Dana Kane         untitled (balls) 3' diameter each canvas and paint 2000 (series of 12: 4 groups of 3)           birdwatching (detail) 1996 plastic, pigment colored sand and mirror (site related piece)           The Kelly Girls (series of 12 girls, multiple editions) 11" x 17" color xerox         RESUME:   SELECTED EXHIBITIONS 2000 Yerba Buena Center for the Arts, San Francisco, CA. "Multiple Sensations," Curated by Joe Amhrein. The Pierogi Flatfiles, Post Gallery, Los Angeles, CA. 1999 Rosenwald-Wolf Gallery, Philadelphia, Pennsylvania. Pierogi 2000: The Flat Files. Plaza Gallery, Fordham University, New York, N.Y. "Paper View," Curated by David Storey. Pierogi 2000, Brooklyn, N.Y "Rage for Art." White Columns, New York, N.Y. "Outer Bouroughs," Curated by Paul Ha. Summer Group Show, Margaret Bodell Gallery, New York, N.Y. D.L. Cerney, New York, N.Y. "Bolt," Curated by Vanina Holsek and Margaret Bodell. The Fine Arts Work Center, Provincetown, MA. "Former Fellows of New York." Lamia Ink Gallery, New York, N.Y. "Former Fellows from the Fine Arts Work Center." The Holland Tunnel Gallery, Brooklyn, N.Y. "She." 1998 Bard College, Rheinbeck, N.Y. "Pierogi Goes to College," Curated by Joe Amhrein. Kunstlerhaus, Vienna, Austria. "Pierogi 2000, New York: The Flatfiles." Weatherspoon Art Gallery, Greensboro, N.C. "Art on Paper." The Museum of Modern Art, New York, N.Y. Staff Art Show. The Warehouse Project, Curated by Rachel Knecht, Exit Art, New York, N.Y. Davis Museum and Cultural Center, Wellesley College, MA. "Perceptive Acts, Curated by Judith Fox" Nylon, London, England. "New York Artists," Curated by Mary Jane Aladren. Creative Time, New York, N.Y. "Gesture as Value," Curated by Jerelyn Hanrahan. Islip Art Museum, East Islip, N.Y. "Borrowing," Curated by Karen Shaw. 1997 Brooklyn Museum, Brooklyn, N.Y. "Current Undercurrent: Working in Brooklyn," Curated by Charlotta Kotik. Cornerhouse, Manchester, England, "New York Drawers: The Pierogi 2000 Flatfiles." Gasworks, London, England. "New York Drawers: The Pierogi 2000 Flatfiles." Williamsburg Art & Historical Center, Brooklyn, N.Y. "Just what do you think you are doing, Dave?" Curated By Bruce Pearson Islip Art Museum, East Islip, N.Y. Group Show, Curated by Karen Shaw. Elizabeth Leach Gallery, Portland, Oregon." Know New York," Curated by Miriam Rose. Cal State University, Fullerton, CA. "Redefinitions: A View from Brooklyn," Curated by Susan Joyce. DIA Center for the Arts, New York, N.Y. DKNY Patterns, on view at the bookstore. White Columns, New York, N.Y. Benefit Show. 1996 The Art Exchange Show, New York, N.Y. Pierogi 2000. Pierogi 2000, Solo Show, Curated by Joe Amhrein. 1995 Pierogi 2000, Brooklyn, N.Y. "Multiples." 450 Broadway Gallery, New York, N.Y. "Table of Contents," Curated by Gary Peterson. Ronald Feldman Fine Arts, New York, N.Y. "Other Rooms," Curated by Joe Amhrein Hunter College, New York, N.Y. "Beyond Circumstance." Christinrose Gallery, New York, N.Y. "Open Your Heart, Aid's Resource Center 7th Valentine Auction." 1994 White Columns, New York, N.Y. "Update 94." White Columns, New York, N.Y. "White Room," Curated by Bill Arning. 1993 Tirbeca 148 Gallery, New York, N.Y." Wall to Wall." David Zwirner Gallery, New York, N.Y. "Four Walls Benefit." 1992 Artist’s Space, New York, N.Y. The Neurotic Art Show, II, Four Walls Benefit. Tribeca 148 Gallery, New York, N.Y. "The 1.5 Crossword Puzzle Project." 1991 Merce Cunningham Studio, New York, N.Y. Set design for "The Crumbling Earth." 1990 Marymount Manhattan College Gallery, New York, N.Y. "She who laughs last." 1982 Mills College, San Francisco, CA. "12th International Sculpture Exhibition." Mississipi River, Minneapolis, MN. "The Environmental Art and Sculpture Exhibition." 1981 Washington Project for the Arts, Washington, D.C. Options, Washington. 1979 Harcus-Krakow Gallery, Boston, MA. Artists from the Fine Arts Work Center. The Landmark Center, St. Paul, MN. Insitu. Provincetown Art Association, Provincetown, MA. Group show. Fine Arts Work Center, Provincetown, MA. Solo Show.   