James Sheehan
PTA
Of note - I've been consumed with donating time to a little local Elementary school here in Brooklyn. I have spent the last 2 years helping lead the schools PTA as co-President which has taken considerable time and attention away from painting. This is not to say that I have been remiss with my duties as to my focus. In fact, I think this experience has led me into new insight for how the work is perceived and challenged. I'm still a painters painter at heart and am now returning - albeit slowly - early 2017. This PTA involvement came about through my daughter as I saw her school cutting the art, music and dance programs due to lacking funds and commitment. Believing my skills could be of use there - I engaged local politics - used some diplomatic skills I think I have - and melded with like-minded parents. With these few other committed parents, we turned the flailing PTA at the school into a non-profit organization, attained a 501c3 - non-profit status, built community events, paid off a $5000 debt, and turned the PTA into a fully functioning "parent motivated" voice for our community. By the end of the first year, we made over $65,000 to go straight to Arts enrichments and helped muscle through a $250,000 grant for a "Green STEM" lab through Participatory Budgeting. All for a local "low income" public school in Greenpoint Brooklyn. This year we hope to achieve an even stronger base by engaging parents and kids to rise up and make positive change happen. It's so possible. After this year - I'll step down and get back into the studio in a big way. So I'll be getting out there again in some form or other. I'm itching to paint.
Greenpoint Open Studios 2016
This weekend - April 30 - May 1st. Come see what I've been working on
2 - 6pm Saturday and Sunday

http://www.greenpointopenstudios.com/post/96375984128/james-sheehan-painting-635-leonard-street-3
"Barely There" Lesley Heller Workspace
Exhibition: barely there, curated by Pamela Matsuda-Dunn
October 28 through December 6, 2015

Lesley Heller Workspace
54 Orchard St New York, NY 10002 212-410-6120

Barely There, curated by Pamela Matsuda-Dunn, brings together a group of contemporary artists whose work emphasizes discovery through installations that invite close looking. There is the surprise of the initial view – followed by a careful closing in on each piece. Their work is interwoven and sometimes embedded into the physical features of the exhibition space. Each of these artists’ work explores the theme of the exhibition in different ways – through textural changes, by filling space or simply defining it, by playing with shadow and light, or sometimes by challenging you to find it and then engage in the tiny universe it creates by having drawn you into its orbit. Echoing the wry and elegant spatial interventions of Richard Tuttle or Fred Sandback yet invoking a host of personal references, Barely There addresses themes of presence and absence, place and presentation. Each artist has established working methods that resonate strongly with these themes.
The linear abstractions of Jong Oh proposes paradoxes in the viewer’s experience, while Susan Graham’s white-on-white sugar and porcelain sculptures and the dusky transparency of Naoko Ito’s wire piece read like memory shadows. The viewer may well walk past James Sheehan’s work, but once they spy these tiny paintings, under an inch in any dimension, the work asks the viewer to draw near – very near. Jonathan Rider’s work is also miniscule in its individual components, but the accumulation is greater than its parts, inviting the viewer to follow its path. These artists entrance, seduce, and challenge the viewer to consider an aesthetic experience in which the work subtly, but fully alters the environment it inhabits.
"Headstrong" at Adam Baumgold Gallery June 12 - Aug 7 2015
ADAM BAUMGOLD GALLERY
60 EAST 66TH ST.
NEW YORK, NY 10065
212.861.7338

