JOHN BRILL
Every Boy's Dream, 2013
Installation view

JOHN BRILL
Every Boy's Dream, 2013
Installation view

JOHN BRILL
Plasma, 2013
Pigment print on rag, with UV-shielding varnish
5 x 4½ in., image; 8½ x 11 in., sheet; No. 1 from an edition of 10

JOHN BRILL
untitled, 2013 [froma series in progress, Fugue]
Pigment print on rag, with UV-shielding varnish
3½ x 4 in., image; 5 x 8 in., approx., sheet

JOHN BRILL
untitled, 2008 [from a snapshot series in progress]
Selenium-toned silver print with oil color
2½ x 3¾ in., image; 3½ x 5 in., sheet
No. 1 from an edition of 10

JOHN BRILL
untitled (SX_067) [from a series in progress, Accidental Diary]
Pigment print on rag, with UV-shielding varnish
4 x 4 in., image; 9 x 9 in., sheet

JOHN BRILL
untitled (SX_103) [from a series in progress, Accidental Diary]
Pigment print on rag, with UV-shielding varnish
6 x 6 in., image; 8½ x 11 in., sheet; No. 1 from an edition of 10

JOHN BRILL
Axolotl, 2013
Pigment print on rag, with UV-shielding varnish
5½ x 6½ in., image; 8½ x 11 in., sheet; No. 1 from an edition of 10

JOHN BRILL
untitled, 2013
Pigment print on rag, with UV-shielding varnish
3½ x 5½ in., image; 6 x 9 in., approx., sheet

JOHN BRILL
untitled (625-22) [from a series in progress, Hypnagogy]
Pigment print on rag, with UV-shielding varnish
6¼ x 8¼ in., image; 8½ x 11 in., sheet; No. 1 from an edition of 10

JOHN BRILL
One of three toner test prints using image Self-portrait, Paterson, NJ, 1987 (1987-25)
Selenium-toned, iron-toned, and copper-toned silver prints

JOHN BRILL
Baby Aunce, 2006
Selenium-toned silver print with oil color
11 x 14 in., image; 11 x 14 in., sheet
No. 1 from an edition of 10

JOHN BRILL
Self-portrait, Chihuanhuan Desert, Mexico,1987 (1987-A), printed 2013
Pigment print on rag, with UV-shielding varnish
4¼ x 4 in., image; 7 x 7 in., sheet

ALEISTER CROWLEY
Untitled, 1918
Watercolour, tempera, and oil on black paper, 36 x 24 inches
Signed "ALEISTER CROWLEY, An. XIV [symbols for Sun in Aries],"
that is, around the spring equinox of 1918
View Complete Description

LLYN FOULKES
Big Sur, 1984
Mixed media
105 x 65 in.

LLYN FOULKES
Dear Mother, 1963
Oil on masonite
48 x 48 inches

LLYN FOULKES
Edna Three Years Old, 2013
Oil on photograph, mounted on board
5 7/8 x 4 1/4 inches, image; 8 x 6 3/16 inches, board

LLYN FOULKES
Anna’s Dress, 2013
Oil on photograph, mounted on board
5 11/16 x 3 15/16 inches, image; 9 1/16 x 5 1/2 inches, board

LLYN FOULKES
Three Sisters, 2013
Oil on photograph, mounted on board
5 1/2 x 3 7/8 inches, image; 7 15/16 x 5 15/16 inches, board

LLYN FOULKES
Miss Lydia Josephine Thorn, 2013
Oil on photograph, mounted on board
3 7/16 x 2 3/4 inches, image; 5 1/2 x 3 15/16 inches, board

LLYN FOULKES
Within Ercha, 1960
Oil on paper
8 1/8 x 10 5/8 inches, image; 13 1/8 x 15 5/8 inches, framed

LLYN FOULKES
Laurey Santa Monica Pier 1975, 2012
Photograph on Kodak Metallic Endura paper
22 1/2 x 23 7/8 inches
Contact the Hammer Museum, L.A.; $7,500 (unframed)

LLYN FOULKES
Mr. Palmer, 2011
Mixed media
8 11/16 x 7 7/16 inches

LLYN FOULKES
Max Ernst Sleeping, 1975
Oil on vellum mounted on board by the artist
7 3/4 x 9 34 inches, image; 15 1/2 x 17 1/2 inches, framed

PABLO HELGUERA
Conservatorio de Lenguas Muertas / Conservatory of Dead Languages, 2004-present
22 wax cylinders in display cabinets; Two C-prints; Thomas Edison Gem Phonograph (Serial No. 261954), stand
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PABLO HELGUERA
Conservatory of Dead Languages: Marie Smith Jones (1918 – 2008), 2013
C-Print; 18 x 30 inches, framed; Marie Smith Jones (1918 – 2008) was the last speaker of Eyak, in Anchorage, Alaska
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PABLO HELGUERA
Conservatory of Dead Languages: Cristina Calderón (b. 1929), 2013
C-Print; 18 x 30 inches, framed; Cristina Calderón (b. 1928) is the last living speaker of Yaghan in Puerto Williams, Tierra del Fuego
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Conservatory of Dead Languages: A Solo for Two Voices
By Pablo Helguera
Published in New York, 2013; 7 pages
Click here to read essay

