Markus Linnenbrink's installation commission at JVA/Prison in Duesseldorf Rath, Germany POSTED: August 10, 2011 Markus Linnenbrink just completed a floor-to-ceiling installation at the newly constructed Justiz Vollzugs Anstalt (JVA) Prison in Duesseldorf Rath, Germany. JVA is a model prison in Europe and is set up to deal with security and humanity issues at the highest and best possible level. In Germany, it is a law that any new prisons must locate their visitor access tunnel underground. Linnenbrink was commissioned by the prison to do an installation work in the 40 meters between the security check-in at the front building and the visitor area in one of the inner prison buildings. Linnenbrink created a three- dimensional painting that follows and surrounds the visitor during their walk. Two sets of diagonal stripes that both grow wider while covering the distance build two different perspectives: one moving toward the inside, the other one taking the visitors back to the exit/entry area.

		Pulse Art Fair, Miami, December 2014 POSTED: December 04, 2013
		Lower East Side Gallery Stroll Sunday, March 10th, from 12-6PM POSTED: March 04, 2013 Visit 50+ Lower East Side galleries for a gallery stroll on Sunday, March 10th from noon-6PM during Armory Arts Week. Click "Download Document" below for the MAP. Download Document
		ARTnews Jordi Alcaraz: DEIXANTS I PORTES review by Annette M. Rose-Shapiro POSTED: October 02, 2012 Jordi Alcaraz’s deeply emotional and cerebral show, Deixants I Portes (Wakes and Doors), featured nearly two dozen paintings and a few sculptures. The Catalan artist uses simple, inexpensive materials and builds his own heavy wooden frames. Tearing, gouging, and burning through the thin paper and cardboard of his booklike assemblages, Alcaraz reveals each layer as a way of producing “drawings.” His enigmatic markings are made with ink, glass, staples, and bits of wire, effectively challenging the viewer to write the story. Alcaraz manipulates the glass or acrylic he uses to protect each piece, adding shadows, lines, and an unexpected depth. Llibre D’astronomía (II), 2012, is a tattered book, crudely bound with butcher’s string. Its pages, all lacking text, are marked with large pools of black paint that form a constellation of sorts. But the acrylic covering has been melted inward, making these “stars” look more like black holes in space. Alcaraz introduces an additional dimension to his sculptures by engaging the acrylic of the vitrines that contain them. A molded paraffin headlike shape in Somiar (Dream), 2012, pushes against the side of the vitrine, as if trying to escape from a nightmare. It’s a subtle, yet arresting, gesture. One of the more minimal works in the show was Procés Per Fixar Idees (I), 2012. The book’s images are composed of bits of broken acrylic, stapled to its pages or affixed with wire. One illegible word, written in soft pencil, is the only text in evidence. The book appears to have exploded in a violent way, spitting out bits of broken acrylic and staples, suggesting a possible story line yet to be written. It clearly reflects Alcaraz’s particularly Catalan surrealist bent. —Annette M. Rose-Shapiro http://www.tomlinsonkong.com/Exhibit_Detail.cfm?ShowsID=51 Download Document
		HOUSTON FINE ART FAIR POSTED: September 06, 2012 TKC will be exhibiting at the Houston Fine Art Fair, Booth 105 September 14th - 16th Reliant Center, Houston, TX Featuring new and recent work by: Jordi Alcaraz, Ken Fandell, Johannes Girardoni & Christopher Kurtz http://www.houstonfineartfair.com
		artcritical Christopher Kurtz: Longhand review by Karen Gover POSTED: September 06, 2012 “Longhand” proves an apt title for Christopher Kurtz’s four-piece show at Tomlinson Kong Contemporary. On a formal level, Kurtz’s sculptures suggest the lines and shapes of handwriting. Two of the pieces, "Litany" and "Act Together," resemble the baroque swirls of cursive script made three-dimensional. The slender quills of the other two pieces, "Palace" and "The Gloaming," suggest a different graphic sensibility: neat and formal, yet still bearing the trace of the hand, these forms etch soft black lines in space to create volume and void. And yet, "Longhand" suggests not only formal associations of handwriting but the manual, painstaking process by which these sculptures were made. Kurtz, who is also a furniture designer, is a master carpenter. Each of the hand-carved pieces exemplifies some particular aspect of his technical prowess: his ability to make wood curl and loop back around itself in improbable ways; to carve bass-wood into long, needle-thin spikes; to create invisible seams that join two pieces as if they had always been one. The sculptures in "Longhand" do not apologize for the evident labor and skill that they require, but nor do they belabor the point. Carpentry is in service to Kurtz’s art, but this is not art about carpentry... Click below to read complete review. http://www.artcritical.com/2012/09/04/christopher-kurtz/ Download Document
