Upcoming: San Luis Obispo Museum of Art

CROSSWALK
Artforum Must See

Theodore
373 Broadway, 6th floor, New York, NY 10013
Reception Friday February 10, 5-8 pm
Gallery hours Thursday–Saturday 12-6 pm
Door/Elevator buzzer #610

Theodore is pleased to present “Crosswalk,” an exhibition of new work by Peter Krashes, including gouache on paper paintings that are part of an ongoing body of work inspired by Krashes’ nearly two decades of mostly local activism. This is his third solo show with the gallery.

The works in “Crosswalk” are derived from Krashes’ observations of activities in public events and settings. His work continues to explore visual evidence of physical separations in the urban landscape, social separations at public events, and varying interactions that function as bridges. The resulting paintings juxtapose empowerment with disempowerment, and uplift with loss and longing.

The imagery in Krashes’ work draws focus to the subtle gestures and actions that occur in the margins of larger events and settings. Cups of water are offered to participants at a march; an empty cup is abandoned at the top of a fence. A Poland Spring water bottle is shared over a metal barricade; another bottle is held close behind layers of chain link; seed bombs, (a feature of Krashes’ work since 2010), sprout in an inaccessible lot full of rubble. The line between public and private is evoked as ambiguous and dynamic, and the personal interactions that are depicted are described as poignant and often generous.

Peter Krashes lives and works in Brooklyn, New York. He is a graduate of the University of Oxford (1987) and Middlebury College (1985). James Gallery, CUNY Graduate Center spotlighted Krashes’ artwork based on his activism in a 2017 overview. Other solo exhibitions include University Galleries, Illinois State University, Normal, IL; Theodore: Art, Brooklyn, NY; Coop, Nashville, TN; Derek Eller Gallery, New York, NY; Momenta Art, Brooklyn, NY; and White Columns, New York, NY. Group exhibitions include He Xiangning Art Museum, Shenzhen, China; Elizabeth Dee Gallery, New York, NY; and Galerie Chez Valentin, Paris, France. He has taught in numerous places such as Cooper Union School of Art, Skowhegan School of Painting and Sculpture, and American University. Krashes is a recipient of a Marshall Scholarship and a Joan Mitchell Painters and Sculptors Grant. Reviews of his work have appeared in the New York Times, Time Out New York, Huffington Post, Hyperallergic, and the New Yorker. For the last twenty years his community organizing has focused on a wide range of issues in Prospect Heights, Brooklyn.

For further information please contact Stephanie Theodore at Theodore.

PAUSE

Theodore Art
373 Broadway, 6th floor, New York, NY 10013
Opening Friday June 18, 1-8 pm
Gallery hours Thursday- Saturday 12-6 pm

Bill Albertini,
Stephen Bron,
Eric Brown,
Sharon Butler,
Peter Krashes,
Sylvia Plimack Mangold,
Michelle Vaughan,
Andrew Witkin

Gallery hours Thursday- Saturday 12-6 pm

FRIDA LOVE AND PAIN

Chelsea Music Festival
High Line Nine (Gallery 5)
507 W 27th St., New York, NY 10001
Tuesday - Saturday from 10am - 6pm
Social Distancing and Masks Required

Participating artists: Janine Antoni, Mike Cloud, Rochelle Feinstein, Oliver Herring, Yashua Klos, Peter Krashes, Zoe Leonard, Ulrike Müller, Ishiuchi Miyako, Paul P., Jimmy Wright

Curated by Oliver Herring & Peter Krashes

How do we react creatively in times of crisis, personal or otherwise? Is it possible to reach through the bubbles we live in, the boarded up windows around us, to locate empathy in ourselves, or spur empathy in others?

Inspired but not limited by the climate of the pandemic, the ongoing emergency of racist and transphobic violence, and by the political division at the end of the Trump Presidency, Frida Love and Pain includes artworks from the last three decades that draw attention to proactive and enduring actions that elevate personal experience to broader public relevance and purpose.

