall Foundation for the Arts, Virginia Center for the Creative Arts, and Guttenberg Arts. Angela has shown recently at Gallery 106 Green, Mother Gallery, George Gallery, Ortega y Gasset, Park Place Gallery, One River School, Geoffrey Young Gallery, Harpy Gallery, Taymour Grahne Gallery, No Place Gallery, and ESEFFEF. Her work has been featured in Art in America, The Brooklyn Rail, AEQAI, ArtSFBlog, Maake Magazine: Issue 02, Young Space, and Open House Blog.


AMANDA KONISHI (b. 1992) was born in Anaheim, California and received her BFA from the School of Visual Arts (2014). Her work has been exhibited at Groundfloor Gallery, TN (2018), The Painting Center, NY (2018); Green Kill, Kingston, NY (solo, 2018); First Street Gallery, NY (2018); Abrons Art Center (2017); Barrett Art Center, Poughkeepsie, NY (2017); Loft Artists Association, Stamford, CT (2017); A.I.R. Gallery, Brooklyn, NY (2017); Trestle Gallery, Brooklyn, NY (2016); Lichtenstein Center for the Arts, Pittsfield, MA (2016), and Denise Bibro Fine Art, NY (2016), among others. Her work is also included in Tiger Strikes Asteroid New York’s 2019 Flat File project. Konishi currently lives and works in New York.


PUBLIC ADDRESS is pleased to share Hand in Glove, a group exhibition of recent work by Dain DeltaDawn, Rose Nestler and Vincent Stracquadanio. The opening reception will be held on Saturday October 13th from 7-9PM and coincides with Kensington Open Studios at 3611 14th Street, Brooklyn, NY.


Hand in Glove, a colloquialism describing two distinct things working closely with one another, refers to each of the artist’s relationship with making and the participation/proximity of their hand within their respective processes. Rose Nestler’s Strange Business is a video work that shares three costumed characters interacting with a corporate office space. The artist calls these characters “control tops” referring to the uppermost area of pantyhose, popularly worn by working business women intended to conceal, contain and smooth the pelvic area. The artist-produced costumes also have a leather crotch adding kinky appeal to each of the figures. While the video charts feminine power and camaraderie, the “control top” motif also prompts questions about the role of women in the workplace. Nestler addresses the perception of power applied to garments, yet maintains the absurdity of these beings through their “out of control”, and at times, awkward behavior accentuated by their autonomously flopping arms and fingers. Dress for Success and Rubber Gloves with Cuff Links, soft objects made from leather and batting, recall Claes Oldenberg’s Soft light switches (1969), Everlast boxing gloves, and/or a nightmarish toy from a Tim Burton animation.


Vincent Stracquadanio’s ink drawings depict lavish interior spaces, adorned with rich patterning of organic references, geometry, and antiquities. In some, cloudlike mist appears to seep through various Sicilian porticos and museum spaces disrupting spatial certainty. In others, it’s not certain whether glossy limbs are contained in cobblestone enclosures, or if the appendages are floating up from some horrific black abyss in their rendition of a Giallo film. Wholly, Stracquadanio’s imagery is dense with visual surprise as each drawing not only exhibits an interior logic, but also presents distinct idiosyncrasies suggesting differentiations in time, event or architecture. The intimately scaled work is meticulously rendered with detailed mark-making that evokes Fletcher Hanks’ comics and Jim Nutt drawings.


A Lambs Work is Never Done, by artist Dain DeltaDawn, is a wool weaving with its title embroidered onto its surface. The simplicity of the weaving’s appearance undermines the complexity of its process –where the artist has prepped, spun and woven the object from raw material to a crafted textile. By claiming that the “lamb’s work is never done”, they provide a clue that their protagonist is confronted with endless tasks, while also suggesting a kind of reflexivity between a “lamb” and its utility. The ashen grey of the textile coupled with its rhetoric, takes on an anachronistic tone, reminiscent of a time where embroidered handkerchiefs were always on hand. Counter to the weaving, DeltaDawn’s ceramic objects exhibit brevity in their execution. The surfaces are textured, revealing where the artist’s fingers pushed against the clay to assemble their open forms. These diagrammatic “vessels” are painted in ultramarine blue, cherry red and stormy cerulean glazes.