		The Brooklyn Rail Christopher Kurtz: Longhand review by Robert C. Morgan POSTED: September 04, 2012 Christopher Kurtz is a sculptor who works in wood. His work moves between natural winding branches and pointed stick-like forms. Either way, his approach to sculpture is a classical one. It contains a will to order, one that is less about power than balance. While Nietzsche may linger in the shadows, the articulation of proportions is more given to Chuang-Tzu. The content is only a matter of degree. A subtle tilt or bend in the wood will determine the work’s expressive potential. Kurtz’s sense of ordering is generally more spatial than formal. Whether thinly carved wooden spears shoot out from a central hub into the space around them or a large fallen branch becomes the readymade design for a winding linear form, Kurtz follows the course of his observations and thought. His work may recall three-dimensional asterisks, such as bursting planetary orbs, or it may suggest a ribbon-like estuary that flows until it becomes fixed in time like a meandering glacier. Regardless of his sources, the structure within each piece of work remains clear and incisive. The resolution is less about pre-determination than a process that engenders discovery... Click below to read complete artical. Download Document
		Artforum.com Christopher Kurtz: Longhand review by Allese Thomson POSTED: August 29, 2012 Critic's Pick Christopher Kurtz approaches sculpture with the meticulous dexterity of a trained craftsman. To create Litany, 2012, arguably the centerpiece of his first solo exhibition in New York, the artist routinely woke before daybreak to hand-carve maple, oak, and cedar into strips of wood, then gingerly pieced these together into a continuous beam that curves thirteen feet across the gallery and soars five feet toward the ceiling. In some places thick and heavy, in others nimbly slender, it swoops through the air, often branching into seamless, curling tendrils. Litany is so delicate and so immaculate that it seems unbelievable the work was carved by hand. Kurtz has painted the sides of the beam a stark white and the top and bottom a coal black, which obscures the medium somewhat, causing the work to oscillate between what it is (wood, handcrafted) and what it seems (metal, machine-made). This dualism accentuates the capacity of wood to do things it often doesn’t do—twirl and spiral, pirouette and twist. It also highlights Kurtz’s process, notably the stunning levels of patience and attention required to make wood appear weightless. What is significant about Litany, then—as opposed to some of the other works on view here, all impressive displays of technical prowess and execution—is the way Kurtz emphasizes the human quality of craftsmanship as a genre. Is it pitifully romantic to think the human hand may imbue an aesthetic object with a certain set of qualities that a machine cannot? Perhaps. What is certain, however, is that it is precisely the illusory choice of paint as well as the play of dimension that unravels these questions, pushing Litany firmly out of the realm of craft. http://artforum.com/?pn=picks§ion=nyc#picks32264 Download Document
		PULSE New York POSTED: May 03, 2012 TKC will be exhibiting at the PULSE New York, Booth A10 The Metropolitan Pavilion 125 West 18th Street Chelsea New York, NY 10011 FAIR HOURS: Thursday, May 3, 12pm- 8pm Friday, May 4, 10am-8pm Saturday, May 5, 12pm-8pm Sunday, May 6, 12pm-5pm
		The Wall Street Journal Johannes Girardoni: Lost-and-Found review by Peter Plagens POSTED: March 09, 2012 Much contemporary art floating around galleries these days couples aesthetic purity (e.g., the Minimalism of Dan Flavin) with nose-thumbing at a particular medium (e.g., John Baldessari's riffs on photography). This combo plate is exactly what Mr. Girardoni (b. 1967) offers up in an exhibition that's somehow much better in overall "feel" than in its irritatingly familiar parts. The Baldessari-esque section consists of large color C-prints of the backs of billboards in the desert, a New York City street with construction scaffolding, and a gritty Los Angeles parking lot. They're mounted on aluminum and elegantly defaced with buttered-on rectangles of paint. They look, in a word, good. The Flavinlike component is made up of long cast-resin bars, backlighted in purple, that lean or lie around in a separate room. These are pretty nice, too. If it weren't for the faint, sci-fi music (an increasingly obligatory "sound" element in exhibitions), "Lost-and-Found" would totally transcend some of its arguable particulars and be a really convincing show. http://online.wsj.com/article/SB10001424052970203753704577253711545349758.html Download Document
		The Armory Show 2012 POSTED: March 08, 2012 Tomlinson Kong Contemporary will be exhibiting at The Armory Show 2012, Booth 400, Pier 92 Pier 92 & 94 Twelfth Avenue at 55th Street New York City Public Hours: Thursday, March 8 - Saturday, March 10th: 12pm to 8pm Sunday, March 11: 12pm to 7pm

POSTED: March 03, 2012	Christopher Kurtz at The Museum of Art and Design, New York
POSTED: October 26, 2011	PULSE Miami Art Fair December 1 - 4, 2011
POSTED: October 25, 2011	Johannes Girardoni at the 54th Venice Biennale "Personal Structures" curated by Karlyn De Jongh and Sarah Gold June 4, 2011 - November 27, 2011
POSTED: August 24, 2011	Ken Fandell at The Contemporary Museum, Honolulu, Hawaii
POSTED: August 10, 2011	Johannes Girardoni's "Infinite Room"