Galerie Sonja Roesch, Houston, TX, September 12-October 31, 2009

Click here for Gallery Sonja Roesch

Open House for Butterfiles, Minus Space, Brooklyn, NY, July 31-August 29, 2009

Click here for Minus Space

SNO 51, Sydney Non Objective, Sydney, Austrailia, August 1-August 30, 2009

John Aslanidis, Gilbert Hsiao and Susie Rosmarin

Click here for installation shots

Kosmos, IS Projects, Leiden, The Netherlands, June 6-July 5, 2009

Brent Hallard, José Heerkens, Gilbert Hsiao, Caroline de Lannoy and Giles Ryder

New York Foundation for the Arts Benefit Auction, May 4, 2009, New York, NY

It's A Wonderful Life, Sideshow Gallery, Brooklyn, NY, Opens January 10, 2008

Linear Abstraction, McKenzie Fine Art, New York, NY, January 8, 2008 - February 7, 2009

Mark Dagley, Gilbert Hsiao, Maureen McQuillan, Gelah Penn, Gary Petersen, and Mary Temple

Gegenstandslos, Gesellschaft für Kunst und Gestaltung, Bonn, Germany, October 25 - December 14, 2008

Minus Space, PS 1 Contemporary Art Center, MoMA, Long Island City, NY, October 19, 2008-January 19, 2009

Curated by Phong Bui, publisher Brooklyn Rail

For Minus Space, click here

Participating Artists: Soledad Arias, Shinsuke Aso, Marcus Bering, Hartmut Böhm, Richard Bottwin, Sharon Brant, Michael Brennan, Henry Brown, Vicente Butron, Bibi Calderaro, Melanie Crader, Mark Dagley, Julian Dashper, Christopher Dean, Matthew Deleget, Lynne Eastaway, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Daniel Göttin, Julio Grinblatt, Billy Gruner, Terry Haggerty, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Simon Ingram, Kyle Jenkins, Mick Johnson, Steve Karlik, Sarah Keighery, Danny Lacy, Andrew Leslie, Daniel Levine, Sylvan Lionni, Lotte Lyon, Gerhard Mantz, Rossana Martinez, Juan Matos Capote, Douglas Melini, Manfred Mohr, Salvatore Panatteri, Dirk Rathke, Karen Schifano, Analia Segal, Edward Shalala, Tilman, Li-Trincere, Jan van der Ploeg, Don Voisine, Douglas Witmer & Michael Zahn

American Abstract Artists: Tribute to Esphyr Slobodkina, Painting Center, New York, NY, Setpember 2-Setpember 27, 2008

For exhibition brochure including essay by Stephen Maine and list of 70+ participating artists, click here.

For American Abstract Artists site, click here

For webiste of The Painting Center, click here.

Dual II (2007), 34" x 34", acrylic on wood panel

"The Speed of Colour," IS projects, Leyden, Netherlands, June 15-July 13, 2008

Erici de Nie, Tony Harding, Gilbert Hsiao, Henriëtte van 't Hoog, John de Rijke, John Tallman

Special limited edition box of prints of the artists from this show is available, for details click here.  

For essay accompanying the box by Marijke Uittenbroek , click here.

'Spring', papersize 30x42cm, pigment piëzo print on Hahnemuhle, editon of 41

Machine Learning #3, Gallery Sonja Roesch, Houston, TX, March 8 – May 3, 2008

Henry Brown, Terry Haggerty, Gilbert Hsiao & Doug Melini. Curated by Matthew Deleget.

"Peace," Sideshow Gallery, Brooklyn, NY, January 19-March 2, 2008

For more information click here

For James Kalm video review of this show click here for part 1 and here for part 2

Machine Learning #2, Painting Center, New York, NY, November 29-December 29, 2007

Henry Brown, Terry Haggerty, Gilbert Hsiao & Doug Melini. Curated by Matthew Deleget.

Machine Learning #1, Boydon Gallery, St. Mary's College of Maryland, St Mary's City, MD, September 4-28, 2007

Henry Brown, Terry Haggerty, Gilbert Hsiao & Doug Melini. Curated by Matthew Deleget. Click here for installation shots.























