Curatorial Work: Maxwell Wolf

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	<title>Curatorial Work: Maxwell Wolf</title>
	<link>https://newcanons.life</link>
	<description>Curatorial Work: Maxwell Wolf</description>
	<pubDate>Tue, 19 Aug 2025 21:17:22 +0000</pubDate>
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		<title>HOME EXHIBITION LINKS</title>
				
		<link>https://newcanons.life/HOME-EXHIBITION-LINKS</link>

		<pubDate>Thu, 28 Oct 2021 23:04:48 +0000</pubDate>

		<dc:creator>Curatorial Work: Maxwell Wolf</dc:creator>

		<guid isPermaLink="true">https://newcanons.life/HOME-EXHIBITION-LINKS</guid>

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  Maxwell Wolf&#38;nbsp;


&#60;img width="2133" height="3200" width_o="2133" height_o="3200" data-src="https://freight.cargo.site/t/original/i/e871531934b78df935a687470c8e027f263cc59b198357e98c28baa95357b4b1/justin-jonah.jpg" data-mid="127114830" border="0"  src="https://freight.cargo.site/w/1000/i/e871531934b78df935a687470c8e027f263cc59b198357e98c28baa95357b4b1/justin-jonah.jpg" /&#62;


Lee Brozgol: 1977–1981

  
    &#60;img src="https://freight.cargo.site/t/original/i/bb6230ba3993366883b7a997167633fb528402e5f8fb5ea6474ed6b98c99a308/11.jpg" style="width:100%;height:100%;object-fit:cover;" alt=""&#62;
  

    Tommy Malekoff: The Bluffs
  
  
    &#60;img src="https://freight.cargo.site/t/original/i/b73aa1d24a7523142393ea586c3d0e4302c52d61a0d148e52c36ce8cfaeba31e/MEDIUM_02-copy.jpg" style="width:100%;height:100%;object-fit:cover;" alt=""&#62;
  
  
    RAMMELLZEE: Gothic Futurism
  
  &#60;img width="1500" height="2424" width_o="1500" height_o="2424" data-src="https://freight.cargo.site/t/original/i/93cdee699143cb0c80de210813d2d7cb08ffd168e13095ab4443294bdd84b0dc/rammellzee_invite_101322-email.jpeg" data-mid="159999767" border="0"  src="https://freight.cargo.site/w/1000/i/93cdee699143cb0c80de210813d2d7cb08ffd168e13095ab4443294bdd84b0dc/rammellzee_invite_101322-email.jpeg" /&#62;
  

    BUILT: Akeem Smith, Tommy Malekoff
  
  &#60;img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/2399b29efc4b16debda8f66d90b540ec35eb842bd44be614236ac9372ef4ec23/221005_KaJu_Brutus-218-copy.jpg" data-mid="159888350" border="0"  src="https://freight.cargo.site/w/1000/i/2399b29efc4b16debda8f66d90b540ec35eb842bd44be614236ac9372ef4ec23/221005_KaJu_Brutus-218-copy.jpg" /&#62;
  

    Forever and Forever
  
  &#60;img width="3949" height="2431" width_o="3949" height_o="2431" data-src="https://freight.cargo.site/t/original/i/4e623435e2125641303386444657804418e33523a41aa1b5e88a58941b6599ec/FandFInstall-Shot.JPG" data-mid="141890832" border="0"  src="https://freight.cargo.site/w/1000/i/4e623435e2125641303386444657804418e33523a41aa1b5e88a58941b6599ec/FandFInstall-Shot.JPG" /&#62;
  

    Ransomc Notes
  
  &#60;img width="3840" height="5304" width_o="3840" height_o="5304" data-src="https://freight.cargo.site/t/original/i/7740004fb7400723a4ccf38529213200854a181de130d5c10fd392fbc6662ec5/gargoylian_verso_UV_crop.JPG" data-mid="161772897" border="0"  src="https://freight.cargo.site/w/1000/i/7740004fb7400723a4ccf38529213200854a181de130d5c10fd392fbc6662ec5/gargoylian_verso_UV_crop.JPG" /&#62;
  

  Tube Strange
  &#60;img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/cd08c39ac679e534f59a83aeaf27569ffd875121d67034e9c4397047d8deb4f6/2021_09_18_New_Canons_0031_v2.jpg" data-mid="123074537" border="0"  src="https://freight.cargo.site/w/1000/i/cd08c39ac679e534f59a83aeaf27569ffd875121d67034e9c4397047d8deb4f6/2021_09_18_New_Canons_0031_v2.jpg" /&#62;
  

  Ken Nevadomi: Selected Works
  &#60;img width="3189" height="2582" width_o="3189" height_o="2582" data-src="https://freight.cargo.site/t/original/i/57d0dbf645b57ed4abcf23147f5f029a1a1984ae15814084412c10d0a809da10/Naugahyde-Romance_1980.jpeg" data-mid="122996102" border="0"  src="https://freight.cargo.site/w/1000/i/57d0dbf645b57ed4abcf23147f5f029a1a1984ae15814084412c10d0a809da10/Naugahyde-Romance_1980.jpeg" /&#62;
  

  SOURSOP
  &#60;img width="2668" height="2001" width_o="2668" height_o="2001" data-src="https://freight.cargo.site/t/original/i/a4480f0b78d7927449a3e39969f32a29256afa628267e8ef0380a0e6eca92b60/DL_04-18-2021_Akeem-Smith_0009small.jpg" data-mid="123345152" border="0"  src="https://freight.cargo.site/w/1000/i/a4480f0b78d7927449a3e39969f32a29256afa628267e8ef0380a0e6eca92b60/DL_04-18-2021_Akeem-Smith_0009small.jpg" /&#62;
  

  Akeem Smith: No Gyal Can Test Detroit
  &#60;img width="2320" height="1740" width_o="2320" height_o="1740" data-src="https://freight.cargo.site/t/original/i/e1a105fed36a41316af83a85e734914f5b1ddd47eadb7c39e1dac8d954230929/DL_04-18-2021_Akeem-Smith_0254small.jpg" data-mid="123345086" border="0"  src="https://freight.cargo.site/w/1000/i/e1a105fed36a41316af83a85e734914f5b1ddd47eadb7c39e1dac8d954230929/DL_04-18-2021_Akeem-Smith_0254small.jpg" /&#62;
  

