"Earnest Irony: The Deadpan Passions of Clark V. Fox" by Emily Warner

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Clark Fox's paintings, silkscreens and wooden sculptures are at once deadpan and heartfelt. In their pop culture references and their grid-like multiplicity, they have a cool '60s aesthetic. Their painterly and textural qualities, though, are anything but cool: sensual brushwork and color areas reveal an artist deeply involved with his materials and invested in the subtleties and hidden histories of his subjects.

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"Something Shimmers, Something is Hushed Up" by Nora Griffin

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Kate Manheim lives, works and dreams in a lair-like Wooster Street loft that evokes the bygone era of "Downtown" New York. Manheim is primarily known as a doyenne of avant-garde theater and is perhaps best remembered as Rhoda, a beloved changeling, equal parts muse and stand-in for playwright Richard Foreman. The couple collaborated in the Ontological-Hysteric Theater for sixteen years and since leaving the theater in 1987, Manheim has pursued a second life as a visual artist, realizing her vision in painting, collage, artist books and most recently through techniques of digital manipulation and printing.

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"You Are Almost There: Lisa Young's Fields of Practice" by Shane Brennan

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Lisa Young's Fortune Hunting (2008), an online archive of found fortune-cookie texts searchable by key words, themes and sentence structures, contains a self-reflexive category: "My studio practice." By selecting this search directive, the user is treated to a portrait of the artist through the linguistic filter of fortunes: "You find beauty in ordinary things"; "I learn by going where I have to go"; "Now is the time to try something new." 

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"Marina Adams: Continuums" by Christine Licata

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Flowing along shifting continuums, Marina Adams' most recent painting series is deceptively direct. Her work exists in the realm between aesthetic and cultural dichotomies or perhaps more accurately, the slippery juncture where they meet: an East and West mentality, the figurative and the abstract, flesh and fantasy along with the passionate and puritanical.

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"Lost in the Badlands: Cecelia Condit's Ephemeral Collection" by Kerrie Welsh

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Mummies swing toward us. Gnarled hands caress smooth skin. A crow turns its head in surprise.  "I have an identification with the crow, because it's a scavenger," Cecelia Condit tells me.  She describes herself as a collector of images. "I'm driving down the road and I see a man digging a grave. So I stop and ask if I can film him. If they're not my stories, they're other people's and I connect with them."

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