Skin Deep: The Exhilarating “Body Politic” On View at NYU’s Kimmel Windows

In the immaculate words of feminist and activist Gloria Steinem, “Each individual woman’s body demands to be accepted on its own terms.” This admonishment pervades the transcendental exhibition currently on view through Nov 10 at NYU’s Kimmel Windows exhibit space, “Lilia Ziamou: body politic /bädē päl-tik/”. Featuring works by Lilia Ziamou and curated by Pamela Jean Tinnen, the presentation of this collection of works outwardly facing the various passersby on LaGuardia Place and W. 3rd mounts a powerful, visionary response to how we consider ourselves – and others. It can reflect the ways in which our self-perception can become distorted. Perhaps it ruminates on how society constantly projects women’s bodies as idealized forms in various ads throughout public spaces. The exhibition leaves room for speculation and space to absorb the images – true or distorted – which lie before us. Works from this series by Ziamou question how new technology mediates the way we see ourselves or how others anticipate and perceive our appearance. Perceptions of the body are stacked against the realities of the biological building blocks that determines who we are and how we appear. Ziamou bravely steps forward into an artistic inquiry of what makes us human, playing with preconceived ideas of how we establish our physical identities as a whole from the sum of our parts. “By reimagining and reconstructing body fragments, I am constantly exploring and intrigued by the ways we can challenge existing constraints of form, materials, and processes,” remarks Ziamou.

“1 am” (2018) artwork on view in body politic /bädē päl-tik/ at NYU Kimmel Windows

 

This exhibition at the Kimmel Windows is curated by NYU’s own Pamela Jean Tinnen. The curator notes that she was drawn initially to Ziamou’s examination and recreation of human bones, re-contextualizing them as artworks. In the art canon of portraiture, it can be argued that Ziamou’s hip-bone 3-D scan recreations are a continuation of a centuries-long tradition of figurative art. Tinnen also reflects on other areas where these works draw parallel lines to long-existing or contemporary traditions. “What’s very interesting about Lilia’s work is how it plays on the abject, but through her ability to refine the subject through various media-processes, she creates visual distance while maintaining conceptual resonance.” Tinnen continues, “I’ve always been intrigued by Julia Kristiva’s writings on Abjection which discusses human reactions to encountering, as a primary example, a corpse. These encounters elicit horror but also a certain fascination. A corpse, or in the case of Lilia’s work, the human bone, puts us in the presence of ‘signified death.’ Kristiva suggests our horror-reaction results from a threatened breakdown in meaning caused by the loss of the distinction between subject and object, or between self and other.” This breakdown that occurs when the body perceives another body, yet recognizes this fragment of bone also depicts an invisible portion of one’s own self, causes a ripple of self-awareness. It can be argued that this exhibit also sparks empathy for others and an intimate acceptance of our own appearance – an appearance that can shift over time due to factors such as time and environment.

The environment of the exhibition itself, facing outward from the Kimmel Center, has shifted over time as the ground zero for artists in bohemian Greenwich Village in the mid-20th century to a haven for NYU students today. This public-facing exhibit – which some students can pass several times a day, along with other members of the community – offers a repeating opportunity for reflection and deeper engagement with how we can intrinsically seek deeper meaning in the very things we take for granted: the architecture of our physical selves and the urban planning and architecture defining our immediate presence in a larger cityscape. By keeping the vestibules in which Ziamou’s transcendental works are exhibited stark, almost clinical, those encountering the work can focus their attention on the prints and sculptures facing them from the Kimmel. “The exhibit’s design, simple and starkly white, contributes to a certain visual sterilization, which works well to present the artwork,” notes Tinnen. This simple structuring can be seen as a skeleton in itself: supporting works on view and allowing for immediate access of each fragment of the perpendicular exhibition along LaGuardia and Third.

“The Bone as Body” (2019) artwork on view in body politic /bädē päl-tik/ in NYU Kimmel Windows

Ziamou here has considered not only the internal structure of the body, but also how we decorate and define ourselves as members of a society. Her bone sculpture informs the installation referencing a garment she has presented in this same exhibit: an installation that servse as a recreation of our bodies as presented through our fashion choices. Her work speaks a subtle message about the inner psychology that determines our outward appearances: we can knowingly or unknowingly select garments that flatter and project aspects of our anatomy that we take pride in. The artist considers and puts forth artistic hypotheses about how various aspects of our countenance can be mistaken or recreated, creating subtle provocations for the audience. What effect do photo filters on apps have on our psychology? How can our appearances be manipulated for those who consume them? When is the last time we considered that the majority of who we are is not visible to the naked eye? Ziamou deftly plays with these questions, and more, in this impactful solo exhibition.

