Dutch Courage
A part of the central Exhibition of 48 Stunden Neukölln
Neukölln Arcaden, Karl-Marx-Str. 66, 12043 Berlin
Opening: Friday, June 27th 2014, 7 - 10pm
Opening hours: June 28th, 10am – 10pm and June 29th, 10am - 7pm
„Dutch“ or „liquid courage“ describes the procedure usually executed at pubs and sometimes art show openings as well, to lower one's inhibition to come into contact with others and gain bravado from drinking. The project's concept is not so much about the intoxicating part, but the employment of the ritual of drinking together as a platform for communication. With the invitation to the project, the curators challenged the artists with a lump of clay as a traditional but sometimes forgotten artistic material and the request to model something that can hold liquids. In reference to the traditional German container for beer drinking, the „Bierkrug“, these original and unique sculptures can be purchased for a small fee at the “Dutch Courage” Bar in order to get your free refill.
Artists: Stefan Alber, Marie Aly, Paul Barsch, Alaska Rose Basker, Jacob Dove Basker, Caroline Bayer, Guy Ben-Ari, Ivan Bošković, Dominik Bucher, Yvon Chabrowski, Christine Cheung, Julie Chovin, Ilka Clausen, Katrin Connan, Julie Sparsø Damkjær, Lizza May David, Jana Debrodt, Matthias Droste, Janine Eggert, Elizabeth Englander, Esther Ernst, Patrick Farzar, Nadja Frank, Glenn Geffken, Emanuel Geisser, Axel Gerber, Almut Grypstra, Stef Heidhues, Christian Henkel, Benjamin Heps. Kimberly Horton, Sybille Jazra, Marte Kiessling, Caroline Kryzecki, Anja Langer, Anja Majer, Eleni Mouzourou, Lawrence Power, Haleh Redjaian, Henrieke Ribbe, Philipp Ricklefs, Michael Rockel, Christopher Sage, Natalie Sage, Jomar Statkun, Vassiliea Stylianidou, Zefrey Throwell, Lisa Tiemann, Maike Tipke, Chryssa Tsampazi, Nicoll Ullrich, Roberto Uribe Castro, Stefan Vogel, Anna-Lena Wenzel, Leah Wolff, Kalle Wruck
Dutch Courage – a project by Janine Eggert, Marte Kiessling, Philipp Ricklefs and Christopher Sage, in the context of 48 Stunden Neukölln, Das Kunstfestival, organized by Kulturnetzwerk Neukölln e.V.
Kindly supported by Pilsner Urquell and the Bezirksamt Neukölln
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IMAGE SEARCH EXHIBITION AT COURT SQUARE
Court Square Gallery
Since opening in May 2011, Court Square has operated as a non-profit exhibition and project space. We look back on three years of collaboration with artists, curators, and creative thinkers and makers, and hope for many more ahead. To celebrate, we're hosting our Third Annual Holiday Benefit Exhibition & Party, Image Search, from Friday, December 20 through Sunday, January 5. Works by over 40 artists will be on view at Court Square and on our website, and will be available via silent auction.
Please join us for a festive holiday opening on Friday, December 20 from 7-10PM. If you can't make it in person, feel free to email us at info@ctsq.info for more details. Thanks to all participants and supporters and we look forward to more in 2014!!!
Works available by: Andrew Adolphus, Becca Albee, Maria Antelman, Sebastian Black, Mary Walling Blackburn, Guy Ben-Ari, Blonde Art Books, Travis Boyer, Becky Brown, Nathan Catlin, April Chambers, Daniel Chew, Lisa Cobbe, Jeremy Couillard, Amy Feldman, Ernst Fischer, Jon Fischer and Benjamin Hill Matthew Fischer, Marley Freeman, Jesse Greenberg, Nora Griffin, Jeannine Han, MacGregor Harp, Caitlin Keogh, Alexandra Lerman, Liz Linden, R. Lyon and Jessie Stead, Peter Mandradjieff, Tracy Molis, Pat Palermo, Rory Parks, Kate Parnell, Stephanie Prussin, Jordan Rathus, Christin Ripleyv, Alan Ruiz, Bill Santen, Julia Sherman, Scarlett Stephenson Connolly, Molly Surno, Jonathan VanDyke, Matthew Wilson, Leah Wolff, Zoë Wright, and other TBA!
