![\"\uc0ac\ubcf8](\"https:\/\/clumsy.site\/wp-content\/uploads\/2021\/05\/\uc0ac\ubcf8-greg-colson-5703df21-04e2-4b64-a547-dcd93c6eef1-resize-750.jpg\" "\\"\uc0ac\ubcf8")
\n\tGREG COLSON<\/p>\n\t\t\t\t\n\t
Greg Colson’s work is often completed by various “conflicting gestures”. He attempts to “allow the rational systems he depicts to be disrupted and contradicted by the material and physical contexts they are placed in.” Whether his ‘conflicting gestures’ question the contradictions in our society or express the paradox inherent in our lives, he seems to propose a contemplation. Colson often uses standardized systems (maps, charts, floor plans, etc.) and seemingly comments on the intrinsic contradiction that lies in the rational foundation of our society. But this is neither cynicism nor criticism. It rather leads to a unique viewpoint of his own, a playful stare. Each artist possesses or creates his\/her own unique contradiction. When Colson reacts to the world’s inherent paradox with his own contradictory ‘gestures,’ a certain equilibrium seems to be reached. This might be the reason why his work feels like a contemplation rather than an argument.<\/p>\n
<\/p>\n
\uadf8\ub809 \ucf5c\uc2a8\uc758 \uc791\uc5c5\uc5d0\ub294 \uc5b8\uc81c\ub098 \uc5ed\uc124\uc801\uc774\uace0 ‘\uc0c1\ucda9\ub418\ub294 \uc81c\uc2a4\ucc98\ub4e4’\uc774 \ubb3b\uc5b4\uc788\ub2e4. \uadf8\uc758 \uc791\uc5c5\uc758 \uc758\ub3c4\uac00 \uc6b0\ub9ac \uc0ac\ud68c\uc758 \ubaa8\uc21c\uc801\uc778 \uba74\ub4e4\uc5d0 \ub300\ud55c \uc758\ubb38\uc744 \uc81c\uae30\ud558\ub294 \uac83\uc774\ub4e0, \uc6b0\ub9ac \uc0b6 \uc18d\uc5d0 \ub0b4\uc7ac\ud55c \uc5ed\uc124\uc744 \ud45c\ud604\ud55c \uac83\uc774\ub4e0, \uadf8\ub294 \uc5b8\uc81c\ub098 \uc77c\uc885\uc758 ‘\uc751\uc2dc’\ub97c \uc81c\uc548\ud558\ub294 \ub4ef\ud558\ub2e4. \uadf8\ub294 \uc8fc\ubcc0\uc5d0\uc11c \ud754\ud788 \ubcf4\uc774\ub294 \uaddc\uaca9\ud654\ub41c \uc2dc\uc2a4\ud15c(\uc9c0\ub3c4, \ub3c4\ud45c, \ub3c4\uba74 \ub4f1)\uc744 \uc774\uc6a9\ud558\uc5ec \uc6b0\ub9ac \uc0ac\ud68c\uc758 \uc774\uc131\uc801\uc778 \uae30\ubc18\uc774 \uac00\uc9c4 \ub0b4\uc7ac\uc801\uc778 \ubaa8\uc21c\uc5d0 \ub300\ud574 \uc5b4\ub5a4 \ucf54\uba58\ud2b8\ub97c \ud558\ub294 \ub4ef\ud558\uc9c0\ub9cc \uc774\ub294 \uacb0\uad6d \ub0c9\uc18c\ub3c4 \ube44\ud310\ub3c4 \uc544\ub2c8\ub2e4. \uadf8\ubcf4\ub2e4\ub294 \uadf8\ub9cc\uc758 \uc2dc\uac01\uc744 \ub2f4\uc740 \uc7ac\ubbf8\uc788\ub294 \uc751\uc2dc\uc5d0 \uac00\uae5d\ub2e4. \uace0\uc720\ud55c \uc608\uc220\uac00\ub4e4\uc740 \uace0\uc720\ud55c \uc5ed\uc124\uc758 \uc18c\uc720\uc790\ub4e4\uc774\ub2e4. \ucf5c\uc2a8\uc758 \uc791\uc5c5\uc774 \uc751\uc2dc\ucc98\ub7fc \ub290\uaef4\uc9c0\ub294 \uc774\uc720\ub294 \uc138\uc0c1\uc5d0 \ub0b4\uc7ac\ub41c \uc5ed\uc124\uc744 \uadf8\uc758 \uace0\uc720\ud55c \uc5ed\uc124\uc758 \uc81c\uc2a4\ucc98\ub85c \ub300\uc751\ud560 \ub54c \uc5b4\ub5a4 \ud3c9\ud615 \uc0c1\ud0dc\uc5d0 \ub2e4\ub2e4\ub974\ub294 \ub4ef\ud558\uae30 \ub54c\ubb38\uc774\ub2e4.<\/p>\n\t