  Akeem Smith: No Gyal Can Test New York
  &#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/7d90f450ad729d862955ab65760575ce50d84f306c75f487daf7ce47775d165c/DL_09-24-2020_Akeem-Smith_0119.jpeg" data-mid="123344701" border="0"  src="https://freight.cargo.site/w/1000/i/7d90f450ad729d862955ab65760575ce50d84f306c75f487daf7ce47775d165c/DL_09-24-2020_Akeem-Smith_0119.jpeg" /&#62;
  

  Dovecote
  &#60;img width="6192" height="4128" width_o="6192" height_o="4128" data-src="https://freight.cargo.site/t/original/i/bf14f211c86c88ef949efe1c86b958a4df43d19d2b3619096d67d90cd44209d1/VT_200302_NoGyalCanTest_28.jpg" data-mid="123341856" border="0"  src="https://freight.cargo.site/w/1000/i/bf14f211c86c88ef949efe1c86b958a4df43d19d2b3619096d67d90cd44209d1/VT_200302_NoGyalCanTest_28.jpg" /&#62;
  

  Free Sale
  &#60;img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/7f217d6a133b60f58e62740f01ccab6809b0ba250e6c8be8afdd2f615168c053/RED_BULL_GA_00015919_3_GRAIN.jpg" data-mid="123344729" border="0"  src="https://freight.cargo.site/w/1000/i/7f217d6a133b60f58e62740f01ccab6809b0ba250e6c8be8afdd2f615168c053/RED_BULL_GA_00015919_3_GRAIN.jpg" /&#62;
  

  Gretchen Bender: So Much Deathless
  &#60;img width="5600" height="8400" width_o="5600" height_o="8400" data-src="https://freight.cargo.site/t/original/i/0c8fce2e1337e90fa2b2e236ef5cf1465b6818bbfc54c5008634652a6bbaf745/LB_20190306_SO_MUCH_DEATHLESS_0016.jpg" data-mid="129408695" border="0"  src="https://freight.cargo.site/w/1000/i/0c8fce2e1337e90fa2b2e236ef5cf1465b6818bbfc54c5008634652a6bbaf745/LB_20190306_SO_MUCH_DEATHLESS_0016.jpg" /&#62;
  

  RAMM:ELL:ZEE: Racing For Thunder
  &#60;img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/747ed9439df0b049961397bcc1125e756e53f4381fc03eafb01a44bde0b4341d/Tullo_RedBull_Rammellzee-43.jpg" data-mid="162375693" border="0"  src="https://freight.cargo.site/w/1000/i/747ed9439df0b049961397bcc1125e756e53f4381fc03eafb01a44bde0b4341d/Tullo_RedBull_Rammellzee-43.jpg" /&#62;
  

  The Bell Mannahatta
  &#60;img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/7e3dc446149a8c29a68aacbb6907d1861d936d82a30307fc302706398098a772/DR_030918_RED_BULL_ARTS_NYC_ERIC_WESLEY_018.jpg" data-mid="123341746" border="0"  src="https://freight.cargo.site/w/1000/i/7e3dc446149a8c29a68aacbb6907d1861d936d82a30307fc302706398098a772/DR_030918_RED_BULL_ARTS_NYC_ERIC_WESLEY_018.jpg" /&#62;
  

  Cloud of Petals
  &#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/5f7d26d059a976d5745e3796a37de7e9f010ee305a45181a18fabc0846422097/meyohas-2.jpeg" data-mid="123342078" border="0"  src="https://freight.cargo.site/w/1000/i/5f7d26d059a976d5745e3796a37de7e9f010ee305a45181a18fabc0846422097/meyohas-2.jpeg" /&#62;
  

  From Dada to Ta-Da!
  &#60;img width="785" height="1046" width_o="785" height_o="1046" data-src="https://freight.cargo.site/t/original/i/4589298d9a023fdf3a24ca03f92ffb414281da4ad56d126ce3af5e351812a874/lloydcorp.jpg" data-mid="123343287" border="0"  src="https://freight.cargo.site/w/785/i/4589298d9a023fdf3a24ca03f92ffb414281da4ad56d126ce3af5e351812a874/lloydcorp.jpg" /&#62;
  

  Ugo Rondinone: I ♥ John Giorno
  &#60;img width="3200" height="2133" width_o="3200" height_o="2133" data-src="https://freight.cargo.site/t/original/i/0b8e977222272ccf271797554b0f466db49a48d577f33a193f18391181f0e8d6/GiornoPoetryMArathon.jpg" data-mid="123344594" border="0"  src="https://freight.cargo.site/w/1000/i/0b8e977222272ccf271797554b0f466db49a48d577f33a193f18391181f0e8d6/GiornoPoetryMArathon.jpg" /&#62;
  

  The Casual Pleasure of Disappointment
  &#60;img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/9b1c0b4c8360f438b982191c0f5722ffaf373762f032f2548eb1213a3fc04730/AH_2017-02-15_8114_Edit.jpg" data-mid="123453967" border="0"  src="https://freight.cargo.site/w/1000/i/9b1c0b4c8360f438b982191c0f5722ffaf373762f032f2548eb1213a3fc04730/AH_2017-02-15_8114_Edit.jpg" /&#62;
  

  Total Proof: The Gala Comittee 1995-1997
  &#60;img width="3200" height="2133" width_o="3200" height_o="2133" data-src="https://freight.cargo.site/t/original/i/67b30184414964d3c05443f03929de4b0fc7dc95b7abc2f3e24dfd82fc11e5db/AP-1PZJMZD3W2111_news.jpg" data-mid="123343844" border="0"  src="https://freight.cargo.site/w/1000/i/67b30184414964d3c05443f03929de4b0fc7dc95b7abc2f3e24dfd82fc11e5db/AP-1PZJMZD3W2111_news.jpg" /&#62;
  

  We All Love Your Life
  &#60;img width="8688" height="5792" width_o="8688" height_o="5792" data-src="https://freight.cargo.site/t/original/i/a658856d45b446389e21e6ae5d8f00a3bf09c44bef087954e23bd48700cfab76/LB_20160609_Red-Bull-Studios-New-York-2016-We-All-Love-Your-Life_0008.jpg" data-mid="123343870" border="0"  src="https://freight.cargo.site/w/1000/i/a658856d45b446389e21e6ae5d8f00a3bf09c44bef087954e23bd48700cfab76/LB_20160609_Red-Bull-Studios-New-York-2016-We-All-Love-Your-Life_0008.jpg" /&#62;
  