Court Square
21-44 45th Ave, LIC, NY
www.ctsq.info info@ctsq.info
FRUIT AND VEGETABLE STAND - A PROJECT ORGANIZED BY PAUL BRANCA
Fruit and Vegetable Stand
A project organized by Paul Branca.
Located at Queens Blvd. between 32nd place and 33rd street, Long Island City, NY
Saturday, October 19, 2013 starting at 2:00pm
SHIFTERS - TWO PERSON SHOW AT PENINSULA ART SPACE
Peninsula Art Gallery is pleased to present Shifters, a two-person show featuring works by Leah Wolff and Ariel Yelen, curated by Rachel Valinsky.
In pragmatics, a subfield of linguistics, shifters are referential indexical signs whose meanings are context-dependent. They challenge the notion of an autonomous, self-contained system, by pointing to the meaning-generating quality of elements in or outside that system – activated through a relational logic. Also commonly referred to as deictics, shifters rely upon basic processes of human interaction and participant frameworks. The relationships embedded within these terms “make up what might be called an implicit playing field for interaction – a set of positions in deictic space, along with the expectations about how actors occupy these positions.”[1] This field is shaped not only through interaction, but also through the very interactive process that it helps to constitute – it is ever shifting.
Works in this exhibition act as deictical terms – they find their referents in the body and its motion in space, in relation to spatiotemporal changes and natural processes, or, ultimately through more direct forms of participation. They proceed through measurement and experimentation, pushing the pliable limits of the shifter and undermining the notion that any single system may unitarily deliver meaning.
Leah Wolff proposes alternative methods of (scientific) investigation, based not on rigid models whose purported accuracy is inevitably marred by systemic imprecision, but rather deeply linked to the move from the imaginary to the real and the gap or possible failure which exists in this move. In Cafe Wall I (2013), Wolff creates the illusion of tilt, slant and convergence, in what are in fact entirely parallel rows of wooden blocks. Wolff encourages the mind to inhabit the space between cognitive experience and logical reasoning – a state of superposition, which she has termed Middle Vision – through an imaginative expansion of a thing’s terms of possibility. Interpretation of the thing shifts continuously as understanding catches up with the idea that all individual stimuli can be apprehended as a meaningful whole, the parts of which might occupy all theoretical states at once.
Modular Dome proposes an expansive model for this kind of psychophysical connectivity: it is the image of a spatial network, the very model of relational meaning making.
In other works, Wolff generates new models for time telling and reading. Her Desktop Sundials are discrete works, clocks that tell time based on the sun’s positioning. Loom Clock II measures time as a function of the process of (de)generation of the loom, itself often used as a symbol of labor and organized modes of production. In the Reading Table, white shapes act as placeholders – shifters – for upcoming interactive experiences. These are the placeholders of time and possibility – the specific places through which the Tarot cards’ meanings shift and take form for each individual. Wolff will conduct sessions of card reading throughout the course of the exhibition on the following dates: Friday, August 2nd (7-9pm) and Sunday, August 11th (4-6pm).
Ariel Yelen locates the shifter within herself and within the space that surrounds her. In her work, the shifter finds its locus in her body as it moves through space. In the back room of the gallery, Yelen’s Mountain Drawing video will play on loop throughout the course of the exhibition. In the video, Yelen occupies both object and subjects positions at once. Crossing from one edge of the frame to the other, at times disappearing entirely from view, Yelen explores the movement of the body in time as it covers ground on two differing mountainous sites during different seasons. In this process, she also addresses the body’s presence within the parameters of a single video frame, calling attention to the way the body traverses it from left to right, and back again. Running, walking, skipping, and the absence of these activities when she goes off screen, trace a drawing in motion recorded by the camera. As her body shifts from one side to the other above and below simultaneously, it suggests itself as the shifting context, while the backdrop landscape serves as a stable, immoveable context, altered only by her presence.