Detail shot, “1 am” – body politic /bädē päl-tik/ in NYU Kimmel Windows

 

Curated by Pamela Jean Tinnen, don’t miss “Lilia Ziamou: body politic /bädē päl-tik/” – on view through Nov 10 at NYU’s Kimmel Windows exhibit space on LaGuardia Place and West Third at New York University. 

Joan Walton’s Transcendent Works Shine in “Montauk Love Song”

“Montauk Love Song” celebrates its opening on Thursday, Sept 27 from 6-8 pm at Atlantic Gallery, suite 540, 547 W 27th street NYC. The opening is free and open to the public and the artist will be present.

 

A Feast for the Senses: Drink Me, Taste Me – An Exhibition of Curious Things

Curiouser and Curiouser. –Alice in Wonderland, Lewis Carroll

“Does domestic bliss equal artistic death?” This is the question that our heroine, Alice – a painter – asks in a full-length musical production, “Painted Alice,” for which the exhibit Drink Me, Taste Me – An Exhibition of Curious Things serves as a stage. The exhibition, on view at Plaxall gallery April 11-May 12, serves as a look into the contemporary artists working on the borderline of illusion, adventure, and curiosity. Curated by AHA Fine Art & Plaxall Art Gallery’s Norma Homberg, the exhibit offers new experiences and breadth of emotion accessible to visitors of all ages and backgrounds.

Featuring fifty artists on view throughout the space working in a variety of mediums, the exhibition also curiously serves as a platform for the afore-mentioned “Painted Alice” musical, in which Alice (a painter) has lost all inspiration after getting her first commission, distancing herself from her partner and falling through her blank canvas into a visual-art inspired wonderland. Conversely, the visual art on view in Drink Me, Taste Me is inspired, in return, by Carroll’s original Alice in Wonderland book. Thus the reciprocal relationship between this new painter Alice and the original Alice presented throughout this art exhibition is established.

This exhibition features artists such as Kat Ryals, Elan Bogarín & Jonathan Bogarín, Arlene Rush, Karen Dimit, Jean Foos, Chloe Moon, Robin G Cole, Hisayasu Takashio, and many more. Featuring notes of surrealism, abstraction and the everyday – just for good measure – Drink Me, Taste Me holds something for everyone who is an observer, a dreamer, or a wanderer.

Elan Bogarín & Jonathan Bogarín, “Furniture that reminds me of Grandma” (2018) C-print on Fuji Crystal archival paper mounted on plexiglass

In Elan Bogarín & Jonathan Bogarín’s series, “Furniture that reminds me of Grandma” (2018), memories are transferred into imagery that captures childlike naïveté through compiled vignettes purporting a domestic scene from the artists’ own experience. The artists give childhood a new dimension: formed through the editorial lens of memory, these scenes speak to the inner child in all of us: our memories taking on new forms through the lens of historicization. While domestic scenes in our memories can never capture the full detail of each moment – the smells, textures and sensations we experienced in our youth – the artists are able to encapsulate the overall impression that such moments from childhood leave on our consciousness. Alice in Wonderland is itself written by an adult impressing a childhood experience on a captive audience, and the Bogaríns’ create work in a similar vein, impressing the experience of childhood from an adult perspective and for an adult audience.

Kat Ryals’ works in lenticular print capture a shimmering survey of imagery formed and reformed according to the viewer’s position to the artwork. By their very nature, lenticular prints can never offer one specific truth. They always bend and distort an array of images according to the viewer’s perspective. Offering a shimmering world of perspectives onto an uncertain and frequently distorted truth, Ryals manages to capture a captivating scene that somehow simultaneously feels both otherworldly and organic.

