I’ve been involved in several off-season moves that will intensify my career as artist, dealer and art writer. New York City is on the very near horizon and I should be in position soon to conduct more studio visits, museum previews and exhibition reviews.

The Summer has also brought about the founding of my personal artist website. I’m offering up a new signed and numbered, archival, limited edition pigment print seven days a week. All of my artistic pursuits are updated daily on the site. Check in regularly to examine progress on my portfolio, ongoing projects and store. Please sign up here to receive a weekly digest via email highlighting all of the action.

Scroll down for a small selection of my work from this year. Two prints, a pair of photographs, a couple of projects, some paintings and now, yes, I have been branded with my own logo.

Scott Lickstein, Spectrum Sipper, archival pigment print on 300 gsm, 100% cotton, acid & lignin free paper, 20.25 x 17 inches, 2011.

Scott Lickstein, The Hawk, archival pigment print on 300 gsm, 100% cotton, acid & lignin free paper, 17 x 17 inches, 2011.

Scott Lickstein, Life and Death in the Forest, c-print, 2011.

Scott Lickstein, Mystics and Tides 014, c-print, 2011.

Scott Lickstein, When I’m Gone 036, 2011.

Scott Lickstein, When I’m Gone 044, 2011.

Scott Lickstein with Ian Gamache, Let’s Play Hostage, 2011.

Scott Lickstein with Ian Gamache, Boring Summer Movie, 2011.

Scott Lickstein, Speechless, 2011.

Scott Lickstein, Moonwolf, 2011.

Julião Sarmento, Silver Lake Yellow Boob, polyvinyl acetate, pigments, acrylic, acrylic gesso, ink, graphite and silkscreen print on unprimed cotton canvas, 2010-11.

The title of this show is a direct reference to Ludwig Wittgenstein’s fractured reaction to Goethe’s statements concerning the origin of color itself. The canvasses are mostly white with occasional shocks of screen printed primary color. The color reacts with the white surface to initiate the perception of a spectrum beginning with the primary and fading away into the plane.

Julião Sarmento, Silver Lake Blue Hands, polyvinyl acetate, pigments, acrylic, acrylic gesso, ink, graphite and silkscreen print on unprimed cotton canvas, 2010-11.

The architectural leanings of the artist are evident in compositions that mimic the modernist structures depicted in the printed areas. Suggestions of living tissue, both human and plant often remark on direct sensitivities of the viewer. Sarmento calls on our susceptibilities to nature through the revealing of delicate areas and shared nervous sensation.

Julião Sarmento, White Exit, mixed media installation, 2010-11.

Julião Sarmento
Remarks on Colour
15 February – 19 March 2011
Pilar Corrias
London

Javier Piñón, The Scarlet Woman, collage, 2010.

On the night this opened, we were wandering around Chelsea in the rain and came across a good friend and excellent painter. Without hesitating, he told us to make our way to see this exhibit. It became our next stop and we couldn’t have been more delighted at the suggestion.

Javier Piñón, Sibyl, collage, 2010.

The collages have a seamless quality and that spell is rarely broken. The exceptions, the areas that don’t quite work, serve as occasional reminders that the surface is not whole. This brand of tight technique stirs wonderfully with the mystic naughtiness of the content. The subjects are lost in ritual not entirely meant for our understanding but still manage to keep stride with the real world.

Javier Piñón, The Cave of Knowledge, collage, 2010.

Javier Piñón
O Babalon
14 October – 13 November 2010
ZieherSmith
NYC

The exhibit is a staggering affair. When encountering one of these mixed media masterpieces in the context of a group show, the Tomaselli stands out. His work often alienates itself in this manner. Moving through four rooms of his oeuvre, however, is an experience that one doesn’t question. It’s a larger than human experience not unlike the Great Pyramid or a hurricane. There is no temptation to insinuate and no need for review. Get to the Brooklyn Museum pronto!

Fred Tomaselli with Night Music for Raptors, Brooklyn Museum, 2010.

Fred Tomaselli, Field Guides, photo collage, gouache, acrylic, and resin on wood panel, 2003.

Fred Tomaselli, Red Butte, hemp leaves, acrylic and resin on wood panel, 1994.

Fred Tomaselli, Red Butte (detail), hemp leaves, acrylic and resin on wood panel, 1994.

Fred Tomaselli, Big Raven, acrylic, photocollage and resin on wood panel, 2008.

Fred Tomaselli, Fungi and Flowers, leaves, photo collage, acrylic, and resin on wood panel, 2002.

Fred Tomaselli, Fungi and Flowers (detail), leaves, photo collage, acrylic, and resin on wood panel, 2002.

Fred Tomaselli, Echo, Wow and Flutter, leaves, pills, photo collage, acrylic, and resin on wood panel, 2000.

Fred Tomaselli, Feb. 24, 2009 (detail), gouache and collage on printed watercolor paper, 2009.

Fred Tomaselli, Multiple Landscape, saccharin, acrylic, and resin on wood panel, 1995.

Fred Tomaselli, Multiple Landscape (detail), saccharin, acrylic, and resin on wood panel, 1995.

Fred Tomaselli, Toytopia (detail), photocollage, gouache, acrylic, and resin on wood panel, 1995.

Fred Tomaselli
8 October 2010 – 2 January 2011
Brooklyn Museum

“Abstract Expressionist New York” covers a period in time and a group of artists that have been important to me on a personal level for several decades. I thought hard about how I wanted to approach the exhibit and the advantages I hoped for by showing up in person to look at paintings that were already quite familiar. Somewhere in the Midwest, Nebraska or Iowa, I realized that I wanted to get close, I wanted to get a sense of texture from these masterworks. Here is a selection of details from pieces on the fourth floor. The camera got close enough to garner throat clearing from several guards but no paintings were injured.