Yelen’s work experiments with the process and effect of movement and constantly examines the possible positions, which the body can inhabit through performance. Embedding herself in her surroundings, Yelen’s work pushes the boundaries of the body by moving the body into photographic, sculptural, and video space. In Camouflage III, a site-specific performance and photograph, Yelen similarly alters the site in a double move of concealment and revelation. She draws attention to the act of masking effected by the chosen location, using her body as a sculptural tool. Turning the word “camouflage” on its head, she uses it both as a verb relating to the site, and as a noun, relating to her own activity. The word and work shift as the line between subject and object positions continues to be blurred.
LEAH WOLFF (born 1984 in Cleveland, Ohio) is a visual artist living and working in New York. Wolff earned her BFA (2006) with honors from Rhode Island School of Design. She received her MFA (2011) from Columbia University’s School of the Arts where she was awarded the Neiman Fellowship Award. Her sculptures, drawings and installations have been featured in three solo shows and many group exhibitions internationally and throughout the U.S. Her most recent solo show “It’s Been Hours” at Scaramouche, New York, was featured as a recommended show on the SculptureCenter Blog.
ARIEL YELEN is an artist living and working in Brooklyn, NY. She received her BFA from SUNY Purchase in 2011, and most recently attended residencies at Vermont Studio Center in Johnson, Vermont, and Arte Studio Ginestrelle in Assisi, Italy. Ariel will be attending Art Farm in Marquette, Nebraska in September as a resident. Ariel's work engages with concepts of identity, performance, and the connection between the two. In utilizing her body as a primary medium, she allows for both her solo and her participatory performances to expose an intimate, contemplative, and comedic process
Photography by Guy Ben-Ari
[1] Hanks, William F. “The indexical ground of deictic reference.” in Rethinking Context: Language as an Interactive Phenomenon.” ed. Duranti, Alessandro and Charles Goodwin, p. 55
GEOMETRY OF CHANCE: GROUP SHOW AT MIRUS GALLERY IN SAN FRANCISCO
Mirus Gallery is pleased to announce geometry of chance, a group show featuring work by morten andersen, claudio drë, gilbert1, felipe goncalves, brian guidry, francesco lo castro, mary mccarthy, darren mcmanus, grant miller, christine morla, robert moya, adrian navarro, nawer, lx one, joshua reames, mark schoening, vesod, and leah wolff. Geometry of chance will examine the use of mathematical principles as applied through these artists’ distinct bodies of work.
Geometry has long held an important role in art history, with the two fields sharing the same foundational principles of line, shape, balance, symmetry, scale and proportion. It was through the application of these elements that the artists of the renaissance devised the technique of perspective. The application of perspective was the game-changer that defined western art movements for centuries to come, and for which even the most abstract artists are held accountable to when choosing to either embrace or challenge it in their practices.
The artists in geometry of chance embrace geometry’s application through a variety of mediums and to varying effects, using geometric functions and understanding to communicate universal ideas that transcend individual knowledge or taste. Our understanding of geometry is hardwired into our evolution, for example studies have found that we view symmetrical features as more beautiful. This exhibition offers viewers the opportunity to see the application of these principles in their full spectrum; the binaries of art and math, emotion and intellect lose their duplicity and become two sides of the same coin.
Our current era of information overload and constant technological demand offers little opportunity to consider the physical world as we once did; these artists strive to depict a world we can lose ourselves in and come out the other side more in touch with our physical selves. Geometry of chance offers the viewer the chance to re-examine the inner self, and reconnect with the inner explorer in all of us; the explorer that sought out the science of geometry in the first place.