Kat Ryals, “Reflection” (2017) Flip Lenticular Photographic Print, 45″x45″

Various works on view either reference “Alice in Wonderland” via theme, recounting tales and passages related to the original tale, or in spirit, by channeling the sense of otherworldly adventure that Alice encounters during her travels. The musical “Painted Alice,” in particular, espouses the feelings of otherworldliness and un-belonging that women artists seeking to establish firm footing for their own art career while inhabiting the shadow of a partner’s success. Drink Me, Taste Me – An Exhibition of Curious Things acts both as narrative and dream sequence: offering an entry point to the woman artist’s experience, or denying a firm narrative by traipsing down a wonderland of nonsensical occurrences. There lies in wait a curious experience for the visitor to the exhibit, something difficult to firmly grasp, perhaps, but something dazzling nonetheless.

 

Drink Me, Taste Me – An Exhibition of Curious Things is on view at Plaxall Gallery in Long Island City from April 11-May 12, 2019.

Contemporary Desire: Puppies and Flowers at the Royal Society of American Art

by contributor Daniel Morowitz

 

Beauty and companionship are two simple human yearnings that have served as remedies for loneliness for as long as desire itself has existed. While we look for these qualities in lovers and partners, by proxy, people have filled the void through various means. In the history of art, symbolism is used to represent this proxy, and code the human experience through representation with a rich language or symbols. Classically dogs have been a stand in for fidelity, loyal companionship with an unbroken bond; flowers, beauty, being both the feminine lure and stand in for sexual organs and desire. Puppies and Flowers, curated by Katie Hector and on view at The Royal Society of American Art in Williamsburg, Brooklyn until March 31st, takes this classical iconography and filters it through a contemporary lens. 

Dominique Fung, My Dog is Anemic, oil on canvas, 30 x 30 inches, 2017. Image courtesy of The Royal Gallery.

With social media and a pluralized consciousness mediated by omnipotent digital awareness, symbols take on renewed, potent meaning; no longer just allegorical, painting can historicize life even as we live it. With this vision in mind, Puppies and Flowers creates a world of desire, recognizable by the trappings of modern impulses, while remaining an approximation of genuine connection. Walking into The Royal Society of American Art, dogs immediately greet you in the form of Dominique Fung’s “My Dog is Anemic” and Mark Zubrovich’s “Stick it Out and Touch Your Cleats”. The playful balance of these two works in dialogue is immediately reciprocal, with an emphasis on the blue hues (in Fung’s painting) and red tones (in Zubrovich’s work). The duality is established, mirroring fire and water, hot and cold. Fung’s dogs lick a centrally-placed vase, while Zubrovich’s anthropomorphized baseball player bends down to present his tail to the viewer. These works together can seem to point toward a sexual act, although this connection would not be made independently. The connection forms a compelling narrative which ties the viewer to the scene, making imagination complicit in the construction of the fantasy.

Mark Zubrovich, Stick It Out and Touch Your Cleats, acrylic on canvas, 26 x 31 inches, 2018. Image courtesy of The Royal Gallery.

Jenn Dierdorf’s paintings of flowers in vases inhabit the traditional art history canon of Nature Morte, flanking the canine imagery of Fung and Zubrovick. Unlike the dogs, Dierdorf’s flowers are fleeting wisps, with one painting rendered in tones of black and white, while the other painting is comprised of vivid tones. The colorful image, Night Creeps, grows out of black, ordure masses, as if they are the remains of rotten black flowers which nourish new growth.

Jenn Dierdorf, Night Creeps, acrylic and ink on canvas, 25 x 21 inches, 2018. Image courtesy of The Royal Gallery.

Night and day present very different worlds, and allude to the transitory nature of time. Night will always give over to day, day to night, flowers even give way to seasons and a bloom in May differs from one in October: referenced by the title of one of the Deirdorf’s larger work on paper.

Katarina Janeckova, Bad Ass Roxx (Roxanne Edwards), 20 x 16 inches, acrylic on canvas, 2016. Image courtesy of The Royal Gallery.

The back wall is the most direct play on the theme, arching around to the wall on the right. A bouquet of paintings presents flowers first, playing on a real life application. Figuration becomes mixed in through the painting of a body holding a blue vase, where Katarina Janeckova codes a black body holding an image of a white figure as a modern day Olympia. Here she is presenting a white body, but handing the authority to the black figure, flipping the narrative and upending the classical power dynamic. 

This representation stands in stark contrast to the historic lithograph-style drawing to its right, where Delphine Hennelly’s women sit indifferently. Even the dog presents their back, affronting traditional fidelity that ties women to the male gaze, allowing these figures to take agency and not perform classical representational motifs.

