Conceptual Art


It’s a pleasure to be a mentor for Antonio Modesto Milian, a Brandon Fellow at the Greenville Center for Creative Arts in Greenville, SC. Thanks for asking me to be your mentor, Antonio! You all did a superb job yesterday at the Artist Talk, and I look forward to seeing this through to your exhibition in August!  The other fellows are Naomi Nakazato and Glory Day Loflin (Photo by the super supportive Latosha Nicole Milián).


L to R:  Naomi Nakazato, Antonio Modesto Milian, and Glory Day Loflin

Bios of the inaugural group of Brandon Fellows at the Greenville Center for the Creative Arts:

Naomi Nakazato is a graduate of Anderson University, where she focused on painting and drawing as well as the history of portraiture. Communicating the challenges and experiences of mixed ethnicity is the driving force behind her work. She is passionate about helping other young artists experience and understand their identity through art. The Brandon Fellowship will give Naomi the opportunity to explore new approaches and mediums in which to pursue these goals.
Anthony Modesto Milian is a graduate of Greenville Technical College and has pursued studies in hospitality at Bob Jones University. He is the creator of the popular Faces of the Upstate page on Facebook, which highlights the beauty of the diversity in our community, and through which he fosters dialogue and reflection on social issues.  As a Brandon Fellow, Anthony will hone his technical and artistic skills to enhance his street photography and the impact of his project. He also plans to explore publishing a book depicting the cultural richness of the Faces of the Upstate.
Glory Loflin is a graduate of the Cooper Union for Advancement of Science and Art in New York City where she studied painting and an alumna of the Fine Arts Center and the South Carolina Governor’s School for the Arts and Humanities. She has taught arts to children and volunteered her artistic abilities to benefit a variety of causes, from raising awareness of human trafficking to promoting a local farmers’ market and helping feed the homeless. As a Brandon Fellow, Glory will continue championing social issues through the arts while preparing a portfolio of ceramics work in view of applying to graduate school in this medium.
The Brandon Fellowship will provide Naomi, Anthony, and Glory with individual studio space, a stipend for art supplies, access to a variety of classes, as well as guidance and mentorship from the other GCCA studio artists and exhibiting artists.


Greenville, South Carolina

Greenville, South Carolina

Old Main at Wofford College (2016)

Old Main at Wofford College (2016).  Image by Bryan Hiott


I’m pleased to have two of my archival pigment prints accepted into the Wofford College Archives in Spartanburg, SC. Both prints are from this digital image of Old Main, which was built in 1854.  The original image was in color, and I converted it to black and white and toned it in Photoshop. I then combined it with a portion of a digitally scanned glass plate from the 19th century. I wanted the final image to have the look of an albumen print from a wet plate collodion negative. Ancient and modern!  Backpacks and shorts were not worn on campus in the 19th century.


Public conversational gesture. Greenville, SC. Video at 85% normal speed with no sound.

This is the video counterpart to my ongoing series of narrative portrait images, exploring nuances of gesture and interaction on the street.


Public conversational gesture. Greenville, SC. Video at 35% normal speed with no sound.

This is the video counterpart to my ongoing series of narrative portrait images, exploring nuances of gesture and interaction on the street.


Intersection II:  Public Intimacy

Study of gesture and intimacy in public. Greenville, SC. Video at 25% normal speed with no sound.  This is the video counterpart to a series of digital narrative images I’ve been making to explore nuances of gesture and interaction on the street.

Pedestrian Micro Gestures, Greenville, SC. This is the video counterpart to a series of digital narrative images I’ve been working on downtown, exploring nuances of gesture and interaction on the street.

In researching artists whose practice combines photography and constructed landscapes, I found some interesting work by Vanessa Marsh.  Last May, she had a solo exhibition, Always Close But Never Touching,  at Ampersand International Arts in San Francisco.  One of her pieces from that exhibition was Incomplete Highway On-Ramp, Seattle, WA.


