Tuesday, February 4, 2014

OFFLINE Group Show Opening @ Radiator Arts in Long Island City

See you on Friday for this fantastic GROUP SHOW. Special congrats to artist/curator/teacher Sarah G. Sharp!

OFFLINE
Radiator Gallery
February 7-March 15th
Opening February 7th, 6-9 pm

Artists: Martha Clippinger, Molly Dilworth, Carolyn Lambert, Beth Letain, Stacie Johnson, Sarah G. Sharp, Parsley Steinweiss

Curated by Sarah G. Sharp

In the 2012 Artforum article “Whatever Happened to Digital Art?” Claire Bishop described what she sees as a lack of critical response within the artworld to the digital era: “Why do I have a sense that the appearance and content of contemporary art have been curiously unresponsive to the total upheaval in our labor and leisure inaugurated by the digital revolution? While many artists use digital technology, how many really confront the question of what it means to think, see, and filter affect through the digital?” OFFLINE proposes that part of the “invisible” response to the overwhelm of information, access, images and mutable identities that comes with life lived on the internet and mediated through a screen includes a re-envisioning and invocation of the very thing the digital era suggests we leave behind: the “real.”

The show presents seven artists who respond to these contemporary “upheavals” by reframing the mundane, concrete material of their lived experience in light of contemporary metaphors like rhizomatic relationships, the recombinant, virtual reality and the network. Without nostalgically fetishizing the analog or relying on anti-technology rhetoric, these artists use familiar forms like abstract painting, sculpture, performance and photography to re-imagine our new everyday in concrete terms and provoke altered perceptual readings of our offline experiences. We are reminded that our concrete experiences and identities are both re-framed by and persist alongside our online lives.

Stacie Johnson’s tightly designed paintings play with our perceptions of illusionistic space. Smooth surfaces, precisely rendered shapes and hand-made gradients reference the hyper-real while subtle shifts between painted surface and the wall challenge our perception of space, flatness and illusion. In her Photo Objects Parsley Steinweiss also investigates perception, illusion and surface. By combining photographic reproductions of various textures with “real” materials Steinweiss’s images force us to flip between an easy recognition of familiar objects and the sense of the uncanny that surrounds digital production methods.

Literally taking from the everyday, Martha Clippinger invests found objects with new life as colorful installation elements. In each exhibition Clippinger’s familiar objects are carefully placed within the space and in relation to each other suggesting an infinite number of combinations of form and possible new meanings. Sarah G. Sharp’s recent collages re-combine found images of utopian communities from popular media sources, reinvigorating what was once mundane and disposable with a new “aura.”

The compositional energy in Beth Letain’s abstract paintings relies on subtle shifts between object, surface and edge. Letain references recent visual forms like scrolling screens, signal strength bars and the ever-present “glitch,” within a complex visual syntax that is deceptively casual. Molly Dilworth’s Archive presents us with collected and combined scraps left from other works; an index of unseen objects and labor.

Carolyn Lambert’s performative work relies on personally formed research methods and activities that disrupt flows of condoned behavior for the tenant or citizen. In Gutter the abstract concept of gleaning one’s own water is made concrete by connecting the body, architecture and what is at hand with the basic act of survival through provisional infrastructure.



Sarah G. Sharp
Collage
A New Way of Living Confronts The US
2013



Parsley Steinweiss
Diamond with woodgrain
Untitled
2013



Beth Letain
Painting
Drawbridge
2013


 

Tuesday, December 10, 2013

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 Keep up to date on all the news and events at the AICAD/ New York Studio Residency Program!






   
   
   
   

   


Monday, November 25, 2013

Sweetbreads @ the New York Studio Residency Program

***FOR IMMEDIATE RELEASE***


The AICAD/New York Studio Residency Program presents
SWEETBREADS
a group exhibition
DUMBO, Brooklyn, NY -- ONE NIGHT ONLY
Thursday, December 12th, 2013
4 - 9PM




The AICAD/New York Studio Residency Program presents, SWEETBREADS, a one night only group exhibition, including sculpture, painting, video, photography, drawing, multi-media installation and performance. Exemplary artists from member schools of the AICAD/Association of Independent Colleges of Art and Design from across the country will exhibit artworks produced during their fifteen week residency at the NYSRP.


PARTICIPANTS: Danie Allinice, Carrieanne Bullard, Emily Chaplain, Millie Ferguson, Juan Franco, Jessica Leimone, Joseph Loeffler, Jasmine McMasters, Jennifer Pappas, Kent Rhodebeck, Julian Rucker, Reilly Sinanan, Ji Won Song, Derick Whitson, Sichong Xie, Michelle Zealy.