Delphine Hennelly, Untitled II, gouache and pastel on paper, 14 x 12 inches, 2017.

Image courtesy of The Royal Gallery.

Rounding out this wall are two paintings on panel by Aliza Morell roses rendered as if presented in neon, and two impressionist inspired still-lifes: one by Delphine Hennelly and one by Jenn Dierdorf, creating a clash between classical representation and the garden of our modern world.

To end the narrative juxtaposition the largest painting, directly across from this “flower wall” on the left side of the gallery, by Janeckova, features a woman reclining on a couch with a dog at her feet. Orbs float above her head, reverberating like memory orbs, while round flower paintings by Tess Michalik are featured to the right, and to the left more of Zubrovich’s baseball playing dogs.

 

Tess Michalik, Louis Francois, oil on canvas, 20 x 20 inches, 2019. Image courtesy of The Royal Gallery.

This wall exists as a place of fantasy and directly makes reference to the constant reconstruction of our engagement with the established motifs present through the gallery. A sleeping figure infinitely dreams, rearranging all the tools and symbols around the gallery. I like to believe the sleeping figure is the stand in for the viewer. Surrounded by dogs and flowers, she is the exhibition, a symbolic dreaming of how the adjacent symbolism can dictate her next move when she wakes; and like the viewer, how will she change her world when she exits the room with this information.

Puppies and Flowers is on view at The Royal Society of American Art in Williamsburg, Brooklyn until March 31st, 2019.

I C O N I C: Judy Rifka’s Ionic Ironic at CORE Club through March 29th

The art world is above about the current exhibition on view at the CORE Club New York: iconic American artist Judy Rifka. A legendary member of the Lower East Side arts scene in New York City, Rifka has worked across painting and video, and this current exhibition, Ionic Ironic: Myths from the 80’s, is curated by LatchKey Gallery and features at the CORE Club now through March 29, 2019.

A seasoned artist whose earlier work featured in the memorable 1980 Times Square Show, two Whitney Museum Biennials (1975, 1983), and Documenta 7, Rifka’s approach mounts a fearless examination of everything from painting to new media, figuration to geometric abstraction. Featured in publications ranging from Artforum to the New York Times, Rifka’s work has recently received renewed attention from the art world. For Ionic Ironic: Myths from the 80’s, the artist displays works that haven’t been on view to the public since a 1988 exhibit at Brooke Alexander Gallery. Rifka’s knowledge of art history is on display in these eclectic, graphic works. Pastiched, remixed motifs ranging from classical antiquity to mid-century minimalism appear through Rifka’s History of Sculpture series – including these works on view at CORE Club.

Rifka exudes a keen grasp of line in her carefully constructed compositions. Negative space flanks sparse, emphatic, painterly lines delineating the figure. This creates a dissonance: figures feel lost from themselves, flanking the canvas but demarcated yet hidden simultaneously. Vaguely reminiscent of established graphic works such as the Matisse Cut-Outs, Rifka’s energetic lines and muted tones combine to exuberant effect in these thoroughly contemporary-feeling artworks.

Hierarchies dissolve across the picture plane in Ionic Ironic: Myths from the 80’swith shapes colliding and ricocheting across the canvas. Iconographies dissolve into mythic status with recurring motifs and shapes juxtaposing against flat swaths of color in methods recalling De Stijl legend Piet Mondrian’s Broadway Boogie. Rhythm and line jostle for the viewer’s attention, creating a complex yet ultimately rewarding composition. Rifka’s works seduce, beguiling visitors over time – multiple viewings continue to reward the viewer with something previously undiscovered. Somehow both complex yet reassuringly straightforward, works by Judy Rifka evade easy categorization.

 

 

A contemporary of art world luminaries such as Jean-Michel Basquiat, Rifka remains ahead of her time in her keen, insightful approach to artmaking. Unafraid of juxtaposition and provocation, the artist continues to innovate as she continues working in a multi-disciplinary style in her artistic practice. Most recently treated to a retrospective of her long-spanning practice at the Jean-Paul Najar Foundation in Dubai, Rifka continues to mount more visible exhibitions of her work. The art world continues to delight in rediscovering her work, as her dedication to probing the boundaries of possibility across figure and line result in artwork so fresh and vibrant that it seems to belong to the future.