Grant miller’s artistic process mirrors the construction of history, recognizing the complexities that exist due to the multiple viewpoints that make up the sum of experience. As individual paintings, they represent a moment of clarity and a link in a chain of actions and events. Using a combination of structural elements, he achieves a formally defined space that speaks to the on-going internal cycle of information and processing that make up the human experience.
In her two-dimensional paper construction paintings christine morla explores cultural signifiers through her use of filipino packaging, giving new meaning to what had formerly been considered trash. The weaving techniques she learned from her father are transformed through her use of these unconventional materials and geometric patterns, building upon her own cultural identity while commenting on the idea as a whole.
Mark schoening’s vivid paintings speak to the overload and constant processing required in the information age. Embracing the barrage and reflecting on it, presenting an intellectual environment of synapses firing on all pistons, reacting to the constantly changing input surrounding us. His work acts as a product of the times, individual to the unique circumstances of lifestyle in the 21st century, and investigating our ever expanding ability to take in a multitude of simultaneous experiences.
Leah Wolff addresses this technology induced disconnect from one’s surroundings with her mixed media works made from organic materials. Her practice seeks to extract meaning from the process of making, as our world becomes less inhabited by objects, and increasingly digitized and fleeting. Her art often resembles utilitarian objects such as tools, which act as an anchor to another, more tactile and physical era. Her rough hewed geometric shapes nod at the role of the natural order in technology, reminding the viewer that the origin and root of scientific pursuit lies in the natural realm, an area from which we increasingly detach ourselves.
Mirus gallery is a dynamic exhibition space established by entrepreneur, paul hemming. The gallery features a program of contemporary artwork by emerging and mid-career artists in both solo and thematically organized group shows. Mirus gallery highlights work that emphasizes skill and process and aims to engage viewers on a sentient, emotional and evocative level.
In 2013, the initiation of an artist-in-residency program will pursue the gallery’s values of
Community and collaboration by providing a live-in/on-site studio space for artists to make and exhibit work in a supportive environment, conducive to creativity.
You can check out my artist page here: http://www.mirusgallery.com/artists/leah-wolff
THANKS - GROUP SHOW at LU MAGNUS
Thanks - Group Show
Lu Magnus
March 29 - April 26, 2013
Curated by Adam Parker Smith
Featuring 77 of today’s emerging contemporary artists living and working in New York City, Thanks includes sculpture, video, drawing, painting, photography, prints, studio objects, art making byproducts, and inspirational objects all discreetly acquired by Adam Parker Smith.
The show was featured in this New York Times article by Melena Ryzik.
About Thanks
Beginning with a series of studio visits, Smith set out with the clear intention of “acquiring” work for the exhibition. However,he concealed the true concept, premise, and even timing of the exhibition from the artists. Through various surreptitious means, a work of art or object was taken from each artist’s studio. The pilfered work is not any random object but rather one that explicitly relates to the artist’s wider practice. For example, Micah Ganske, who designs and produces sculpture with a MakerBot 3D printer, is represented by one of his innovative sculptures.
Two weeks prior to its opening, the artists were informed of the exhibition. Only then were they let in on the true concept and scope of the exhibition. Presented with the choice – if the artist agreed, they would be included in Thanks; if they refused to give permission, works were to be returned immediately. However, all invited artists agreed to participate in Thanks.
Works are displayed on viewing tables in the gallery akin to anthropological exhibits in a natural history museum. Thanks is, after all, a cross-section of the contemporary art world & Adam Parker Smith’s circle.
This exhibition combines the work of a large portion of the emerging New York art scene, as well as Smith’s own personal practice, combined with his trademark sense of humor. Ideas of appropriation, ownership, and how artists influence each other are brought to the forefront in Thanks. The role of the curator is highlighted and questioned, and some of the social dynamics of the art world – artists who live and work together as colleagues, friends and competitors – are laid bare, shedding light into what it is like to be a practicing artist in New York City.