The works in the exhibition are made in the context of struggle, and many address loss. As a strategy, there are sharp and purposeful contrasts: fragility and danger, beauty and illness, hardship and endurance. These contrasts map out resilient responses to challenges that are all the more resonant for their humility and intimacy. The artworks seek to lift their subjects, whether personal or social, through recognition and visibility.

Like Ishiuchi Miyako’s photograph of Frida Kahlo’s cracked sunglasses, the work from which the exhibition takes its name, the artworks in the exhibition feature beauty, love, and empowerment as responses to loss, rage, and/or a sense of confinement.

DEEP STATES
Theodore: Art
56 Bogart Street
Brooklyn, NY 11206

Berwald Borgsjo
Sharon Butler
Billy Jacobs
Peter Krashes
Alix Lambert
Lara Nasser
Michelle Vaughan
Oliver Wasow
H.C. Westermann

“In a world that has REALLY been turned on its head, truth is a moment of falsehood.” Guy Debord

Theodore:Art is pleased to present Deep States​,​ an exhibition informed by and circling ideas of hidden powers, control, paranoia, and distrust of the powers that be.

Although the term “Deep State” has been applied throughout the 20th and 21st Century to various regimes in multiple countries, as a basis of comprehension we will start from the idea that if the Deep State is the unelected government, then by definition it is an undemocratic government. The artists herein suggest projections of that unelected power that affects our lives. Their responses are mysterious, documentary, hallucinatory, anxious, dreading, pissy, contemplative, and ultimately subjective. The impossibility of visually defining the identity and limits of a mythical entity makes the act of attempting to do so both heroic and sisyphean. The Deep States elude the grasp of the mind, the long arm of the law, and the influence of societal norms.

Peter Krashes and Brian Alfred, June 18, 2020

SOUND & VISION is a podcast of conversations with Artists and Musicians about the creative process hosted by Brian Alfred. Brian travels to artist studios and gallery exhibitions to talk about life as a creative person.

For the fourth week of the New Art Dealers Alliance FAIR, Theodore:Art is pleased to offer Peter Krashes "Red Butterfly" (2019), gouache on paper. Work size is 40 x 30 inches, and comes framed.

Peter Krashes’ work focuses on some of the broader themes of his advocacy, like the beauty of empowering others, and the frustration of advocacy aimed to shape government decision-making. This work was shown in "Contact!" his exhibition at THEODORE:Art in 2019, and was illustrated in the New York Times to accompany the review on April 26, 2019.

Peter Krashes lives and works in Brooklyn, New York. He is a graduate of the University of Oxford (1987) and Middlebury College (1985). Along with the James Gallery, CUNY Graduate Center, solo exhibitions include University Galleries, Illinois State University, Normal, IL; Theodore: Art, Brooklyn, NY; Coop, Nashville, TN; Derek Eller Gallery, New York, NY; Momenta Art, Brooklyn, NY; and White Columns, New York, NY. Group exhibitions include He Xiangning Art Museum, Shenzhen, China; Elizabeth Dee Gallery, New York, NY; and Galerie Chez Valentin, Paris, France. He has taught in numerous places such as Cooper Union School of Art, Skowhegan School of Painting and Sculpture, and American University. Krashes is a recipient of a Marshall Scholarship and a Joan Mitchell Painters and Sculptors Grant. Reviews of his work have appeared in the New York Times, Time Out New York, Huffington Post, Hyperallergic, and the New Yorker. For the last sixteen years his community organizing has focused on a wide-range of issues in Prospect Heights, Brooklyn.

For further information, please contact Stephanie Theodore at Theodore:Art at theodoreart@gmail.com

VON HESS VISITING ARTIST / RESIDENCY

Public Lecture at University of the Arts

Where: CBS Auditorium, 320 S. Broad St.
Philadelphia, PA

When: 1 PM, February 6, 2020

Through the generosity of the Richard C. von Hess Foundation, the Borowsky Center for Publication Arts invites visiting artists to explore the creative potential of the offset medium. The Center facilitates image making as a synthesis of handwork, photography, and digital imagery. All imaginable combinations of traditional and electronic prepress are the subjects of experimentation. Selected artists work with a master printer in the Center to create an original print or an artist book. These artists are recommended from a broad array of disciplines including fine arts, photography, illustration and graphic design.