DAIN DELTADAWN is an interdisciplinary artist who makes work about the landscape of queerness and how we perceive it through disseminating information like diagrams and tutorials. They hold an MFA from Cranbrook Academy of Art and a BFA from Maryland Institute College of Art, both in fiber, and have explored and exhibited around the country. They have held residencies and fellowships at Caldera Arts, Offshore Residency, the Studios at MASS MoCA, Vermont Studio Center, ACRE Residency, Wassaic Project, and have participated in workshops at Haystack Mountain School of Crafts, and Penland School of Crafts. DeltaDawn’s most recent projects have included a Media Arts Fellowship at BRIC Arts Media (Brooklyn, NY), as well as exhibitions at The Heidelberg Project (Detroit, MI), Hatch Art (Hamtramck, MI), Lillstreet Art Center (Chicago, IL), and ACRE Projects (Chicago, IL). Dain DeltaDawn is currently living and working in New York City and is an adjunct faculty member in the Fiber and Material Studies Department at Tyler School of Art, Temple University in Philadelphia, as well as the Associate Director of Geary- a Manhattan gallery that exhibits emerging and mid-career artists.


ROSE NESTLER is an interdisciplinary artist focusing in sculpture and video. She received her MFA degree from Brooklyn College in 2017 where she was a Dedalus Foundation MFA Fellowship nominee and a Graduate Teaching Fellow. Her work has been exhibited at a variety of galleries including, Ortega Y Gasset, Underdonk, Smack Mellon, CRUSH Curatorial, and CUCHIFRITOS Gallery and Project Space. She is currently preparing for a solo show in the Project Room at BRIC slated for November 2018. She has received support from the Lighthouse Works Fellowship, Chashama Workspace Program, Kimmel Harding Nelson Center for the Arts, Vermont Studio Center and Byrdcliffe Artists Colony.  She teaches art at CUNY College of Staten Island, Solomon R. Guggenheim Museum, Brooklyn Arts Council and Blue School.


VINCENT STRACQUADANIO is an artist living and working in New York City. He earned his MFA from the Yale School of Art and a BA in visual arts from Fordham University. He has been exhibited at Field Projects (NY), New Release (NY), Trestle Gallery (NY), Artspace (CT), among others. He is the recipient of the Gamblin Paint Award in addition to the James Storey Memorial Visual Arts Award. Stracquadanio has taught at the Yale University Art Gallery and is currently teaching at the Jewish Museum and is an adjunct professor at Fordham University.



OCTOBER 13 - NOVEMBER 18, 2018

Hand in Glove


DECEMBER  2, 2017 - JANUARY 14, 2018



PUBLIC ADDRESS is pleased to share Nightcall, a group exhibition of recent work by Sophia Balagamwala, Katie Hector, Frederick Greis, Christina Yuna Ko and Mike Picos. This is the first show in the gallery’s new space and will coincide with the Artist Open Studios at 3611 14th Avenue in Kensington, Brooklyn.


Each emerging artist utilizes a pop-palette and comedic forms to address their respective relationships with identity, pop-culture, formalism and mysticism. Although thematically disparate, many of the artists’ overlap in their interest in digital language presented through material and painterly means.


Katie Hector’s paintings are constructed in relief, where each cut form is placed atop the next reminiscent of open application window screens and how they perceptively float on one another in a computer monitor. The paintings’ surfaces subvert the digital through brevity in their construction, a range of mark-making and buoyant forms that function as a singular gesture. The celestial forms within Frederick Greis’ Pump Magic into the Atmosphere seem to glow against a sun-setting light implied by the magenta-red and deep purple gradient, which dominates the ground. The painting feels as if it is an excerpt from a larger event, where an accumulation of suspended objects is being pulled downward toward something we cannot see. Mike Picos’ paintings contain squares and rectangles that are bordered with trapezoidal forms to imply a beveled edge. The inclusion of the bevel suggests how recessed shapes are in shadow, while others protrude forward in light. Space is shallow, stable, and emphasizes the dimensions of their substrate.


Through animations inspired by visual language from children’s books and political caricatures, Sophia Balagamwala explores the space where history meets fiction and nonsense. Housed within her cloud-like foam objects, these animations display the artist’s interests in how stories are constructed, in particular, the myths of national heroes and national histories. Christina Ko uses a range of internet sourced imagery to construct her narrative-driven paintings. The images are at times disparate, but are painted together in chromatically poignant work presented as a collective whole, which describes stories reflective of the artist’s identity and autobiographical memories.


SOPHIA BALAGAMWALA is an artist, illustrator and curator based in Karachi. She has a B.A from the University of Toronto and an MFA from Cornell University. She works at the Citizens Archive of Pakistan, and is the Lead Curator for National History Museum at the Greater Iqbal Park, Lahore.


KATIE HECTOR is a multimedia artist whose work addresses themes such as interfaces, performative gesture, and the internet. As well as maintaining a studio practice Hector has worked to organize, fundraise, and curate a variety of projects, which include group shows, international exhibitions, collaborative installations, and pop up events. She is the co-director of Sine Gallery an artist run platform focused on showing emerging to midcareer artists. She received her BFA from the Mason Gross School of the Arts at Rutgers University and currently works and resides in New York City. Katie Hector’s studio practice has gained her recognition through scholarships, residencies, and awards some of which include the 2017 Picture Berlin International Artist Residency, 2016 Merit-Based Scholarship from Urban Glass, the 2014 Scott Cagenello Memorial-Prize, and the 2013 Ruth Crockett Award.