Go Off, 2007, acrylic on wood panel, 48" x 42",
Photo: Matthew Deleget




Octagon, 2007, acrylic on wood panel, 34" x 34"
Photo: Matthew Deleget

Escape from New York, Sydney Non Objective, Sydney, Austrailia, Aug 4-Sept 5, 2007

Soledad Arias, Richard Bottwin, Sharon Brant, Michael Brennan, Bibi Calderaro, Mark Dagley, Gabriele Evertz, Daniel Feingold, Kevin Finklea, Linda Francis, Zipora Fried, Julio Grinblatt, Lynne Harlow, Gilbert Hsiao, Andrew Huston, Steve Karlik, Daniel Levine, Sylvan Lionni, Rossana Martinez, Juan Matos Capote, Manfred Mohr, Karen Schifano, Analia Segal, Edward Shalala, Robert Swain, Li-Trincere, Don Voisine, Douglas Witmer & Michael Zahn

See images, letters, and statements of the artists

The School of John Laska, Ivy Technical College, Terre Haute, IN, open March 9- April 30, 2007

Features the work of John Laska and his students, Nick Barnhart, Dlynn Baughman, Mark Braught, Loueta Chickadaunce, Betty Conway, Susan Dailey, Jane Everhart, Linda Dailey, Stephanie Doty, Tim Engelland, John Ferguson, Sujata Gopalan, Larry Green, Cheryl Hahn, Cathleen Hogan, Gilbert Hsaio, Rhonda Kruler, Cathie Laska, Lisa Petrulis, Karen Romaro, Tina Sisson, Russ Tanner, Ann Tuttle Travers, Beth Tuttle, Barb Weber, Rhonda Yochum





Dual, (2006),acrylic on rowlux, 11" x 11"

John Laska studied with the SoyerBrothers in New York City before serving in World War II. After the war, he attended the Chicago Art Institute and was active, along with Leon Golub, with the group Momentum. before moving on to teach in Champaign, Illinois, and finally to Terre Haute Indiana where he spent years teaching art at the Laboratory School at Indiana State University. I was fortunate to be one of many students who passed through his classes to go on to have a career in the arts. This exhibition showcased Laska's work as well as work of his students. It was pretty unaminous from this group of students that Professor Laska was the best teacher, of any kind, that they had had in their collective lives. Laska's career started in the 30s and continues to this day. He will also be long remembered for his murals depicting the life of Eugene V. Debs at the Debs Home in Terre Haute.

"The Optical Edge," Pratt Manhattan Gallery, New York, NY, Mar 7-Apr 14, 2007

Bridget Riley, Richard Anuszkiewicz, Julian Stanczak, Victor Vasserely, Josef Albers, Sandford Wurmfeld, Robert Swain, Gabriele Evertz, Rakuko Natio, Gilbert Hsiao, Soon Ja Han, Jon Groom, Beverly Fishman, Ryszard Wasko, and Michelle Hinebrook. Curated by Robert C. Morgan. A catalog will be available for this exhibition. For links to all the artists in this show, see the entry for this show at www.opptg.blogspot.com.




Encounter, 2006, sprayed acrylic on wood panel, 42" x 42"). For animated time lapse sequence go to http://www.flickr.com/photos/47687159@N00/sets/72157594213437536/show/





















Propel, 2006, sprayed acrylic on wood panel, 24" x 24"

"War Is Over Again," Sidehow Gallery, Brooklyn, NY, Jan 20-Mar 4, 2007

This salon style exhibition with over 150 artists has become an annual tradition in Williamsburg. For a list of artists see http://sideshowgallery.com/now/index.html



















Convergence II, 2006, sprayed acrylic on wood panel, 15" x 15"

For an animation showing the stages of making the above, go to http://www.flickr.com/photos/47687159@N00/sets/72157594214549028/show/



















Revolver II, 2006, sprayed acrylic on wood panel, 36" x 36"

See Paul Corio's op paintings from this show, and learn which horses he's bet on. Go to http://paulcorio.blogspot.com/

Don't miss geometrician Don Rodgrigues' work: http://www.artbydonrodrigues.com/

"Optical Perception;" Corridor Gallery, Brooklyn, NY, Nov 5-Dec 16, 2006

Patricia Chaplin, Raymond Gibbon, Gilbert Hsiao, and Don Bryant Rodrigues. Curated by Meridith McNeal and Danny Simmons.