CV<\/p>\n\tBorn 1956,\u00a0Seattle<\/strong>\n <\/p>\n EDUCATION<\/strong><\/p>\n BA, California State University, Bakersfield, CA<\/p>\n MFA, Claremont Graduate School, CA<\/p>\n <\/p>\n SELECTED EXHIBITIONS<\/strong><\/p>\n 2016<\/p>\n Thomas Park, Seoul, South Korea<\/p>\n 2014<\/p>\n Eugene Binder, Marfa, TX<\/p>\n 2013<\/p>\n Patrick Painter Inc, LA<\/p>\n 2012<\/p>\nPatrick Painter Inc, LA 2010<\/p>\n Griffin Contemporary, LA<\/p>\n 2008<\/p>\n Griffin Contemporary, LA<\/p>\n 2007<\/p>\n Griffin Contemporary, LA<\/p>\n2007 <\/p>\n GROUP EXHIBITIONS<\/strong><\/p>\n2021 <\/p>\n AWARDS AND GRANTS<\/strong><\/p>\n2018 <\/p>\n SELECTED PUBLIC COLLECTIONS<\/strong><\/p>\nNew York Presbyterian-Cornell Hospital, New York, USA <\/p>\n BIBLIOGRAPHY<\/strong><\/p>\n2021 ARTWORKS<\/p>\n\t\uc0c1\ud638\uba85: (\uc8fc)\ub354\ud074\ub7fc\uc9c0\ud50c\ub79c \u00a0\ub300\ud45c : \ubc15\uc0c1\ubbf8 \u00a0\uc0ac\uc5c5\uc790\ub4f1\ub85d\ubc88\ud638 : 205-88-02028 \u00a0\ud1b5\uc2e0\ud310\ub9e4\uc5c5\uc2e0\uace0 :\u00a02022-\uc11c\uc6b8\uc6a9\uc0b0-0190 GREG COLSON Greg Colson’s work is often completed by various “conflicting gestures”. He attempts to “allow the rational systems he depicts to be disrupted and contradicted by the material and physical contexts they are placed in.” Whether his ‘conflicting gestures’ question the contradictions in our society or express the paradox inherent in our lives, he…<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-7171","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/clumsy.site\/wp-json\/wp\/v2\/pages\/7171","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/clumsy.site\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/clumsy.site\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/clumsy.site\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/clumsy.site\/wp-json\/wp\/v2\/comments?post=7171"}],"version-history":[{"count":0,"href":"https:\/\/clumsy.site\/wp-json\/wp\/v2\/pages\/7171\/revisions"}],"wp:attachment":[{"href":"https:\/\/clumsy.site\/wp-json\/wp\/v2\/media?parent=7171"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nBaldwin Gallery, Aspen\n
\nRecent Paintings<\/em>, Gallery Eric Dupont , Paris, France
\nTo K from P with love<\/em>, Markus Winter, Berlin, Germany
\nAftermath & lexicon<\/em>, Moti Hasson Gallery, New York, USA\n2005
\nOpen Project Space, New York, USA
\nGalerie Eric Dupont, Paris, France\n2003
\nBatlle Pagk<\/em>\u00a0(two person show) curated by Adrian Dannatt, Thomas Erben Gallery, New York, USA\n2002
\nGalerie Eric Dupont, Paris, France\n2000
\nGalerie Eric Dupont, Paris, France
\nGaleries des \u00e9tudes, ENAD Limoges-Aubusson, France\n1999
\nMACC, Fresnes, France