FREDERICK GREIS grew up in Madison NJ, and currently lives in New York City. He received his BFA from Cornell University in 2012. He is currently enrolled in the MFA program at Hunter College. He has shown work in New York and New Jersey.


CHRISTINA KO makes work that utilizes cute culture as an aesthetic that stands in for her experiences, memories, and identity. She is Korean American and her work often negotiates the middle ground between these two cultures. She received her BFA from

Cornell University in 2013 and has shown her work in Ithaca, NY and in around New

York City. She currently lives and works in Queens, NY.


MIKE PICOS is a painter based in Queens, NY. He graduated with a BFA from Cornell University in 2013, where he received the Post-Baccalaureate Award, the Elsie Dinsmore Popkin Memorial Painting Award, and the David R. Bean Prize. He has exhibited in group shows in New York, Ithaca, and Rome.



APRIL 29 - MAY 7, 2017

Public Address is pleased to exhibit To Die For, a painting installation and PA-TV performance by Zach Seeger on view from April 29 through May 7, 2017. The opening reception and performance will be held on Saturday, April 29, 6-9PM. The performance can also be watched live on PA-TV (on the Public Address website) starting at 7:30PM (EST).


New Economy

by Joshua Rivkin


A man offers to trade his guitar for a city bus.

My pick for your passengers. Six strings for sixteen wheels.

A bride on her wedding day exchanges her love

for bright weather, a groom exchanges his hands for hers.

A father offers to trade his family for a hotel’s worth of sleep.

A sailor offers the Pacific for a hotel’s worth of sex.

Tonight, the shirt from my back, my singing mouth,

my endless praise, for your skin or company.

I’ll give you my stethoscope for a red barn: a doctor.

I’ll give you my right arm for your left: his patient.

It’s the inequality of pain a sleepless woman wants

to give away. Here, take mine, she offers to freight trains

whistling their replies through Houston’s poorest wards:

Jealousy gets you jealousy. Rage gets you rage.

"What wouldn’t you offer?" a man asks the pawn shop window.

"What wouldn’t you take?" replies the glass.


The gallery walls support Seeger’s unstretched paintings. Suspended—the canvases are hung as if they are tapestries—they begin to build a contained environment housing rich painterly mark-making. In some paintings, figures are enmeshed into colorful patterns, where body and ground become inexorably one. In others, the worked and tactile surfaces point to an awkward, and at times grotesque, expression. However that may be, with moments of raw or stained canvas peeking through heavier strokes, a sense of comfortable vulnerability between the two gestures emerges. The artist describes the paintings as decidedly contrarian—they “poke fun” by emulating stylistic marks and tropes he observes in other work. Although the wit within these comedic provocations appear brash, the density of the images requires a prolonged viewership. As a result, their experience not only reveals the gradual unfolding of the artist’s autobiographical narratives, but they also produce a sense of implicit autonomy as if the artist has created containers for his memories.


When composing the images, Seeger seeks a particular geography that defines the painting, where each formal element requires its particular placement. This can be compared to the charting of a topographical landscape or following the logic of a biological system, but differs in its mapping of memory. In the paintings, it becomes apparent that recollection undermines the present. By contrast, Seeger’s performance forces the act of recalling to activate the present through words, sounds and step. Seeger aims to fold his performative narratives back into the environment as the three performers traverse the gallery and move as if they are navigating his constructed space.


ZACH SEEGER is a painter, writer and curator who lives and works in Brooklyn, NY. He grew up in Endwell, NY and spent his summers in the Adirondack Mountains. When not helping his dad build things, he caught salamanders in the back yard and snuck upstairs late at night to watch Ted Koppel on Nightline. Seeger holds an MFA from the Rhode Island School of Design (Providence, RI) and BFA from Binghamton University (Binghamton, NY). Recent solo exhibitions include, Watson at Karstan and Gorse (Wappingers Falls, NY), November, Defend Brooklyn (New York, NY) and Cheese Burghers of Calais curated by Nicholas Cueva, Zrobili (Brooklyn, NY). He has participated in the GROUNDWORK III Residency and Vermont Studio Center. Since 2013, Seeger has co-directed and curated exhibitions for This Friday or Next Friday (Brooklyn, NY).


Special thanks to Stacy Collado, Marine Cornuet, Brian Morris, Andrew M. Stevens, and Joe Bochynski.



To Die For