Jan 26th 2014

MICHAEL ZWACK moved to NYC in 1976 as a member of the Hallwalls group and exhibited widely with the Pictures Generation, known for his large-scale portraits and landscapes by drawing on paper with his fingers and applying washes of linseed oil, creating mysterious and luxurious surfaces. Since 2011, Zwack’s work has taken a major shift from figuration towards total autonomous abstraction, made from a form of language that comes from both Zwack’s longterm immersion into cultural semiotics, but also from the sort of inevitable osmosis experienced from living in downtown Manhattan for nearly forty years.

Presented in the exhibition is a series of recent paintings and drawings that have been blessed by Zwack, a Houngan Asogwe (Voudou priest), in order to endow the works with the good luck that their title carries.

The work of ROBERT JANZ belongs to the same tradition of glyphic artists of the deep past and is a lone ranger philosophizing upon the art of transience: the world disappears, so he makes art that disappears. Belonging to a Fluxus history, his life and his art is a performance, manifested through fugacious graffiti; with subtle grace and great conviction he can make one painterly mark, only to have it thrust away to the wind or washed away by water, never to be seen again. Permanence is unimportant.

Outside of the galleries at The Suburban, Janz will paint the exterior with his signature Mountainscape, and build a series of figurative wood sculptures held together by winter’s evasive element, ice, relying on expressive gesture and ephemerality. All works will melt or wash away as springtime approaches.

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