' Antonio Petracca - Kim Foster Gallery
Antonio Petracca
September 08 - October 15, 2011

Press Release

Antonio Petracca’s exhibition 10 was a journey that started with 9/11. Like many others, 9/11 had a direct and profound effect on the artist. Displaced and living in a hotel, Petracca felt compelled to begin a new series of paintings that responded to this horrific event. In September 2002, this work was exhibited at the Kim Foster Gallery. His mission was to depict the destruction, the sense of great loss and, more importantly, the can-do spirit of rebuilding and renewal that most New Yorkers felt at the time.

Unfortunately, some populations became the object of fear and bias. This triggered mixed emotions in the artist. Memories of prejudice against Italian Americans in his childhood neighborhood of Rochester resurfaced. The stereotypical jokes heard constantly throughout his life, the Sopranos, and the Mafia docudramas finally gave him the impetus to handle these issues in his art. Petracca appropriated Italian masterpieces and portraits of Italian American celebrities, combining them with quotes from the news, the internet, and historical material. Other work depicted ancient Pompeian frescos tagged with mob movie slang and stereotypical one-liners.

His later work on identity mined similar territory, but his focus was broader. He used the theatrical to investigate how the use of color and identification with cultural and architectural landmarks could help or hinder the formulation of one’s identity. In Three Brothers, Petracca took a familial look into generalizations based on ethnic and social preconceptions.

With the 10th anniversary of 9/11, Petracca revisited the place where his journey began. The work depicts the rebuilding that is now visible at Ground Zero. This sense of finally moving forward is articulated in WT Corner V, in which two new buildings emerge victoriously with only a partial reflection of a crane. The work is best expressed as the tension between the representation of a site and the abstraction that evolves in the manner in which it is cropped to focus our attention on the relevant information. For years, we have been tantalized by the construction going on elsewhere in the City. On this 10th anniversary, it appears that the architectural design plans that have been plastered around the area of Ground Zero are becoming realized.

Antonio Petracca had a solo exhibition at the Italian American Museum in NYC and the Garibaldi Meucci Museum. He has been awarded several grants and special projects including an MTA mural commission. His artwork is in the collections of the Museum of the City of New York, New York Historical Society, George Eastman House, and the National September 11 Memorial and Museum.

For further information, please contact the gallery.

Past Exhibitions



2011 / 2009 / 2007 / 2005 / 2002 / 2000 / 1997 / 1995 / 1994     Kim Foster Gallery, New York, NY

2010            ‘From Here To There’ Mercer Gallery, Monroe Community College, Rochester, NY

2008            ‘Identity Theft’ Garibaldi Meucci Museum, Staten Island, NY

2006            ‘Identity Theft’ Italian American Museum, New York, NY

2003 / 1999 / 1995   Oxford Gallery, Rochester, NY

1999            ‘Architectonic’ Galerie Bhak, Seoul, Korea

1997            ‘Back from the Future’ Pyramid Arts Center, Rochester, NY

1991            ‘Chance Glance’ Cleaver Callahan Gallery, NYC

1988            ‘Road Views’ Mercer Gallery, Monroe Community College, Rochester, NY

1987            Little Gallery, Rochester, NY

1985            Shahin Requicha Gallery, Rochester, NY

1984            Tower Gallery, SUNY College, Brockport, NY

1981            Monroe Community College, Rochester, NY

1980            Pyramid Arts Center, Rochester, NY

1976            Metro Gallery, Rochester Institute of Technology, Rochester, NY

1975            ‘Gurning and Flexing’ Memorial Art Gallery, Rochester, NY

1974            ‘Non-Silver Photography’ MFA Gallery, Rochester Institute of Technology, NY



2012            “Social Structures” at CONTEXT Art Miami, curator Nicholas Cohn Art Projects.

2011            “IAVANET” Calandra Institute Queens College, New York, NY

2010            “Nature Calls” Shore Institute of Contemporary Art, NJ curator Dominick Lombardi

2009            Art Chicago 2009, Kim Foster Gallery booth, Chicago, IL

2008            Art Chicago 2008, Kim Foster Gallery booth, Chicago, IL

2006            ‘Natural and Unnatural: Imagining Landscape’ Hunterdon Museum of Art, Clinton, NJ

2005            ‘The City: Contemporary Views of the Built Environment’ Lehman College Art Gallery, NY

2004            ‘Landscape 2’ Allyn Gallup Contemporary Art, Sarasota, Florida

2003 / 2004 / 2005            U.S. State Department, Art In Embassies Program, US Embassy in Caracas, Venezuela

2002            ‘Voyage’ Flowers East Gallery, London, UK

‘Woodwork’ Albany Institute of History and Art, Albany, NY

2001            ‘Seeking the Sequential’ Pyramid Art Center, Rochester, NY

2000           ‘Elbow Room: Manhattan’s Public Spaces in Recent Art’ curated by Grady T. Turner, NYC

1998            ‘The Waking Dream’ curated by Dominick Lombardi and Steve Lowy, Castle Gallery, College of New Rochelle, NY

Art 1998 Chicago, Galerie Bhak booth  Chicago, IL

1997            ’4 Artists From New York’ Galerie Bhak, Seoul, Korea

1996            Art 1996 Chicago, Kim Foster Gallery booth

Spazi Contemporary Art, Housatonic, MA

1994            Tribeca Towers Exhibition, sponsored by Art Initiative, NYC

‘Isn’t It Romantic?’ curated by Michael Walls, On Crosby St., NYC

‘Definitive Decade’ Aljira Arts Center, Newark, NJ

1993           ‘Putt Modernism’, Artists Space, NYC

1992           ‘Neurotic Art Show’ Artists Space, NYC

‘The Other Landscape’ Tribeca 148 Gallery, sponsored by Art Initiative, NYC

‘Artists Unleashed’ Brand Name Damages, Brooklyn, NY

1991          ‘Message to the Future’, SUNY College, Oswego, NY

New York State Art Exhibit, Herbert Johnson Museum, Cornell University, Ithaca, NY