Special thanks to Administrative Co-Director Alan Lupiani and NYSRP Faculty Glenn Goldberg, Pam Lins, Jan Avgikos, and Dominique Nahas.
.
Refreshments and hors d'oeuvres will be served.
Date: Thursday, December 12,  2013, reception 4-9 pm
Location: New York Studio Residency Program, 20 Jay Street (at Plymouth Street), Suite M10, DUMBO, Brooklyn
Depart at York Street from (F) train
Depart at High Street from (A) or (C) trains
contact#: 718-852-0173
website: nysr.aicad.org

Suddenly, There: Discovery of the Find - Tomorrow Night, Tuesday November 26th!

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Garis & Hahn presents:

Suddenly, There: Discovery of the Find

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Jennifer and Kevin McCoy, Artists Talks, 2008 (video still), installation, 18 DVDs, 3:00 each
Featuring: Michael Alan, Eve Bailey, András Böröcz, Matías Cuevas, Dave Hardy and Siebren Versteeg, Clinton King, Daniela Kostova, Thomas Lendvai, Alan Lupiani, Jennifer and Kevin McCoy, Robert C. Morgan, Christopher Moss, Joe Nanashe, Ian Pedigo, Jamie Powell, Armita Raafat, Mónika Sziládi, Tamas Veszi, and Aaron Williams
Curated by Eileen Jeng and Tamas Veszi
Opening Reception: November 26, 2013, 6 – 8pm
Exhibition Dates: November 26, 2013 – January 11, 2014
Performance by András Böröcz, December 18, 7 – 8 pm
November 4, 2013 (New York, NY) – Garis & Hahn is pleased to present Suddenly, There: Discovery of the Find, a group exhibition, curated by Eileen Jeng and Tamas Veszi, focused on the creative process and its unexpected outcomes. Suddenly, There will feature drawings, paintings, photographs, sculptures, videos, and installations, from 1974 to 2013, by 21 New York-based artists.
Hungarian psychologist, Mihály Csíkszentmihályi, describes the concept of flow as an optimal experience and single-minded immersion that requires focus and full concentration. He applies this notion to the creative process and states, “in flow we only feel what is relevant to the activity.” The exhibition Suddenly, There takes this idea further in examining the complexities of the creative process. With multiple access points to an excess of information at any given time, artists who are working in one direction sometimes start working in another; the flow is broken and redirected toward a new and exciting place.
Diversions, distractions, and deviations lead to discoveries. This exhibition focuses on the find, including works in various media that have been created or conceived of while in the process of making other artworks, during the installation of works for exhibitions or presentations, or utilizing materials – remnants or parts of other works – from around the studio. Rather than concentrating on the sketching or planning of specific works, this exhibition emphasizes the chain reaction and progression of the creative process toward the unexpected – a proactive place for artists to move forward. Thereby, works in progress develop into pivotal or new important works.
A foldout brochure with descriptions of the works and processes will be published for the occasion of this exhibition. On December 18 from 7 - 8 pm, András Böröcz will perform 11 Grapefruits 2, a conceptual work that introduces the fruit into his repertoire of ordinary, round sculptural objects and includes a new video.
About the Artists
Michael Alan was born in 1977 in Bushwick during the New York City blackout. Alan’s intricate drawings, paintings, and sculptures have been featured in 9 New York solo shows, over 200 group shows, and over 200 Living Installations – happenings, founded and directed by the multimedia artist, where human beings are transformed into unique, living art objects with original music. Alan’s work has been discussed in over 200 publications and media sources, including American Artist, Artforum, Art+Auction, Marie Claire Italia, The New York Times, Art 21, NBC’s Today Show, and Fox Channel 5, to name a few.
Eve Bailey creates ergonomic and kinetic sculptures, based on the concept of balance and coordination, which embody her love for architecture and dance. Bailey has exhibited her work in France, Germany, The Netherlands, Switzerland, Cuba, Russia, and across the US. She was awarded funded residencies from the Bemis Center for Contemporary Arts, Omaha, NE; Triangle Arts, Brooklyn, NY; I-Park Foundation, East Haddam, CT; and Sculpture Space, Utica, NY, among others. She holds an MFA in Sculpture from the École des Beaux Arts, Paris and a BFA in architectural metal work from Olivier de Serres School of Design, Paris. Bailey started incorporating performance in her sculptural work after receiving a fellowship from the San Francisco Art Institute.