For more information on the exhibition, visit here. Ionic Ironic: Myths from the 80’s is open to the public by request: please contact info@latchkeygallery.com.

Sustainable Art Sweeps Miami Art Week Courtesy Arcadia Earth

Miami Art Week is nothing if not overwhelming: a comprehensive survey of the contemporary art market on an international scale, there is something to distract and enthrall even the most casual visitor. For fans of fashion, fine art and sustainability, however, one exhibit is paramount: RE-THINK, the Arcadia Earth-curated project taking place at Istituto Marangon Miami (IMM). Featuring thrilling installations and immersive art experiences, RE-THINK is a fearless, vibrantly contemporary showcase of artists whose works demonstrate aspects of re-using, re-purposing and upcycling materials.

After a VIP opening December 3rd, the exhibit kicks off Dec 4th and will remain on view through December 16th at 3700 – 3740 NE 2nd Avenue in Miami, Florida. An exhaustive survey of artists including Tamara Kostianovsky, Cindy Roe, Samuelle Green, Etty Yaniv, and more work across recycling and conservation in partnership with Arcadia Earth, Oceanic Global and IMM. These organizations have joined powers in support of these artists to produce sweeping vistas of recycled paper in cave-like rooms and vibrant banquet tableaus crafted with upcycled objects.

Etty Yaniv’s SIRENS, part of RE-THINK

Etty Yaniv‘s installation, “SIRENS”, recreates an ocean wave out of plastics and fragments of artworks that deeply impact visitors to RE-THINK as to the overwhelming sense of the scale pollution plays in our planet’s oceans. Directly in conversation with nature while simultaneously referencing the power and impact of Hokusai’s graphic woodblock print, The Great Wave off Kanagawa, Yaniv produces a powerful composition simultaneously evoking the power of nature and the increasing amount of plastics and other trash and debris comprising the oceans. Created mainly of plastic remnants, for SIRENS at Arcadia Project in Miami Yaniv accentuates the push-and-pull drama extant between nature and man-made artifice, a complex co-existence which has resulted in unprecedented pollution of our oceans and rising sea levels. Balancing the organic and the artificial, Yaniv’s “SIRENS” provides a subtle yet impactful elegy to the power of the Earth’s oceans and our role in creating a new a natural environment, whether for better or for worse. In addition to “SIRENS”, nearby “Manifestation of the Paper Cave 2” by Samuelle Green and “Alchemy” Tamara Kostianovsky align with the exhibition themes of sustainability and environmental protection. Tamara Kostianovsky’s site-specific work  draws attention to the need to up-cycle everyday objects, and eyeing new means of regeneration and sustainability while Samuelle Green’s “cave” creates a visual dialogue with art forms present in the natural world. Overall, these environmentally friendly installations work as a cohesive whole, and are supplemented by mindful panels related to sustainability efforts which take place in the center of these massive art environments.

detail, SIRENS by Etty Yaniv for RE-THINK

Visit RE-THINK soon – before December 16, 2018 at 3700 – 3740 NE 2nd Avenue in Miami – to experience this limited time immersive exhibit thoughtfully highlighting environmental issues and the simple daily solutions available to create a more sustainable planet through augmented reality, experiential installations and curated educational talks and panels.

Installations by – Left to Right – Etty Yaniv, Samuelle Green and Tamara Kostianovsky

 

Installation by Samuelle Green

On the Road Series Debut Stuns at Jenkins Johnson Gallery

Vertiginous folds of fabric climb in an ambitious ascent, weaving the identity of its creator into every stitch. Basil Kincaid’s voluminous “Love As Patient As the Hillside” (2018) anchors Jenkins Johnson’s spacious first-floor gallery space for “On the Road: Caroline Kent, Basil Kincaid and Esau McGhee”. Curated by Larry Ossei-Mensah, this exhibition, on view through Jan 12, marks the first installment in the exhibition series by the curator. Referencing Jack Kerouac’s influential On the Road, Ossei-Mensah applies the concept of documenting a cross-country journey toward charting the contemporary African-American experience – beginning here with a specific lens on the Midwest. The cohort of artists on view in Jenkins Johnson’s debut “On the Road” work in St. Louis and Chicago, and have lived in and worked throughout the region.