FRIENDS AND FAMILY

Peter Mendenhall Gallery
180 S. Lake, STE 110, Pasadena, CA

Opening Hours: Tuesday to Saturday, 11am-5:30pm and by appointment
Opening Reception: Saturday, November 23, 2020 from 6 to 9 PM

Exhibition curated by Keith Mayerson.

JOSHUA ABELOW • AMY ADLER • D-L ALVAREZ • CHARLES ANDRESEN • LISA ANNE AUERBACH • ALICIA STERLING BEACH • ELLEN BERKENBLIT • MICHAEL BILSBOROUGH • ROSS BLECKNER • KEITH BOADWEE • ESTHER BOESCHE • MARY BOOCHEVER • JESSE BRANSFORD • MATTY BURNS • CHRIS BYRNE • ESTEBAN CABEZA DE BACA • MICHAEL CAMMER • BETSY DAVIDSON • LUCKY DE BELLEVUE • JESSICA DICKINSON • MATT DILLON • GEORGE DOMANTAY • CELESTE DUPUY-SPENCER • SEAN DUFFY • WENDY EDWARDS • JUDITH EISLER • AWOL ERIZKU • SAM FALLS • RICHARD FISHMAN • MARK FLORES • ERIC FREEMAN • THOMAS FRONTINI • SAM GORDON • SPENCER GREEN • PETER HALLEY • MARC HANDELMAN • ERIK HANSON • RACHEL HARRISON • MICOL HEBRON • OLIVER HERRING • JENNIFER HILL • HEIDI HOWARD • DAVID HUMPHREY • TRAVIS HUTCHISON • GIOVANNI JANCE •RASHID JOHNSON • WILLIAM E. JONES • ISAAC JULIEN • JACOB KASSAY • NINA KATCHADOURIAN • LISA KIRK • R.B. KITAJ • DAN KNAPP • TOM KNECHTEL • PETER KRASHES • CRAIG KUCIA • RACHEL LACHOWICZ • MIRANDA LICHTENSTEIN • PAM LINS • NED LOW • ANDREW MADRID •SAKURA MAKU • ALEX MARKWITH • CAMERON MARTIN • LAUREN MATZEN • LOIS MAYERSON • PETER MAYERSON • KATHERINE MCMAHON • CHRIS MILNE • JERRY MISCHAK • JESSE MOCKRIN • KATHRINE NARDUCCI • STEPHEN NEIDICH • JOHN NEWSOM • MAX OSTROW • JOEL OTTERSON • GRACE PAK • JEN PAK • GARY PANTER • BEA PARSONS • CARRIE PATERSON • TONY PAYNE • ENOC PEREZ • RAYMOND PETTIBON • JACK PIERSON • MYLES PIMENTAL • KAREN REITZEL • ROB REYNOLDS • HALSEY RODMAN• CHARLES ROSENBERG • PETER SAUL • DANA SCHUTZ • PETER SCOTT • JIM SHAW • ABIGAIL SIMON • JOAN SNYDER • ROB SOLOMON • JOHN SONSINI • ART SPIEGELMAN • STUART SUTCLIFFE • KEVIN TEARE • BORIS TORRES • DANI TULL • HUGH VAN DUSEN • KELLEY WALKER • BENJAMIN WEISSMAN • PAE WHITE • KEVIN WIXTED • DEBORAH WOLF • PETER WOLF • B. WURTZ • TORIE ZALBEN • JODY ZELLEN

CONTACT!

Theodore:Art
56 Bogart Street
Brooklyn, NY 11206

RECEPTION Friday, April 5 6-8 PM
Gallery hours Friday 1-8 PM, Saturday-Sunday 1-6 pm

Theodore:Art is pleased to present “Contact!” an exhibition of work by Peter Krashes, including gouache on paper paintings informed by Krashes’ fifteen years as a community organizer in Prospect Heights, Brooklyn. This ongoing body of work was spotlighted in a 2017 overview at James Gallery, CUNY Graduate Center.