András Böröcz was born in Budapest, Hungary. He studied painting at the Budapest Art Academy and was a member of Indigo, an underground artist group that was critical of the dictatorship. In the late 1970s, he began performing for international audiences and participated in Documenta (8) in Kassel, Germany in 1987. After moving to New York in 1986, Böröcz concentrated on sculpture, conceptually working with post-Pop ideas of discarded and common materials. The pencil became his object of choice, both for its democratic nature and its function as an artist’s tool. Böröcz has exhibited and performed extensively in the US and Europe, most recently, in a number of museums and galleries in Hungary. Böröcz is the founding director of Alma on Dobbin, Inc., a trustee of the Ampersand Foundation Johannesburg/NYC, and co-founder and director of 2b Gallery in Budapest, Hungary.
Matías Cuevas was born in Mendoza, Argentina in 1980. Following his early classical training at Universidad Nacional de Cuyo, Cuevas received his MFA in 2009 from the School of the Art Institute of Chicago where he received a number of awards. Recent exhibitions of his paintings and sculptures have been held at El Museo del Barrio, New York; Lehmann Maupin, New York; Leyendecker Gallery, Spain; Alderman Exhibitions, Chicago; and Green Gallery, Milwaukee, among others. His work is in many private and public collections, including the Museo de Arte Contemporáneo de Rosario and Museo de Arte Moderno de Mendoza.
Dave Hardy and Siebren Versteeg continue to collaborate on the multimedia project Spirit Tours, started in 2004, for the exhibition. Versteeg received a BFA from the School of the Art Institute of Chicago and an MFA from the University of Illinois at Chicago. He studied at Skowhegan School of Painting and Sculpture in Maine and the School of Visual Arts in New York. Solo museum exhibitions have been held at the RISD Museum, Providence; Ulrich Museum of Art, Wichita; and Wexner Center for the Arts, Columbus, among others. His work has been in museum group shows in the US, Czech Republic, and Austria, to name a few. Versteeg’s work is in various collections, including the Albright-Knox Art Gallery, Guggenheim Museum, Hirshhorn Museum, The Margulies Collection, RISD Museum, Ulrich Museum of Art, and Yale University Art Gallery.
Hardy received a BFA from Brown University and an MFA from the Yale School of Art and studied at Skowhegan School of Painting and Sculpture in Maine. Solo exhibitions have been held at Art in General, La Mama Galleria, Regina Rex, and 92Y Tribeca in New York as well as at Southern Exposure in San Francisco. His work has been included in group exhibitions at PS1, SculptureCenter, and Jack Shainman Gallery in New York. Hardy is currently a professor of sculpture at New York University.
Clinton King graduated with an MFA from The School of the Art Institute of Chicago. His paintings have most recently been exhibited at the Dorsky Foundation and Parallel Art Space in Brooklyn and One River Gallery Space in Englewood, NJ. He will soon reside at the Yaddo artist retreat. Previous exhibitions have been held at the Boots Contemporary Art Space, St. Louis; Gallery 400, Chicago; The Suburban, Chicago; International Performance Art Festival, Helsinki; 1a Space Gallery, Hong Kong; Youkobo Art space, Tokyo; and Zaim Space, Yokohama, Japan.
Daniela Kostova uses photography, video, and installation to address issues of geography, cultural representation, the production and crossing of socio-cultural borders, and the processes of translation and communication. Kostova has exhibited her work at numerous museums, including the Queens Museum of Art, Queens, NY; Sofia City Gallery, Sofia, Bulgaria; Kunsthalle Fridericianum, Kassel, Germany; Fondazione Sandretto Re Rebaudengo, Torino, Italy; and Kunsthalle Wien, Vienna, Austria, among others. Kostova received many awards and fellowships, including an Unlimited ’11 Award for Contemporary Bulgarian Art and a Graduate Fellowship from the Rensselaer Polytechnic Institute in Troy, NY. In 2011, together with Stanislava Georgieva, Kostova started Bulgarian Artists in America (BAA), where she is Exhibition Director. She is also the Director of Curatorial Projects at Radiator Gallery and a Board Member of CEC Artslink.
Thomas Lendvai was born on Long Island, New York and raised by parents who emigrated from Hungary in the early 1970s. Growing up on Long Island, Lendvai worked during the summer months with his father as a carpenter. This experience has shaped and influenced his sculptural practice to this day. Most, if not all of his work, uses construction based materials and techniques. Today, Lendvai continues to make sculpture and site-determined installations, which have been exhibited in Chicago, Key West, and Tokyo, and, most recently, in Hoboken, NJ. Lendvai received his BA from SUNY Stony Brook in 1999 and his MFA from the School of Visual Arts in 2002.