BIBLIOGRAPHY 1999 The New York Times, "Rage for Art," by Roberta Smith. February 19 and March 5. 1998 The New York Times, "Surrealism, Traditionalism, and Re-Visionism," by Helen Harrison. The Los Angles Times, "Out of Brooklyn," by Don Shirley. "Borrowing," written by Karen Shaw and published by the Islip Museum. 1997 "Redefinitions: A View from Brooklyn," written by Susan Joyce, published by Cal State University. 1995 "Beyond Circumstance: The Survival of the Fetish," by Margaaret McInroe, published by Hunter College. 1991 The New York Times, "Amid a City of Bones, Decay, and Lost Souls at Large," by Jack Anderson. EDUCATION B.F.A University of North Carolina, Greensboro, NC (1974) Studied at Washington University, St. Louis, MO (1977) AWARDS 1998 Visiting Artist, Rhode Island School of Design, Providence, Rhode Island. 1998 Visiting Artist, Wellesley College, Wellesley, Mass. 1995 NEA/MAAF Regional Fellowship Grant Finalist. 1992 Fellowship to MacDowell Art Colony, Peterborough, N.H. 1982 A Works in Progress Grant provided by the State of Maryland. 1980 A Works in Progress Grant provided by the State of Minnesota. 1978 A Fellowship to the Fine Arts Work Center, Provincetown, MA. 1978 A Works in Progress Grant provided by the State of Minnesota. 1975 A Scholarship to Washington University, St. Louis, MI. 1974 A Scholarship to Kent State University at the Blossom Art Festival, Kent, Ohio. 1974 Greensboro Arts Council Award, Greensboro, N.C. Dana Kane's Playful Politics excerpts from an essay by Leslie Jones The work of Dana Kane touches the heart and tickles the funny bone at the same time. She deals with important social, political and artistic issues earnestly and compassionately, yet never loses her sense of humor. Unlike the bitter sarcasm that characterizes much postmodern work, Kane’s work is sensitive, cleverly whimsical and often downright charming. (Gulp.) I realize that the use of the word “charming”, especially in reference to work by a woman artist, may suggest a betrayal of feminist principles aimed at exposing/interrogating derogatory female stereotypes, but how else to describe Kane’s “Kelly Girls” (1996), for example, with their doe eyes and jaunty hairdos playfully posing for the viewer? Derived from paper doll cutouts of the 1950s, the “Kelly Girls” attest to the ambiguity of feminine “charm” during an era that prized both wholesomeness and coquetry in its young women. Audrey or Lolita? Take your pick. In addition to their charms, the “Kelly Girls” display expansive skirts shaped in the manner of monochrome canvases by Ellsworth Kelly. Presented as sewing patterns, Kelly’s high modernist visions become mass-produced cut-outs for popular use among America’s housewives. From museum wall to sewing room floor. Although slightly irreverent, reinserting Kelly’s “designs” into a representational context reminds the viewer that all of Kelly’s abstractions are actually rooted in visual experience—be it the reflection of a bridge off the water, a shadow through a window, or the contour of a cathedral vault. In the 1950s and 60s (when Kelly began his radical abstractions) critics like Clement Greenberg dismissed representational art forms as unprogressive, even kitsch, emphasizing instead notions of opticality and art for art’s sake. By dressing her bare-shouldered girls in characteristically flat, hard-edged modernist canvases, Kane confronts the high modernist vision of the world as an essentially disembodied one. In a whimsical tour-de-force (that could also be described as a tour-de-jupe), Kane’s skirts slice and splice the worlds of high and low, seaming together the once divided histories of cultural production, while subtly calling attention to the gender divide that excluded many women artists from the history of modernism.
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	P   I   E   R   O   G   I     2   0   0   0 177 north 9th street brooklyn, ny 11211 718.599.2144 noon to 6p friday through monday and by appointment pierogi 2000 is an innovative art gallery in williamsburg, brooklyn, new york