Untitled, 2006, acrylic on rowlux, 26 x 90 inches

Photos below show Ike and Abbrielle showing off the t-shirts they made at Rush Kids T-shirt design day at Corridor Gallery. Corridor Gallery is part of the Rush Arts organization,which runs numerous art related programs for underserved groups at several locations in Brooklyn. For more details, please see

http://www.brooklynrail.org/2006-11/local/art-for-life and www.rushphilanthropic.org

Ike

Abbrielle

Photos: Meridith McNeal

"Two Vinyls;" Minus Space Projects, Brooklyn, NY, Sept 2006

This was an installation featuring paintings on Rowlux, a type of dimensional vinyl found in drum kits, and album jacket art of various kinds of music selected from my record collection. For more photographs of this and other installations featured at Minus Space Project Space, see http://minusspace.com/projectspacearchive.htm

"Presentational Painting," Hunter College/Time Square Gallery, New York, NY, Feb 16-Apr 15, 2006

Hartmut Bohm, Paul Corio, Daniel Crews, Matthew Deleget, Lynne Harlow, Gilbert Hsiao, Changha Hwang, Susanne Jung, Steve Karlik, Rossana Martinez, Charlotte Nicholson, Francisca Reyes, Steven Salzman, Martjin Schuppers, Mike Stack, Don Voisine. Curated by Gabriele Evertz, w. John Cox and Abbey Ryan. For artnet Magazine review by Stephen Maine go to http://www.artnet.com/magazineus/reviews/maine/maine4-7-06.asp.

Top Spin, 2003, sprayed acrylic on wood panel, 42" x 42".

Presentational Painting is a term coined by Sanford Wurmfeld. In the catalog to an earlier exhibiton of Presentional Painting in 1993, he wrote:

"Presentational art...refers to art structured by a human being and presented as a statement, a visual fact, to be expereienced or received by an active viewer. By its sensory nature, such art is untranslatable and the ideas or feelings transmitted by it are tied to the particular object that expresses them."

Still earlier, in 1985 in an exhibition for a show entitled "Color Documents: A Presentational Theory" he wrote:

Presentational Painting is a strain of modern art that originated around 1920 when painting departed entirely from reproduction and thus representation of the object. It stands at opposite ends to abstraction and must be distinguished from it since abstraction denotes art that does not relinquish its relationship to the exterior. But it is important to note that abstraction paved the way for a greater consideration of the role of viewer participation. By definition Presentational Painting is concerned with the account of meaning that is inherent in the painting itself. It is an art that has persisted in the face of resistance and has held its own against many other styles. The specialized approach to concentrating on perceptual phenomena, clarity of its organizing principles and affinity to logic gives rise to pictorial effects that are surprising despite its grounding in calculability and foresight. The pictorial possibilities are still expanding. The striking spatial and kinetic aspects of color interactions are especially astounding to observe. It is this consistency of the search for innovation and diversity that gives the practice its vitality. But to ensure continuation it requires the rethinking and reworking of the critical criteria that informs our expectation for this mode of expression today. "

"...it is the manipulation by the artist of the physical variables--the paint quality, the flat surface, and the size and shape of the support--together with an understanding of the relation of these variables to predictable visual structures, that is fundamental to esthetic meaning in paintings, and the basis of presentational art."

For Hartmut Bohm see http://www.hartmut-boehm.de/

For Matthew Deleget see http://www.matthewdeleget.com/

For Rossana Martinez see http://www.rossanamartinez.com/

For Don Voisine see http://www.metaphorcontemporaryart.com/curExhDV_Arc.html and
http://www.mckenziefineart.com/exhib/DagleyVoisineexhb.html

"Minimalisms," Gallery W 52, New York, NY, Jan 26-March 20, 2006

John Beech, Julian Dashper, Matthew Deleget, Zipora Fried, Gilbert Hsiao, Kyle Jenkins, Rossana Martinez, Tilman

From essay accomopanying the show by Joao Ribas:

"The simplicity of minimalist art belies a radical agenda. Its stripped-down, reductive language-seemingly benign-in fact unsettled most of the conventions of modern art. "What you see is what you see," painter Frank Stella once famously said of the minimalist aesthetic, yet the laconic description underplays its vital role in contemporary art.

Initially focusing on sculptural form, minimalism proposed a literal, almost industrial definition of art. A minimalist artwork was first and foremost an object in three-dimensional space; a box, a shelf, an aluminum square. Such calculated neutrality antagonized the art preceding it and led to a rethinking of what could be conceived as a painting or a sculpture.