Works by Basil Kincaid including “Love As Patient As the Hillside” (2018) (on right) Courtesy of Jenkins Johnson Projects

“Approaching Kerouac’s On the Road, on this cross-country art journey I found myself asking: where are the black and brown bodies?” Ossei-Mensah, Senior Curator at Museum of Contemporary Art in Detroit (MOCAD), reflects on his curatorial approach leading up to “On The Road”. In introducing the exhibit and its artists, he mentions being inspired by works by Derrick Adams and Ebony G. Patterson who exalt black bodies, portraying these figures in states of leisure and celebration. These scenes recurred to the curator as he initially viewed works by St. Louis-based Basil Kincaid. Standing in front of Kincaid’s portraits of a picnic, family members relaxing on the grass in the sun on the same quilt on view in “On the Road”, Ossei-Mensah recounts Kincaid’s emphasis on incorporating his family’s history and his own personal memories into these quilted works. This soft sculpture anchors the space, the folds of the fabric softly outlining an absent human figure, anticipating the edges of a subtle form. Kincaid’s works both reveal and conceal the human form and memories, his own and those in his immediate social circle. “Kincaid creates quilted works as portraits of his own family and markers of memory, and his collages and drawings taken in consideration alongside these quilted works express a variety of modalities. It’s important for audiences to be exposed to the breadth of his practice,” Ossei-Mensah elaborates.

Works by Esau McGhee (L and R) flank a work by Basil Kincaid (Center) for “On the Road”, Courtesy of Jenkins Johnson Projects

Nearby mixed-media works masterfully contort inside their custom-built frames, wrestling against the weight of anticipated right angles with their calculated curves and bends. Wooden frames and compositions both bear witness the masterful range of Chicago-based Esau McGhee‘s practice. Working from his studio in East Garfield Park, McGhee takes his initial training in photography through the filter of working as a street artist to construct complex compositions, some with a graffiti mark-making tool, in vivid patterns and hues. Applying an intimate repetition of found pattern, McGhee combines a balanced approach to construction and composition to exquisite effect. These collages flatten notions of ownership: referencing found imagery as a diagram of public space, McGhee integrates patterns, colors and printed materials found within the mass-produced and the everyday. McGhee observes, “This collective experience that we all share with public spaces… it’s not my space, it’s not your space, it’s really ours: it’s going through an evolution as dictated by us.”

“Summer Love” (2018) and “Star Gazing” (2018) by Basil Kincaid, Courtesy of Jenkins Johnson Projects

Approaching Jenkins Johnson’s lower gallery space, Ossei-Mensah expounds on his initial approach when formulating this inaugural iteration of “On the Road”. “As a curator, it’s key to find ways to challenge myself to not subscribe to a particular style,” reflects Ossei-Mensah. We take a moment to gaze around at the show before he continues, “As a project space and commercial gallery, Jenkins Johnson is the perfect place to mount “On the Road” – I’m thankful that they were willing to take a risk on a show of artists whose work audiences here may have never encountered, providing a platform for these artists in an accessible, domestic space where diverse audiences can feel a sense of belonging.”

Ruminating on the importance of crafting inter-regional dialogues with diverse artists whose work may not (yet) be featured on Artforum or headlining Christie’s auctions, Ossei-Mensah presents a measured viewpoint on why he began this series with Midwestern artists. In addition to his role building a platform for artists from across the region (and the US) at MOCAD in Detroit, he observes the area is full of sometimes overlooked talent. “Artists in the Midwest are making interesting work, and can be diamonds in the rough whose work merits new platforms. These are artists whose work shouldn’t lie undiscovered: there is a narrative guiding each artist’s body of work. These artists are all committed to their practice – what they will produce next will be truly remarkable.”