\nLe 10neuf, C.R.A.C. Montb\u00e9liard, France\n1998
\nGalerie Eric Dupont, Paris, France
\nCRG Gallery, New York, USA\n1995
\nCRG Gallery, New York, USA\n1994
\nGalerie Eric Dupont, Toulouse, France\n1993
\nThread Waxing Space, New York, USA\n1992
\nGalerie Eric Dupont, Toulouse, France\n1991
\nThread Waxing Space, New York, USA 1987: Galerie Jean Fournier, Paris, France\n1986
\nGalerie Simone L’Hermitte, Rouen, France\n1984
\nJean-Marie Monthiers, Paris, France
\nA.P.A.C. Montpelier, France\n
\n“<\/em>Doomed and Famous: Selections from the Adrian Dannatt Collection” at Miguel Abreu Gallery, in collaboration with Sequence Press, New York, USA\n2020
\n“Abstract Art from the\u00a0Miettinen Collection”\u00a0at Miettinen Collection, Berlin, Germany
\n“MULTILAYER<\/em>” with 50 abstract artists, curated by Ivo Ringe and Juliane Rogge, at\u00a0RAUM SCHROTH in Museum Wilhelm Morgner, Soest<\/a>, Germany\n2019
\nConstructed: Paul Pagk\/ Cary Smith\/Beverly Fishman\/Marilyn Lerner\/Joanna Poussette-Dart, <\/em>curated by Barry Rosenberg, <\/em>Contemporary Art Galleries, University of Connecticut, USA
\n<\/em>La Couleur, curated by Jean-Pascal L\u00e9ger, <\/em>C.A.P. Royan, France – <\/em> Quasar – La collection, curated by Emmanuel Lesgourgues, <\/em>Musee des Beaux-Arts de Pau, France – <\/em> Paper Works, Artelli Gallery, Antwerp, Belgium <\/em>2018: – <\/em> Introspection: Paul Pagk\/ Warner Berckmans, <\/em>Artelli Gallery Brussels, Belgium
\n2D or Not 2D, <\/em>Air Mattress Gallery, NYC, USA
\n<\/em>The Idiosyncratic Pencil Exhibition<\/em>, curated by Ann Stoddard, Harper Center for the Arts, SC, USA
\nCourant \u00e0 contre-courant, <\/em>curated by Emmanuel Lesgougues, Collection Quasar,\u00a0<\/em>Peyrehorade, France\n2017
\nLunchbox Fund Benefit<\/em>,<\/em> NYC, USA
\nEXIL: Paul Pagk, Carlos Kusnir, Hyun Soo Choi, Damien Cabanes, Siobhan Liddell, <\/em>Galerie Eric Dupont, Paris, France
\nGoerk \/ Grytting \/ Pagk \/ Welish, <\/em>ART 3 Silas Von Morisse Gallery, Brooklyn, USA
\nSummer installation of works by gallery artists Eileen Quinlan, Paul Pagk, Pieter Schoolwerth, Blake Rayne, Rochelle Goldberg, <\/em>Migu<\/em>el Abreu Gallery, NYC, USA
\nSocial Photography V, <\/em>Carriage Trade, NYC, USA\n2016
\nVisages de la ligne, <\/em>Frac Picardie, Amiens France
\nSequence 6: one work, one week Rochelle Goldberg, Paul Pagk, Aaron Flint Jamison, Pieter Schoolwerth, <\/em>Miguel Abreu Gallery, NYC, USA
\nPPP <\/em>Painters Painting on Paper @ Schema Projects, Brooklyn, USA
\nMamie Holst and Paul Pagk, <\/em>presented by Jane Kim 33 Orchard, NYC, USA
\n5×5,\u00a0Edward Thorp Gallery, NYC, USA<\/em>
\nOsamu Kobayashi and Paul Pagk, <\/em>Mindy Solomon Gallery, Miami, Florida, USA\n2015
\nThe 40th Anniversary Exhibition, <\/em>Hal Bromm Gallery, NYC, USA
