William Pachner at 101

At 101 years-old, my father, William Pachner, is a very busy man. Interest in his work remains high in New York and I thought I would take a minute to update you on a couple of recent exhibitions that have featured his work.

At present, his work is included in a special exhibit, “Byrdcliffe’s Legacy: Handmade in the 20th Century (An Ode to Nature & Place)” at the Byrdcliffe Kleinert/James Center for the Arts (36 Tinker Street in Woodstock, NY). This exhibit will be on display from August 20-October 9, 2016.


Established in 1902, the Byrdcliffe Arts Colony was an important force the Arts and Crafts Movement in America. The Colony supported self-sufficiency, fulfillment in work, and the preservation of local crafts. The work in this exhibit illustrates the fine art and design accomplishments by selected artists and artisans who lived and worked in the Hudson Valley between 1903 and 1999. As makers of paintings, prints, photographs, weavings, ceramics, furniture, metal, jewelry and decorative art, the artists in this show produced work aligned with Byrdcliffe’s original pursuit of inspiration from nature and commitment to raising awareness of innovative, high-quality handcrafted work. In addition to William Pachner’s paintings, this exhibit also includes work by such renowned artists as Philip Guston, Yasuo Kuniyoshi, Milton Glaser, George Bellows, Mary Frank, Doris Lee, Judy Pfaf, Carl Walters, George Ault, Robert Chanler, William Hunt Diedrich, and Robert Ebendorf.

This spring, my father was honored at the opening of an exhibit, “The Roosevelt Collection,” at the Franklin Delano Roosevelt Presidential Library and Museum in Hyde Park, NY. His illustration of President Roosevelt, which appeared on the cover of Collier’s magazine on January 27, 1945, was prominently featured at this show. On the invitation of the director of the FDR library Paul Sparrow and Laura Roosevelt, the granddaughter of FDR, he returned to the FDR Presidential Library and Museum this summer for its 75th anniversary celebration.

-Ann Pachner

>> See more William Pachner at Mindy Solomon Gallery <<



Osamu Kobayashi // New York Exhibition

Mindy Solomon Gallery provided work by Osamu Kobayashi to appear on exhibition at Madelyn Jordon Fine Art in Scarsdale, NY, through August 21st.  In I am What I am Not Yet: A Survey of Brooklyn’s Moment, 22 Brooklyn-based artists have each experienced their borough from their own unique vantage points, and relate their own “situated encounters” which, in aggregate, conveys a multi-faceted interpretation of Brooklyn.

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Osamu Kobayashi // Filling // 2014 // 58 x 60 inches // Oil on linen

Osamu Kobayashi // Filling // 2014 // 58 x 60 inches // Oil on linen

Hyperallergic calls Kobayashi “wonderfully pleasant” // Pulse NYC

Hyperallergic mentions Kobayashi’s “Pink Waterfall” at the Mindy Solomon Gallery at this year’s Pulse NYC. Check out more of his beautiful work on our website!


Osamu Kobayashi, “Pink Waterfall” (2014), oil on canvas, 78 x 84″, at Mindy Solomon Gallery

Kobayashi // Recognized by the Observer at PULSE 2015

Osamu Kobayashi made an impression at this year’s Pulse NYC. The Observer’s Culture section noted:

“Brooklyn artist Osamu Kobayashi’s serene, inviting color-block oils on canvas stood out at Mindy Solomon as a welcome reprieve.”

>> Read the full article here <<

Kobayashi Observer

Julian Lorber in Hyperallergic // Environmental Politics

Gallery artist Julian Lorber is half of the two-man exhibit “Second Nature” currently showing at Outlet Fine Art in Brooklyn, NY. The show addresses with subtlety an environmentalist agenda, detailed in an insightful review from Hyperallergic.

>> Read the full article here <<

“If Lorber’s approach to nature were likened to a method of scientific research, it would be the extraction of core samples from sediment, stone, and ice. His vibrant gradient paintings, whose textured surfaces resemble a canvas thick with layers of tape, evoke cross-sections of geological strata.”

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“This touch of black humor adds to the sense of alarm seething beneath the surfaces of Dorf and Lorber’s seductive works. Like toxic materials spilled into an thriving ecosystem, these two sculptures infect everything around them, crystallizing the exhibition’s environmental politics.”