Some works in the show are also featured in the online project “Wall to Wall” on Topic.com, wherein Krashes parallels his artwork with the muralist Anton Refregier’s WPA project “The History of California” at the Rincon Center in San Francisco.

The new works in “Contact!” are all narrowly focused on outdoor activities in the street within a few adjacent blocks, and capture a range of activities, from face painting to a media camera pointed at an advertisement for real estate. Barclays Center and a large 22-acre real estate project called Pacific Park are in an area of Prospect Heights that is hotly contested by local community and market-driven interests. In order to go about daily life in an organic way, residents must negotiate the often rigid agendas of powerful commercial concerns. The works in “Contact!” juxtapose images of immediate personal human interactions with visual evidence of separation - fences, walls, and police lines. Some efforts draw people together. Others are designed to keep them apart. Krashes’ painting focuses on some of the broader themes of his advocacy like the beauty of empowering others, and the frustration of advocacy aimed to shape government decision-making.

Peter Krashes lives and works in Brooklyn, New York. He is a graduate of the University of Oxford (1987) and Middlebury College (1985). Along with the James Gallery, CUNY Graduate Center, solo exhibitions include University Galleries, Illinois State University, Normal, IL; Theodore: Art, Brooklyn, NY; Coop, Nashville, TN; Derek Eller Gallery, New York, NY; Momenta Art, Brooklyn, NY; and White Columns, New York, NY. Group exhibitions include He Xiangning Art Museum, Shenzhen, China; Elizabeth Dee Gallery, New York, NY; and Galerie Chez Valentin, Paris, France. He has taught in numerous places such as Cooper Union School of Art, Skowhegan School of Painting and Sculpture, and American University. Krashes is a recipient of a Marshall Scholarship and a Joan Mitchell Painters and Sculptors Grant. Reviews of his work have appeared in the New York Times, Time Out New York, Huffington Post, Hyperallergic, and the New Yorker. For the last eleven years his community organizing has focused on a wide-range of issues in Prospect Heights, Brooklyn.

For information and images, please contact Stephanie Theodore at 212 966 4324 or theodoreart@gmail.com

A CONCENTRATION OF POWER
Curated by Alexander Gorlizki

Joost van den Bergh
24 Georgian House
10 Bury Street
London, GB SW1Y 6AA

Open days: Thursday 6th & Friday 7th December from 11am - 8pm (additional dates to be announced)

Exhibition dates: 6th December 2018 – 31st January 2019

By appointment: + 44 (0)207 839 8200

What’s the relationship between power, strength, size, weight, bulk? Public sculptures created to celebrate national pride, military conquests or heroic achievements are large enough to capture our attention from a distance. Like the giant artworks outside banks or adorning corporate lobbies the impression is given that size is in proportion to success and that power implies domination over others.

A Concentration of Power aims to explore other forms of power expressed in small scale. Images and objects that depict symbols, physical gestures and icons that suggest potency are presented alongside ceremonial objects and talismans created to achieve transformation though ritual and contemplation. Some of the objects and drawings are created with such focus and concentration that they appear to be imbued with their own latent power.

The intimacy of a hand- held form may be less obviously impressive than a towering sculpture, yet it can still have an intense and profoundly personal impact

A Concentration of Power brings together material spanning fifty centuries. From Egyptian artifacts from 3,000 BC to hand embroidered underwear from the present day. It includes works by artists with well-established international reputations to those working quietly for themselves and their friends. Some of the objects are intensively crafted, made using centuries-old traditional techniques while others are naturally formed found objects, reflecting the ultimate power of nature.

