Joe Amrhein, founder, as most of you know, of the fabulous Pierogi gallery, longtime pioneer of the Williamsburg arts scene, all-around beloved guy, and (…) a brilliant artist.
[…] A paradox spun full circle—essentially, since he began making art with writing about other art—Joe established a promising set of contradictions to explore and expand the twin realms of art and text while intertwining them in conceptually snappy, intensely visual, ringingly aesthetisized works. Taking as both subject matter and raw material the language of criticism published in art magazines like Art In America, Flash Art, and the aforementioned Artforum, Joe rendered some of the silliest and least intelligible examples of art writing around onto overlapping sheets of vellum, which he then combined—like slides stacked on top of one another—to create a logjam of sense. The results were bound to be, often as not, riotously funny. (…)
David Scher was born in St. Louis, Missouri. Words that come to mind when thinking of his work include, but are not limited to, humorous, ingenious, prodigious, and multifarious, biting, generous, and inimitable. Each drawing and painting is a world unto itself, while a language of figures, exquisite line, and mark-making link one to the next. In each of these worlds there is a provocative sense to Scher’s non-sense. “My…approach consists of establishing fields where multiple things occur in proximity. These are familiar fields, including walls, tabletops, stages, shores, and pages. My work is composed within these constructs using diverse mediums and instruments as the subject demands.” Scher’s work has been exhibited widely in the US and internationally, and is included in the permanent collection of the Museum of Modern Art (NYC) among others.