CORRESPONDANCE: WORKS AND WRITINGS BTWN NYC AND CATSKILL
Please join us this Saturday, March 8 from 2-8PM to celebrate the opening of CORRESPONDANCE: WORKS AND WRITINGS BETWEEN NEW YORK CITY AND CATSKILL, at PS Hudson, Catskill, NY.
Organized by PS Hudson and Lisa Hayes Williams.
In French, the word correspondance refers to connection points between trains, or, like its English translation, an exchange of letters or messages. It can also refer to similarity or analogy between two or more things. Publication Studio Hudson’s inaugural exhibition takes this multivalent word in considering two places–New York City and Catskill–as points of exchange between people, ideas, and objects. As a newly established book design, printing, and publishing studio in Catskill, NY, PS Hudson welcomes a group of artists and collaborators from the Greater New York area to send–via post or train–works of any medium as an initiation of dialogue.
Featuring over 40 participants, Correspondance is the first in a series of exhibitions that seeks to realize the philosophy of publication as the creation of a public, a common space where all are welcome and enter into dialogue on equal terms. An exhibition held right on the heels of the first will present responses made by Hudson and Catskill area artists.
About Publication Studios Hudson
Publication Studio Hudson designs, prints and binds original books by authors and artists we admire. Using a digital printer, paper trimmer and perfect-binding machine we make novels, poetry collections, artists’ books and more. We are not tied to any particular genre and in fact thrive on exploratory collaborations. PS Hudson launched in January 2014 and joins ten other independent studios in North America and Europe which also approach the work of publication as a political strategy: the creation of a public, again and again, through bookmaking and other means. Transparent work processes and hosting events in real space are also central to our vision of the publisher’s role. We operate out of spaces in the river towns of Hudson and Catskill, where we also facilitate hand papermaking processes, sew, screen-print, do sculpture, play music, and host workshops and exhibitions. Find out more at publicationstudio.biz and visit us at 460 Main St., Catskill NY.
Curator Lisa Hayes Williams is a New York based art historian and co-founder of Court Square, a project space in Long Island City devoted to supporting the production and exhibition of new work by emerging artists, writers, and curators.
PS Hudson, 460 Main Street, Catskill, NY, 12414
TRD PRESENTS: AURALINGUS AT KUNSTHALLE GALAPAGOS
This Red Door Presents: Auralingus at Kunsthalle Galapagos
Curated by Jesse Weiss
Featuring:
Leah Wolff, Pooneh Maghazehe, Grayson Cox, David Brooks, Seth Scantlen, Mismembered, Umbrella Men, Heavy Birds, Jared Friedman, Jess & Eric, Alex DeMaria, Anna Morgan, Fauning, more!
Artists have been asked to tackle various components of 90"s Mtv unplugged set design, drapery, lighting, flora, candles, etc. Musicians will perform covers of covers performed at various Mtv unplugged shows.
CONTEMPORARY CERAMICS AT THE NEIMAN GALLERY
Contemporary Ceramics
Artists from the Visual Arts MFA program
Curators: Emma Balázs and JJ PEET
Exhibition: October 16- November 2, 2012
Opening Reception: Thursday October 18, 6-8pm
*EXTENDED through Thursday, November 8, 2012
Artists
Julia Benjamin
Christian Dietkus
Allison Ginsberg
Irini Miga
Laura Miller
Brie Ruais
Lauren Silva
Maria Stabio
Leah Wolff
This exhibition was inspired by a remarkable surge of interest in ceramics amongst our MFA community over the past couple of years. Students who entered the program as painters, sculptors, and printmakers began exploring the potential of ceramics within their practice. All the artists in this exhibition have studied with JJ PEET, who has been working with the MFA community since 2009. JJ brought ceramics back to the attention of our students. He has helped lead an upgrade of our ceramics facilities, offered workshops and now teaches a class in Contemporary Ceramics.