The ongoing impact of this questioning is clear in today's best reductive art. The minimalist ethos has become a way for painters to purge abstraction of metaphor or allusion and refocus it on formal elements; flatness, monochromatic color, serial form, and bare geometry - in short, qualities that stress immediate visual impact. Minimalism shows this tendency converging with a renewed interest in abstract painting, demonstrating how complex ideas can be enveloped in reductive forms. With an emphasis on structural clarity and the literal qualities of the medium, such work is often closer to a painted object rather than a traditional painting."

For Matthew Deleget, see http://www.matthewdeleget.com/

For Rossana Martinez, seehttp://www.rossanamartinez.com/

"Brooklyn," Wesport Arts Center, Westport, CT, Jan -Feb 17, 2006

Meredith Allen, Reed Anderson, Louis Brawley, Eyal Danieli, Brian Dewan, Nancy Drew, Gail Flanery, Jeffrey Givson, Gilbert Hsiao, Brian Hubble, Jodie Vicenta Jacobson, Nathan Slate Joseph, Wei Jia, Yun-Fei Ji, David Kramer, Lauren Luloff, Meridith McNeal, Chris Oh, Lynn Saville, Danny Simmons, Greg Stone, Lin Yan. Curated by Amy Simon. Stylistically a very diverse show, well documented at http://www.westportartscenter.org/press/brooklyn2.htm.

Apr 29 - May 30, 2005; "Brooklyn in the Abstract," MoCADA, Brooklyn, NY

Peter Barrett, Beth Caspar, Mary Chang, Eve Havlicek, Gilbert Hsiao, Stephen B. Nguyen, Espartaco Albornoz-Nozco, Mary Pinto, Adam Rogers and Jean Dominique Volcy. This was one 17 simutaneous exhibitions for Project Diversity, an ambitious program put together by the Rush Philanthropic Art Foundation, the immensely active organizaiton founded by the three Simmons Brothers; Russell, Danny and Joseph (better known as Rev Run of Run DMC). Meridith McNeal served as curitorial spokesperson for this project, which cut across conventional borders and barriers within the immense Brooklyn art world by presenting work by under exposed artists of all backgrounds ages in settings throughout Brooklyn. The idea was to reflect the diversity found in Brooklyn through its artists. "Brooklyn in the Abstract" was shown at the Museum of Contemporary African Diasporian Arts in the Fort Greene section of Brooklyn. Under its director, Laurie Cumbo, MoCADA moved to this new exhibiton space in the BAM cultural district.

Jul - Nov, 2004; "Seven Paintings from the Eighties;" Tower 49, New York, NY

Seven large scale paintings in a monolithic lobby in a modern midtown Manhattan skyscraper. This was more installation than conventional hanging. Thanks to Ross Nehrer and Pat Grande for making this happen.

Sept 9 - Oct 23, 2004; "All the Numbers I Know," Rotunda Gallery, Brooklyn, NY

With Beth Caspar, Juan-Carlos Castro, Nicholas Evans-Cato, Matthew Deleget, Gilbert Hsiao, Monique Luchetti, Rossana Martinez, Shair Mendelson, Doug Morris, Jenny Perlin, Donna Sharrett, Juana Valdes, and Elizabeth Zawada. Currated by Meridith McNeal who, besides being one of the busiest curators in New York (she moved to Danny Simmons' Rush Philanthropoic organization since this show) is a highly original artist in her own right (see http://www.gallerythe.org/artist/mcneal/mcneal.html). Donna Sharrett's pieces are simutaneously meticulous in their execution and highly emotional and moving in their meaning(http://www.donnasharrett.com/).

Jan 12 - Feb 6, 2004; "Thought Patterns," Kent Place Gallery, Summit, NJ

"Thought Patterns, Patterns and Ideas in Recent Painting and Drawing," a group show with a number of artists including the wonderfully eclectic Jeff Woodbury. For more of his work, see his site at http://www.jeffwoodbury.com/galleries.html

Jan 18 - Feb 10, 2003; "Arc," Sideshow Gallery, Brooklyn, NY

Dan Christensen, Lori Ortiz, Li Trincere, and Gilbert Hsiao. For nice images by all the artists in this show, go to

http://sideshowgallery.com/then/2002-2003/20030118-0210_exhib/index.html)

Dan Christensen was among the first painters to use a sprayer. This show featured one of those historic paintings. Sadly, he passed away in January, 2007. For more on his work, go to

http://www.danchristensen.com/