christopher broughton • tara donovan • lee etheredge IV • teo gonzález • jeff konigsberg • jennifer maestre • marco maggi • gerhard mayer • taney roniger

september 4 - 28, 2002 opening reception: friday, september 13th, 5:30 to 7:30 pm

~ Page 1 of 2 ~

CLIFFORD • SMITH GALLERY is pleased to announce the opening of their 5th season with ACCUMULATION — a group exhibition focusing on the cumulative effects of the repetitive act in artmaking. In keeping with the mission of the Clifford•Smith Gallery, this exhibition showcases the work of artists who are were born, educated or are now working locally alongside that of artists from around the globe, and balances the work of emerging artists fresh out of the starting gate with that of artists who have been included in such prestigious exhibitions as the Whitney and Sao Paolo Biennials. There will be a reception for the artists on Friday, September 13th from 5:30 - 7:30 pm.

Gerhard Mayer

Untitled (191), 2001

ink on paper

13.5" x 17"(detail)


While the imagery, materials and method of the nine artists in the exhibition vary widely, each artist shares a common obsession with repetition and patterning and the cumulative effect of the repetitive mark. A more subtle (and not always visually apparent) commonality exists in the recurring use of mundane objects (string, nails, pencil nubs, ballpoint pen, a typewriter, or a slab of drywall) in the quest for an ordered perfection. In most cases, the quotidian object remains obscured as the process is subjugated to the sublime imagery that results.



Christopher Broughton

Build / Bury / Red / Blue (6), 2002

acrylic and flashe on canvas

48" x 56"

Several of the artists work out complex, near mathematical operations in the application of the individual line or mark. Christopher Broughton uses a straight line created by a string dipped in paint. Gerhard Mayer follows a self-imposed set of rules that dictate the number of elliptical lines made each time he touches the paper with a draftsman’s stencil. Taney Roniger punches nail holes using a template she creates, rotates and reuses in an ordered succession of moves. Yet the key to the success of these artists’ work is in the lyricism of the imagery that belies the rigorous method. Broughton’s straight lines create swirling curved architectural references; Mayer’s curves often form explosive fragmented images of great depth; and Roniger’s holes form subtle grids and gently pulsing patterns across a silver plane of stainless steel paint.


Taney Roniger

Matrix #1, 2002

Oil, nail hoes and iridescent

stainless steel paint on panel

30" x 46"

Others in the exhibition have a more organic approach to repetition and pattern by allowing chance and the freedom of the hand to intervene between artist and image. Tara Donovan draws thousands of tiny circles with a ball point pen – the image resulting in a stylized plume of smoke or a sort of strange, yet lovely, flower.

Tara Donovan

Untitled, 2002

ballpoint pen on paper

71.5" x 59"



(click on image for detail)







go to page 2 of press release F