1990          ‘Contemporary Landscape’, Cleaver Callahan Gallery, NYC

‘No Trends’, Nahan Contemporary, curated by Robert C. Morgan, NYC

‘Altered Landscapes’ Albany Institute of History and Art, Albany, NY

1987          Bevier Gallery, Rochester Institute of Technology, Rochester, NY

1986          14 Upstate NY Artists, Long Island University, NY

1984          Albany Institute of History and Art, Albany, NY

1982          Ten American Print Makers, Memorial Art Gallery, Rochester, NY

1980         ‘Electroworks’ The Cooper-Hewitt Museum NYC



National September 11 Memorial and Museum, New York, NY

The New York Historical Society, New York, NY

Museum of the City of New York, New York, NY

Albright-Knox Museum, Buffalo, NY

The George Eastman House, Rochester, NY

The Memorial Art Gallery, Rochester, NY

Museo Internacional de Electrografia, Spain

Visual Studies Workshop, Rochester, NY

ASCAP, New York, NY

Fidelity Investments, Boston, MA

Health & Hospitals Corporation, New York, NY

Hutchins Y & R Corporation, Rochester, NY

Medallion Funding Corporation, New York, NY

Mobil Chemical Corporation

Xerox Corporation



2003/ 2004 / 2005     U.S. State Department, Art In Embassies Program, US Embassy in Caracas, Venezuela

1993  Putt Modernism, Artists Space traveling exhibit, designed hole #5 of artist Miniature golf course.

1992  Art Matters Inc.; grant recipient, New York, NY

MTA Arts for Transit, mural installation at Jay Street-Burough Hall subway station.

Best of Show, Casa Italiana, Nazareth College, Rochester, NY

1986  Special Arts Award, Arts Council for Rochester

1976-86 Founder and Executive Director of Pyramid Arts Center, Rochester, NY



“Overlay: Antonio Petracca at Kim Foster Gallery” review by Jonathan Goodman, June 2009

NY Observer, Antonio Petracca, “Overlay”, Currently Hanging Museums & Galleries, 5/18/09

OGGI7, Antonio Petracca at Meucci-Garibaldi Museum, review by Vincenzo Mignino, 11/11/2007

Culture Catch, review by Dominick Lombardi, May 2007

Chelsea Now, “Kindling the Spirits” review by Jeff Wright, May 11, 2007

SUNY-TV, ITALICS The Italian American Magazine, Calandra Institute, episode #167, February, 2005

Democrat & Chronicle, ‘Antonio Petracca at Oxford Gallery,’ April 13, 2003

Art In America, ‘Antonio Petracca,’ review by Melissa Kuntz, January 2003

New York Times, ‘Antonio Petracca,’ review by Ken Johnson, September 13, 2002

Downtown Express, “Painting Architecturally” September 3-9, 2002

ARTnews, ‘The Many Faces of Realism: The Real Thing?’ (Cover story) by Ann Landi, June 2002

Albany Times Union, ‘Sculptural Heights: Technique and artistry in abundance at fine ‘Woodwork’ exhibit,’ review by William Jaeger, February 24, 2002

The New York Art World, ‘Antonio Petracca,’ review by Joyce Korotkin, January 2001

New York Art Magazine, ‘Antonio Petracca Space Constructed,’ review by Elizabeth Neuman, Dec. 2000

‘Space Constructed,’ catalogue essay by Grady T. Turner, Kim Foster Gallery, 2000

Village Voice, Voice Choices, ‘Elbow Room,’ review by Kim Levin, August 8, 2000

New Yorker, ‘Elbow Room,’ review by Alexi Worth, August 6, 2000

Art Magazine Seoul, Korea, Misoolsidae ‘Architectonics,’ review October, 1999

Economic Seoul ‘Fall Season International Exhibitions,’ September 13, 1999

‘Architectonic,’ catalogue essay by Ann Landi, Galerie Bhak, 1999

City Magazine Rochester,  ‘Fine art: the Pyramid alternative at 20,’ review by Ron Netsky, Dec. 16, 1997

ARTnews,  ‘Antonio Petracca,’ review by Margaret Moorman, October 1997

Cover,  ‘Peering Past the Mirror,’ review by Jeff Wright, September 1997

Review Magazine, ‘Antonio Petracca,’ review by Elizabeth Neuman, May 1, 1997

Democrat and Chronicle Rochester,  ‘Home?’ article by Stuart Low, April 1997

Review, ‘Antonio Petracca and the Order of Syntax’ review by Robert C. Morgan, May 1, 1997

Democrat and Chronicle Rochester, ‘A Crowded Landscape,’ review by John Worden, July 14, 1996

City Magazine Rochester, ‘At Oxford: an abundance of energetic works,’ review by Ron Netsky, Sep, 1996

City Magazine Rochester, ‘Manhattan Street Impressions,’ review by Donna De Palma May, 1995

New York Times, ‘Definitive Decade Show,’ review by William Zimmer, October 30, 1994

‘Mysteries,’ exhibition essay by Linda Weintraub, Kim Foster Gallery, NY

New York Times,  ‘Inside Art’ by Carol Vogel, October 8, 1993

Metropolitan Transportation Authority News, ‘High-Speed Landscapes,’ December 5, 1991

The Daily Gazette, ‘Brush Marks,’ review by Peg Churchill Wright, May 10, 1990