Art Park, Outdoor sculpture show, "Skier" and "Hiker"
Mt. Tremper NY June 2014-May 2015
Outdoor sculpture show, "Thunderhoof" North Bennington
Vt July-October 2014
Outdoor sculpture show, "Headless Horseman" Red Hook NY
Gallery, Solo Show, Manhattan NY Feb 1-16 2014
Art Center, River & Biota Show, Livingston Manor NY, Oct-Nov
Gallery, Solo show, Hudson NY - Dec 1 2013 - Jan 5 2014
Fine Art Gallery, Solo show, Hunter NY 2012
Gallery Catskill, NY 1011 and 2012
Biennial, 2009, 2011, 2013
Gallery, Hudson NY 2011
Miller, Hamptons NY 2010
Estate, Highmount NY 2010
Art Studio Tour - Emerson Place - Belleayre Summer Festival 2010
Barns Center for Food & Agriculture, Westchester, Solo show
of steel sculptures 2009
Biennial, Two steel sculptures 2009 Varga Gallery, Woodstock EV/LES
Arts Upstairs, Phoenicia NY Frequent exhibitions 2005- 2009
Gallery, Phoenicia NY 2003, 2004 Group shows
Furnace at Newburgh Sculpture Project, Group show July 29-November
Museum of New Art 2004 Group show
Stendhal NY Group shows 1994 – 1998 Museum of the New School
1994 Kinetic sculpture
Net Nanette” with Enrico Giordano Biennale di Venezia XENOGRAFIA
Artists at Work” video installation Ft. Pierce Art Museum,
Ft. Pierce Florida 1992
show of “Space Shuttle” oil paintings Brooklyn Museum
1990 group show including “Polytower” Inflating outdoor
sculpture and large oil painting
of Mount Saint Vincent art gallery 1989 Solo exhibition of oil paintings
Gallery Brooklyn, NY 1984 solo show of paintings “Global Concern”
New York exhibition 1983 “Skull and Crossbones” inflating
in NYT by Grace Glueck, (read review)
All Fool’s Show, Williamsburgh Brooklyn 1982
Bomb” installation Monumental Show 1981
inflating sculpture. Review: Jonathan Schell, The Talk of the Town,
“Big,” The New Yorker, July 27, 1981
on White- Cryptic Triptych installation 1980 Franklin Furnace NYC
1979, “Earth” inflating silk sculpture
& Idith Korman
Cole & John Mann - Zen Monestary
Foundation – Stone Barns Center for Food & Agriculture
Institute school of architecture
and Mona Jacob
Paintings and Sculptures by Dave Channon at the Hunter Mountain
Foundation Kaaterskill Fine Arts Gallery 8/4 - 11/9 2012
Hunter Village Square, Hunter NY
A word about "THEM!" and Dave Channon:
world is wildly out of balance. We are invaded by dangerous insects.
We are also invaders and destroyers ourselves. This series of
oil paintings by Dave Channon clashes and mashes these two concepts
in superimposed, surrealistic layers of meaning and perspective.
Gorgeous yet devastating Emerald Ash Borers and Asian Longhorn
Beetles occupy visual space alongside endangered Costa Rican frogs
and bizarre chameleons. The aerial views of knotty highway cloverleaves
and fracking waste pools underscore the colossal struggle between
man and the natural world.
steel sculptures reflect the vital energy of creatures and people
in a different way. Antique tools and scrap metal are rescued
from the dump and recycled into three dimensional collages. These
humorous, lopsided mechanical balancing acts make you think Alexander
Calder meets Rube Goldberg. Each corroded fragment retains its
original identity as it merges into a new whole. A scythe blade
becomes the grim reaping spine of a Headless Horseman. A verdigris
crusted copper tea kettle is now Popeye's head and sailor cap.
Birds, dinosaurs and firemen emerge out of the waste stream of
our disposable society.
paintings make a sincere stab at sophistication, the sculptures
display the stupid genius of Basquiat. Which do you prefer? Channon
compares his welding sessions to a kid playing with erector sets.
There is room for fun and hard work, each have their place. Ideally
one can do both at the same time, although he tends to paint in
the winter and weld in the summer.
refers to a movie where radioactive giant ants colonize the storm
drains of Los Angeles. Current flooding issues make us more conscious
than ever of infrastructure, environment and our impact on climate
change. Channon's paintings and sculptures project the simultaneous
tragedy and confusion of the situation. His deep motivation is
obvious, but the answer to the riddle is not. As Walt Kelly's
Pogo once said. "We have met the enemy and he is us."