  BIO:DIP
  &#60;img width="1891" height="1047" width_o="1891" height_o="1047" data-src="https://freight.cargo.site/t/original/i/713e62300c73b7459ad9b0a2db129b74f4ed7d0714b24710cccc52d79cfb89d5/Screen-Shot-2021-11-02-at-1.22.45-AM.jpg" data-mid="123344018" border="0"  src="https://freight.cargo.site/w/1000/i/713e62300c73b7459ad9b0a2db129b74f4ed7d0714b24710cccc52d79cfb89d5/Screen-Shot-2021-11-02-at-1.22.45-AM.jpg" /&#62;
  

  Scenario in the Shade
  &#60;img width="3200" height="2136" width_o="3200" height_o="2136" data-src="https://freight.cargo.site/t/original/i/44a8a78f2bd4f494d06f2c11c66933d1f54cea5884f793b7d29bdc768c790b27/AP-1JYH8YT8H2111_news.jpg" data-mid="123344105" border="0"  src="https://freight.cargo.site/w/1000/i/44a8a78f2bd4f494d06f2c11c66933d1f54cea5884f793b7d29bdc768c790b27/AP-1JYH8YT8H2111_news.jpg" /&#62;
  

  Alone Together
  &#60;img width="3200" height="2130" width_o="3200" height_o="2130" data-src="https://freight.cargo.site/t/original/i/a16e0abf46f4df85566645f8ec0e63fbebbe9d140a51f08705e23a9e99036542/AP-1GVTC6XKN2111_news.jpg" data-mid="123344172" border="0"  src="https://freight.cargo.site/w/1000/i/a16e0abf46f4df85566645f8ec0e63fbebbe9d140a51f08705e23a9e99036542/AP-1GVTC6XKN2111_news.jpg" /&#62;
  

  Living
  &#60;img width="3200" height="2135" width_o="3200" height_o="2135" data-src="https://freight.cargo.site/t/original/i/8f62faf300abafd16a3e0d97e09d4d9af38da353b6e0a55a94cb738df5bb99ca/1403045000798-268072782_news.jpg" data-mid="123344247" border="0"  src="https://freight.cargo.site/w/1000/i/8f62faf300abafd16a3e0d97e09d4d9af38da353b6e0a55a94cb738df5bb99ca/1403045000798-268072782_news.jpg" /&#62;
  

  Whalecum Pictures
  &#60;img width="2200" height="1464" width_o="2200" height_o="1464" data-src="https://freight.cargo.site/t/original/i/90ae51bce5bcaa82d465f4e1be1defa46490a428568a06c9b0889176d46e16dd/whalecum.jpeg" data-mid="123344337" border="0"  src="https://freight.cargo.site/w/1000/i/90ae51bce5bcaa82d465f4e1be1defa46490a428568a06c9b0889176d46e16dd/whalecum.jpeg" /&#62;
  

  DISown: Not For Everyone

  &#60;img width="3200" height="2135" width_o="3200" height_o="2135" data-src="https://freight.cargo.site/t/original/i/3acab86ea16c717b693537e47a4b27f6337636970b5c696be9014905d75c8ec8/1394189076072-449028518_news.jpg" data-mid="123344439" border="0"  src="https://freight.cargo.site/w/1000/i/3acab86ea16c717b693537e47a4b27f6337636970b5c696be9014905d75c8ec8/1394189076072-449028518_news.jpg" /&#62;
  

  Bric-a-brac
  &#60;img width="3200" height="2135" width_o="3200" height_o="2135" data-src="https://freight.cargo.site/t/original/i/2b9f82c2e02aa237ecafca83bbe5ab29289241a5ec99c3f5265c01d04127d3ad/AP-1NJAGVWPW1W11_news.jpg" data-mid="123344825" border="0"  src="https://freight.cargo.site/w/1000/i/2b9f82c2e02aa237ecafca83bbe5ab29289241a5ec99c3f5265c01d04127d3ad/AP-1NJAGVWPW1W11_news.jpg" /&#62;
  

    &#60;img src="https://freight.cargo.site/t/original/i/bb6230ba3993366883b7a997167633fb528402e5f8fb5ea6474ed6b98c99a308/11.jpg" alt="Lee Brozgol: 1977–1981"&#62;
  

    &#60;img src="https://freight.cargo.site/t/original/i/b73aa1d24a7523142393ea586c3d0e4302c52d61a0d148e52c36ce8cfaeba31e/MEDIUM_02-copy.jpg" alt="The Bluffs"&#62;
  

  &#60;img width="1500" height="2424" width_o="1500" height_o="2424" data-src="https://freight.cargo.site/t/original/i/93cdee699143cb0c80de210813d2d7cb08ffd168e13095ab4443294bdd84b0dc/rammellzee_invite_101322-email.jpeg" data-mid="159999767" border="0"  src="https://freight.cargo.site/w/1000/i/93cdee699143cb0c80de210813d2d7cb08ffd168e13095ab4443294bdd84b0dc/rammellzee_invite_101322-email.jpeg" /&#62;
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	<item>
		<title>Lee Brozgol 1977--1981</title>
				
		<link>https://newcanons.life/Lee-Brozgol-1977-1981</link>

		<pubDate>Tue, 19 Aug 2025 21:17:22 +0000</pubDate>

		<dc:creator>Curatorial Work: Maxwell Wolf</dc:creator>

		<guid isPermaLink="true">https://newcanons.life/Lee-Brozgol-1977-1981</guid>

		<description>&#60;img width="8485" height="6061" width_o="8485" height_o="6061" data-src="https://freight.cargo.site/t/original/i/e595394a15c9b84e7d68b358be0115ca86f50bad9a79e60c65b4bffff1c07bb9/11.jpg" data-mid="237202957" border="0"  src="https://freight.cargo.site/w/1000/i/e595394a15c9b84e7d68b358be0115ca86f50bad9a79e60c65b4bffff1c07bb9/11.jpg" /&#62;

LEE BROZGOL 1977—1981

June 29—Weds-Sunday 12–7pm, 2025
150 Barrow Street (corner of West Side highway)

LEE BROZGOL 1977–1981 brings together seven previously unseen paintings from an incandescent early chapter in the late artist’s practice. Made between 1977 and 1981, these works chart a vanished New York—erotic and violent, sacred and profane—across personal and mythic registers. Installed inside the former Keller Hotel—once home to Keller’s, the city’s oldest leather bar—the presentation unfolds in dialogue with the long-erased Christopher Street Piers, Manhattan’s queer sanctuary just beyond these walls. Like the piers, the Keller was a space suspended between use and abandonment—a station for bodies passing through, lingering, disappearing.

