Christopher Francione. Touchdown, 2001. Latex and caulk on canvas, 60" x 60

"Young and Brash and Abstract" is organized by Anderson Gallery Director Ted Potter and guest curated by poet, artist and critic John Yau. The exhibition features 11 young abstract painters in their 20s and 30s currently working in and around New York. They originate from Spain, Japan, Korea and England as well as from the United States. Crossing ethnic, social, and economic boundaries they represent the multi-cultural diversity that is synonymous with New York City, with only the commonality of abstraction between them. Many of them draw and use line in their work. They are influenced by culture as much as by nature; memory as much as by imagination.

Lisa Stefanelli. Thornfield (The Horse Chestnut at Thornfield), 2001. Oil on canvas, 81" x 65"

Kathleen Kucka’s poured paintings reference pools of water, cascades and atmospheric energies. Lisa Stefanelli creates lyrical lines of enamel on vellum that recall the linear patterns she once cut into the ice when she skated. Steven Charles refers to his paintings as "targeting" in a process where he systematically pours and paints in multiple layers. David Brody’s paintings reflect complex structural systems that ultimately climax in animated lines that are reminiscent of a classical figure. Jennifer Riley paints bands of luminous color that overlap in multiple layers, subtlety suggesting landscapes. The other exhibiting artists are Chris Francione, Hiroshi Tachibana, Ana Vilarrasa, Henry Brown, Walter Biggs and Theresa Chong.

David B. Brody. Region: 32, 1998. Acrylic on canvas on 2 panels, 48" x 96"

"This exhibition focuses on younger abstract artists who have transformed what may seem like the end of painting into the beginning," states curator, John Yau. "They recognize that history isn’t over, that it is always beginning, that it is always being told and simultaneously revised. It seems to me that in drawing, and being committed to drawing, these artists depart from the art historical narrative that claims that Pollock dissolved drawing, made gesture become a part of the field. Drawing, their work tells us, still has many places to go."