With contributions from:

Matt Connors / Alison Wilding / Conor Wilson / Jackie Ellcock / Karun Thakar / Bone figure, Afghanistan / Lucy Heyward / Madeline Fenton / Kullu Manali Meteorite / Mahali O’Hare / Mark Dunhill & Tamiko O’Brien / Mujeeb Bhatti / Coptic icon, Ethiopia / Nathalie de Leval / Paul McNeil / Wood clapper (dibu), Bakongo tribe / Roger Ackling / Sarah Woodfine / Snowden Flood / Colter Jacobsen / Egyptian fish-tailed knife / Alexander Gorlizki / Elisabeth Kley / Eric Himmel / Eyal Danieli / Hugo Guinness / John Borowicz / Ken Tisa / Keris Salmon / Larry Krone / Matt Tiernan / Oliver Herring / Peter Krashes / Ruth Marten / Sanou Oumar / Siobhan Liddell / Egyptian faience amulet / Frank Walter / Venetian & Jatim glass beads / Ashanti Gold Ring / James Castle / Leonhard Fink / Leopold Strobl / Mortar and Pestle, Northern California Ohlone/Costonoan / Philip King / Hans Sebald Beham / Female steatopygous idol / Jürgen Tauscher / Dom Sylvester Houédard / Badrinath Pandit / Ludmila Mueller Leal / Pre Columbian Stone Axe / Heidi Gustafson

WALL TO WALL: PETER KRASHES AND ANTON REFREGIER
topic.com

Fifty American artists look back at the projects created during the New Deal, and make work that reflects the United States now.

From 1935 to 1943, the United States government funded a massive economic and cultural effort that redefined the way we see America. Called Federal Project No. 1, the initiative was administered by the Works Progress Administration, the ambitious New Deal agency that put millions to work during the Great Depression with public works programs like the construction of highways, bridges, dams, stadiums, and parks. And with the establishment of Federal Project No. 1, the government recognized that cultural producers also had a critical role to play in the nation’s recovery.

Artists with Federal Project funding fanned out across the states, recording oral histories and folk art. Now-famous travel guides encouraged Americans to leave their homes and discover the complexities of their country. Over 40,000 WPA workers opened art centers, painted murals in hospitals and post offices, produced plays, wrote songs, and more—collectively reflecting and celebrating a diverse national identity.

Welcome to Federal Project No. 2. We’re commissioning 50 American artists to look back at the projects created during the New Deal era and make work that reflects the United States now. The first Federal Project recognized and celebrated the unique culture of the United States during a time of national crisis; it not only put folks to work, it also lifted their spirits. The works of Federal Project No. 2 can supply inspiration to us again. This our tribute to the idea that artists are workers, ones whose contributions are essential to the spirit and identity of America.

ON MESSAGE
Theodore: Art
56 Bogart Street
Brooklyn, NY

Brian Dupont
Peter Krashes
Elissa Levy
Andy Monk
Andrew Witkin

Theodore:Art is pleased to present ON MESSAGE, an exhibition of work about the optics and visual experience of important social, political, and economic issues, both contemporaneous and historical.

"BLOCK PARTY" GALLERY TOUR
The James Gallery
The Graduate Center, CUNY
365 5th Avenue, NYC

Please join artist Peter Krashes as well as curators Katherine Carl and Keith Wilson for a gallery tour of the current exhibition "Block Party" in the James Gallery at the Graduate Center, CUNY.

“Block Party” includes work drawn from the last ten years of Krashes’s studio painting practice, made while at the same time he worked outside the studio as a community activist. The conversation will focus on Krashes’ painting, its relationship to activism, and the rationales behind the exhibition’s design and lay-out.

Sponsored by the James Gallery.

LEARNING FROM ATLANTIC YARDS / PACIFIC PARK
Skylight Room
Graduate Center, CUNY
365 Fifth Avenue, NYC

A major urban development project can be quickly absorbed into the daily fabric of a city like New York. Such projects are happening on a massive scale and at a rapid pace in cities around the world; yet, fundamental, significant questions remain about the processes that unfold from the approval of a plan to the ongoing life of a project, including continuing implications for residents, businesses, schools, and other infrastructure. Such changes have profound long-term effects, and, in the case of Atlantic Yards / Pacific Park in Brooklyn, include construction that will affect multiple generations.

This open forum and discussion with journalist Norman Oder, community members and others will focus on what has been learned and what still needs action in the Atlantic Yards / Pacific Park Project in Brooklyn.