Brozgol’s canvases do not witness; they stage. He resurrected dreamworlds the way some build altars: obsessively, piece by piece. These are not confessions but controlled hallucinations—myths of ruin and desire, rendered with an exacting hand. His figures revel, rot, and collapse beneath lights he alone controls.

In FUCK ANY HOT ASS TODAY (1980), Brozgol stages a period tableau of queer ecstasy amid the filth and faded grandeur of the Christopher Street Piers—sacred ground he walked and photographed—where men gathered in intimacy and disappeared into collapse. At its center, bathed in a sacred light, a wilted cruciform figure is suspended mid-release: arms slack, ropes taut. A forensic image of a vanished world, refracted through a surreal, cartoonish lens. Graffiti scrawled across ruined walls gives the work its name. Painted on the heels of a free and libidinal decade, as the contours of the AIDS epidemic began to sharpen, the work carries a hushed, haunting prescience—a terminal vision rendered in devotion. A world without salvation. Release without rescue. Ecstasy edged by erasure.

Café Society (1981), painted the year Brozgol married and would soon become a father, is the final work in this arc—a curtain call of sorts. Here, for the first time, he renders himself as maître d’, quietly orchestrating a scene of social performance. A man trying on the costume of belonging, of public life, of normalcy—while directing the scene from the wings.

If Brozgol ever returned to the piers after 1981, it is undocumented.

He left few declarations, only traces:

In my personal life, I am married and I am a father.Culturally, I am a Jew; religiously, I am not.Professionally, in addition to being an artist I am a licensed clinical social worker.


----

Lee Brozgol 1977-1981 is presented by New Canons, in collaboration with Foreign &#38;amp; Domestic and the estate of Lee Brozgol.

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</description>
		
	</item>
		
		
	<item>
		<title>The Bluffs</title>
				
		<link>https://newcanons.life/The-Bluffs</link>

		<pubDate>Tue, 19 Aug 2025 20:16:50 +0000</pubDate>

		<dc:creator>Curatorial Work: Maxwell Wolf</dc:creator>

		<guid isPermaLink="true">https://newcanons.life/The-Bluffs</guid>

		<description>
&#60;img width="4500" height="3001" width_o="4500" height_o="3001" data-src="https://freight.cargo.site/t/original/i/a81fd82b079675823582bb8f37aefd68da6c510d7be71d1a58efb21000427837/TIGHT_01-copy.jpg" data-mid="237202102" border="0"  src="https://freight.cargo.site/w/1000/i/a81fd82b079675823582bb8f37aefd68da6c510d7be71d1a58efb21000427837/TIGHT_01-copy.jpg" /&#62;
Tommy Malekoff
The Bluffs 

February 4–10, 2025
Cordoba 23a, Roma Norte, Mexico City


Tommy Malekoff’s new two-channel video, The Bluffs, looks at three American cities, all of which have a complicated history of decline after showing signs of potential growth and prosperity. These places also share a common feature of their urban landscapes - an isolated architectural structure in the skyline that looms like an incongruous icon of forgotten promise. Widely regarded as eyesores by the public, the landmarks glow unnaturally in the video, suggesting an unearthly power or spiritual energy. Furthering the sense of unreality and confusing the continuity of the landscape, the three buildings were composited in certain shots to appear in places where they don’t actually exist. 

Inspired by the imaginary landscape of Frederic Edwin Church’s 1873 painting Syria by the Sea, which melds Roman, Islamic and European elements, Malekoff evokes a fictional place of disparate architectural styles, seemingly caught between decay and resurrection. Pillars are a recurring motif, signaling either an erosion of the built environment back to its foundation, or the start of a new cycle of construction. Shot almost entirely at night or twilight, many scenes evoke a sense of foreboding, underscored by base tones of the soundtrack. Anonymous figures navigate the dark environments surrounding the skyscrapers with handheld spotlights as if to decipher a lost sense of purpose or progress.&#38;nbsp; Even among abandoned and deteriorating relics of past industry, the wonder of discovery persists. 

The three cities in The Bluffs - Detroit, MI, Memphis, TN, Galveston,TX - are all located on water, a liminal space and an untamed elemental force. The water’s depths are eternal, but reflections from illuminated speedboats and mysterious light beams free the imagination to envision new future realities. In an exhilarating scene, luminescent dolphins breach the water, accompanied by soaring electronic chords, perhaps beckoning the unappreciated icons and their cities to unmoor and float toward a future Atlantis.

The Bluffs features original music by Rafael Anton Irisarri. Additional sound design by Joe Williams. Visual effects by Zahid Jiwa.
The Bluffs, 2024 4k video and sound 7:37 min, continuous loop
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	<item>
		<title>about</title>
				
		<link>https://newcanons.life/about</link>

		<pubDate>Thu, 28 Oct 2021 23:04:59 +0000</pubDate>

		<dc:creator>Curatorial Work: Maxwell Wolf</dc:creator>

		<guid isPermaLink="true">https://newcanons.life/about</guid>

		<description>


 Maxwell Wolf is an independent curator based in New York City. 
In 2013, he founded Red Bull Arts, where he was the Director and Chief Curator through 2021. In 2021 Wolf formed&#38;nbsp;New Canons, a site-specific curatorial program and consultancy.

for all inquiries:info@newcanons.com

@maxeswithwolves@newcanons


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	<item>
		<title>RAMMELLZEE GF</title>
				
