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.

Gillian Wearing, Me as Warhol in Drag with Scar, framed bromide print, 63 3/8 x 51 1/2 inches, 2010.

The work collected for this display includes video installations, photographs and sculptures. This diverse array blends seamlessly as the viewer is introduced to one acquaintance after the next.

Gillian Wearing, Gervais, painted bronze on plywood plinth , 15 1/2 x 4 7/8 x 6 3/4 inches, 2010.

Identity skates very thin ice in all of these works. In the shuffle, it can be easy to lose a sense of self when empathy takes root. You can’t hear it in these still images but words are the pure energy that ribbons through all of the media. The Art here is experiential, get to the gallery and make the breakthrough.

Gillian Wearing, Secrets and Lies, video for monitor with sound, 53 minutes, 16 seconds , 96 x 69 x 97 inches, 2009.

Gillian Wearing
People
5 May – 24 June 2011
Tanya Bonakdar Gallery
NYC

Anni Leppälä, Shirt (hand), pigment print on aluminum, 12 x 17″, 2010.

The recent imagery coming from Anni Leppälä has been carefully stripped of identity. These anonymous portraits are solemn investigations into the objectification of the body. The removal of distinguishable traits enables the viewer to commune with the models on a level that recalls personal experience more than an external voyeurism.

Anni Leppälä, Garden, c-print on aluminum, 24 x 33″, 2007.

An uneasy feeling rolls over those that witness these small scale photographs. The fragmented anatomy plays with our desire to complete. Our eye follows leading lines that cause the mind to exhaust contextual possibilities, for better or worse.

Leppälä is a member of the Helsinki School, a strong selection of young artists from the region that has gathered some attention through their collective. Be sure to click on the link and check out her comrades.

Anni Leppälä, Two Daughters (in a boat), pigment print on aluminum, 12 x 17″, 2010.

Anni Leppälä
1 April – 14 May 2011
Barbara Gross Galerie
Munich

Erwin Wurm, Big Coat, aluminum and paint, 88 x 32 x 25″, 2010.

The photographs and the sculptural elements both evoke an unnerving sensation as Wurm introduces chaotic touches that force adjustments to nearly universal perceptions. There is a sense of the artist waiting for these ideas to emerge over time. Simple moments of genius do not abound, they require patience and demand discipline. Erwin Wurm has been at this practice for some time and he keeps getting better.

Erwin Wurm, Untitled, c-print, 45 x 57″, 2009.

“I am Erwin Wurm” the title of this exhibit demonstrates the confidence in intellect that is required to produce these works. In an often dramatic and generally over sensitive “art universe” Wurm is one of the good guys that reminds us that the mind, his and yours, is a funny place.

Erwin Wurm, Idiot III, c-print, 36 x 29″, 2010.

Erwin Wurm
I am Erwin Wurm
11 March – 25 June 2011
Galleri Bo Bjerggaard
Copenhagen

Trevor Paglen, They Watch the Moon, c-print, 48 x 36″, 2010.

Paglen defines his interest with photography as the “practice of seeing with machines.” The directness of this approach has yielded some stunning results. Amplified vision and time sensitive visual representations offer impossible views of this world and beyond. Something unknown is always being seen with our new tools and this artist is marking the changes.

Trevor Paglen, Trevor Paglen – Artifacts (Spacecraft in Perpetual Geosynchronous Orbit, 35,786 km Above Equator) (Detail, part two of diptych), c-print, 50 x 40″, 2010.

The body of work in this exhibition has the camera turned inward and outward. We get to watch the watchers using the same dirty tricks we’ve come to expect. “Unhuman,” as represented in this context does not refer to a shortcoming of technology as it may have in the past. It’s a descriptor of the new found comfort level with our increased capabilities. For better and worse, it is a sign of what we have become.

Trevor Paglen, Reaper Drone (Indian Springs, NV Distance ~ 2 miles), c-print, 36 x 30″, 2010.

