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LEAH WOLFF

  • Whole Earth Cont.
  • Whole Earth Catalog
    • - Still Life
    • - Archive
  • It's Been Hours
    • - It's Been Hours
    • - Superposition
  • Impossible Objects
    • - Reliefs
    • - Drawings
    • - 3D
  • Tools
    • - Desktop Sundials
    • - Abaci
  • Curio
    • - Parallactic Mode
    • - Curio
    • - Elements
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LEAH WOLFF
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ˈÄBJƏKT - GROUP SHOW AT 111 FRONTSPACE GALLERIES IN DUMBO

Added on July 20, 2012 by Leah Wolff.

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.


Tags FrontSpace Galleries, exhibition

DISPARATE FUTURES - GROUP SHOW AT LITTLE PAPER PLANES

Added on July 18, 2012 by Leah Wolff.

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.


Tags Artist Registry, exhibition

ALCHEMY - GROUP SHOW AT HARVESTER GALLERY

Added on July 7, 2012 by Leah Wolff.

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.


Tags exhibition

META META META FEATURED AT THE ARTIS SHUK AT NADA ART FAIR, NYC

Added on May 5, 2012 by Leah Wolff.

About the Works 

 Guy Ben-Ari & Leah Wolff,  The Best Defense is a Good Hamsa , 2012, Clay and glaze   Ben-Ari and Wolff present The Best Defense is a Good Hamsa, which features ceramic hamsa-decorated objects as tools of passive and active offense. The hamsa is  Letter Opener  Guy Ben-Ari & Leah Wolff,  The Best Defense is a Good Hamsa , 2012, Clay and glaze  Pea Shooter  Guy Ben-Ari & Leah Wolff,  The Best Defense is a Good Hamsa , 2012, Clay and glaze  Knuckle Protector  Guy Ben-Ari & Leah Wolff,  The Best Defense is a Good Hamsa , 2012, Clay and glaze  Guy Ben-Ari & Leah Wolff,  The Best Defense is a Good Hamsa , 2012, Clay and glaze  Guy Ben-Ari & Leah Wolff,  The Best Defense is a Good Hamsa , 2012, Clay and glaze  Guy Ben-Ari & Leah Wolff,  The Best Defense is a Good Hamsa , 2012, Clay and glaze  Guy Ben-Ari & Leah Wolff,  The Best Defense is a Good Hamsa , 2012, Clay and glaze  Guy Ben-Ari & Leah Wolff,  The Best Defense is a Good Hamsa , 2012, Clay and glaze  Guy Ben-Ari & Leah Wolff,  The Best Defense is a Good Hamsa , 2012, Clay and glaze  Guy Ben-Ari & Leah Wolff,  The Best Defense is a Good Hamsa , 2012, Clay and glaze
 

Ben-Ari and Wolff present The Best Defense is a Good Hamsa, which features ceramic hamsa-decorated objects as tools of passive and active offense. The hamsa is a palm-shaped amulet popular throughout the Middle East and North Africa, and is commonly used in jewelry and wall hangings. Depicting an open right hand, it is considered a sign of protection, providing defense against the evil eye in Christian, Islamic, and Jewish traditions.

 Guy Ben-Ari & Leah Wolff,  Lost Objects of Desire , 2012, installation view    In Lost Objects of Desire, Ben-Ari and Wolff display a collection of framed drawings, stacked together and available for the potential buyer to flip through, simulati  Guy Ben-Ari & Leah Wolff,  Lost Objects of Desire , 2012, installation view  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 8.5 x 11 in.  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 8.5 x 11 in.  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 8.5 x 11 in.  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 8.5 x 11 in.  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 8.5 x 11 in.  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 11 x 8.5 in.  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 8.5 x 11 in.  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 8.5 x 11 in.  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 8.5 x 11 in.  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 8.5 x 11 in.  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 8.5 x 11 in.  Guy Ben-Ari and Leah Wolff,  Lost Object of Desire , 2012, acrylic on paper, 8.5 x 11 in. Lost Object of Desire, 2012, acrylic on paper, 8.5 x 11 in, by Guy Ben-Ari and Leah Wolff
 

In Lost Objects of Desire, Ben-Ari and Wolff display a collection of framed drawings, stacked together and available for the potential buyer to flip through, simulating the equivalent experience in the shuk where customers search for their "lost object of desire" through eclectic selections of artifacts.
 