		<link>https://newcanons.life/RAMMELLZEE-GF</link>

		<pubDate>Tue, 22 Nov 2022 22:10:13 +0000</pubDate>

		<dc:creator>Curatorial Work: Maxwell Wolf</dc:creator>

		<guid isPermaLink="true">https://newcanons.life/RAMMELLZEE-GF</guid>

		<description>&#60;img width="1500" height="2424" width_o="1500" height_o="2424" data-src="https://freight.cargo.site/t/original/i/86a120616b199d0f06f26a72c3cdcd0b8fae2ada485f351d2ae212b57776d357/rammellzee_invite_101322-email.jpeg" data-mid="159894147" border="0"  src="https://freight.cargo.site/w/1000/i/86a120616b199d0f06f26a72c3cdcd0b8fae2ada485f351d2ae212b57776d357/rammellzee_invite_101322-email.jpeg" /&#62;
	
RAMM:ELL:ZEE
Gothic Futurism


	November 5 - January 14, 2022/23Jeffrey DeitchN. Orange Drive, Los Angeles
	
	
	The immersive world of the polyhedric graffiti writer, visual artist, musician, lyricist, performer, fashion designer, innovator and philosopher Rammellzee lands in Los Angeles this November. The exhibition surveys his oeuvre from his graffiti beginnings on the A train in the mid-1970s to his fine arts and performance practice developed over the following three decades.
A true iconoclast, Rammellzee committed to his thinking and art-making with an approach that was simultaneously programmatic and shamanic. His esoteric manifestos encompassed philology and astrophysics and drew inspiration from contemporary sensibility and medieval history alike. One of Rammellzee’s obsessions was a story about medieval monks who developed lettering so ornate to be deemed unreadable by the higher ranks of the clergy and eventually got banned. In his vision, this story was proof of the subversive, anti-establishment potential of lettering. It illuminated the path similarly undertaken by graffiti artists, who by rendering a name mysterious and unrecognizable, could liberate language from its intrinsic power structures. This was the birth of Rammellzee’s philosophy, “Gothic Futurism,” and the artistic approach known as “Ikonoklast Panzerism.”
The weaponized letters of the alphabet were, for Rammellzee, the inspiration for a fleet of spacecrafts for letter racing and galactic battles in a postapocalyptic sci-fi fantasy. Quintessentially DIY and yet futuristic, the sculptural sets of the Letter Racers are on view at the gallery. They exemplify one of the aspects at the core of Rammellzee’s method: playing with metaphysical concepts in the physical world.
Part of a generation that grew up during New York City’s infamous financial and infrastructure crisis, Rammellzee captured the decaying and lawless reality of the streets of Manhattan in thick layers of epoxy resin. Repurposed objects and trash became inventive tools to assemble and create not only his Letter Racers but also several constructed sculptures, painterly assemblages and garments for his performances. By the early 1990s, Rammellzee had originated an Olympus of characters and alter egos made real through costumes, paintings and constructed sculptures. He would embody the Garbage Gods in their full-body suits of armor, some of which weighed more than a hundred pounds. The most paramount character, The Gasholeer, was even outfitted with a flamethrower.
Rammellzee was the embodiment of his art and theories. At times contradictory and polarizing, he could enrage and amuse at the same time. The magnetism of his inscrutable theoretical monologues can be perceived to this date. The critic Carlo McCormick poignantly remarked in an Artforum review from 1987: “Rammellzee’s art incorporates so much scientific, military, and linguistic information that it is hard not to dismiss his confusing techno-poetry as self-indulgent babble. Conversely, however, Rammellzee’s innate sense of lyricism gives his mannered, mathematical prose a quality that draws one in, and the seamlessness of his conceptual invention leads one to wonder whether the meaning is indeed decipherable and whether perhaps it is only our ignorance that makes it sound like gibberish.”
Rammellzee was born in Far Rockaway, Queens, in 1960 to parents of Italian and African American descent. In 1979, at nineteen, he legally changed his name to the equation RAMM:ELL:ZEE. Since the 1980s, his work has been exhibited in galleries and museums and supported by international collectors. As a musician, Rammellzee invented a nasal rap style known as “gangsta duck,” influential to artists such as the Beastie Boys and Cypress Hill. He appeared in Charlie Ahearn’s iconic film Wild Style (1982), and his 1983 song “Beat Bop”—produced and with a cover design by Jean-Michel Basquiat—was featured prominently in Henry Chalfant and Tony Silver’s documentary Style Wars (1983). In the early 2000s, Rammellzee’s Garbage Gods and his fleets of Letter Racers settled in his TriBeCa loft, known as the “Battle Station,” which he barely left towards the end of his life. Rammellzee died in 2010 at the age of forty-nine. His birth name remains a mystery even to some of his closest friends.
In 1979, Rammellzee met the graffiti artist A-One at an evening class at FIT. A-One introduced him to the “Mitchell Crew,” the group of graffiti artists with whom he painted walls and trains. The crew was named after the housing project in the South Bronx where the members lived at the time: A-One on the eighth floor, Kool Koor on the second floor, and Toxic across the street. The connection with Rammellzee was immediate and these artists joined him to become part of TMK (Tag Master Killers), the graffiti crew he founded. “TMK was about defending the letter,” says artist Kool Koor. To become a member of TMK, artists had to prove their talent by executing a letter of the alphabet based on Rammellzee’s Ikonoklast Panzerism. Each artist responded to the task of arming the letter in their personal style: Toxic’s was more abstract, A-One’s figurative, and Kool Koor’s architectural. Gothic Futurism at Jeffrey Deitch features a gallery curated by the artist Kool Koor documenting the work of TMK and the individual universe of each artist.
Jeffrey Deitch met Rammellzee in 1980 and maintained a dialogue with him for many years. He was with Rammellzee and Jean-Michel Basquiat in Los Angeles in 1983 when Basquiat painted his iconic work Hollywood Africans featuring a self-portrait and portraits of the artist Toxic and Rammellzee. Deitch and Rammellzee spent several years planning a gallery exhibition, but the project was never realized. After the artist’s death, Deitch recreated the “Battle Station” in collaboration with the artist’s wife Carmela in his 2011 Art in the Streets exhibition at the Museum of Contemporary Art, Los Angeles. Gothic Futurism is Jeffrey Deitch’s first gallery exhibition in partnership with the Estate of Rammellzee. In loving memory of Carmela Zagari Rammellzee.
Curatorial coordination: Viola Angiolini, Director of Research and Curatorial ProjectsCuratorial advisors: Kool Koor, Max Wolf
Image: Rammellzee, The Gasholeer (ca. 1987–98). Photo: Per Zennstrom