JJ PEET
JJ PEET received his MFA from Yale University School of Art in 2006 and his BFA from the University of Minnesota in 1999. Recent solo exhibitions include On Stellar Rays, New York, NY (2012); On Stellar Rays, New York, NY (2010); Gallery Diet, Miami, FL (2010); On Stellar Rays (2009). These exhibitions received numerous reviews, in publications such as Art in America, Artforum.com, ArtPulse, Bomb, Frieze, The Last Magazine, The New Yorker and TimeOut NY.
Emma Balázs
Emma Balázs is the Director of the Neiman Gallery. She received her MA from School of the Art Institute of Chicago in 2006 where she focused on collaborative curatorial practice, and currently teaches in the Arts Administration program at Columbia University.
LeRoy Neiman Gallery, Columbia University School of the Arts
310 Dodge Hall, 2960 Broadway (at 116th Street), (212) 854-7641
Gallery Hours: Mon - Fri, 9am to 5pm
Closed on Saturday and Sunday
For information on past exhibitions please visit:
List of Past LeRoy Neiman Gallery Exhibitions
CREATIVE NONFICTION - GROUP SHOW KUNSTHALLE GALAPAGOS
Located at: 16 Main Street, Brooklyn, NY
Here is a link for more info
Kunsthalle Galapagos celebrates its one year collaboration by inviting seven people who they worked with over the past year to come together to curate a show. Creative Nonfiction is curated by Adam Fowler James Moore, Naomi Reis, Jacob Rhodes, Hannah Smith Allen, Ben Sutton and Pete Watts. The show features the work by Lienê Bosque, Rachel Frank, Jack Henry, Cesar Chavez Lechowick, Elissa Levy, Julia Oldham, Becky Suss, Leah Wolff and Ashley Zangle, nine artists who create new dimensions through materials, re-tell fantastical stories with science and daily object and search for truths in the unexplainable.
Curated by:
Adam Fowler James Moore, Naomi Reis, Jacob Rhodes, Hannah Smith Allen, Ben Sutton and Pete Watts.
ˈÄBJƏKT - GROUP SHOW AT 111 FRONTSPACE GALLERIES IN DUMBO
Opening: Friday, July 20th, from 6-9 pm, at 111 FrontSpace Galleries, ST 200 Dumbo Brooklyn
Curated by Sara Grace Powell
Here is the link to ArtCat
“Sculpture is made with two instruments and some supports and pretty air”- Gertrude Stein.
Stein’s pithy remark, innocuously hidden in an appendix of a text published only after her death, betrays a modernist preoccupation with form and holding as shape. However, Stein’s words lack the finality of much modernist rhetoric, perhaps anticipating the playful, ephemeral nature of the generations of artwork to come. To this point, the works in ˈäbjəkt challenge notions of autonomy and preciousness in sculpture. By destabilizing the artistic and physical autonomy of modernist sculpture, the works make a feminist intervention in space. Ann Greene Kelly, Ruby McCollister, Brie Ruais, and Leah Wolff probe the concept of “pretty air” as activator. So too, the exhibition’s title (object spelled in the phonetic alphabet) is only truly realized through the “air ” essential to its utterance.
Each works in ˈäbjəkt contains vestiges of Stein’s sculptural trifecta. Tangible materials—plexiglass, carpet, clay, plaster, cement—serve as “supports” as Stein uses the term. Along with these, however, more illusory mediums make their presence known through absence. The “two instruments:” the artists’ hands, evidence of fabrication, of corporeal labor. The “pretty air:” evaporation, time, and projected social personas. This trifecta (instruments, supports, air) functions less as a stable definition than an alchemical point of departure. Abandoning a unilateral subject-object relationship, the viewer experiences the pieces circuitously—their physical existence is saturated with ectoplasmic evidence of gestures less tangibly present. In place of a modernist sculptural milieu, the exhibition fosters a space in which the tangible and supposedly evident come into question. Those who enter the space must negotiate their own experiences of vulnerability to “pretty air,” an air that leaves traces rather than providing finite answers.