Trevor Paglen
Unhuman
10 February – 2 April 2011
Altman Siegel Gallery
San Francisco

Christopher Bucklow, Tetrarch 3:38 PM 8th October 2008, unique cibachrome print, 2008.

These life sized photograms (a process invented by Man Ray) are made in a four step process. First, the artist traces the shadow of his model onto a thin sheet of aluminum. The defined silhouette is then run through with small holes, one for each day that the subject has been alive. The metal is placed over a large sheet of photographic paper and exposed briefly to the sun.

Christopher Bucklow, Anima 7, unique cibachrome print, 2009.

The direct “negativeless” approach to photography may be in danger of disappearing along with other forms of the traditional chemical method. It’s nice to see that some artists still work within the medium and are achieving great results. These portraits capture something more than a shape, Bucklow references this in connecting the amount of light to the age of the sitter. The prints are limited to one each. The radiation sensitive material is exposed creating an image as unique as the person it captures.

Christopher Bucklow, Tetrarch 2:29 PM 8th October 2008, unique cibachrome print, 2008.

Christopher Bucklow
10 September – 23 October 2010
Danzinger Projects
NYC

The museum has pulled together more that 275 skateboards from some of the most impressive collections available. The exhibit houses skates, scooters and modern boards tracing the development of the technology through the decades.

The California Heritage Museum is located in Santa Monica, the birthplace of contemporary skateboarding. It was here, in Dogtown that the sport of short shorts and banana boards matured into the physical and visual expression that is now cherished internationally.

SKATEBOARD: Evolution & Art in California
14 November 2009 – 29 August 2010
California Heritage Museum
Santa Monica, CA

Michal Ronnen Safdie, SKR21, ultrachrome print, 2009.

Michal Ronnen Safdie is an accomplished photojournalist with some amazing recent coverage from Israel, Darfur and Rwanda. “Vapor Trails” represents the gallery work of this socially active photographer. Her forays into the art world tend to initiate from an interest in the visuals of semi-natural phenomena.

Michal Ronnen Safdie, SKR3, ultrachrome print, 2008.

Summer is an excellent time to take in these daily patterns of progressive commerce. Find someone nice and lay around in the grass or get out and see this show.

Michal Ronnen Safdie, SKR8, ultrachrome print, 2008.

Michal Ronnen Safdie
Vapor Trails
3 June – 30 July 2010
Andrea Meislin Gallery
NYC

Peter Bialobrzeski, Paradise Now Nr. 24, c-print, 2009.

The artist has skirted the edges of several large Asian cities documenting trees and plants that receive unnatural light from these urban areas. Some of the images have been left untouched while others have been digitally manipulated in post production with fantastic results.

Peter Bialobrzeski, Paradise Now Nr. 18, page 45 c-print, 2009.

Despite the futuristic allure exhibited in these works, Bialobrzeski clearly has environmental concerns. This work should be applauded for the reminder that without continued effort to change, this planet may be facing a dismal end.

Peter Bialobrzeski, Paradise Now Nr. 18, c-print, 2009.

Peter Bialobrzeski
Paradise Now
30 April – 26 June 2010
L.A. Galerie
Frankfurt, Germany

Kim Joon, Fragile-Dragon, digital print, 2010.

Kim Joon gained a passion for tattoos while inking the skin of his fellow soldiers years ago in the Korean army. The practice was and still remains an anathema in the eyes of his fellow countrymen.

Kim Joon, Fragile-Mermaid, digital print, 2010.

In the face of social convention, Joon saw an art form that allowed individuals to communicate something from within and literally wear their passions on their sleeve. With the aid of a three dimensional computer graphics program he constructs his intense compositions. Parts of bodies are intermingled with pattern derived from a combination of traditional design and contemporary commerce. Enticing shifts in scale are common in these fantastic yet familiar photographic realizations. Like many artists before him Kim Joon’s affection has risen from a place that had been kept from him.

Kim Joon, Cradle Song-Ferragamo, digital print, 2009.

Kim Joon
Tattoo and Taboo
8 April – 8 May 2010
Sundaram Tagore Gallery
Beverly Hills