\nThe Abstract Body, <\/em>curated by Craig Stockwell, The Sharon Arts Centre, Peterborough, NH, USA
\nON PAPER Mamie Holst and Paul Pagk, <\/em>presented by Jane Kim, 33 Orchard, NYC, USA\n2014
\nMaterial Way,<\/em>\u00a0curated by Kathleen Kucka, Shirley Fitterman Art Gallery BMCC, NYC, USA
\n(S)ITATIONS, La beaut\u00e9 devient avant-garde une passion priv\u00e9e, <\/em>Mus\u00e9e de Sarrebiurg, Sarrebourg, France
\nSummer Show, Focus on Painting, <\/em>FL Gallery Milan, Italy
\nLa main invente le dessin, <\/em>Abbaye de Saint-Riquier, Frac Picardie, Amiens France
\nPipe Dreams, Wishful Thinking, Grand Gestures & Dirty Lies, <\/em>ACE Project Space. NYC, USA
\nBrooklyn Bridge, <\/em>curated by Justine Frischmann, George Lawson Gallery, SF, USA\u00a0<\/em>\n2013
\nSocial Photography III, <\/em>Carriage Trade, NYC, USA
\nCome Together: Surviving Sandy, Year 1,<\/em>\u00a0curated by Phong Bui, Dedalus foundation, Brooklyn, USA
\nla main invente le dessin, <\/em>centre culturel de rencontre, abbaye de saint-riquier, FRAC Picardie, France
\nFour Tet,<\/em>\u00a0JiM Comtempori, Barcelona, Spain
\nEmergence, <\/em>A Proposition by: Katrin Bremermann, Erin Lawlor & Yifat Gat. \u00a0\u00a0<\/em>
\nH\u00f4tel de Sauroy,, Paris, France
\nWit,<\/em>\u00a0curated by Joanne Freeman, Painting Center, New York, USA\n2012
\nAround the corner, Four Painters Living in Tribeca: Hermine Ford, Joanne Greenbaum, Paul Pagk, Gary Stephan, <\/em>organized by Lucien Terras, New York, USA
\nLine and Plane, <\/em>McKenzie Fine Art, New York, USA
\nSurface Affect, <\/em>Miguel Abreu Gallery, New York, USA
\nnoir et blanc, <\/em>Espace Henri Matisse, Creil, FRAC Picardie, France
\nWavers,<\/em>\u00a0curated by EJ Hauser and Rob Nadeau, Brooklyn, USA
\nPonctuation 8 \/Inventer le dessin, <\/em>Mus\u00e9e du dessin et de l’estampe originale, Gravelines, FRAC Picardie, France\n2011
\nSocial Photography II, <\/em>Carriage Trade, NYC, USA
\nA Romance of many Dimensions, <\/em>curated by Brent Hallard, \u00a0BrooklynArtistGym, Brooklyn, USA
\nA Review, <\/em>Edward Thorp Gallery, New York, USA
\nA few of my favorite things, <\/em>The End, Brooklyn, USA
\n70 Years of Abstract Painting – Excerpts<\/em>, Jason McCoy inc. New York, USA
\nPaper A-Z, <\/em>Sue Scott Gallery, New York, USA
\nGeometric Days<\/em>, curated by Papo Colo, Jeanette Ingberman, and Herb Tam, Exit Art, New York, USA\n2010
\nSocial Photography I, <\/em>Carriage Trade, NYC, USA
\nPainting and Sculpture<\/em>, Foundation for Contemporary Art Benefit, Lehmann Maupin, New York, USA
\nInformal Relations<\/em>\u00a0curated by Scott Grow, Indianapolis Museum of Contemporary Art, Indianapolis, USA
\nGeometric Progressions<\/em>, Edward Thorp Gallery, New York, USA
\nLush Life<\/em>, curated by Franklin Evans and Omar Lopez-Chahoud, Scaramouche, New York, USA\n2009