Incomplete Freeway On-Ramp, Seattle, WA


Installation View: Incomplete Freeway On-Ramp, Seattle, WA


Vanessa Marsh’s Artist Statement

It was in high school that I began to find my true artistic vision. It started with a basic photography class and my mom’s old Nikon E series camera. The next year I had my first car and would take long drives out onto the edges of the Seattle suburbs. Wandering through the damp richness of Washington State, I rediscovered a landscape I had grown up with; flooded fields and medians overgrown with blackberry bushes, evergreens dripping with water and rivers always at capacity. I found myself fearless with my camera, exploring defunct industrial sites, climbing past “no trespassing” signs, keeping my eye out for security guards and taking as many shots as I could. I’d let myself into abandoned houses decaying with mold and half heartedly boarded up, looking for the perfect pile of detritus to photograph; an open fridge in the backyard or a baby carriage overgrown with blackberry vines. These buildings were all on the edges of fields that within a few years would become Wal-Marts or a sea of cookie cutter houses, not yet torn down, but no longer functioning as they were originally intended. They were places where I shouldn’t have been but where there was no one left to tell me to get out.

The idea of spaces between meanings became a fascination for me whether regarding the physical landscape, in considering memory or in making art. I think about ways that my art can tell a truth and yet be rooted in imagination simultaneously. My practice of model building began as a means to create a certain kind of photograph, an image that was at once real and surreal. As I worked more with miniatures I realized that the experience of looking into a model was similar to the feeling of being in abandoned places: of being an unintended visitor in a place that is at once somewhere and nowhere.

The models are built referencing snap shots and many details are filled in from my own imagination. When I build the models I am thinking of the places I’ve explored on the outskirts of Seattle, places on the brink of evolution and extinction – between meanings.

Building the models is an attempt to fully embrace my own sentimentality of where I grew up; the home where I no longer live. The environment where I feel the most comfortable yet choose not to be. The models are about recreating something important again that has been deemed unusable and outdated. In building them I am creating on a miniature scale a part of my own history, exploring the ways in which memory and identity are tied not only to location but also to one’s own imagination.

For  an interview with Vanessa Marsh by Matthew Hughes Boyko:  Click Here

Sea Metal Moon No. 1


Paul Kenny’s Artist Statement



I have for many years made studio works using material gathered from the landscape, stones, shells, and driftwood etc. In common with many people, I have always brought home “treasures” from the sea pebbles, shells etc. They act as an “aide – memoir”, bringing the landscape into your home so a mere glimpse or touch might recall the feelings of being alone on a remote beach.

Realising that I (naturally) tended to bring back to the studio particularly beautiful objects to photograph, I began to make works out of increasingly insignificant material collected at random rather than highly selected. In 1999 I made a series of works called “A day at the beach” which were studio works made from (literally) a random handful of beach material collected after a walk on a beach, arranged and photographed in the studio.

Out of this work came the idea to find the most trivial and insignificant thing from which to make beautiful and thought provoking work. I started to bring sea water back from my trips to remote beaches and it took about four years to fully develop techniques where I can construct a negative made of sea water dried and crystallised in an organised manner on clear acetate or glass plated. They take many days to make, repeatedly applying drops of seawater and waiting for it to dry. I call them Seaworks.


Blue Cheswick Moon



Full Moon Over Mayo



Flying Over Colonsay

I just read the press release for Swimming Pool, an installation by Leandro Erlich currently on view at P.S.1 Contemporary Art Center in Long Island City.  I’m going to see Erlich’s work as well as the Kenneth Anger retrospective also at P.S. 1. All photographs below are by Matthew Septimus.  Text of the press release follows:


Swimming Pool by Leandro Erlich.  Photo: Matthew Septimus.

Leandro Erlich: Swimming Pool

On view October 19, 2008 – October 5, 2009


P.S.1 Contemporary Art Center presentsLeandro Erlich: Swimming Pool, an extraordinary and visually confounding installation by the Argentine artist Leandro Erlich. Leandro Erlich: Swimming Poolwill be on view in P.S.1’s unique, double-height Duplex gallery from October 19, 2008 through April 13, 2009.

Leandro Erlich is known for installations that seem to defy the basic laws of physics and befuddle the viewer, who is introduced into jarring environments that momentarily threaten a sense of balance or space. For this exhibition, Erlich presents one of his most well-known and critically acclaimed pieces, Swimming Pool. Speaking about the project, Erlich says: “When I first visited P.S.1, I remember thinking how perfect the Duplex space would be for the installation ofSwimming Pool. This space divided the experience of seeing the work perfectly, and in the correct order. Almost ten years since its creation, Swimming Pool is finally in the exhibition space for which I have always felt is so perfectly suited.”


Swimming Pool by Leandro Erlich.  Photo: Matthew Septimus.