Alan Lupiani engages in socio-political issues on a local, regional, and international level in his multi-media installations, performances, sculptures, and paintings. He has exhibited and performed in multiple museums, galleries, and art events throughout the United States, including Winkleman Gallery, New York; Postmasters Gallery, New York; the “No Comment” Art Show for Occupy Wall Street; Third Ward Gallery, Brooklyn; Governor’s Island; Radiator Gallery, Long Island City; and his alma mater, Binghamton University in 2012. Lupiani presented "Art Road Show" at Art Basel Miami Beach, where he interviewed gallerists and artists in 2010 and 2011. Most recently, he curated the exhibition So Real at Radiator Gallery in 2013.
Jennifer and Kevin McCoy explore changing conditions around social roles, categories, and genres in their range of work from sculpture to video installation to software to curatorial practice. They wonder what counts as ‘new’ and about the associated technological, environmental and social costs. In New York, their work has been exhibited at museums, such as The Metropolitan Museum of Art, PS1, The Museum of Modern Art, and the New Museum. International exhibitions include projects at the Pompidou Center, Paris; the British Film Institute, London; and Bonner Kunstverein, Bonn, to name a few. Recent grants include a 2011 Guggenheim Fellowship. Articles about their work have appeared in Art in America, Artforum, ARTnews, The New York Times, and Newsweek. Their work is represented by Postmasters Gallery, New York and by Guy Bartschi, Geneva and is in the collections of The Museum of Modern Art, The Metropolitan Museum of Art, Milwaukee Art Museum, and MUDAM, Luxembourg.
Robert C. Morgan, an artist and writer, began showing at the Institute of Contemporary Art in Boston as well as at Artists Space and The Whitney Museum of American Art in New York in the 1970s. His films have been presented at Anthology Film Archives, White Box, and Millennium Film Workshop. Morgan’s photographs, visual books, paintings, conceptual works, and installations have been shown at White Columns, New York; CEPA, Buffalo, NY; McKissick Museum, Columbia, SC; Ulrich Museum, Wichita, KS; Museum of Contemporary Art Chicago; and The International Artists Museum, Lodz, Poland, among others. Recent solo exhibitions in New York have been held at Bjorn Ressle Gallery, Sideshow Gallery, John Davis Gallery, Able Fine Art, Creon Gallery, and, currently, at Rooster Gallery, where the show has been recommended by Art in America. Morgan’s work has also been reviewed in Artforum, ARTnews, artcritical, The New York Times, and Wolgan Misool (Korean) and is in many prominent collections.
Christopher Moss received a BFA from Marywood University, Scranton, PA in 2000 and an MFA from CUNY Brooklyn College in 2006. His work has been included in group exhibitions at Shaheen Contemporary, Cleveland and Grizzly Grizzly, Philadelphia, among others, and is available at Artware Editions, New York and Theodore:Art, Brooklyn, where he will have his first New York solo exhibition in March 2014.
Joe Nanashe was born in Akron, Ohio. The city’s post-industrial landscape and emphasis on manual labor influenced the repetitive, task-driven nature of his work. He received his BFA from the University of Akron in 2003 and his MFA from Rutgers in 2005. A multimedia artist, Nanashe creates works that confront the viewer with issues of violence, control, meaning, humor, perception, and the body. His videos have been shown in film festivals in the US and in Switzerland. His drawings, sculpture, photographs, and sound work have been recently exhibited at the Parrish Art Museum and Islip Art Museum on Long Island as well as internationally in Argentina, Canada, Germany, Japan, The Netherlands, Russia, and Switzerland.
Ian Pedigo was born and grew up in Anchorage, Alaska. He studied visual art/sculpture at the University of Texas at Austin and participated in the Salzburg Summer Academy of Fine Art in Austria, studying with such figures as Ilya Kabakov and Boris Groys. His work has been exhibited across North America and Europe, including solo exhibitions in at the Abrons Art Center and Klaus Von Nichtssagend, New York; University of Gothenberg, Sweden; and Rokeby Gallery, London. His sculptures, photographic works, and installations have been written about in Artforum, ARTnews, Art Review, Frieze, The New York Times, and The New Yorker, among other publications. A monograph of his work was published in 2011 by the Southern Alberta Art Gallery.
Jamie Powell was born and raised in West Virginia, thirty miles south of the Mason Dixon Line. She received her MFA and the Paul Robeson Emerging Artist Award from the Mason Gross School of the Arts at Rutgers University in 2006. She has received grants from the Geraldine R. Dodge Foundation, Vermont Studio Center, and Pratt Institute. Jamie has exhibited her cutout abstract paintings extensively over the last eight years at venues including FLUXspace, Philadelphia; Seton Hall Law School, Newark; the National Arts Club, New York; and Soil Gallery, Seattle. She teaches painting and drawing at Pratt Art Institute in New York.