DISPARATE FUTURES - GROUP SHOW AT LITTLE PAPER PLANES
Online exhibition at Little Paper Planes, curated by The Young Astronaut Club
July 18 - August 24, 2012
Featuring works by
Nick Almquist, Justin Amrhein, Torreya Cummings, Seth Curcio, & Leah Wolff
Disparate Futures gathers work in the spirit of the Young Astronaut Club, a fledgling organization dedicated to being curious, looking up more often, and thinking about the future in fantastical rather than practical terms. The Young Astronaut Club believes individualistic and wildly different versions of the future can and should coexist. The artists included in Disparate Futures address the invisible, utilitarian objects, impossible shapes, and language systems, broadcasting their practices into the unknown.
Young Astronaut Club: In 1984, the White House founded the “Young Astronaut Council,” a non-profit organization promoting math, science and technology in elementary and high schools. Today, there is no trace of the Council. The Young Astronaut Club hopes to supersede this mysterious gap in our social fabric. The Young Astronaut Club is interested in more than just space travel. Inductees promise to uphold certain ideals in exchange for membership. These include, but are not limited to: being curious, looking up more often, and thinking about the future in fantastical rather than practical terms. The Young Astronaut Club was founded by San Francisco artist Sarah Hotchkiss.
ALCHEMY - GROUP SHOW AT HARVESTER GALLERY
Harvester Gallery is a POP-UP concept space located in the heart of the Hudson Valley. The premier show, titled Alchemy, consists of paintings, photography and drawings inspired by memory, dream and psychological inquiry. According to the psychologist Carl Jung, “Alchemy, as a nature philosophy of great consideration in the Middle Ages, throws a bridge to the past, the gnosis, and also to the future, the modern psychology of the unconscious” The exhibit will feature work by 18 artists, some standouts are James Reeder, Symbols + Rituals, Louis Reith, Jeremy Miranda, Amber Ibarreche, Keren Richter and Troy Moth.
The Harvester Gallery is located on 542 Warren St, Hudson, New York and will be open on weekends starting July 7th. Doors will be open at noon and a celebration will be held from 6-9pm. Refreshments will be served.
Curated by Rachel Mosler, Alchemy will be open from July 7th - August 30th
For more info and a list of artists, click here
Here is the link for the publication.
ABACUS - TWO PERSON SHOW AT POSTCRYPT GALLERY
Curated by Emma O'Connor
Featuring work by Kaela Chambers and Leah Wolff
Postcrypt Gallery is located in the Basement of St Paul's Chapel at Columbia University
For more images of Abacus Series, click here
TIGERS IN RED WEATHER - GROUP SHOW - LEROY NEIMAN GALLERY
Opening Reception
May 27, 5-7pm May 23 - Jun 24, 2011
A painting exhibition curated by Emma Balázs
LeRoy Neiman Gallery
Columbia University School of the Arts
Artists: Julia Benjamin,Guy Ben-Ari, Sebastian Black, Jeremy Couillard, Matthew Fischer, Nora Griffin, Kristina Lee, Rory Parks, Matthew Watson, Leah Wolff
The time of painting is like the time of dreaming. It is impossible to define the contours of a beginning or ending. The moment of creation seems to flow into the aftermath of analysis, edging its way towards an elusive understanding. What does that mark mean to me? Is it “true” to myself? Why did I just paint that word? Is that an image of the city, or it just a lump of pigment? The artist is alone in a room with a few tools and surfaces to work with. For dreamer and artist, it all comes down to the moment of waking. The “stop” point that will allow for the work to coalesce and form into the image or story that remains.
The paintings in Tigers in Red Weather all sit on that elusive line between waking and sleeping. Some have a greater aspiration to explain themselves as pieces of a narrative, while others are content in their blunt object hood. The baroque detail of a stranger’s face sits near abstract images that evoke a specific place in the world. While other paintings aspire to be pure worlds unto themselves. The surfaces (linen, canvas, wood panel, paper, ceramic, metal) are all hard won choices that make sense for each work. A serious playfulness is out in full force, a quiet and powerful determination to rebuild the castle wall, brick by brick.
--Nora Griffin