UNINTENTIONAL COMMUNITY, FROM SHARED EXPERIENCE TO ACTION
The James Gallery
Graduate Center, CUNY
365 Fifth Avenue, NYC

A major urban transition right in one’s own backyard can bring together, or conversely divide, a community, throwing light on the question of what makes a group of people a community. When living standards, livelihoods, access to financial, educational, and other resources are on the line, how a community responds depends on factors that are intangible and powerful. Join community members affected by Atlantic Yards / Pacific Park, including from the Dean Street Block Association, for a conversation about how they have mobilized responses for over a decade and continue to build long-term structural change to benefit the community. Featuring Peter Krashes; Director of Pratt Institute M.S. in Sustainable Environmental Systems, Jaime Stein; and others.

BLOCK PARTY
James Gallery, Graduate Center CUNY
365 Fifth Avenue, NYC
September 15th to October 28th
https://www.centerforthehumanities.org/james-gallery/exhibitions/block-party

Please join us Friday, September 15th from 6 to 8pm at the James Gallery for the opening reception of “Block Party” an exhibition of paintings by artist and community organizer Peter Krashes.

Peter Krashes' studio painting over the past decade stands as one complete body of artistic research growing directly out of his other practice as an unpaid community organizer in the Dean Street area of Prospect Heights in Brooklyn.

As Peter says, "My work as an activist and my work as an artist extend from the same set of values. All of my works are derived from meetings I attend or events and initiatives I help organize. There is no room in political or governmental processes for many of the activities we involve ourselves in, but perhaps none more so than painting a nuanced image in the studio. As a result, the paintings are the last step in a process I have been engaged with from beginning to end. The imperatives I feel outside the studio are explicit so the outcome in the studio is particular and linked directly to the real world."

Linking the practices of painting and of activism points out the problematic of actions that can be consumed, ignored, and considered irrelevant by those in official political power. Their human scale and material presence as paint on canvas positions these paintings outside the processes in which decisions are made instead of seeking recognition in political discourses of power.

Taking a different approach to generating cultural power, Krashes has generated this body of paintings through working out questions that arise in his range of collaborative activist practices. For example, frustration with the narrow, sometimes apparently biased focus of the media has led Krashes to make paintings depicting the glare of cameras pointed in elected officials' faces or expansive interiors of government chambers with recurring images of empty microphones. He also paints the flipside of this equation, namely that individual voices speaking collectively can exercise power. Neighbors painting protest signs, children's face painting, Easter egg hunts, seedbombs tossed into empty lots, and block parties claim space—marking the presence of the communities willfully neglected by those in power.

BREAKTHRU RADIO INTERVIEW

Painter and community advocate Peter Krashes joins Thomas Seely to talk about his exhibition "Make It Work In Brooklyn!" He tells some of the stories behind the paintings in his show, talks about the relationship between painting and community organizing, and explains how to make "seed bombs."

2 YEARS OF LOOKING CURATED BY ERIK HANSON

New Art Projects
6D Sheep Lane, London E8 4 QS

This exhibition examines how looking at work by other artists can influence and indeed impact an artist’s practice. Rather than setting out to be an inclusive survey, this is really about the vision and choices of one artist, Erik Hanson and the people he has met and conversed with and the things he has seen that have stayed with him and affected his own work.

PLANT A FLAG
Coop Gallery
Nashville, TN

COOP Gallery is pleased to present Plant a Flag, an exhibition of works on paper by Brooklyn-based artist and community activist Peter Krashes. Krashes’ works address the power relationships between citizens, government, and corporations using his own advocacy as a springboard. For his show at COOP Krashes will exhibit gouache on paper works inspired by block parties, public meetings and rallies that he has helped organize. “As a result, the paintings are the last step in a process I have been engaged with from beginning to end.”

PETER KRASHES: MORE FILLED SEATS MAGNIFIES THE MESSAGE
University Galleries
Illinois State University
College of Fine Art

Peter Krashes, an artist and community activist based in Brooklyn, examines how private citizens can empower themselves in the face of governmental and corporate power. His paintings stem directly from his political actions, whether writing a letter to a government official, organizing a public meeting, or attending a press event to raise questions. In the artist's words, "I play a role in shaping what I paint before I paint it. A letter in my work is a letter that needed to be sent; a meeting is a meeting that I helped to organize; I had a stake in the outcome of the rally. As a result, the paintings are the last step in a process I have been engaged with from beginning to end." For his exhibition at University Galleries, Krashes will install recent gouache works on paper.

