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Tobey Fine Arts presents Abstraktion: 100 Years Later - Pt. II;the companion exhibition to Abstraktion: 100 Years Later - -Moscow, organized in collaboration with the Union of Moscow Artists and currently exhibiting at the Moscow Sculptor’s House in Moscow, Russia through October 3, 2003. The Moscow Artist’s Union is a long-time center of artistic activity that provides studio space and organizes exhibitions for its more than 6,000 members. The organization puts on twelve exhibitions of local and/or international artists yearly and Tobey Fine Arts is the first American gallery that has been invited to exhibit there. This landmark exhibition was documented by Moscow’s Art News Channel, drew hundreds to its opening reception, and continues to attract abstract painting fans throughout its run.
Abstraktion: Part II brings the same nine artists to New York. Seeing art as a language beyond aesthetics these shared concerns result in many divergent branches of the same powerful tree. Each artist carries on an individual investigation ranging from John Aslanidis’ op-art explorations, Joseph Haske’s sensual archetypes, Ivan Kazansky’s pure geometric divisions and Peter Köhler’s humorous grotesqueries; Andrew Roy’s faux-organic constructions, Mark Saltz’s expressionistic gestures, to Boris Sternberg’s spartan wood sculpture, Lorraine Williams’ luminous atmospheres, and Eric Willmer’s intuitive minimalist compositions. The artists vary greatly in nationality (American, Australian, British, Swedish, Russian) and age yet they are all innovators, visionary progressives that creatively explore the cosmos of abstract thought and abstract process. Contin uing the ongoing spirit of the early avant-garde movement of Kasimir Malevich, Wassily Kandinsky, and Aleksandr Rodchenko, these artists share the belief that abstraction or non-representational art is most readily capable of capturing spiritual essences as well as conveying a purer sense of our shared humanity. It is less an issue of formal principles than of the unique energy created through the use of a wide range of multi-referential pictorial spaces. This type of art is not decorative, instead it continues to expand the definition of the field.