Erlich has constructed a full-size pool, complete with all its trappings, including a deck and a ladder. When approached from the first floor, visitors are confronted with a surreal scene: people, fully clothed, can be seen standing, walking, and breathing beneath the surface of the water. It is only when visitors enter the Duplex gallery from the basement that they recognize that the pool is empty, its construction a visual trick fashioned by the artist. A large, continuous piece of acrylic spans the pool and suspends water above it, creating the illusion of a standard swimming pool that is both disorienting and humorous.


Swimming Pool by Leandro Erlich.  Photo: Matthew Septimus


Swimming Pool by Leandro Erlich.  Photo: Matthew Septimus


Leandro Erlich (b. 1973, Buenos Aires) has been exhibiting his work internationally for over ten years. He has had solo shows at the Centre d’Art Santa Mònica, Barcelona (2003); MACRO Museo d’Arte Contemporanea Roma (2006), and Le Grand Café, Centre d’Art Contemporain de Saint-Nazaire (2005). He represented Argentina at the 49th Venice Biennale (2001), where he showed Swimming Pool, and was also featured in the Singapore Biennale (2008), the Liverpool Biennial (2008), 7th Havana Biennale (2001), the 7th Istanbul Biennial (2001), the 3rd Shanghai Biennale (2002), the 1st Busan Biennale (2002), and the 26th Bienal de São Paulo (2004). His work will be shown in the upcoming Prospect.1 New Orleans Biennial in 2008. He lives and works in Buenos Aires.


Organized by P.S.1 Director Alanna Heiss.

The exhibition is made possible by David Teiger, Estrellita B. Brodsky and Colección Patricia Phelps de Cisneros.

 I missed the opening of Myoung Ho Lee’s exhibition of large format color photographs at Yossi Milo last night.  But I hope to see the work this weekend.  The press release and images below are from the gallery website.


Tree #5, Archival Inkjet Print by Myoung Ho Lee (2007)

Tree #5, Archival Inkjet Print by Myoung Ho Lee (2007)




March 19 – April 18, 2009


Yossi Milo Gallery is pleased to announce an exhibition of color photographs by Myoung Ho Lee, entitled Tree. The exhibition will open on Thursday, March 19 and close on Saturday, April 18.  This will be the artist’s first solo exhibition in the United States. 

 Myoung Ho Lee photographs solitary trees framed against white canvas backdrops in the middle of natural landscapes. To install the large canvases, which span approximately 60 by 45 feet, the artist enlists a production crew and heavy cranes. Minor components of the canvas support system, such as ropes or bars, are later removed from the photograph through minimal digital retouching, creating the illusion that the backdrop is floating behind the tree.  


Tree #2, Archival Inkjet Print by Myoung Ho Lee (2006)

Tree #2, Archival Inkjet Print by Myoung Ho Lee (2006)


The series includes diverse species of trees photographed with a 4×5 camera in a variety of seasons and at different times of day. Mr. Lee allows the tree’s natural surroundings to fill the frame around the canvas, transforming the backdrop into an integral part of the subject. Centered in the graphic compositions, the canvas defines the form of the tree and separates it from the environment. By creating a partial, temporary outdoor studio for each tree, Mr. Lee’s “portraits” of trees play with ideas of scale and perception while referencing traditional painting and the history of photography.

Myoung Ho Lee is the recipient of awards including the first Young Photographer’s Award from the Photo Artist’s Society of Korea in 2005, Korea’s Photography Critics Award in 2006 and a grant from the Culture and Art Fund from the Arts Council of Korea in 2007. Mr. Lee was born in Daejon, South Korea in 1975 and currently lives and works in Seoul, South Korea.



Gallery Information


Tuesday–Saturday 10 am–6 pm


525 West 25th Street
New York, NY 10001

phone: 212-414-0370
fax: 212-414-0371



Historical Erratum  Series (by Bryan Hiott)           

Gen. Custer at Little Big Horn McDonald’s  (by Bryan Hiott)


Gen. George Armstrong Custer descends in to an existential crisis, contemplating whether he would like fries with his Quarter Pounder.  He was surprised by McDonald’s aggressive trans fat marketing and unsure whether he should use his military training to resolve the issue.  His indecisiveness would prove costly.