Armita Raafat received her BFA from Al-Zahra University in Tehran, Iran and completed her MFA at the School of the Art Institute of Chicago in 2008. Recent solo exhibitions of the artist’s installations have been presented at the Museum of Contemporary Art Chicago in 2009 and Threewalls, Chicago in 2010. Her work has been featured in recent group exhibitions in Chicago, New York, New Jersey, Tehran, and Seoul, Korea. Her solo shows have been reviewed in publications, such as Art in America and New City. In 2011, she was featured in the book Out of Rubble, published by Charta. Raafat was a 2009 recipient of a swing space residency with the Lower Manhattan Cultural Council and currently holds a studio residency with the Elizabeth Foundation for the Arts in New York. She will also participate in the Artist at Market Place (AIM) program at the Bronx Museum of Art in 2013.
Mónika Sziládi was born and raised in Budapest, Hungary. She received an MFA in Photography from Yale in 2010 and a Maitrîse in Art History and Archaeology from Sorbonne, Paris in 1997. She was the recipient of the Alice Kimball English Traveling Fellowship, Daylight/CDS Photo Award, and Humble Arts' Fall 2012 New Photography Grant as well as the winner of The Philadelphia Museum of Art Photography Competition in 2010. She was a resident in Skowhegan in 2008 and at Smack Mellon in 2012. Selected institutional exhibitions she has participated in have been held at the DUMBO Arts Center, Brooklyn; Institute of Contemporary Art, Dunaújváros, Hungary; Staatliche Kunsthalle, Baden-Baden, Germany; The Magenta’s Foundation’s Flash Forward Festival, Toronto, Canada; and Hasted Kraeutler, New York. Sziládi’s work is in the permanent collection of the Philadelphia Museum of Art.
Tamas Veszi is a multimedia artist with an academic background in painting. His activities as a community initiator bridge a gap between his restless interest for the questions of embodiment and formlessness. Veszi left Hungary at the age of seventeen and studied in Israel, Italy, and France, and he moved to New York in 1997. In 2000 he received his BFA in Fine Arts at the Pratt Institute, and formed the group “Greenpoint Riverfront Artists” who curated and produced performances, rooftop independent film screenings, and annual open studios. He earned his MFA at Brooklyn College under the guidance of Elisabeth Murray and Vito Acconci. Veszi has exhibited his work in Austria, Canada, England, Germany, France, Hungary, Italy and throughout the United States. As director of RadiatorArts in Long Island City, Veszi has collaborated with the Embassy of Israel and Art Market Budapest as well as organized exchanges with La Couleuvre Art Center, Paris and Bäcker Strasse 4 Gallery, Vienna.
Aaron Williams was born and raised in Rhode Island and holds a BFA from the Maine College of Art and an MFA from Rutgers University. Using common photographic sources, such as mass market posters, Williams continues to expand idea of mark-making and materials. His solo exhibitions have been held at Max Protetch Gallery, Baumgartner Gallery, Mulherin + Pollard in New York, and, most recently, Lamontagne Gallery in Boston. His work has been featured in several group exhibitions throughout the United States at venues including the Portland Museum of Art, Portland, ME; Howard House, Seattle, WA; Hal Bromm Gallery, NYC; Parallel Art Space, Queens, NY; and Memphis Social, Memphis, TN.
About the Curators
Eileen Jeng is an independent curator and writer and the archivist at Sperone Westwater in New York. Her latest project includes Break/Step at Radiator Gallery in Long Island City and Facture at AIRPLANE in Brooklyn, among others. She was a research assistant in the Department of Contemporary Art at The Art Institute of Chicago, and she was involved in various exhibitions, including FLOAT at Socrates Sculpture Park in Long Island City in 2007. She earned an MA in arts administration and policy from The School of the Art Institute of Chicago and a BA in art history and advertising from Syracuse University.
Tamas Veszi – please see artist’s bio above.
About Garis & Hahn
Garis & Hahn is a gallery-cum-Kunsthalle that mounts exhibitions focused on conceptual narratives and relevant conversations in contemporary art. By displaying an array of carefully curated artists, the gallery endeavors to provide accessibility, education, awareness, and a market to the art while engaging both the arts community and a broader general audience.
Gallery Hours
Tuesday – Saturday 11-7
Location
263 Bowery
New York, NY 10002
Gallery Contact
info@garisandhahn.com
(P) 212.228.8457
Media Contact: Lainya Magaña | A&O PR
(P) 415.577.1275 | (E) lainya@aopublic.com