ILLINOIS STATE UNIVERSITY VISITING ARTIST RESIDENCY

Illinois State University’s Visiting Artist program was founded in 1996 to bring diverse artistic practices and fresh voices to the School of Art. Visiting Artists contribute to the dialogue of our students and faculty, and present lectures that are free and open to the public.

19th ANNUAL MFA SUMMER LECTURE SERIES
University of the Arts, CBS Auditorium, Hamilton Hall, 320 South Broad Street

Peter Krashes is an artist and community advocate in Prospect Heights, Brooklyn with a work practice as a painter that embraces his efforts outside the studio. Themes of engagement, empowerment and critique are part of Krashes’ painted political narrative. He plays a role in shaping what he paints before he paints it. A letter in his work is a letter that needed to be sent; a meeting is a meeting he helped organize; he had a stake in the outcome of a rally. The paintings are the last step in a process he has been engaged with from beginning to end.

Krashes’ work has been exhibited in museums and commercial galleries including the He Xiangning Art Museum in Shenzhen, China, the Aldrich Contemporary Art Museum in CT, and White Columns in NYC. He has had solo exhibitions at Theodore: Art, Derek Eller Gallery, Jessica Murray Projects, Momenta Art, and Michael Klein Gallery in New York. Among the grants he has received are a Joan Mitchell Foundation Painter and Sculptors Grant and a Marshall Scholarship for study at the University of Oxford. He has taught art in numerous places including Cooper Union for the Advancement of Science and Art, Skowhegan School of Painting and Sculpture, American University, Rutgers University, and The University of the Arts.

|CINEMA ON THE BRINK SERIES AT PRATT INSTITUTE|
Pratt Manhattan - 144 West 14th Street - Room 702 (between 6th and 7th Avenues)

Peter Krashes is an artist and community advocate in Prospect Heights, Brooklyn with a work practice as a painter that embraces his efforts outside the studio. Themes of engagement, empowerment and critique are part of Krashes’ painted political narrative. His work has been exhibited in museums and commercial galleries in the United States and abroad including the Aldrich Contemporary Art Museum in CT, He Xiangning Art Museum in Shenzhen, China and Derek Eller Gallery in NYC. Among the grants he has received are the Joan Mitchell Foundation Painter and Sculptors Grant and a Marshall Scholarship for study at the University of Oxford.

THE HOUSE OF THE SEVEN GABLES
University Galleries of Illinois State University
110 Center for Visual Arts
Campus Box 5600, Normal, Illinois 61790-5600

Artists: Reed Barrow, Corinne Botz, Jan Bünnig, Anne Collier, Bill Conger, Drew Conrad, Sue de Beer, Rachel Feinstein, Andreas Fischer, Anya Gallaccio, Benjamin Gardner, Katy Grannan, Alice Hargrave, Bob Jones, Brian Kapernekas, Rachel Khedoori, Peter Krashes, Jacco Olivier, Robert Overby, Dario Robleto, Gregor Schneider, Sarah E. Wood
Curated by Kendra Paitz.

Inspired by Nathaniel Hawthorne's 1851 novel of the same name, The House of the Seven Gables features contemporary artists who explore themes of haunting, portraiture and the architectural uncanny. The titular mansion in the book embodies generations of violence, superstition, melancholy, repressed memories, and ancestral guilt for the Pyncheon family. Serving as a repository of memory and atonement, the house itself functions as a portrait of the family's collective trauma. Written concurrently with the rise of daguerreotype photography—and notably featuring an ever-shifting oil portrait, a fetishized miniature pencil drawing, and daguerreotypes made by a central character—the modes of representation Hawthorne references in the book become increasingly more modern to reflect the passage of generations. As in the novel, a rumination on the passage of time, and an encapsulation of the unhomely pervades the work in the exhibition.