Philip Guston, Edge of Town (detail), oil on canvas, 1969.

Jackson Pollock, White Light (detail), oil, enamel and aluminim paint on canvas, 1954.

Robert Motherwell, Pancho Villa, Dead and Alive (detail), cut-and-pasted printed and painted papers, wood veneer, gouache, oil and ink on board, 1943.

Willem de Kooning, Woman, I (detail), oil on canvas, 1954.

Arshile Gorky, Agony (detail), oil on canvas, 1947.

Lee Krasner, Untitled (detail), oil on composition board, 1949.

Ad Reinhardt, Number 43 (Abstract Painting, Yellow) (detail), oil on canvas, 1947.

Willem de Kooning, Painting (detail), enamel and oil on canvas, 1948.

Philip Guston, Painting (detail), oil on canvas, 1954.

Mark Rothko, No. 5/No. 24 (detail), oil on canvas, 1948.

Jackson Pollock, Gothic (detail), oil on canvas, 1944.

David Smith, Cubi X (detail), stainless steel, 1963.

Robert Motherwell, Elegy to the Spanish Republic, 108 (detail), oil on canvas, 1965-67.

Abstract Expressionist New York
3 October – 25 April 2010
MoMA
NYC

Chad Person, The Mayor Rests, vinyl, steel, electronics & mixed media, 2008.

The economic downturn has left most of the country feeling a little flat. A large inflated sign of power slumped in the corner might not make anything better but it can’t hurt. In trying times, change occurs and we’ll need to be ready. For his part, the artist has constructed an “apocalypse bunker” in New Mexico and has been appearing in the gallery from there via live video feed.

Chad Person, Improvised Double Barrel Shotgun, wood, steel pipe and fittings, glue and twine, 2010.

“Surviving the End of Your World,” is a display of repurposed goods. The halted commercial backdrop to these pieces exclaims a transformation of value and a new sense of what may constitute as raw material.

Chad Person, Twelvepack, US currency on canvas, 2010.

Chad Person
Surviving the End of Your World
10 July – 13 August 2010
Mark Moore Gallery
Santa Monica, CA

William S. Burroughs and Brion Gysin, The Third Mind, ink and typescript on paper, 1965.

An original Dreamachine is also on display. In 1961, Gysin along with Ian Somerville conceived the device that is intended to be viewed with closed eyes. The Dreamachine produces light that pulses at a frequency that stimulates alpha waves in the brain. Initial experiences conjure common symbols to roll through the mind’s eye. Consistent use over time has been known to invoke virtual three-dimensional spaces and trigger senses beyond vision. I built my first Dreamachine in 1994 and have used it occasionally over the years. Here is a link to an online simulation, please heed the warnings as the effect can elicit photosensitive epilepsy.

Bryon Gysin with Dreamachine at Musée des Art Décoratifs, Paris, 1962.

It is impossible to sum up the importance of this man, his art and collaborations in a few short paragraphs. This is why it is so important to get to the New Museum before October 3rd. We are going to be spending the Fall and Winter in New York and actually altered our plans so that we would be sure not to miss this long-deserved remembrance.

William S. Burroughs and Brion Gysin, The Third Mind, crayon, gelatin-silver prints, letterpress, offset lithography, and typescript on graph paper, 1965.

Brion Gysin
Dreamachine
7 July – 3 October 2010
New Museum
NYC

Debra Hampton, From Profit to Protection, magazine cut out, watercolor and ink on paper on board, 2009.

Our culture has for some time been sprinting toward a technological singularity. The imagery in “Twenty Paces” currently arouses parallels to science fiction but advances in robotics and artificial intelligence may make these pieces, with time, resemble fact.

The very real possibility of being confronted with “living” machines may be frightening but we have proven that we can become accustomed to the most unusual impacts progress has on society. Ten years ago, a person talking alone on a street corner would be cause for alarm. Today we may still check for the earpiece but it is assumed that the conversation is not a solitary exercise.

Debra Hampton, Suit of Armor #2, recyclable plastic containers and lids, glue, spray paint and clear glaze, 2010.

Recycling plays a strong part in the construction of all of Debra Hampton’s work regardless of media. “Suit of Armor” (above) literally gains it’s form from used but not forgotten plastic containers. The collage work recycles advertisements from magazines that adorn her figures with an activated consumerism that reminds the viewer of the future as well as a primitive past.

This is one of those exhibitions that I decided to cover a while back and have since had it recommended to my inbox many times from folks across the globe. Head over to Priska C. Juschka and find out what all the fuss is about for yourself.

Debra Hampton, Gold Rush, magazine cut out, watercolor and ink, 2008.

Debra Hampton
Twenty Paces
25 February – 3 April 2010
Priska C. Juschka Fine Art
NYC

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr Brainwash, Icons, NYC, 2010.

Mr. Brainwash
Icons
14 February – 31 March 2010
415 W. 13th Street
NYC

Deborah Oropallo, Randi, permanent pigment print on aluminum, 2009.

The source material for much of this content is salvaged from online sources for cowgirl costumes. These advertisements have been digitally manipulated and superimposed on familiar Old Western photographs and recent rodeo imagery. The diluted figures blend with the landscapes and take on a frenzy that incites dimensional illusion.

Deborah Oropallo, Drill Team, permanent pigment print on aluminum, 2009.

As is the case with viewing most artwork online, scale is lost on these stunning pieces. Some of the works measure nearly seven feet on their long side. At this size, the digital artifacts sear with a saturated color palette that demands attention from a substantial distance.

Deborah Oropallo, Medals, permanent pigment print on aluminum, 2009.

Deborah Oropallo
Wild Wild West Show
8 January – 6 March 2010
Scott White Contemporary Art
San Diego, CA