See more at: http://www.artiscontemporary.org/agenda_detail.php?id=667

 


Tags Meta Meta Meta, Guy Ben-Ari, Artis

APORETICS - GROUP SHOW AT POSTCRYPT GALLERY

Added on April 16, 2012 by Leah Wolff.

Curated by Kat Balkoski

Postcrypt Gallery is located in the Basement of St Paul's Chapel at Columbia University


Tags Postcrypt Gallery
abacus

ABACUS - TWO PERSON SHOW AT POSTCRYPT GALLERY

Added on April 6, 2012 by Leah Wolff.

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

  Abacus Series , Installation view, 2012  I am interested in abacus' ability to act as a converter between ourselves and the enigmatic. An abacus can function as both a tool and a toy. In both scenarios, it serves as a demonstrative device that prov   Scale Abacus , 2011, Clay and pigment, 6 x 11 x 5 in.   Mobius Strip Abacus #1 , 2011, Clay and leather, 14 x 11 x 6 in.   Slider Abacus , 2012, Clay, glaze and rope, 2 x 17 x 8 in.   Flat Abacus , 2012, Clay, pigment and camping rope, 3 x 14 x 13 in.   Slide Rule Abacus , 2011, Wood, clay and glaze, 2 x 61 x 7 in.   Slide Rule Abacus  (detail), 2011, Wood, clay and glaze, 2 x 61 x 7 in.   Hyperbolic Abacus , 2012, Clay, wood and rope, 8 x 16 x 9 in.   Mobius Strip Abacus #2 , 2012, Clay, metal, plastic and rope, 20 x 32 x 32 in.   Mobius Strip Abacus #2 , 2012, Clay, metal, plastic and rope, 20 x 32 x 32 in.
 

For more images of Abacus Series, click here


Tags Postcrypt Gallery, columbia university, exhibition, installation, Two-person Show

JIMENEZ COLON COLLECTION - NEW ACQUISITION

Added on September 15, 2011 by Leah Wolff.

Please click here to visit my page in the collection 

 

Heptahedron Set  (Transparency, Up and Down), 

2011, Papermâché, acrylic and graphite, 134” x 46” x 23” 


Tags curio, acquisitions

WHITE COLUMNS CURATED ARTIST REGISTRY

Added on September 12, 2011 by Leah Wolff.

I have been curated into the White Columns Artist Registry.

 

Please click here to visit my page.


Tags Artist Registry

ARTIST IN RESIDENCE AT THE WASSAIC PROJECT

Added on September 9, 2011 by Leah Wolff.

I will be making work at The Wassaic Project as artist in residence during the month of September and part of October. The Wassaic Project is an artist-run sustainable, multidisciplinary arts organization that focuses on community engagement and facilitates artists and participants to exhibit, discuss, and connect with art, each other, the unique site, and the surrounding community.


Tags artist residency
Tesseract #5, 2010, Acrylic on paper, 22” x 30

NEW ACQUISITION AT THE SEIDMAN CANCER CENTER

Added on August 20, 2011 by Leah Wolff.

Purchased by the Vision 2010 Fine arts Fund for the University Hospitals of Cleveland, Ohio

Woven Space #1, 2010, Acrylic and charcole on paper

Woven Space #1, 2010, Acrylic and charcole on paper

Tesseract #5, 2010, Acrylic on paper, 22” x 30

Tesseract #5, 2010, Acrylic on paper, 22” x 30


Tags Drawings, acquisitions

TIME LOOPS AT OCEAN BREEZE PROJECT, ISRAEL

Added on August 3, 2011 by Leah Wolff.