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	<item>
		<title>BUILT</title>
				
		<link>https://newcanons.life/BUILT</link>

		<pubDate>Tue, 22 Nov 2022 20:22:07 +0000</pubDate>

		<dc:creator>Curatorial Work: Maxwell Wolf</dc:creator>

		<guid isPermaLink="true">https://newcanons.life/BUILT</guid>

		<description>&#60;img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/d05233492a1b3a19c6e87641390465a5ab14e3edf7d1abab7bfe479c96aa4eb5/221005_KaJu_Brutus-204-copy.jpg" data-mid="159887243" border="0"  src="https://freight.cargo.site/w/1000/i/d05233492a1b3a19c6e87641390465a5ab14e3edf7d1abab7bfe479c96aa4eb5/221005_KaJu_Brutus-204-copy.jpg" /&#62;
	

BUILTAkeem Smith, Tommy Malekoff

	October 6 - January 7, 2022/23
BRUTUS
Rotterdam, NL
	
	
	Everything that is created will sooner or later collapse, crumble and cease to exist. The products of creative power, such as the solar system or social systems, are by definition temporary, yet they can bring about lasting changes in the natural environment, people's lives, and inform the ways we engineer and reengineer history. In BUILT, American artists Akeem Smith and Tommy Malekoff draw on divergent methods to explore how the body and the built environment contend with brutality and impermanence. 
Curated by New Canons’ Maxwell Wolf, the exhibition silhouettes two installations by the artists whose practices bend the boundaries of video art and blur the distinction between artist, archivist and documentarian. Whereas memory and material, like faith and infrastructure, are inherently subject to deterioration, Smith and Malekoff evoke new epochs, fueling the potential of what can arise amidst all that remains in the void thereafter.
The works in BUILT&#38;nbsp; travel from two critically acclaimed presentations originally organized by Wolf: Smith's breakout show No Gyal Can Test (New York 2020, Detroit 2021), which earned him glowing praise in Artforum, Frieze, Garage, W, NYT Style and The New York Times, and Malekoff’s largest project to date, Forever and Forever, an immersive video installation, mounted this past Spring in an abandoned space in the bowels of Rockefeller Center in Manhattan - an experience The New York Times compared to "channel surfing the apocalypse”. 
For his presentation at BRUTUS, Queens Street (2020), Smith enlists archival material, and salvaged architectural remnants transplanted from his hometown of Kingston Jamaica. The video installation harvests artifacts from the past to confront the legacy of the artist’s own enduring memory; an exercise of beguiling oblivion, woven within a larger lyrical homage to the women that raised him.
 In Malekoff’s imposing multi-channel video work Forever and Forever (2022), the artist maps the present impact of human intervention throughout the American landscape. The work features footage the artist captured over two years in the Everglades region of southern Florida. By moving past the morality of ecological decay, the artist illuminates an alternate vista that fluctuates seamlessly between extreme beauty and decimation.


&#60;img width="3318" height="2211" width_o="3318" height_o="2211" data-src="https://freight.cargo.site/t/original/i/87e10056984a6a8113b96c1252dc1c742c3411b3d42f93c095fd8122d7a92aa8/221005_KaJu_Brutus-177-copy.jpg" data-mid="159887278" border="0"  src="https://freight.cargo.site/w/1000/i/87e10056984a6a8113b96c1252dc1c742c3411b3d42f93c095fd8122d7a92aa8/221005_KaJu_Brutus-177-copy.jpg" /&#62;Tommy Malekoff, Forever and Forever, 2022
Multichannel video. Duration 18:28 on infinite loop. Score by Joe Williams
Edition of 5

 
Tommy Malekoff’s practice, which exists almost entirely in the outdoors, is an ongoing, poetic meditation on human intervention within the built environment and the natural world. At BRUTUS, we see the artist's most sobering and confrontational work on the subject to date, entitled Forever and Forever. Set to an ominous and hypnotic score, the multichannel video installation consists of six monolithic video screens mounted like an impenetrable fortress. 

The work features footage that the artist captured, often with consumer grade equipment, over two years in the Everglades region of southern Florida; a wilderness both raw and primordial but with visible traces of humanity everywhere. Sugar cane fields burn for miles, exotic banyan trees loom like dinosaurs on the landscape, and the habitat of manatees is heated by wastewater from coal-fired power plants. Perversely enough, all of this decimation can be experienced as a touristic spectacle. By orienting the installation in the round, Malekoff sets the viewer into orbit around the illuminated mass, mirroring the infinite loop of the videos, and underscoring the conveyor belt of time.

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Akeem Smith, Queens Street, 2020
Single-channel video, salvaged building material and fabric, breeze blocks, wood. Score by Ashland Mines
Edition of 3

Akeem Smith (1991) made his debut as an artist two years ago with the landmark exhibition No Gyal Can Test - a deeply personal project that navigates the artist’s experience growing up between New York and Jamaica from the 1980s through y2k. This body of work centers on a vast archive of photographs and VHS video tapes entrusted to him by family, friends, and key figures from the dancehall community over the past decade. Smith recuperates the archival material, ensconcing it within various forms, recomposed from architectural remnants that he has salvaged and transported from Jamaica to his studio.

In Queens Street 2020, an architectural video installation from this larger body of work, Smith navigates themes of consumerism, social mobility, racism, and the ephemeral state of collective memory. By constructing a monumental reliquary reminiscent of buildings found across Kingston’s inner city, the artist encloses this corroding testament within the material landscape of corrugated zinc, tarp, repurposed wood, and breeze blocks from which they came. The footage in the video features original designs made by OUCH - the legendary atelier and six-woman fashion collective led by Smith’s grandmother - in a morning news program called Morning Time from 1994, as well as their runway debut at the Pegasus Hotel in 1995. These events are some of the artist’s earliest childhood memories. With the help of Ashland Mines, who composed the video’s mesmerizing score, Smith conducts a sluggish, out-of-body overture that venerates the women of his youth and summons the ethereal consistency and inevitable betrayal of memory.