\nA fleur de peau II – Le dessin \u00e0 l’\u00e9preuve<\/em>, Galerie Eric Dupont, Paris, France\n2008
\nPresent<\/em>, curated by Jay Murphy, HP Garcia Gallery, New York, France
\nGroup Show<\/em>, Galerie Eric Dupont, Paris, France
\nUntitled (On Paper),<\/em> Moti Hasson Gallery, New York, USA\n2007
\nInside the Pale<\/em>, curated by Frank Schroder, Thrust Projects, New York, USA
\nOrthodoxe\/H\u00e9t\u00e9rodoxe : choisir sa ligne<\/em>, Le 10neuf, C.R.A.C. Monb\u00e9liard, France
\nBeyond the Pal<\/em>e, curated by Candice Madey and Tairone Bastien, Moti Hasson Gallery, New York, USA\n2006
\nTrait, ligne, \u00e9crire l’espace,<\/em>\u00a0F.R.A.C Beauvais, France
\nTwist it Twice<\/em>, curated by Franklin Evans, Moti Hasson Gallery, New York, USA
\nHands up\/Hand down<\/em>, Miguel Abreu Gallery, New York, USA
\nA fleur de peau<\/em>, Galerie Eric Dupont, Paris, France\n2005
\nExc\u00e8s de traits<\/em>, Frac Picardie , Amiens, France\n2003
\nLe Cabinet 2<\/em>, curated by Ann Philbin, FRAC Picardie, Amiens, France
\nLe Cabinet 1<\/em>, curated by Gabriel Orozco, FRAC Picardie, Amiens, France\n2002
\nZenroxy<\/em>, curated by Ivan Vera, Von Lintel Gallery, New York, USA\n2001
\nGalerie Martagon, Malac\u00e8ne, France
\nRecent acquisitions, FRAC Picardie, Amiens, France\n2000
\nGeoffrey Young Gallery, Great Barrington, Massachusetts, USA\n1998
\nC.R.A.C., Montb\u00e9liard, France\n1997
\nNew York Draws<\/em>, Gas-Works, London, and then Corner House, Manchester, UK
\nCurrent under current<\/em>, Brooklyn Museum, New York, USA\n1996
\nDrawings<\/em>, AC Project Room, New York, USA
\nWorks on Paper<\/em>, Alona Kagan & Jose Martos, New York, USA
\nOther Rooms<\/em>, Ronald Feldman Gallery, New York, USA\n1995
\nMetamorphose Part II<\/em>, Guillaume Gallozzi, New York, USA
\nSummer Exhibition<\/em>, CRG Gallery, New York, USA\n1994
\nLogo Non Logo<\/em>, curated by Robert C. Morgan and Pierre Restany, Thread Waxing Space, New York, and then to University of South Florida, USA
\nCentre Lotois D’Art Contemporain, Figeac, France
\nWritten-Spoken-Drawn in Lacanian Ink<\/em>, curated by Raphael Rubinstein, Thread Waxing Space, New York, USA
\nDrawings<\/em>, Galerie Regards, Paris, France\n1993
\nInt\u00e9rieurs,<\/em>\u00a0Mus\u00e9e Goya, Castres, France\n1990
\nAbstract Painting<\/em>, curated by Robert C. Morgan, Nahan Contemporary, New York, USA
\nThree Painters<\/em>, curated by Timothy Nye & Miguel Abreu, 470 Broome Street, New York, USA\n1988
\nGalerie Jacques Girard, Toulouse, France
\nPark Floral de Paris, Paris, France\n1987
\nCarte Blanche \u00e0 Yves Michaud<\/em>, CREDAC, Ivry, France
\nCentre Culturel de Br\u00e9tigny, Br\u00e9tigny-sur-Orge, France\n1986
\nL’Epure<\/em>, curated by Yves Michaud, Galerie Beau L\u00e9zard, Paris, France\n1984