Channon has been an active exhibiting painter and sculptor in
the New York art scene since his first show in 1979 at Franklin
Furnace, an alternative art space in SOHO. He was apprentice to
Joseph Cornell in 1969 at the age of seventeen, and has collaborated
with such greats as Red Grooms, Phillip Guston and Robert Indiana.
His sculptures have been reviewed in the New York Times, the New
Yorker, The Village Voice and New York magazine. Channon has exhibited
in the New School Museum, The Brooklyn Museum, the Venice Biennale,
Stone Barns, a Rockefeller Foundation estate in Westchester, and
many well respected galleries. You can see his works at 49A, a
sculpture park at the Galli Curci estate in Highmount. Channon
is co-founder of the Shandaken Art Studio Tour.
Love Bug 2012
ART: A HUGE EXHIBITION AT BROADWAY TERMINAL
By GRACE GLUECK
Published: September 30, 1983
THE proponents of ''Terminal New York,'' the colossal display
of art on view at the former Brooklyn Army Terminal, have billed
it as ''potentially the most controversial and innovative exhibition''
since the 1913 Armory Show, but that description doesn't work.
The only way it can be related to the earlier exhibition is in
its size (it's bigger), and its association with a military space.
It's a different age: the distinctive feature of the Armory Show
was its first-time presentation of vanguard European art to an
insular American audience; ''Terminal New York'' has nothing very
new to offer an audience now up to its ears in the new and the
brash. What it conveys in its hodgepodge sprawl is the tremendous
energy of today's art scene, deploying the work of some 400 exhibitors
in an arena of 125,000 square feet that - with a skylight overhead
and a double train track running through it - resembles nothing
so much as a movie set for a European railway station. The overwhelming
number of objects that vie for attention is enough to glaze the
eyes - and blister the feet - of the most avid art adventurer.
Like Everest, its phenomenality lies in its scale. The angel behind
''Terminal'' is New York City's Public Development Corporation,
which offers city-owned real estate to prospective corporate clients.
In 1981, the city acquired the terminal, designed by Cass Gilbert
(of Custom House and Woolworth Building fame), built in 1918-19
by the Army and used as a military depot in World War II.
The city is ''redeveloping'' the entire complex - 5 million square
feet of space - and hopes to have it fully rented by 1985, to
more than 50 companies with jobs for 5,000 New Yorkers. And what
better way, the Development Corporation executives figured, to
call attention to this architectural extravaganza than by staging
a mammoth Manhattan-style art show?
A staff of four - Carol Waag, an artist herself and an employee
of the corporation, who hatched the idea for the show; two other
artists, Barbara Gary and Rhonda Zwillinger, and Ted Castle, a
writer and art critic - did the organizing. The 600 artists who
answered the call for proposals were pruned to about 200, and
some 200 more - including a number of better- known names - were
specially invited to participate. The effort, according to Mr.
Castle's introduction to the show's brochure, was to accumulate
''a considerable sample of freshly produced art of almost all
kinds,'' which would give viewers ''a revelation not only about
art now but also about the state of the world out of which this
Well. With something for absolutely everybody, the show has nothing
so much as the look of an art department store, with goods ranging
from Minimal to Neo-Expressionist and graffiti art, from single
objects to complex installations, from vast paintings to tiny
toylike pieces, such as a model train placed by Charles Davis,
which runs along a railroad track, emitting steam and engine sounds.
There are outright political statements and the blandest of abstract
forms, photography and video and artists' books. There are shows
within the show, such as ''Preparing for War,'' organized by Julius
Valiunas and Robert Costa, whose 90-odd participants - among them
Vito Acconci, Chris Burden, Richard Mock and the team of Komar
and Melamid - deal with the putative military interests of the
Reagan regime; and the work of Avant, an artists' group that slaps
up its dashed-off paintings all over town. The names run from
established to emerging: Alice Aycock, Carl Apfelschmidt, Jean-Michel
Basquiat, Mike Bidlo, Martha Diamond, Claudia De Monte, Leon Golub,
Nancy Grossman, Richard Hambleton, Mikyng Kim, Les Levine, Dennis
Oppenheim, Richard Nicksic, Larry Poons, Carolee Schneeman, Joel
Shapiro, Richard Smith, Katie Thamer, Paul Thek, Melissa Wolf,
and Kes Zapkus.