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	<item>
		<title>Forever and Forever</title>
				
		<link>https://newcanons.life/Forever-and-Forever</link>

		<pubDate>Fri, 06 May 2022 23:25:33 +0000</pubDate>

		<dc:creator>Curatorial Work: Maxwell Wolf</dc:creator>

		<guid isPermaLink="true">https://newcanons.life/Forever-and-Forever</guid>

		<description>&#60;img width="3949" height="2431" width_o="3949" height_o="2431" data-src="https://freight.cargo.site/t/original/i/bedec83f093684aac272189d1d643b9fe762e057516c8d544b6e944e5ebfd205/FandFInstall-Shot.JPG" data-mid="141890556" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/bedec83f093684aac272189d1d643b9fe762e057516c8d544b6e944e5ebfd205/FandFInstall-Shot.JPG" /&#62;
	
Forever and Forever
 Tommy Malekoff


	April 22 - May 27, 2022
New Canons&#38;nbsp; &#38;nbsp; 630 5th avenue, Ny NY


	Virtual Tour
	Selected Press:
New York Times


New Canons presents Forever and Forever, a new site-specific video installation by artist Tommy Malekoff. The multi-channel work features footage the artist shot in the Everglades region of Southern Florida over the past two years. Focusing on an inhospitable terrain teeming with development, agriculture and tourism, Forever and Forever sidesteps the familiar, moralizing narrative of ecological decay, illuminating instead a more nuanced dynamic between man and nature. While at times ominous and visually foreboding, the work underscores this fraught duality in a frenetic and fragile exchange, capable of extreme beauty and decimation.
With primordial scenes interrupted by occasional markers of modernity, Forever and Forever presents the natural world as it resists and coexists with human intervention. Titans of Florida’s overgrowth—alligators, manatees and banyan trees— adapt time-tested survival strategies, with varying success. In one video, a coal-fired power plant warms and pollutes the surrounding waters with its chemical runoff, protecting manatees during cold months, but also endangering them. As the threatened mammals gather in the temperate waters around the plant, tourists flock to the area, marveling at their unnatural congregation.Raging fires set as part of sugar cane harvest transfix as they terrify, highlighting a beauty in transformation, even when it involves destruction. Birds and ash rise together in an apocalyptic whirlwind above flaming fields. Motorists witness the sweeping inferno from hundreds of miles away, and visitors regularly tour the burning area in awe of the elemental symbol of purification and rebirth.Tourism is an incongruent context for all the videos. Although the locations appear remote and wild, they were shot close by and within popular commercialized attractions. Just out of view, humans do not appear in the footage; however their influence is palpable as instigators and witnesses of environmental spectacle. Their absence implies separation rather than integration; nature’s recurrent recreation in dialectic with mankind’s progress.Quietly hiding the artist’s poetic meditation on nature within the underworld of Rockefeller Center puts the work in dialogue with the surrounding touristic and commercial bustle and the enduring Atlas, bent under his burden just outside the entrance. Locating the space, formerly an obscure storage area, requires a map and pilgrimage. Visitors navigate an opulent Art Deco lobby to encounter a raw, underground chamber, a descent reminiscent of ancient rites of passage.Mounted like an impenetrable stockade, and set to an ominous and hypnotic score, six monolithic videos play on an infinite loop. On their own circuit, viewers orbit the installation, moving from screen to screen. The illuminated, cavernous environment invites contemplation of epic landscapes transforming convulsively like alien and prehistoric evolutions. Dislocated from their contemporary urban context, these scenes create a different temporality, an eternity that lives and dies, an eternity that repeats itself.
----
Original score by Joe Williams and Tommy Malekoff
Special thanks to Marco Barrera, Abhi Chatterjee, Jack Donoghue, Parker Hao, Michael Mavretic, Adriana Ramirez, Cody Ranaldo, Zach Sky, and Fabian Tomas.
Tommy Malekoff, born 1992, is a visual artist from North Carolina, based in New York City. He has had solo exhibitions at Galleria ZERO Milan, Italy 2021, Moran Moran Los Angeles 2020, Jeffrey Stark, New York 2017. Forever and Forever will be followed by an upcoming solo exhibition at Galerie Art: Concept, in Paris in May.
Open to the public: 12pm - 10pm daily — April 22 - May 27 — 630 5th ave, concourse level — New York, NY 10111


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	<item>
		<title>Ransom Notes</title>
				
		<link>https://newcanons.life/Ransom-Notes</link>

		<pubDate>Mon, 12 Dec 2022 23:18:05 +0000</pubDate>

		<dc:creator>Curatorial Work: Maxwell Wolf</dc:creator>

		<guid isPermaLink="true">https://newcanons.life/Ransom-Notes</guid>

		<description>&#60;img width="5688" height="3669" width_o="5688" height_o="3669" data-src="https://freight.cargo.site/t/original/i/cc8232aa7d48989c3dff2cd13627df735582c60e0a8ce91b965c9648ffe19f1f/ransom_note.JPG" data-mid="161771572" border="0"  src="https://freight.cargo.site/w/1000/i/cc8232aa7d48989c3dff2cd13627df735582c60e0a8ce91b965c9648ffe19f1f/ransom_note.JPG" /&#62;
	
RAMM:ELL:ZEE
 Ransom Notes: Selected artworks 1983-1993

	April 29 - June 3, 2022
Kunsthall Oslo 
Norway&#38;nbsp;

	
	exhibition guide 
Exhibition Reader


Kunsthall Oslo is very pleased to present Ransom Notes, the first-ever exhibition in Norway of work by the legendary New York artist&#38;nbsp;Rammellzee&#38;nbsp;(1960–2010). Rammellzee made seminal contributions to graffiti culture in the late 1970s and early 1980s, and explored new directions for painting, sculpture and performance in the following decades. What marked him out was his ability to alchemize the street culture of his youth into a complete theoretical system and transform his life into a continuous and total act of creation.Rammellzee earned his cult status in the early years of the hip hop scene, and confirmed it with the creation of his Garbage Gods, the home-made cyborg costumes he worked on and used in public appearances from the late 1980s until his death. But between these two phases of his career he channelled much of his considerable creative energy into the formal art world, producing a body of work whose freestyle invention and inspirational power is as relevant now as it ever was. The exhibition Ransom Notes at Kunsthall Oslo focuses on this period, roughly the decade 1983–93, bringing together painting, drawing, assemblage and sculpture, along with texts and rare archive material. The works on show, with their personal mythologies, mystic science, magpie aesthetics and astral perspective, evoke a collision between Robert Rauschenberg, Afrika Bambaataa, Joseph Beuys and Sun Ra—though Rammellzee, of course, refused to be placed in relation to any mythology other than his own. The exhibition is curated by Kunsthall Oslo and Maxwell Wolf of New Canons. Wolf was the co-curator of the major Rammellzee retrospective Racing for Thunder at Red Bull Arts in New York in 2018.