“To Summon the Objects in the Room, Pt. 2” (2018) and “Alterior Motives” (2018) by Caroline Kent Courtesy of Jenkins Johnson Projects

The final gallery yields exquisite works by artist Caroline Kent, whose work spans text and abstraction. Ossei-Mensah identifies what first caught his eye about her abstract works: the forms placed within a black ground. “Using a black ground in these works asserts her position,” notes Ossei-Mensah. Our conversation centers on the relative dearth of black women artists working in abstraction, and how by foregrounding these works within a black space the artist subtly re-orients the context of these compositions. Meanwhile, two text-based pieces nearby include the artist’s own written work, placed in dialogue with monochrome hues of paint created by the artist’s finger marks. Aspects of Kent’s identity intermingle in these works, while her larger abstract compositions evoke disparate actions and forms. Taken comprehensively, Kent’s body of work absorbs a multitude of influences while incorporating her own precise palette: what Ossei-Mensah refers to as a “a pictorial index she sees built into the world of gestures around her.” We stop in front of two works by Kent, “Carmicheal and Eloise” (2016) and “I Would Call…,” (2016), before Ossei-Mensah continues.  “Kent’s work demonstrates her commitment to pushing the limits of abstract language, with her focus on building a syntax and toolbox: a reservoir of forms and colors placed upon a black ground. When taken in context with her text-based works there exists a variety of aspects in her practice, a remarkable plurality.”

Reflecting on Kent’s practice, Ossei-Mensah inadvertently observes the power propelling “On the Road” forward. “This work pushes the visual language to its breaking point,” he observes. Works on view by Kincaid, Kent and McGhee push the envelope, breaking boundaries across mediums in a well-balanced survey of formidable contemporary artists living and working in the Midwest.

 

Chashama Gala and Art Party Shakes Up Spring Art Gala Season

“This isn’t your grandmother’s charity fundraiser.” Arts patron and Chashama Artistic Director Anita Durst sets the stage with this quip for the upcoming Chashama Gala, billed as the most outrageous art party of the year. The event takes place on Thursday, June 7 with the gala running from 6 pm-9 pm and the Afterparty from 9 pm-12 midnight.

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Sean Langhaus’ AcroYoga from Chashama 2017 Gala (courtesy Sunny Norton)

Over 30,000 square feet of unused office space will be repurposed as a platform for an artistic carnival for the senses, complete with a wide array of interactive art experiences with entertainers, artists and performers engaging guests throughout the evening. The dazzling artistic program will take place at 4 Times Square in New York City. The labyrinthine array of encounters at this year’s Gala will honor renowned artist Tony Bechara and IVY: The Social University.

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Flambeaux Fire – Living Candelabras – (courtesy Manny Inoa / Chashama)

Securing opportunities for 15,000 artists since its beginning in 1995, Chashama partners with property owners to secure spaces for artists to exhibit. All proceeds from the events will support Chashama’s mission to give artists space to create and present their work, while providing free art programming in underserved communities. For more information on Chashama’s programs and mission please visit the organization’s website.  For further information on the event/ticketing, please contact Suzannah Kellner- 646-5946347; email: Suzannah@chashama.org 

Bleeding Edge An Immersive Triumph at Hudson Valley Center for Contemporary Art

King, Eleanor. “Pang” (2017) digital video

The shadow of technology’s pervasive presence stretches across the walls of Bleeding Edge, Hudson Valley Center for Contemporary Art (HVCCA)’s new media exhibit on view now through May 15 in Peekskill, NY. Echoing the promised utopia and oft-dismal reality of advanced technological networks and intimating at the vague disillusion of late-stage capitalism,  Bleeding Edge features site-specific installations and new media works by artists Anthony Antonellis, Kelsey Brod, Izabela Gola, Faith Holland, Eleanor King, Amanda Turner Pohan, Livia Ungar and Sherng-Lee Huang. From digital recreations of physical phenomena to the fragmented elements found in our tech interfaces, this exhibit is a striking investigation of technology’s impact from multiple viewpoints. It’s a tour de force investigation into technology’s impact on our everyday experience. The exhibition, curated by HVCCA’s own Michael Barraco, makes a reference to the term “bleeding edge”, alluding to technology so innovative that it engenders incredible risk in its application. The institution itself takes risks with the cutting edge survey of works on view in this exhibit: a risk that ultimately pays off for visitors to the show.

“Pang”, a video and sound installation by artist Eleanor King, visits a mountainous landscape seemingly generated by computer graphics. It is, in fact, a low-resolution image from a survey of the landscape in Nunavit, Canada – a remote province where the artist lived. Nunavit is a remote northern area and serves as home to a large indigenous population. The persistent soundscape visitors experience while observing the video moves between naturally observed phenomena, such as ice melting, and sparse musical compositions. The video introduces new perspectives in examining our relationship with the natural world across great distances and the ambiguous “success” that programs such as Google Earth have in bringing us to remote places across the planet. In addition, it questions how we privilege certain spaces over others when it comes to new technology, and how certain populations can be excluded as a result.