Friday, August 30, 2013

Check out the AICAD/New York Studio Residency Program @ DUMBO ARTS FESTIVAL 2013!

As the new Administrative Co-Director @ the AICAD/New York Studio Residency Program, it is my honor to introduce the incoming Fall 2013 NYSRP class at the DUMBO ARTS FESTIVAL.  Please stop by and say hello on Saturday, September 28th, and Sunday, September 29th, from 12 - 6PM.

Link to AICAD/NYSRP website.


Wednesday, February 13, 2013

"So Real" Group Show @ Radiator Arts Opening Armory Week!!!







"SO REAL" Group Show @ Radiator Arts in Long Island City
Friday March 8th - Sunday April 20th
Opening Friday, March 8th 6 - 9PM

Artists: Pedro Barbeito, Eve K. Tremblay, Jack Henry, Karlis Rekevics, Kati Vilim, John Gerrard, Christopher Saunders

Curated by Alan Lupiani

“So Real” at Radiator Arts, March 8 - April 20th, offers a contemporary survey which considers associations between the twentieth century art movements of Western Social Realism and Socialist Realism of  Eastern Europe and the Soviet Union.

The words "subjective" and "official” are paramount in describing the differences between both movements. Western Social Realism has been described as a “subjective” tradition allowing for the expression and development of unfavorable narratives. In contrast, Socialist Realism has been characterized as state sanctioned, official, and oppressive.

Recent global instability concurrent to the transfer of power from old regimes to new has cast a fresh light upon this "subjective" vs. "official" narrative. As heads of state draft legislation to address a multitude of geo-political and economic challenges, inherent conflicts arise between preserving individual liberties and protecting the state against general chaos, terror, and/or complete collapse. Consequently, the individuals' right to speak out and act critically against the government have become increasingly challenged and diminished. Re-defining "subjective" individuals' rights has become increasingly constricted by overriding "official" mandates to protect the "state." 

“So Real” further explores these incongruities by suggesting that past political and economic constructs organically mutate into new overlapping hyper realities. For example, the Obama Administration has appropriated the socially progressive doctrines of two previous Social Realism(ist) era Presidents, Franklin D. Roosevelt and John F. Kennedy. 

Roosevelt's  "New Deal," Kennedy's "New Frontier" and now Obama's "Forward" all possess similar premises based on socialist principles. Likewise, all three Presidents have been accused of practicing, "undisguised state socialism."  Ironically, these conflicting assertions that socialist based initiatives are necessary to sustain capitalistic free markets from doom and gloom, speaks volumes to the complexities that co-exist within diametrically opposed axioms similar to that of both Social Realism(ist) traditions.

Speaking of doom, "So Real" also vogues as “provocateur” in the form of shared compressed psychologically charged narratives. Taken one step further, the exhibition functions on a plane of personal protest, challenging the sustainability of past and present day utopian constructs.

On a more positive and final note, “So Real” alludes to new beginnings in the aftermath of failure, death, and destruction by the inclusion of brutalist inspired sculpture and architectural forms. This “clean slate” segue provides an entry point to explore alternative models which may provide pathways for future growth and progress.

The Artists:

Jack Henry (b. 1984, Jackson, MS) is a 2010 MFA graduate in Sculpture from from the University of Maryland.  He has shown extensively in group shows in New York City most recently being included in “Creative Non-Fiction,” Kunsthalle Galapagos, Brooklyn, NY,  “Daphne,”  Fjord, Philadelphia, PA and “Work Sites,” Stamp Gallery, College Park, MD. Henry appropriates discarded objects seen by the roadside to create monuments to post-industrial America. The selection process is focused on man-made objects and structures such as: dilapidated houses, roadside memorials, tattered billboards, and other discarded materials. Each object is reinterpreted and presented as an artifact or a natural history museum model of something pulled from the contemporary landscape.

Karlis Rekevics (b. 1963 in Harrogate, England) traveled as a young child in the Middle East and Europe, and grew up in Seattle, WA.  He attended the New York Studio School from 1992-97, majoring in sculpture. Since 1998 he has taken part in fifteen exhibitions, including “Building Structures” at the P.S.1 Contemporary Art Center, Long Island City, 2002,; “Slouching Towards Bethlehem,” curated by Jeffrey Uslip at The Project, New York, 2004; and  “In Practice,” at the Sculpture Center, Long Island City, 2005. Rekevics won Best in Show drawing from Perception II at Wright State University, 1998, in a competition juried by Rackstraw Downes, and has held residencies at Art OMI, Triangle International Workshop, Triangle Residency, a full fellowship at the Vermont Studio Center, Johnson, VT; and at Emma Lake Artist Workshop in Saskatchewan, Canada. His work has been reviewed in the New York Times, the New York Sun, and artcritical.com.