Artists Guy Ben-Ari and Leah Wolff were invited to participate in Ocean Breeze, a public sculpture project in the city of Bat Yam, Israel.
The resulting collaborative piece titled "Time Loops" referred to the ideas of Gilles Deleuze about repetition as part of the human experience, and the cyclical nature of our daily habits.
The installation was meant to be used by the public as a human sundial, when the viewer standing in the center of the installation can tell the time according to the location of their shadow on the ground.

The installation will be open to the public until mid September 2011.

 Guy Ben-Ari and Leah Wolff,  Time Loops - Human Sundial , 2011, Sand, plaster and acrylic paint, 5 x 14 x 14 ft  Analemmatic sundial built collaboratively with Guy Ben-Ari. This project was commissioned by the city of Bat Yam, Israel during the summ  Guy Ben-Ari and Leah Wolff,  Time Loops - Human Sundial , 2011, Sand, plaster and acrylic paint, 5 x 14 x 14 ft  Guy Ben-Ari and Leah Wolff,  Time Loops - Human Sundial , 2011, Sand, plaster and acrylic paint, 5 x 14 x 14 ft  Guy Ben-Ari and Leah Wolff,  Time Loops - Human Sundial , 2011, Sand, plaster and acrylic paint, 5 x 14 x 14 ft  Guy Ben-Ari and Leah Wolff,  Time Loops - Human Sundial , 2011, Sand, plaster and acrylic paint, 5 x 14 x 14 ft  Guy Ben-Ari and Leah Wolff,  Time Loops - Human Sundial  (Detail of the gnomon platform), 2011, Sand, plaster and acrylic paint, 5 x 14 x 14 ft        Guy Ben-Ari and Leah Wolff,  Time Loops - Human Sundial  (Detail of the hour pegs), 2011, Sand, plaster and acrylic paint, 5 x 14 x 14 ft  Guy Ben-Ari and Leah Wolff,  Time Loops - Human Sundial , 2011, Sand, plaster and acrylic paint, 5 x 14 x 14 ft  Guy Ben-Ari and Leah Wolff,  Time Loops - Human Sundial  (Detail of the hour pegs), 2011, Sand, plaster and acrylic paint, 5 x 14 x 14 ft  Guy Ben-Ari and Leah Wolff,  Time Loops - Human Sundial , 2011, Sand, plaster and acrylic paint, 5 x 14 x 14 ft
 

Click here for larger images


Tags artist residency, public sculpture, sundial, Meta Meta Meta, Guy Ben-Ari

ARTIST IN RESIDENT AT THE BYRDCLIFFE ARTIST’S GUILD IN WOODSTOCK NY

Added on June 9, 2011 by Leah Wolff.

I will be making work at The Byrdcliffe Ceramics Guild in Woodstock as artist in residence during the month of July.  The Woodstock Byrdcliffe Guild is a regional center for the arts located in Woodstock, New York. From its 250 acre mountainside campus and its arts and performance center located in the village of Woodstock, Byrdcliffe offers an integrated program of exhibitions, performance, classes, workshops, symposia, summer residences, and artist housing. Byrdcliffe embraces all disciplines of artistic endeavor in a collaborative spirit, and seeks creative partnership with other not for profit and educational entities in order to leverage its unique resources for the benefit of the cultural life of the Hudson region. Byrdcliffe was founded in 1902 and has operated as a nonprofit organization since 1938.

 


Tags artist residency

TIGERS IN RED WEATHER - GROUP SHOW - LEROY NEIMAN GALLERY

Added on May 27, 2011 by Leah Wolff.

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


Tags nora griffin, exhibition

2011 COLUMBIA MFA THESIS SHOW

Added on May 1, 2011 by Leah Wolff.