\nJourn\u00e9es Jeunes Cr\u00e9ateurs<\/em>, Espace Kiron, Paris, France
\nSur Invitation<\/em>, Mus\u00e9e des Arts D\u00e9coratifs, Paris, France
\nGalerie Jean Fournier, Paris, France\n1983
\n55 Panoyaux<\/em>, Paris, France\n
\nNYSCA\/NYFA Artist Fellowship in Painting\n2014
\nJoan Mitchell Foundation Painters and Sculptures Grant\n2012
\nPollock-Krasner Foundation Grant
\nAdolph and Esther Gottlieb Foundation Individual Support Grant\n2000
\nSheldon Bergh Award\n1998
\nPollock-Krasner Foundation Grant\n1987
\nPrix Fen\u00e9on, Universit\u00e9 de la Sorbonne\n
\nFonds National D’Art Contemporain (FNAC), France
\nLe Bon March\u00e9 (LVMH group), Paris, France
\nSpringfield Museum of Art, Ohio, USA
\nHood Museum of Art, Dartmouth College, New Hampshire, USA
\nL’Artotec Limoges, France
\nFRAC Picardie, France
\n“Les Abattoirs”, Mus\u00e9e de Toulouse, France
\nVille de Br\u00e9tigny-sur-Orge, France\n
\nDaniel Guionnet & Val\u00e9rie Toubas, Point Contemporain, Portrait Paul Pagk, June-August 2021\u00a0David Ebony, Art in America, Memento Mori can Be Fun, March 2021\n2019
\nM\u00e9riam Korichi, “Labyrinths of Perception\/Les labyrinthes de la Perception”, <\/em>Book, PAUL PAGK Interaction, 2019
\nStephen Maine, Two Coats of Paint, Review: The Abstract Zeigeist in Storrs<\/em> -Beverly Fishman, Marilyn Lerner, Paul Pagk, Joanna Pousette-Dart, Cary Smith , Nov 2019
\nDaniel Guionnet & Val\u00e9rie Toubas, Point Contemporain, Portrait Paul Pagk, Sept-Oct-Nov. 2019
\nJean-Pascal L\u00e9ger: Catalogue La couleur, C.A.P. Royan, France, 2019
\nSophie de Santis, Le Figaro Art, Le Figaroscope Review\/Coup de Coeur: Les couleurs musicales de Paul Pagk, Galerie Eric Dupont, April 2019
\nPoint Contemporain Agenda, Paul Pagk, Galerie Eric Dupont, March 2019\n2017
\nCaroline Goldstein, Artnet Editors’ Picks: 11 Things to See in New York This Week: 1- Goerk\/Welish\/Pagk, August 2017
\nParis-Art: Exil: Paul Pagk, Carlos Kusnir, Hyun Soo Choi, Damien Cabanes, Siobhan Liddell, Galerie Eric Dupont, 2017\n2016
\nJulie Crenn, Art Press review: Paul Pagk, 2016
\nC\u00e9cile de Hann, Artorismagazine: Paul Pagk, portrait, May 2016\n2015
\nBill Clarke, Magenta Magazine: Paul Pagk, 33 Orchard Gallery, June 2015
\nZachary Keeting & Christopher Joy, Gorky’s Granddaugther: Paul Pagk, April 2015
\nSusan Happersett, Fibonaccisusan: Paul Pagk at 33 Orchard Gallery, February 2015\n2014
\nAnne Malherbe, Art Press Review: Paul Pagk, vivacit\u00e9 de l’abstraction, October 2014
\nAdrian Dannatt, Artcritical: Our Secret: Hidden Master Painter Paul Pagk, September 2014\n2013
\nChristopher Stout, Arts in Bushwick: Paul Pagk: 18 Drawings and 1 Painting, April 2013\n2011
\nChris Ashley, Some Walls: Essay on The Mesquite Drawings, April 2011
\nSharon Butler, Two Coats of Paint: Geometry is real, March 2011