Pedro Barbeito (b. 1969, La Coruna, Spain) lives and works in New York City. He received an MFA in painting from the Yale School of Art in 1996. He has had exhibitions at Basilico Fine Arts (NY), Lehmann Maupin (NY), and the Museo Rufino Tamayo in Mexico City, to name but a few. He is the recipient of a Louis Comfort Tiffany Biennial award and his work resides in collections around the world. Pedro Barbeito’s works address the formative role of violence in contemporary life, from a political ethos driven by "terror" and deception to the aesthetics of visual assault prevailing in popular culture. Drawing upon the anxieties of an age when we are afforded, primarily through the Internet, unprecedented visual access to the violence of war and political strife (the conflict in Iraq and the Abu Ghraib images of torture, for example), these canvases materialize through painting the ubiquitous command found in most NYC transportation hubs: "If you see something, say something."

Ève K Tremblay (b. 1972, Québec, Canada) studied French literature at the University of Montreal and theatre at The Neighborhood Playhouse School of the Theater, in New York. She holds a BFA with a major in photography from Concordia University in Montreal. Her work is mainly inspired by literature and science. Consciousness is examined from a poetic point of view through photographs, videos, installations, performances, texts and collages. Tremblay was on the 2012 Québec long list nomination for the Sobey Art award. A Monograph of her works entitled Tales Without Grounds was published by the CEEAC in Strasbourg & Centre d’exposition Plein Sud in 2006. She has also published two artist books: Memory Mapping Hope Gardens (Location scoutings) (2010) as well as With Books (2012). Group shows are ongoing at the Dunlop Art Gallery, Regina (SK), at Ruth Phaneuf Fine Arts in New York, and at the Kaminsky Foundation in the Mana Contemporary Art Center, NJ.

Kati Vilim (b. 1970, Budapest, Hungary) lives and works in Newark, NJ. She received her MFA from both, University of Fine Arts, Budapest, Hungary and Montclair State University. Her works have been exhibited at Sheldon Museum of Art, Lincoln, NE, at Art Viceroy in Miami, in New York, San Francisco and Budapest. Her work has been discussed in Brooklyn Rail, Hycide Magazine and in online blogs as He Said She Said. Kati Vilim’s paintings are created by utilizing a stridently internal, formal, and minimal process. She incorporates the early twentieth century philosophies of Futurism and Suprematism to create visual tropes that suggest a purely dystopian world which has been transformed by twentieth century capitalism.  In Vilim's painting, one can imagine the imprint of outdated and failed corporate logos such as Enron. Vilim intentionally slows down the transmission of her images by utilizing a transparent and layered painting process, leaving the impression that her intuitive symbols and visual vibrations are evil offspring of a mad social experiment gone terribly wrong.

Christopher Saunders (b. 1972, Virginia, USA) received his BFA from Virginia Commonwealth University and his MFA from Mason Gross School of the Arts at Rutgers University. The artist currently has a studio practice in Brooklyn, NY.  His paintings have been exhibited in New York, Boston, Miami, Los Angeles, and internationally in Berlin and Beijing. The artist was a 2010 Fellow in Painting, awarded by the New York Foundation for the Arts. Christopher is also a past recipient of the prestigious Virginia Museum of Fine Art Fellowship. His work has been discussed in Contemporary Magazine, White Hot Magazine, Phaidon.com, NY Arts Magazine and the Kansas City Star. Christopher Saunders’ stark realistic landscape paintings evoke a slowed down eeriness reminiscent of ominous events with few definitive outcomes. Dark clouds move in over vast empty plains, roads lead to nowhere. Black smoke rises off in the distance. His surfaces are worked up into smooth surface through a wet on wet process which suggest a slippage of time and a vacuum of experience. These “hyper surrealist” dreamscapes primarily exist unto themselves with few historical references, devoid of specific time or place. Many of Saunders works appear trapped in nightmarish time capsules, harboring the din and pall of a world in constant flux as the result of human made conflict and/or naturally occurring disasters.

John Gerrard (b. 1974, Dublin, Ireland) John Gerrard’s artworks concern themselves with the nature of contemporary power in the broadest sense, epitomizing the structures of power and the networks of energy that characterized the massive expansion and intensification of human endeavor that took place during the twentieth century. Many works have featured geographically isolated industrial facilities that are a hidden part of the global production network that makes the luxuries of contemporary life possible.

John Gerrard has participated in group shows including BEYOND at Kumu Art Museum, Tallinn, Estonia (2011), 20/20, Irish Museum of Modern Art, Ireland (2011), EV+A, Limerick, Ireland, in collaboration with Peter Carroll. (2010), Infinitum at Palazzo Fortuny, Venice, (2009), Academia at L’Ecole de Beaux-Arts, Paris (2008), Equal, That Is, To the Real Itself, Marian Goodman Gallery, New York, Existencias at the Museo de Arte Contemporáneo de Castilla y León (2007).