DAVID LYNCH
Bob’s Second Dream, 2011
Mixed media
Image: 72 x 108 inches
Frame: 82 1/4 x 118 1/4 x 8 3/4 inches

DAVID LYNCH
Man Eating, 2010
28 1/2 x 32 inches

DAVID LYNCH
Duckman’s Injury, 2012
Mixed media
27 x 31 inches

DAVID LYNCH
Boy’s Night Out, 2012
Mixed media
27 x 31 inches

DAVID LYNCH
Two-Tongue Johnnie, 2012
Mixed media
27 x 31 inches

DAVID LYNCH
Figure #1—Blue Balls, 2009
Mixed media
30 1/4 x 24 inches

DAVID LYNCH
I Want 2 Understand, 2008–09
Watercolor on paper
10 1/4 x 14 inches; 18 x 21 3/8 inches, framed

DAVID LYNCH
Going To Visit Ur House, 2008–09
Watercolor on paper
7 x 10 1/4 inches; 15 1/2 x 18 3/4 inches, framed

DAVID LYNCH
Man Reaching—2, 2008–09
Watercolor on paper
10 1/4 x 14 inches; 18 x 21 3/8 inches, framed

DAVID LYNCH
That Will Do It Bob, 2008–09
Watercolor on paper
7 x 10 1/4 inches; 15 1/2 x 18 3/4 inches, framed

DAVID LYNCH
Who Is in My House, 2008-09
watercolor on paper
10 1/4 x 14 inches; 14 in.
18 x 21 3/8 in., framed

JILL SPECTOR
Partner, Platform, Perfect, Posture, 2004
Carved wood, plaster, cheesecloth, chicken wire, fabric, zipper, D-rings, dye,
paint, LightJet print, frame; Dimensions variable

JILL SPECTOR
Afterall, Break It Down, Below Your Mind, 2009
Wood, plaster, cheesecloth, wire, cardboard, papier-mâché,
fabric, batting, paint, and color photocopy
Dimensions variable


THE NEW YORKER'S PASSPORT TO THE ARTS
Saturday, May 4
10 am - 6 pm

Kent Fine Art is pleased to open a special project, Hypnotherapy, in tandem with The New Yorker's Passport to the Arts event on May 4, from 10:00 am to 6:00 pm. Hypnotherapy, which continues through June 29, presents a multigenerational group of artists working in several media who share an intense and introspective working process:

Hypnosis is a way to connect with the subconscious rather than the conscious mind. The mind accepts what the subconscious creates, however bizarre. Among these artists there is a common thread of a relentless, even myopic, focus on work so personal that its intrinsic value is much greater for the artist than for the audience. Their bond lies in their obsessiveness, idiosyncrasy, and disregard for the mainstream.
* * *

JOHN BRILL (b. 1951, Newark, New Jersey) is a school-bus driver and self-taught photographer, whose work has been recently seen in exhibitions at the Austrian Cultural Council in New York and the Museum of Contemporary Photography in Chicago. He has been the co-chair of the Photography Judging Committee of the American Killifish Association since 1982 and is a former instructor with the International Center of Photography.

LLYN FOULKES (b. 1934, Yakima, Washington) came up in the Los Angeles art scene of the early 60s and has been both a maverick and a force to be reckoned with ever since. His recent exhibition credits include the 2011 Venice Biennial and Documenta 13. Foulkes's current retrospective at the Hammer Museum in Los Angeles, curated by Ali Subotnick, is a tribute to his craft, his dark humor, and his relentless vision of America on the edge. The retrospective travels to the New Museum in New York, where it opens on June 12.

PABLO HELGUERA (b. 1971, Mexico City) is a visual and performance artist whose projects have included a school that traveled from Anchorage to Tierra del Fuego, complete with portable schoolhouse; the recording of dying languages on wax cylinders; a memory theater; and the founding of the Instituto de la Telenovela. His work has been seen most recently at CIFO in Miami, the 2012 Havana Biennial, and the Centro de Arte Reina Soffia in Madrid. Helguera's first solo show with Kent Fine Art will open in September 2013.

DAVID LYNCH (b. 1946, Eagle Scout) was studying at the Pennsylvania Academy of Fine Arts, painting "figures just sort of coming out of the darkness," when he made his first film, in 1966: "The only reason I did a film the first time was to see a painting move . . . and feel a mood." In the 70s Lynch began to work seriously in film and made his name with Eraserhead in 1977. Although he went on to make many more acclaimed films, he has continued to paint and exhibit. In 2007 the Fondation Cartier in Paris mounted a forty-year survey of his art, film, and music.

JILL SPECTOR (b. 1976, York, Pennsylvania) has called her sculptures both "performers" and "performances" . . . and has even referred to a sculpture as "she." Working in improbable combinations of materials, she builds movement from the inside out, in open structures that offer audience and backstage views. Spector's work was included in the recent exhibitions Drawing, Stretching, and Fainting in Coils, curated by Diana Thater for the Bayerische Staatsoper in Munich, and Made in L.A. at the Hammer Museum in Los Angeles.

Special Appearance by ALEISTER CROWLEY.

For further information contact Douglas Walla (dkw@kentfineart.net) or Jeanne Marie Wasilik (jmw@kentfineart.net). Gallery hours are Tuesdays through Saturdays, 10:00 to 6:00.