Committed Explanations in Geograph

Pablo Helguera: Committed Explanations in Geography

Press Release:  Committed Explanations in Geography, a solo exhibition by New York-based artist Pablo Helguera, is an upcoming show at the School of Art at The Cooper Union that showcases his recent artworks highlighting cultural and linguistic gaps specific to the Americas (January 27-February 21, 2009), curated by Sara Reisman. 

Helguera’s four-week, multi-disciplinary exhibition brings together a number of works produced between 2003 and 2009 around the subject of geography, cultural memory and social and political change in the American landscape. The subjects of the works range from works about an enclave of Veneto speakers (an italian dialect) in Puebla, Mexico, the history of the first Shaker settlement in America, the 1916 expedition by General John Pershing through the Sonora desert to kill Pancho Villa, the last speaker of the Eyak language in Alaska, and the life story of Wallace Nutting, the inventor of Americana.  Helguera’s artistic practice incorporates pedagogical mechanisms, performance, musical composition, multi-linear narrative techniques and minimalist display strategies. The opening will include the performance of “Manifest Destiny”.


The Cooper Union School of Art

7 E. 7th Street

Arthur A. Houghton, Jr. Gallery, 2nd floor

Free and open to the general public


Tuesday, January 27, 6pm (opening reception)


On View:  Jan.  27 – Feb. 21; gallery hours: Tues.- Sat., 11am-6pm 


Conditional Painting (2008).  18 x 24 Gouache and Graphite on Panel

Conditional Painting (2008). 18 x 24 Gouache and Graphite on Panel


I came across William Powhida’s work in Art Lies No. 59/Fall 2008. His series of text paintings critiques the power structures of art institutions and their privileged position as arbiters of aesthetic value in the market, while mocking his own desire to be part of that system. Powhida also makes fun of the games and sometimes grandiose notions inherent in the drive toward art world fame. In one of those works, Conditional Painting, he sets forth the criteria which must be met before his painting may be deemed a work of art. He is playing on the same conceptual turf that Robert Morris occupied with Document (1963), a legally notarized letter in which he negated – by mere declaration – all aesthetic value of Litanies, a work he had completed for Philip Johnson and for which he had not yet been paid.


Text from the painting


Dear Museum Types,

This is not a work of art. While it may look like a painting, I assure you it is not. This is a conditional painting that will remain incomplete until certain conditions are met. If these conditions, which I shall propose here, are indeed fulfilled then this will be more than ART. It will be a MAJOR work of staggering implications. If they aren’t met, I retain the right to deny that the object is complete.

The resolution of this painting is contingent on my inclusion in (A) a major museum show, (B) the Venice Bienniale, (C) Documenta, or (D) OK the Whitney Bienniale.* Once I am selected to be in a PRESTIGIOUS institution then this painting will be ‘finished’…by a FAMOUS artist, not merely an art fair sellout. Becoming an institutionally recognized artist will make ALL of my work valuable, but will ONLY complete this painting.

While the recognition is important it doesn’t guarantee continued success. What WILL be remembered is the conditional painting. It is an HISTORIC act that will finally elevate the extremely important role of the curator to producer of meaning. Just imagine the looks of stunned AWE on the faces of museum/biennial/bienniale/Documenta visitors realizing the implications of the PRESENCE of the COMPLETED work of art. It is a beautiful thought.

The only missing party here is a collector (museum) brave enough to purchase an incomplete, conditional painting. Again, I deny that this is ‘art’ until the above conditions are met. The thoughtful person or institution might consider the POTENTIAL value, cultural or otherwise, of this rad BRILLIANT idea. This isn’t my concern, money or recognition. NO, my concern is purely about FINISHING my art. I will wait until I am DEAD which will really increase the value of the object. Please, before everything comes crashing down, help me. I must finish this one.


William Powhida**

* The biennial cannot suck.

** This doesn’t indicate a finished work. It is a facsimile of a signature. I will leave an authentication with my estate.


From the Museum of Modern Art Website



Litanies by Robert Morris

Litanies by Robert Morris


Each of the twenty–seven keys in Litanies is inscribed with a word from a text by artist Marcel Duchamp (American, born France. 1887–1968), whose emphasis on the ideas presented by a work of art rather than its aesthetic appearance informed much Conceptual art of the 1960s. When Litanies was purchased by architect Philip Johnson, Morris did not receive payment in a timely fashion. He createdDocument in response. The typed and notarized text serves to negate the “aesthetic quality and content of the original work,” which is presented as “Exhibit A” in frontal and profile views. Johnson then purchased Document, thereby accepting the loss of the value of his first acquisition.