Holland, Faith. “Queer Connections.”(2017) face mounted inkjet prints on acrylic

Encountering “How to Facial Mocap Drag” (2018) by Kelsey Brod, the viewer is immediately implicated in the how-to video seemingly led by an Ivanka Trump look-alike. The video purports to teach viewers to utilize software, playing with this entrenched tutorial format by subverting the educational aspect of the video with suggestive political language. Brod navigates direct political accusations, instead inviting viewers to question their choices and actions to see how these align with their personal philosophy.  Similarly, Faith Holland’s “Queer Connections”(2017) makes manifest the gendering of inanimate objects by pointing to “male” and “female” electronic components connecting seemingly “incorrectly”. Guiding the eye to these hyper-sexualized connections, curator Barraco notes that when the connection is enlarged it becomes more evident that these combinations that didn’t fit have “found new means of connecting.”

The Bleeding Edge installation shot, HVCCA (works from left by Izabela Gola, Anthony Antonellis)

Anthony Antonellis’ witty and clever videos take a playful look at technological flaws that arise with innovative leaps forward. His works “Fidget”(2017) and “Samsung Galaxy Note 7 Fireplace”(2017) re-imagine objects within new contexts as a result of unintended consequences that each product experienced post-launch. Fidget spinners change out in a dizzying array of styles, subverting the original purpose of the spinners. Instead of allowing the viewer increased focus and concentration, the video functions by creating a sense of nausea at the constant cycling of different spinners in and out of the video. Samsung Galaxy Note 7’s penchant for combustibility forms the basis of Antonellis’ fireplace video: visitors approaching the video from far-off can be forgiven for thinking it’s a common home fireplace video before coming closer and noticing the Samsung devices. These works play on the failures commonplace in technological innovation and social disruption.

Pohan, Amanda Turner. Swipe (2018), Pulverized smart phone LCD screens, fluorescent lights

Amanda Turner Pohan’s “Swipe”(2018) and Izabela Gola’s “New Blue Horizon Harbinger”(2017) approach a remix of old and new media from a unique perspective: horizontally. Barraco notes this format recalls “older forms of technology, sequential like strips of film.” The resurgence of natural materials in these artworks speaks to their pervasive presence in new forms in everyday technological objects: silicon, aluminum, copper. The porcelain in Gola’s objects, backlit and hinting at the presence of a figure emerging in her film “The Blue Kid”(2015), also speaks to the absence in new media of handicraft present in former iterations of human-created “technologies” from past generations. Gola also points to the ingrained relationship between the film and this installation. “The abstracted blue glaze horizon on the porcelain is an visceral emotional rendering of the horizon demarcated in the video, including the one painted on the ceramic props’ decorative motives and the urn vignette.” The blue glaze in her porcelain installation and the pixellated blue background from The Blue Kid share an undefined, amorphous sensibility: permeating the space without articulating a firm definition of its shape or presence.

Gola, Izabela. New Blue Horizon Harbinger (2017).Frost porcelain, glaze, underglaze, LED lights, metal supports

Gola’s film “The Blue Kid”(2015) appropriates cinematic tropes from classic movies such as The Good, the Bad and the Ugly and The Maltese Falcon. The artist points to the reiteration of these tropes over time as the inspiration for the menacing, ever-present blue background migrating across the screen during the video. Gola points to the intrusion of this blue mass into all aspects of the film. “With this exaggerated slowed down pixelation I point to a decomposed lossy index image (a.k.a. its lost aura) which becomes a signifier of the exhausted, washed-out cinematic tropes and modalities used in Film Noir and Westerns.” The horizontal orientation of her installation on the exhibition’s front wall also hearkens back to the film tropes. “There is a relationship between different mediations of a horizon delineating a landscape through the different genres in the installation,” Gola notes. “[This serves as] a classic idea in visual representation- [the idea of] a figure relating to landscape— figure as an entrepreneur, or a protagonist directing its gaze at the horizon.” Perhaps, like the trope of a cowboy riding off into the sunset, Bleeding Edge is the distant landscape emerging into view as the credits roll, marking a whole new framework of examining the brave new world of technological progress.