\nOver 40, Under the Radar, Modern Painters: February 2011\n2010
\nLe blog Processbleu: Paul Pagk, September 2010
\nBrent Hallard, Visual Discrepancies: Conversation Paul Pagk with Brent Hallard, 2010\n2007
\nDavid Cohen, The Sun: “Idiosyncratic Intellectualism”, March 8, 2007
\nJacquelyn Lewis, Art Info: Interview; Paul Pagk at Moti Hasson, February 27, 2007
\nFranz Dahlem, DADURICH, To K from P. Berlin, Germany, 2007\n2005
\nAdrian Dannatt, Studio Visit on line, October, 2005\n2003
\n1990-2003 Prototypes, FRAC Picardie, Amiens, France 2003
\nSarah Douglas, Art Newspaper Review, May 2003\n2002
\nMiguel Abreu, Connaissance des Arts, March 2002\n2000
\nAlexandre Grenier, Pariscope Review, September 2000
\nDamien Sausset, L’Oeil, September 2000\n1999
\nFranklin Sirmans, Catalogue essay Le 19, May 1999
\nFranklin Sirmans, Flash Art Review, March-April 1999\n1998
\nRobert C. Morgan, Review, January 15, 1998\n1995
\nMark Van de Walle, ArtForum Review, November 1995\n1994
\nRobert C. Morgan, Catalogue essay “Logo Non Logo”, November 1994\n1993
\nRaphael Meyer Rubinstein, Art in America Review, September 1993
\nDonald Kuspit, ArtForum Review, Summer 1993
\nHolland Cotter, The New York Times Review, April 1993
\nDaniel Pinchbeck, Art & Antiques (Openings), March 1993
\nTim Nye, Catalogue interview by Tim Nye, Thread Waxing Space, March 1993\n1992
\nLaurence Cabidoche, Art Press Review, December 1992
\nAdrian Dannatt, Catalogue essay, Paris: Eric Dupont Gallery, September 1992
\nJean-Louis Pinte, Figaro Scope “Un accent d’avant-garde”, January-March 1992
\nAdrian Dannatt, Flash Art Review, January-February 1992
\nRobert C. Morgan, Tema Celeste “The Endgame”, January-March 1992\n1991
\nChristopher Sweet, Art News Review, 1991
\nStephen Westfall, Catalogue essay, Thread Waxing Space, New York, 1991
\nRaphael Meyer Rubinstein, Catalogue essay, Thread Waxing Space, New York, October 1991\n1990
\nMiguel Abreu, Catalogue essay, “Three Painters”, New York, October 1990\n1988
\nPatrick-Gilles Persin, Catalogue essay, Parc Floral de Paris, June 1988
\nJean-Charles Agboton, Art Press Reviews, February 1988\n1987
\nYves Michaud, Catalogue essay, “Carte Blanche” CREDAC, Ivry, December 1987
\nBernard Cambon, Catalogue essay, “Quand les formes g\u00e9n\u00e8rent les existences”, Centre Culturel de Br\u00e9tigny\/Orge, March 1987\n1986
\nJean-Louis Poitevin, Kanal “Promenade dans les Galeries Parisiennes”, March 1986\n\t
\n\uc0ac\uc5c5\uc7a5 \uc18c\uc7ac\uc9c0 : \uc11c\uc6b8\ud2b9\ubcc4\uc2dc \uc6a9\uc0b0\uad6c \uc774\ud0dc\uc6d0\ub85c 199, 4\uce35(\uc774\ud0dc\uc6d0\ub3d9) \ubb38\uc758 : 02 – 723 – 2973, info@thomasparkgallery.com
\n\uc774\uc6a9\uc57d\uad00<\/a>\u00a0 \uc815\uae30\uacfc\uae08\uc774\uc6a9\uc57d\uad00<\/a> \u00a0\uac1c\uc778\uc815\ubcf4\ucde8\uae09\ubc29\uce68<\/a>\n\n","protected":false},"excerpt":{"rendered":"