Document (1963) by Robert Morris


Robert Morris: Document. 1963. Typed and notarized statement on paper and sheet of lead mounted in imitation leather mat, 17 5/8 x 23 3/4″ (44.8 x 60.4 cm). Gift of Philip Johnson. © 2008 Robert Morris / Artists Rights Society (ARS), New York.



Oval Office by Thomas Struth



 Monika Sprüth and Philomene Magers are delighted to present the first solo exhibition of new work by German artist Thomas Demand in the UK since his acclaimed Serpentine exhibition in summer 2006. Following an invitation from the New York Times, Demand has created a timely and unnerving body of work which examines the literal and metaphorical seat of global power in the twenty-first century – the Oval Office in the White House, Washington, D.C. 

The Oval Office, the official workplace of the President of the United States of America, is one of the most instantly recognisable interior locations in the world, its image a symbolic shorthand for the exercise of ideological and geopolitical will. Yet Demand’s photographs, rather than capturing the original Oval Office in all its formal opulence, instead depict a meticulously recreated life-size model, fabricated from paper, cardboard and confetti. Each of the five images of this near-perfect reconstruction of the most powerful room in the world is articulated through a complex compositional language, making the reading of each photograph an aesthetically and conceptually troubling experience. 

Demand’s photography has long focussed on painstakingly detailed reenactments of specific and familiar places, public or private sites often loaded with social and political meanings. His models are highly detailed, yet they retain subtle but deliberate flaws and anachronisms to disrupt the viewer’s comfort with the scene. This series also renders an immediately recognisable scene alien through an innovative attention to perspective and formal composition. The oval shape of the Oval Office is not usually a prominent feature of the multiplicity of images of this iconic space, yet in Demand’s rendition, the eye is fascinated by it. Similarly, the viewer’s expectation is that this room will be inhabited, either by politicians or actors pretending to be politicians, and that it will be experienced on a human scale and at eye level. However, Demand’s Oval Office is conspicuous in its human absence, an emptiness that is heightened by the ground-level and bird’s eye perspectives from which the room is viewed. 

The effect of Demand’s work has been to challenge any complacent assumptions about photography’s claims to verisimilitude, and to complicate conventional notions of authenticity and artifice. However, in the context of this new body of work, Demand’s practice gains an ever more politicised momentum. Blurring boundaries between believability and pretence in the Oval Office necessarily points to a critique of power as it has been wielded in the White House. Photographing a near-exact replica of the US President’s office suggests intriguing connections between statecraft and stagecraft, and the disposability of the construction materials (each of Demand’s models is destroyed after it has been photographed) undermines any naïve faith in the permanence and unshakeability of American, or indeed any, political authority. 

This new exhibition marks a distinctive counterpoint to a number of Demand’s recent major works. Tavern (2006), currently on view at Tate Modern, is, like this body of work, a suite of five images which take a media-saturated location, in this case the site of a horrific murder in Germany, and powerfully evoke a sense of ambivalence and the uncanny in how images of such memorable and familiar places are received. It can also be viewed as a companion piece to Demand’s Embassy, part of his presentation at the Fondazione Prada at Fondazione Giorgio Cini, in Venice in June 2007. Embassy centred on the reproduction, physically then photographically, of Niger’s consulate in Rome, which was the ultimate destination of a trail of political intrigue involving the recent history of nuclear proliferation, and the basis of America’s 2003 invasion of Iraq. These photographs depict a highly politicised and geopolitically significant space, but one which was cluttered, dark, unknown and locked away from view. This contrasts with Demand’s image of the Oval Office – an eerily airy and instantly recognisable political environment which is defined by its public accessibility, and whose image is so widely dispersed it looms ever-present in the collective visual vocabulary of contemporary Western culture. The connection between the two works, in political and aesthetic terms, is confirmed by the presence in these photographs of a framed image of a black figure that appeared in Embassy. Not only does this intervention jar with the viewer’s visual expectation of the Oval Office, but it reifies the problematic ways in which race, history and the Third World might be located within the American political order. 

