by Aaron Harbour
on October 27th, 2011
- Fran Herndon, Opening Day, 1961
Catch Me If You Can: A cluster of greyhounds surging into the foreground, muzzled, wearing numbers, chasing a hastily rendered pair of rabbits through roughly sketched grass. On a muted grocery bag or faded newspaper backdrop are other creatures and, in the center, obscured by washes of pale blue, an indistinct crowd. Powerfully narrative, but hazed by the manner of its construction, this image is fugitive. The characters resist any simple one-to-one relation with the viewer who’s personage spreads out piecemeal across the image. There is a spectacle here, echoed in the other collages on display. Continue Reading More »
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by Gabriella Radujko
on October 24th, 2011
Installation View
At the heart of the interdisciplinary, experimental approach to art making documented in “Black Mountain College and Its Legacy” at the Loretta Howard Gallery, is a human ethology that emphasizes cooperation and interdependence. What happened at Black Mountain College is as nostalgic as it is antithetical to western society’s preoccupation with the importance of the individual over the group, most recently highlighted with the passing of Apple’s visionary icon earlier this month. Continue Reading More »
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by Amanda Schmitt
on October 24th, 2011
Oliver Warden, Untitled Box 2.0, 1993-2011. Photo credit: Josephine Phong, 2011.
A young woman rounds the corner and catches a glimpse of her reflection in a full-length mirrored box. Attracted to this, she stops to make sure her bangs are okay, and notices that the mirror also has a switch, at perfect doorbell height. Curious, she flips the switch, only to immediately jump back, letting out a half scream, half laugh. She might be going crazy, she thinks, but she swears she just saw her reflection change into that of a man’s. Intrigued, she presses the switch a second time, and registers the flashing image of him again. Sure enough, inside the two-way mirror is a man, about 6’, standing at the ready, in a grey suit with a black tie. He has the appearance of James Bond, but the moxy of Elvis Presley vis-à-vis Andy Warhol’s prints. This man also has an identically placed switch on his side of the mirror. While the young woman can turn on the light, revealing the man, he has the power to turn the light off. The young woman giggles, fascinated by her power, yet she still feels the need to touch the switch again, and sees the opportunity to compete; a game ensues. She continuously turns on the light, as fast as she can, trying to reveal the man, to find out who he is, and what he looks like. He is calm and quick to the switch; she is relentless. She giggles more and more, and he remains stone cold 007, intensely staring into her eyes. You can see he is sweating, somewhat annoyed yet maintaining his authority, which fuels this woman’s sadistic tendencies even more. Who will win? Continue Reading More »
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by Carissa Pelleteri
on October 21st, 2011
Go to Freight and Volume and see this show in its last week!
Check out the rad animation Andrew did: Talking to a Fish
Andrew Guenther has exhibited widely in New York, LA, and internationally, including: “Standing in Water up to the Shins, Your Foot Looks at a Minnow and Says,’Look What I Have Become!’” at David Castillo Gallery, Miami, and “The Slap of Bird Shit On Wet Pavement” at Mogadishni, Copenhagen. Guenther was born and raised in Wheaton, Illinois, studied undergrad in Wisconsin and Rome and received his MFA at Rutgers in 2002. He curated an artist’s storefront space, Arts Tropical, in Brooklyn for a few years. He currently lives and works in Brooklyn, NY, and is a proficient urban gardener who grows his own tobacco, berries, and grapes.
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by Maria Papadomanolaki
on October 17th, 2011
"Shared Frequencies"
Kabir Carter is a performance and installation artist based in NY. His work could be described as an eloquent study on the interactions and interpolations between sound, space and the body. I was introduced to his work while doing research for the book Transmission Arts: Artists and Airwaves and I was intrigued by the physicality of his creative method as well as his attentiveness to the spaces he uses for his work. Kabir Carter will be performing tomorrow Tuesday, October 18th, at the Transmission Arts: Artists and Airwaves book celebration at Issue Project Room.
"Report"
When did you start to develop a sensibility about space in all its different manifestations (public, private, indoors and outdoors). What was the first interaction/experiment or project that sparked this idea in your head and consequently in your work?
What set me to actively consider space in my own work was Shared Frequencies. Several years ago, I received a grant to go out on New York City sidewalks and set up a loose array of radio scanners, signal routers, and analog synthesizer modules atop a pair of folding tables. My first few realizations of the work required me to rethink my relationship to sound in space on the fly. Continue Reading More »
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by Brinson Renda
on October 12th, 2011
The weather during this month’s Wynwood gallery walk ’s was a total drag, but the openings made up for it all. If you couldn’t make it or aren’t in the Miami area here’s a quick re-cap!
101/exhibit
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by Brent Birnbaum
on October 11th, 2011
Second to None
Ry Rocklen has developed a language that is poetic and unique. His originality is an accomplishment considering the thousands of artists who used found objects in their work. Ry inserts old objects with his artistic mojo, giving them new life in a different realm. Perhaps you caught his previous outings in New York City at Marc Jancou in 2009 or in the Whitney Biennial of 2008. Rocklen’s latest New York show is up at Untitled on the Lower East Side until October 16th. Continue Reading More »
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