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James Kennedy // Artpulse Review

James Kennedy‘s second solo exhibition with Mindy Solomon Gallery, Morphosis, was written up in the January issue of Artpulse Magazine:

Conceptually, his work is evocative, aiming to express inner transformation through his contorted and faceless figures.  The result is a unique and intriguing imagery that levitates between meticulous precision and free expression.
-Irina Leyva-Perez

Read on below for the full review.

James Kennedy // Morphosis

James Kennedy // m o r p h o s i s November 14th – December 26th

Named a 2014 Top 100 Fall Show to See Worldwide by Modern Painters Magazine

– morph
combining form
1. indicating shape, form, or structure of a specified kind (dictionary.com)


James Kennedy // Fiction 2 // 2014 // 60 x 60 inches acrylic polymer and glazed graphite over gesso on eucalyptus masonite panel

Mindy Solomon Gallery is proud to present m o r p h o s i s, new work by James Kennedy, November 14th through December 26th at 172 NW 24th Street in the Wynwood Art District, Miami. An Opening Reception with the artist will be held Friday, November 14th, from 6-9pm. In his second solo exhibition with the gallery, Kennedy presents paintings and sculptures that characterize structural shifts within his work, evolving components evident in his complex Spatial series into abstract and semi-abstract figurative suggestions. The collection has been named a 2014 ‘Top 100 Fall Show’ to see, worldwide, by Modern Painters Magazine.

Fresh from his Golden residency, which allowed Kennedy the opportunity to explore new ideas and materials, he endeavors to leave the formality of frame and place an emphasis on linear tensions and kinetics—the organic relationship between the subject and structure, habitat and inhabitant. Kennedy will also be introducing sculptural works, manipulating masonite into the constructivist forms so iconic to his two-dimensional art.

Miranda McClintic, independent scholar specializing in twentieth and twenty-first century art, writes of Kennedy: “James Kennedy sees himself in the artistic traditions of both alchemist and master craftsman. With no preliminary drawings, he begins by covering masonite with washes of acrylic paint. The backgrounds are customarily a mixture of titanium white, medium gray, titanium buff, and yellow ochre. Next, Kennedy seamlessly applies emulsions, glazing, and scraping to build up individual planes. Varying hues, tints, and values of tertiary colors are subtly modulated by density of pigment, dilution, and overlay to create a tonal structure across the surface. The absence of visible brushstrokes gives each work an ethereal quality.”

Kennedy’s flawless technique combined with his one-of-a kind imagery serve as a wonderful departure point for this creative evolution of his work; Mindy Solomon Gallery is pleased to showcase its newest permeations.


James Kennedy // Fiction 3// 2014 // 60 x 60 inches acrylic polymer and glazed graphite over gesso on eucalyptus masonite panel


James Kennedy, Irish painter, studied at the Royal Scottish Academy, London School of Contemporary Dance, and Rhodec Academy of Architecture and Design. Upon his arrival in New York in 2003, Kennedy’s early abstract landscapes—moody, blended explorations in the horizon line—evolved into more visceral, textural works (Tectonics and Earthscapes), which employed deeper layers of media, mainly oils and encaustic over acrylic.

It was not until 2006 that material from Kennedy’s early drawings and training in dance and architecture began to appear in his trademark simplistic arrangements on masonite panel. The first exhibition of these works was held in 2007; Architectures and Choreographies presented oil paintings that resonated subtly with the British Post-Cubist, Bauhaus, and Constructivist schools. In 2010, Kennedy moved his studio from the Springs in East Hampton to New York City.  Concurrently, his painting language developed a stronger, more individual, instantly recognizable style.  He employed acrylics exclusively, and embarked upon deeper exploration of color field, use of incised linear connections between shapes and spatial characters, and the added dynamic of dilution and density.

Despite the hard-edged complexities evident in many of his works, Kennedy’s aim is to resolve these self-generated conundrums and present a balanced, unified surface. His recent work develops an emphasis on carving, glyphs, and greater attention to the painted understructure.  Kennedy currently works in his studio in Long Island City, New York.