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</description>
		
	</item>
		
		
	<item>
		<title>Tube Strange</title>
				
		<link>https://newcanons.life/Tube-Strange-1</link>

		<pubDate>Thu, 28 Oct 2021 23:04:53 +0000</pubDate>

		<dc:creator>Curatorial Work: Maxwell Wolf</dc:creator>

		<guid isPermaLink="true">https://newcanons.life/Tube-Strange-1</guid>

		<description>
	
	
&#60;img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/f833e6c514be8fd920bbeb4f599bc2ec7701ba6b379697abedfc1ad41c0efa6a/2021_09_18_New_Canons_0031_v2.jpg" data-mid="122995964" border="0"  src="https://freight.cargo.site/w/1000/i/f833e6c514be8fd920bbeb4f599bc2ec7701ba6b379697abedfc1ad41c0efa6a/2021_09_18_New_Canons_0031_v2.jpg" /&#62;
	

Tube StrangeKen Nevadomi

	September 9th-30th, 2021New Canons 281 Church st. New York, NY
	
	programming  &#38;nbsp;cv/bio
	selected pressarchival press


Echoes of primitive Ohio. Bionic rats for children of the poor. Muscular Christians. Man eats fish. Enthusiastic TV personalities. Western Thrombosis. New revelations in lobotomy. The hysterectomy 500.&#38;nbsp; Humanity saved through Coma. Mondrian pursued by Kamikazes. 
Shark Miasma on the loose. Man Stays in Place for 40 years.
These notes, a small sample of the innumerable quips that fill Ken Nevadomi’s sketchbooks, dating back to the mid 1950s, remain some of our only clues when trying to chart the artist’s closely kept intentions. Often eluding the quick read, Nevadomi’s work thrives in a maelstrom of irony, erotic ambiguity, and comical anachronisms, reflecting the chaos and pessimism that permeated the collective unconscious sometime between the twilight of the American Rust Belt and the dawn of the Information Age.

I've always been bothered by those paintings of Eden that make the place look like a valley in Pennsylvania. - Ken Nevadomi, 1981

At 281 Church St., TUBE STRANGE features two distinct bodies of work made around 1980 and 1990, that highlight the expanse of Nevadomi’s technical prowess and his oftentimes complicated and unsettling subject matter. The later series of paintings, entitled Tube Strange, features a group of crudely rendered domestic interiors anchored by a solitary figure affixed to a glowing television set - each unaware of a looming presence watching them, or watching out for them. Painted at a time when the advent of cable television in American homes signaled a new paradigm afoot in our growing engagement with mass media, these disquieting tableaus conjure a premonitory echo of our contemporary moment, where the surveillance is disembodied, and the appliances are smaller, smarter, and broadband in their mesmeric grip on our psyche.In stark contrast to these works are a group of paintings from 1978-1980, that center on the myth of St. Bridget, a recurring muse in Nevadomi’s work. Stuffed with restless symbolism, these tightly rendered compositions retain the vestiges of the artist's formative work as a commercial illustrator at American Greetings in the late 1960’s, alongside friends Harvey Pekar and R. Crumb. In works like Erroneous St Bridget (1980) and 20th Century Mayonnaise (1978-1980), the artist maintains a razor thin line between punishment and satisfaction, torture and cure, the disturbing and the sublime. Nevadomi was born into a troubled family on Cleveland’s gritty south side. After enlisting in the army at 17 and serving two tours of duty overseas, he would eventually return to his hometown, where he would remain for the rest of his life, working as a professor of painting at Cleveland State University and amassing a remarkable body of work over his nearly 50-year career. As the expressionist painter Doug Utter attests: “Planting both feet in Cleveland is already an act of defiance that guarantees obscurity and marginalization — a kind of originality to which few artists aspire. But Nevadomi has held his ground, doing his work and following his path through the decades–the most that can be done by anyone, in any context.”&#38;nbsp; Retiring from his position at Cleveland State University in 2013, Ken continues painting and filling his sketchbooks. In 2018, he was diagnosed with a mild case of Alzheimers and has recently moved to assisted living where he will soon resume teaching painting again, this time instructing the members of his retirement community. As the artist affirms in a 1984 Smithsonian interview with curator Dennis Barrie, “…my attitude is still the same. I can't count on selling art as a way of life, as a way of making money. And I don't even think about it, I like to teach.”


&#60;img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/a76de0571a591f03244003b7a6ddb9090edf383b4139333031de382ad219b2de/2021_09_18_New_Canons_0002_v2.jpg" data-mid="122995962" border="0"  src="https://freight.cargo.site/w/1000/i/a76de0571a591f03244003b7a6ddb9090edf383b4139333031de382ad219b2de/2021_09_18_New_Canons_0002_v2.jpg" /&#62;
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 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

	
</description>
		
	</item>
		
		
	<item>
		<title>Ken Nevadomi: Selected Works</title>
				
		<link>https://newcanons.life/Ken-Nevadomi-Selected-Works</link>

		<pubDate>Wed, 01 Dec 2021 21:50:53 +0000</pubDate>

		<dc:creator>Curatorial Work: Maxwell Wolf</dc:creator>

		<guid isPermaLink="true">https://newcanons.life/Ken-Nevadomi-Selected-Works</guid>

		<description>
	
	
&#60;img width="1024" height="768" width_o="1024" height_o="768" data-src="https://freight.cargo.site/t/original/i/733a1909ce4fb61395d4653e9c0d7bfaa294ab2e6def95a860c3079e9cb0a669/IMG_3711.jpg" data-mid="126234719" border="0"  src="https://freight.cargo.site/w/1000/i/733a1909ce4fb61395d4653e9c0d7bfaa294ab2e6def95a860c3079e9cb0a669/IMG_3711.jpg" /&#62;
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Ken Nevadomi: Selected Works
 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	September 8th-12th, 2021 New CanonsThe Independent Art FairCiprianis South Street


	selected press  
archival press


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