A varied group of excellent artists - with interesting pieces from a variety of mish-mashed contexts - all brought together under a loose themed heading. I always love the shows he puts together - plenty of whimsy - nicely accessible - always worth the trip.
The Drawing Center - Installation (up now)
SoHo - New York City
January 23 2015 - Saturday October 31 2015
"Death of Malevich" watercolor on matt Board, 7/8" x 1"
installed INTO the wall

from Time Out New York - Jan 7 2015
You're going to have to look a bit hard for this long-term installation by ultraminiaturist James Sheen: It consists of a postage-stamp–size watercolor, embedded in a basement corridor. The image is based on a 1935 photo of the Russian avant-gardist Kasimir Malevich on his deathbed, surrounded by his works, including what is perhaps his most famous painting, Black Square, seen hanging over his head. Sheehan is perhaps drawing parallels between Malevich's work and his own, comparing his brand of visual absolutism (he rarely works on a scale larger than two inches in any dimension) to that of Malevich.
"at the lek" - solo Exhibition - Jan 16 - Feb 15 2015 (now)
James Sheehan
at the lek
Songs for Presidents
http://www.songsforpresidents.com/current-exhibition/
1673 Gates Avenue (lower level),
 Ridgewood, Queens NYC
subways:  L train M train at Myrtle-Wyckoff
Jan 15 - Feb 16 2015

With at the lek, James Sheehan presents a new body of paintings that ruminate on the nature of creativity, mortality and what it means to make a mark.  His work has long been noted for its approach to scale (many of the paintings are miniscule).  However, his use of scale is misleading. Avoiding the freakish spectacle of painting “on the head of a pin,” the work invites the viewer to trip into a playful dialogue with a single image as an experience. He acknowledges that the act of seeing is something that we do with our whole bodies, not just with our eyes. Through this act of seeing, we open ourselves up to the vastness of history and the specificity of place.
In Sheehan’s words, Scale of these works in relation to the architecture, viewer and socio-political environment are key to their content. Meticulous, miniscule form has a spatial counterpart that is vast and expansive; bodily/physically experienced. This is my painterly dilemma as well as my political one. "Entering in" versus "surrounded by" mean something in this context. Intimate yet boundless formally, I want to bring forward a slower, transcendent absorption of an image, to broaden the conversational or dialectical context for that image as it is being interpreted.
"Small." at The Drawing Center
New York
Jul 11, 2014 - Aug 24, 2014

This group exhibition features a selection of international contemporary artists who adopt an intimate format to explore issues related to visual perception, personal and historical memory, the construction of gender stereotypes, and the power of the imagination. In an age when cavernous galleries and outsized images and objects suggest that bigger is necessarily better, working small carries a certain risk. It is a risk, however, that the nine artists in the exhibition are willing to take as they create minute worlds that absorb the viewer while resisting possession. The selected works range from graphite photo-realist renderings to interventions in found objects to site-specific installations, including a custom-made tabletop bearing microscopic figurations and a postage-stamp-sized watercolor inserted directly into the gallery wall. The artists in Small. are: Firelei Báez (b. 1981, Santiago de los Trenta Caballeros, Dominican Republic), Emmanouil Bitsakis (b. 1974, Athens, Greece), Paul Chiappe (b. 1984, Kircady, Scotland), Claire Harvey (b. 1976, United Kingdom), Tom Molloy, (b. 1964, Waterford, Ireland), Rita Ponce de León (b. 1982, Lima, Peru), Peggy Preheim (b. 1963, Yankton, SD), James Sheehan (b. 1964, San Francisco, CA), and Tinus Vermeersch (b. 1976, Belgium).

Curated by Claire Gilman, Curator, and Joanna Kleinberg Romanow, Assistant Curator.
"Lil' ArtWorld" at Harbor Gallery
harbor1717.com
17-17 Troutman #258 in Ridgewood (Bushwick)
curated by Craig Montieth
May 17th - June 15th 2014
showing 7 paintings form early 2000's

Lil’ Artworld presents a group of works that can’t just be looked AT- they must be looked INTO. The artists use transformative shifts in scale to suggest continuous other-worlds in which their work resides. What results is an expansion of energy produced by an intense draw on the imaginative powers. Consequently, the artwork is given room to breathe, as are the viewers, in the midst of the chaos that will be Bushwick Open Studios.
"Before the Fall: Remembering the World Trade Center"
New York State Museum - Albany, NY
September 9th, 2011 - May 2012
"Gum" curated by Charles Goldman
at Gridspace Oct 2010 Brooklyn, NY