But, although the organizers of this multisponsor show get A for
effort, it has certain problems, inherent in its dimension and
lack of direction. For one, the skylighted central atrium,
740 feet long and eight stories high, bounded on two sides by
interior facades from which loading balconies project to sculptural
effect, provides such a dazzling experience of space in itself
that it tends to overwhelm the art. True, there are some interesting
attempts to ''respond'' to this space. One is a menacing outsize
inflatable skull and crossbones by David Channon, which hangs
from the ceiling; another is a billboard-size painting
that spans one set of railroad tracks by Stephen Davis, whose
abstract imagery surrounds a photographic inset of the atrium
itself, turned dizzily on its side. All kinds of other tricks
are played with the ceiling and the ground, ranging from ''The
Star System,'' Norman Tuck's contraption of poles, which revolves
high up in planetary fashion when a dangling rope is pulled, to
Tim Watkins's ''The Train Doesn't Run Here Anymore,'' a planted
growth of grass between the tracks.
And then there are the huge and numberless side galleries, in
which the displays go on and on and on and on . Faced with this
onslaught, all a reviewer can do is mention a few other of the
works that caught her attention: Anne Healy's ''Dante's Door,''
a series of three cutout kitelike structures, suspended between
columns one behind another, which strikingly liven up dead space;
Todd Miner's ''Form Descending,'' which pays hilarious homage
to the famous Duchamp work of the Armory show, by its placement
of cement plops on rungs in a downward progression around a column;
Gerald Nichols's ''Dead Toreador,'' a sculptural takeoff on the
Manet painting of that title (in the Metropolitan Museum's Manet
show), in which long, faintly figurative wooden slats, spatially
lined up to evoke the toreador's recumbent position, are mounted
on a wooden frame; a pair of mock bombs by Joseph Chirchirillo,
which sprout real grass from shaped armatures packed with earth,
and Cliff Petterson's ''nuclear age'' floor shrine, whose fish,
serpent and butterfly forms are ingeniously ''painted'' with colored
''Terminal New York,'' at the Harborside Industrial Center, 58th
Street and First Avenue in Brooklyn, may be visited Fridays, Saturdays
and Sundays through Oct. 30 from noon to 6 P.M. It can be reached
by the BMT's N and RR lines to 59th Street in Brooklyn; or by
car, on the Brooklyn-Queens Expressway west to the 39th Street
exit, driving west on 39th Street and south on First Avenue to
the gate. By all means, bring the kiddies. Also of interest this
week: William T. Wiley (Allan Frumkin Gallery, 50 West 57th Street):
The big news here is that William T. Wiley, the quixotic West
Coast painter, draftsman and maker of punny, sometimes poignant
mixed-media constructions, has ''gone Lippincott.'' That is, he
is producing more formal works of steel and aluminum at the Connecticut
foundry of Lippincott, metal fabricators to the art world.
The big question is, how do Mr. Wiley's free-wheeling whimsies,
commenting on everything from art and alchemy to nuclear politics,
translate into the less permissive medium of fabricated metal?
Well, some make it; some don't.
Among those that do is ''Bones, Dunce and Gentleman,'' a comically
cosmological work, in which a dunce hat and a top hat each sits
on one of the balls of a barbell, which in turn connects two burnished-aluminum
pedestals. A small, wistful skeleton, ingeniously fashioned of
dark matte steel, dangles from the bar onto the floor. But a big
cutout ''Angel'' with a scythe, is arch and folk-artsy; and no,
absolutely no, to ''Boo Dada Bar BQ,'' a wood-fronted cutout metal
Buddha squatting on a large brazier.
Conclusion: too often the metal confers a monumentality on Mr.
Wiley's gifted work that it doesn't really want. But it certainly
gives it permanence. There are also a few of the artist's jokey,
metaphysical drawings with texts, which are, as usual, appealingly
rich in wayward occurrence. (Through Oct. 13.) John Torreano (Hamilton
Gallery, 20 West 57th Street): Jewels - flashy, kitschy colored
gemstones - are John Torreano's obsession. In earlier exhibitions,
he showed ''paintings'' made by affixing swarms of glass baubles
to canvas and sculpture contrived by gluing them to shaped pieces
of wood. One piece, ''Jewel of Jewels,'' harks back to the old
days, a square-cut diamond shape covered with glass bits that
lolls atop a high pedestal.
For the rest, he has retreated into more formal representations
of jewel stones, producing big, Minimal-looking gem-faceted floor-
and wall- pieces coated with aluminum or colored paint rubbed
to an elgant finish, and actual paintings in hard, bright whites,
yellows, blacks, greens and purples, which make a pass at abstracting
the tonal dazzle given off by cut stones. It comes off as refried
Pop. (Through next Tuesday.)