Recent solo presentations of Gerrard’s work include Infinite Freedom Exercise, Manchester International Festival, Manchester, UK (2011), John Gerrard, Ivory Press, Madrid, Spain (2011), John Gerrard, Perth Institute of Contemporary Art, Perth, Australia (2011), Universal, Void, Derry, N. Ireland (2011), John Gerrard, Thomas Dane Gallery, London, UK (2010), Cuban School, Simon Preston Gallery, New York (2010), Sow Farm : What You See is Where You're At, Scottish National Gallery of Modern Art, Edinburgh, Scotland (2010), Oil Stick Work, Art on the Underground, Canary Wharf Station, London, UK (2009 / 10), Directions : John Gerrard, Hirshhorn Museum and Sculpture Garden, Washington DC, USA (2009), and John Gerrard, Animated Scene, 53rd International Art Exhibition, La Biennale di Venezia, Italy (2009).

Alan Lupiani is a painter, writer, and independent curator living in Brooklyn, New York since 1996. He also manages the AICAD/New York Studio Residency Program in DUMBO, Brooklyn, New York.

Friday, January 18, 2013

Opening Alert! Radiator Gallery Group Show "Tracing the Fish Bladder"

TRACING THE FISH BLADDER

February 1st - March 1st, 2013

Opening reception : February 1 st 6-9pm
Artists: Guy Ben-Ari, Keren Benbenisty, Andrea Bianconi, Ariel Efron, Reuven Israel, Bill Jacobson, William Lamson, Dana Levy, Avigail Talmor
Curator: Guy Goldstein
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Radiator Gallery is pleased to announce the opening of Tracing The Fish Bladder show. This group exhibition curated by Guy Goldstein, is exploring the boundaries of curatorial practice in acceptable ways. This is Goldstein's, an established Israeli sound and visual artist, attempt to explore the synergy between artist and curator role and the limitations of curatorial leeway. Goldstein is handling the curating project as his own personal artwork, using other artists' works as components in his equation. Thus, creating new relations as well as confrontations and connections by juxtaposing them his way. A diverse range of works, from video to painting, photography, performance, interactive projection and more, is transformed into a versatile installation.
The selection of works is similar to the curatorial approach, which leans on the graphic representation of the set theory (union and intersection sets) one of the fundamental operations through which sets are combined and related to each other. The image of two overlapping circles, creating a Vesica Piscis shape (literally means a "fish bladder" in Latin). These chosen artworks, are trying to define containment and unification.
For instance, in the video Time is Like The East River, artist William Lamson is creating a micro-cosmos of two small boats made from a single canoe that was cut in half, subjected to nature's opposing forces of the East River at slack tide. The boats are going towards each other trying to meet and link to become a single canoe again. This focuses on a rare moment in time when everything seems to be possible; by zooming out of this scene, we realize this is only a minor part of a wider context.
Throughout the performance and drawing (titled U&I) by Keren Benbenisty a new unification, between the artist and audience occurs. Keren creates her drawings in front and in collaboration with the viewer, by using their fingerprints. An intimate moment is created, reminding in a way a contract signing with the viewer.
In his photograph, taken from the series Place (2012), Bill Jacobson created a minimalist still-life image. Using layered blank boards, in minor colors, placed in the center of a photographic format which blurs the differences between what seems to be both abstract and real, painting or photography at the same time. The way in which the photographed object was placed in this work, usage of specific color scale and the attempt to create a "place within no space" are all an expression of the "union and intersection sets", as this exhibition trying to do.
This is only a glimpse at a partial list of works exhibited in the show, whereas the wider view is revealing both questions and doubts regarding similarities, common denominators, and concepts all woven by the curatorial act.
Guy Goldstein is an artist and musician, currently lives and works between Tel-Aviv and New York. Holds a MFA from The Bezalel Academy of Art and Design in Jerusalem (2005-2007). Studied visual communication art and design in Wizo Haifa Academy of Art & Design (1997-2001).
Goldstein's works exhibited worldwide (Europe, USA and Israel) in museums and galleries, he awarded the Minister of Culture Award for Visual Artists (Israel, 2012) among other imported awards and scholarships in the past. Guy participated recently in Residency Unlimited program in Brooklyn (April-August 2012). Guy Goldstein is a bass player, member at the Israeli Rock ‘n' Roll band - Reines Girls. Goldstein is the Director of the Visual Communication Department at Musrara School of Photography and New Media, Jerusalem.
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                                           Supported by Israel's Office of Cultural Affairs, NY.