Thomas Demand studied at the Düsseldorf Academy and Goldsmiths College. Solo exhibitions include the first solo exhibition by a contemporary artist at the Museum of Modern Art, New York, following its reopening in 2005, which was followed by an exhibition at the Serpentine Gallery in London in 2006. Recent exhibitions include Fundación Telefónica, Madrid and the Hamburger Kunsthalle, Germany. In 2004 he represented Germany at the São Paulo Biennale. Demand lives in Berlin, and in 2009 he will have a major exhibition at the Neue Nationalgalerie in Berlin. 

I am pleased to have my work included in Sanlun Yishu, a mobile gallery project designed and curated by two American artists currently living in Beijing:  Lee Somers and Elisabeth Pellathy.  Art selected for the project will be transported through the city in a Sanlun (a compact three-wheel motorized vehicle).  In various neighborhoods, the driver will stop and set up viewing opportunities for the public, many of whom might not ordinarily visit galleries.  Somers and Pellathy envision Sanlun Yishu as a way to bridge art and everyday life, which I find very appealing.  The project is made possible with a grant from the Black Rock Arts Foundation.


From the  Sanlun Yishu website:  Shifting art viewing from a passive to active interface with the community, Sanlun Yishu creates a space for interactive art. Instead of paying a fare, participants take a work of art with them and make a creative contribution of their own.  This transaction is the basis of a conversation between artists and passengers, examining urban life from multiple perspectives, forging unlikely connections across the globe. 


Sanlun Yishu


General Information

Artists are asked to submit their work to Sanlun Yishu in the spirit of collaboration. No work will be bought or sold while in the mobile gallery. It is a purely non-profit, public and global art project to promote contemporary art-awareness.

Works selected for exhibition will be reproduced in editions specified by the artist in dimensions appropriate to the vehicle. These reproductions will be taken by the passenger/participants in Beijing, who will in turn leave a creative response or a piece of ephemera in exchange for the work. These responses will then be forwarded electronically to the artist, who may choose to continue collaboration with this feedback.

Selected results of these dialogues will be published in a catalogue and exhibited in a Beijing gallery at the end of the project. When the exhibition is completed all work-specific feedback will be mailed to the artists for their keeping.

All participants will be invited to show their original work or works pertaining to the project at a gallery in Beijing at the end of the project. Details will be provided as they become available.



三san (three) 轮lun (wheel) 车che (vehicle) – a versatile, cheap and compact  tricycle made from modified motorcycles or bicycles. Small yet mighty, the workhorse of Beijing moves everything from lumber to passengers.  Often employed as a low-budget, local taxi.

三san (three) 轮lun (wheel)  艺术yishu (art) – a mobile gallery, a custom-made sanlun che housing an exhibition of print, drawing, sound, and video selected specifically for this context.  The primary function is to facilitate personal interaction with art for an audience outside the scope of the traditional gallery.

The sanlunche is one of the most popular ways of getting around the city. Our project, Sanlun Yishu, will retrofit the standard sanlunche, turning it into a mobile gallery. This gallery will house artworks from people around the globe working in various media and carry them into the stream of daily transportation.



Dear Bryan,

I like art.  But I just don’t get modern stuff at all.  Take installation art. Now, that stuff looks down right weird. Is it supposed to look that way?

Last week I had a cabinet maker that come to install new cabinets in my trailer. They look real beautiful. Now, to me that’s art. But maybe I’m confused.  Is my cabinet maker an installation artist? 

I hope you can clear this up for me.


Wanda Owens

Fingerville, SC



Dear Wanda, 

You are not alone.  Artists today often make work that most people wouldn’t understand without some explanation – if not a fine arts education.  In other words, they are making work for less than 5% of the population.  The ideas behind the work have become more important than whether the work is, in fact, beautiful.  

About your cabinet maker:  if you didn’t feel compelled to ask him the real meaning of his work, then he’s probably not an installation artist.  On the other hand, he could easily morph into one by ripping your cabinets out of the wall and putting them into a gallery exhibition along with a proper statement.   The artist might even go as far as to make a reproduction of your trailer.  Follow?  If not, read up on Marcel Duchamp.  He’s the guy who started all of this by putting a urnial in the Louvre and calling it art.  Basically art was whatever he designated as such.  Anything goes.


Bryan Hiott

New York, NY


P.S.  It’s entirely possible that your cabinets are more beautiful than the work you might find in some galleries and at just a fraction of the cost.

Next Page »