STUART ELSTER // PETER KRASHES
Gallery 102
Crane Arts Building
Philadelphia, Pennsylvania

Opening: Thursday, January 10th, 6 – 9 p.m.
Artist Reception: January 26th, 4 – 6 p.m.

Crane Arts and Gallery 102 are very pleased to present an exhibition of paintings by Stuart Elster and Peter Krashes, curated by Rebecca Saylor Sack.

Stuart Elster’s oil paintings on canvas explore abstraction through iconographic manifestations of power. Images in Elster’s work are gleaned from the public domain; appropriating currency (Abraham Lincoln’s cabin embossed on the back of a penny), fashion (the label from a Marc Jacob bag) and war (stock images of warships from WWI and WWII). Constructed through bold strokes of a palette knife, Elster’s richly painted works simultaneously build and subvert the image, questioning the nature of representation and its source.

Stuart Elster's work has been exhibited nationally and internationally, including solo exhibitions in New York, Paris and Amherst. Reviews of Elster’s work have been printed in the New York Times, Artcritical, and Kunstforum. Stuart Elster lives and works in New York.

Peter Krashes’ works are an examination and critique of power from personal experience. Krashes’ paintings are an extension of his work as a community organizer and leader in Brooklyn. The images in Krashes’ paintings are derived from photographs he takes from his public life. The paintings question where power resides; in the building that houses local or federal government, the camera that mediates our view of governance, or the home-made protest signs and children’s painted faces from political rallies.

Peter Krashes’ solo exhibitions include Theodore: Art, Derek Eller Gallery, and Momenta Art. Krashes is a recipient of the Joan Mitchell Foundations Painters and Sculptors Grant. Reviews of his work have been published in the New York Times, Time Out New York, and The New Yorker. Peter Krashes lives and works in New York.

PETER KRASHES: MAKE IT WORK IN BROOKLYN!

THEODORE:ART
56 Bogart Street, Brooklyn, NY 11237

Opening reception: Saturday September 8, 6-9 pm
Gallery hours Friday-Sunday 1-6 pm

Theodore:Art is very pleased to present an exhibition of new work by Peter Krashes. "Make it work in Brooklyn!" is Krashes’ first solo exhibition with the gallery, and his first solo exhibition in New York since 2004.

Krashes is known for paintings of refracted imagery based in personal experience. In early works he represented himself dematerialized by reflections in multiple mirrors while on exercise equipment or in physical therapy. Those paintings were more often than not self-reflexive.

Since then, the focus of his work has moved outward, as he balances his ongoing role as a community organizer in Brooklyn near the Atlantic Yards development with his artistic practice. Everyday activities continue to shape the imagery he uses.

“Put simply, I play a role in shaping what I paint before I paint it. A letter in my work is a letter that needed to be sent, a meeting is a meeting I helped to organize, I had a stake in the outcome of the rally. As a result, the paintings are the last step in a process I have been engaged with from beginning to end.”

Themes of empowerment and critique emerge in Krashes’ painted political narrative. Opulent public architecture serves as a proxy for government processes that may be more show than substance. Cameras represent the media as a conduit for messages, but also as a potentially distorting instrument. More optimistically, a seed-bomb “factory” and portraits of kids whose faces were painted during a neighborhood block party function as emblems of self-empowerment.

For Krashes, in addition to aesthetic challenges, painting is a product of situations in the real world that must be acted upon. Crucial issues outside the studio are drawn into the work as a consideration of point of view, and in order to inspire the engagement of others.

For more information and images, please contact Stephanie Theodore at 212 966 4324 or theodoreart@gmail.com.

THE LOGIC OF PAPER: AMERICAN WORKS ON PAPER
He Xiangning Art Museum
Shenzhen, China
December 25, 2010 to February 20, 2011

Participating artists
Andrew Raftery, Ann Hamilton, Dawn Clements, Diana Cooper, Elisabeth Meyer, Gregory Page, Joseph Scheer, Leslie Bellavance, Nancy Friese, Nona Hershey, Oliver Herring, Peter Krashes, and William Contino

Exhibition director
Le Zhengwei
Curators
Chen Xiaowen, Feng Boyi, Gou Xianxu