I am very excited to invite you to my MFA Thesis Show at Columbia University.  My installation will include a series of new sculptures with ceramics and video.  

Opening Reception:
Sunday May 1, 2-5 pm
Fisher Landau Center for Art
38-27 30th Street, Long Island City, New York

Columbia University School of the Arts
Visual Arts Program and
the Fisher Landau Center for Art
Curated by Larissa Harris and featuring the MFA class of 2011
www.columbia.edu/cu/arts/mfathesis2011

  The Parallactic Mode , 2011, Installation view, the Fisher Landau Center for the Arts, Long Island City, New York    The title for the Installation is based off of a Parallax, one of the most ancient methods that have been used by astronomers to ca   Tetrahedron (Augmented Truncated) , 2011, Clay, glaze and graphite, 39 x 23 x 25 in.   Prism (Triaugmented Triangular) , 2011, Clay and glaze, 27 x 32 x 24 in.   Szilassi Polyhedron , 2011, Clay, glaze and graphite, 15 x 12 x 15 in.     When viewed from a specific distance and angle from the piece, the hole in the sculpture is aligned with the shape on the wall.  When standing in this “sweet spot”, the   Path Maps #1 , 2011, Clay and glaze, 15 x 23 in.  Installation view:  Path Maps #1, 10-D Cube  (looped video animation projected onto a clay tablet) and  Tetrahedron (Truncated) with Pyramid  .          10-D Cube  is an animation projected onto a clay slab. As the animation moves forward, its lines   Tetrahedron (Truncated) , 2011, Clay with glaze, 22 x 25 x 21 in.   The Parallactic Mode , 2011, iInstallation view, the Fisher Landau Center for the Arts  DETAIL:  Heptahedron Set (Transparency, Up and Down) , 2011, Papermâché, acrylic and graphite, 134 x 46 x 23 in.   The Parallactic Mode , 2011, installation view, the Fisher Landau Center for the Arts   Borromean Ring Variation #1 , 2011, Clay with acrylic, 12 x 12 x 12 in.     Boromean knots consist of three topological circles which are linked in a way that no circle actually intersects any other.  In other words, removing any ring results   Borromean Ring Variation #2 , 2011, Clay with acrylic, 12 x 12 x 12 in.   Borromean Ring Variation #3 , 2011, Clay with acrylic, 12 x 12 x 12 in.   Borromean Ring Variation #4 , 2011, Clay with acrylic, 12 x 12 x 12 in.   Borromean Ring Variation #5 , 2011, Clay with acrylic, 12 x 12 x 12 in.
 

Click here to see full sized images

 

Source: www.columbia.edu/cu/arts/mfathesis2011

Tags exhibition, columbia university, curio, borromean
New American Painting

WORK FEATURED IN NEW AMERICAN PAINTINGS MAGAZINE

Added on April 20, 2011 by Leah Wolff.
“The MFA Annual edition of New American Paintings has quickly become our most popular issue of the year—and rightly so. For nearly two decades, our mission has been to put the work of emerging contemporary artists in the hands of readers, collectors, curators, and painting enthusiasts, and where better to find young, emerging work than in some of best studio programs the country.

We’re very proud to feature our talented friend Randi Hopkins, Associate Curator at the Institute of Contemporary Art/Boston, as this edition’s juror. Randi has had extensive experience working directly with emerging artists for several years, and her selections make for one of the most exciting group of MFA candidates we’ve published to date. Also included is a Q&A with Randi in the back of the book, in which she talks Rauschenberg, Monet, and Eddie Martinez.

...

This is an exciting moment for contemporary painting, with artists—young and old—re-evaluating the use of their materials and investigating the limits of the medium itself. The works contained in this issue reflect some of the most talented and exciting perspectives from emerging young artists in the country....
”
— Evan J. Garza, Editor-at-Large, From New American Paintings Blog

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