Archives for posts with tag: Installation

2014 Highlights

some sculpture, a garden and an art fair

Chakaia on Broadway

Famed sculptor Chakaia Booker graced Broadway with her first public art installation in Manhattan (and hopefully not her last!). The Sentinels, 5 gorgeous sculptures made from recycled tires were presented by the Garment District Alliance along Broadway between 36th and 39th street. The opening was a morning affair under a tent with breakfast and Mimosas. Yeah it was drizzling but how often do you get to stand on the streets of NYC sipping cocktails in the a.m. hours- on a weekday -and its legit.  It was a wonderful celebration and a remarkable display that was up for 5 months.

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Crushin’ on the High Line

On an beautiful warm September day the 3rd and final section of the High Line opened. To celebrate Friends of the High Line held a spectacular procession that ran the full length of the elevated garden built on an abandoned railroad. The incredibly talented Processional Workshop(official puppeteers of the NYC Halloween parade) oversaw the entire production. You can read up on how it all unfolded here. It was the most awe inspiring community festivity for a park opening I had the fortunate luck to experience and be involved in. At the end we gathered for a delicious communal meal and the 3rd section quietly opened to the public immediately after.

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Editions / Artists’ Books(EAB) Fair

This was the only art fair I got around to attending in 2014. Of course, having a complimentary pass for opening night helped(and my bias as a printmaker!) but regardless- completely worth it and highly recommended. The opening was packed with people who were clearly enjoying themselves engaging with the artwork, exhibitors and each other. This is an annual free on the weekend event held in NYC every November during Print Week. Check out this short fun video about the fair on the EAB website here .

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Here’s wishing you and yours 

a culturally engaged, art filled 2015!

Yours truly,

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tART member and 2012 NYFA fellow

Jodie Lyn-Kee-Chow’s

 Knots Landing

in NYFA presents

Re-Formed

Westbeth Gallery

Up till Sunday, September 15th 2013

ClOSING RECEPTION SATURDAY SEPTEMBER 14th, 4-6pm

55 Bethune Street New York NY
Gallery hours: Wednesday – Sunday 1-6pm
Curated by David C. Terry.
Sponsored by Wix

Group exhibition of NYFA artists using Wix.com.

Check out Jodie Lyn-Kee-Chow’s website here.

Located at  Westbeth – home to the arts. Learn about the history of Westbeth the largest artists affordable housing here.

 “Back Gallery looks like a scene from Hitchcock’s The Birds.”  @Westbeth

 
images by the artist: “Knots Landing”  2012-13. Laminated inkjet prints on paper, monofilament, sound. 
 
“Jodie Lyn-Kee-Chow’s work combines performance in the realms of social practice with either ready-made objects or sculpture or both. Some of these performances address a critical analysis of desire, cultural ideologies, and environmental degradation.”
 

 

deVereA_Hamilton@Armory

“I can only remember the feeling of swinging—how hard we would work for those split seconds, flung at furthest extension, just before the inevitable downward and backward pull, when we felt momentarily free of gravity, a little hiccup of suspension when our hands loosened on the chain and our torsos raised off the seat. We were sailing, so inside the motion—time stopped —then suddenly rushed again toward us. We would line up on the playground and try to touch the sky, alone together.”

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the event of a thread is made of many crossings of the near at hand and the far away: it is a body crossing space, is a writer’s hand crossing a sheet of paper, is a voice crossing a room in a paper bag, is a reader crossing with a page and with another reader, is listening crossing with speaking is an inscription crossing a transmission, is a stylus crossing a groove, is a song crossing species, is the weightlessness of suspension crossing the calling of bell or bellows, is touch being touched in return. It is a flock of birds and a field of swings in motion. It is a particular point in space at an instant of time.”

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“No two voices are alike. No event is ever the same. Each intersection in this project is both made and found. All making is an act of attention and attention is an act of recognition and recognition is the something happening that is thought itself. As a bird whose outstretched wings momentarily catch the light and change thought’s course, we attend the presence of the tactile and perhaps most importantly —we attend to each other. If on a swing, we are alone, we are together in a field. This condition of the social is the event of a thread. Our crossings with its motions, sounds and textures is its weaving; is a social act.”

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photos by Ann deVere

 excerpts from “regarding the event of a thread” by Ann Hamilton

Park Avenue Armory Presents Ann Hamilton: the event of a thread

December 5 2012-January 6 2013

 

The 8th annual international exhibition of contemporary art TINA B. launched on June 22nd, 2013 at the Gask Gallery under the new concept of “travelling exhibiton”. Multiple indoor and outdoor installations, focusing on the theme of spectrum and the power of color, are on display thru the end of August.

Tina B. PR here.

I am participating with new neon installation called …and love is…

From Kutna Hora Tina B. will travel to island of Capri, Italy – and so will I.

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Petra Valentova ...and love is... Neon, 2013

Petra Valentova …and love is… Neon, 2013

Petra Valentova ...and love is... Neon, 2013

Petra Valentova …and love is… Neon, 2013

Petra Valentova and Tina B. director and founder Monika Burian-Jourdan

Petra Valentova and Tina B. director and founder Monika Burian-Jourdan

Born in Los Angeles, interdisciplinary artist Stephanie Lindquist studied Visual Arts at Columbia University. She is currently a 2012-2013 Visiting Artist at the American Academy in Rome. In August 2013 she will be collaborating on a new project with a resident of the MARMA residency program in Berlin for three months.

Rewriting Audre Lorde’s Sister Outsider, 2013, Pencil on 2 wooden panels, 73” x 100” each

This work came out of a few things. Formally speaking, I’ve been interested in documenting my daily performances or interactions with my materials. Often times I work with materials that are quite personal to me, so much of the work’s significance lies in the time I spend with the material whether it’s cloth, crayons or in this case one my favorite texts Sister Outsider. This work in particular came from my desire to really absorb and then share Audre Lorde’s words and ideas around race, feminism, homosexuality, difference, creative expression, and love while I have been living in Rome in a so-called “differenceless” country.

Rewriting Audre Lorde’s Sister Outsider (detail), 2013, Pencil on wooden panels, 73” x 100” each

Crayola Blue, 2012, Crayons and nails, Varies in size

This is an early study from my time in Rome. It belongs to my Crayola Series in which I group all my childhood crayons by color and nail them to the wall. This piece is really fun for me because I disable all my “tools” by making them the work itself.

Painting, 2013, Pastel, oil, glass jars, 2 wooden shelves, 150 x 40 cm

Through making the Crayola Series I realized how much I enjoy thinking of and using color as a found material. This installation is really a homage to my childhood pastels. In it I transform each one of my pastels into oil paint by crushing them and mixing them each individually.

Painting #34, 2013, Pastel, oil and glass jar, 5 x 5 x 10 cm

Printing #6, 2013, Ink, crayon, pastel, pencil shavings and string on paper, 24 x 22.5 cm
How much pigment can I possibly print? Traditionally the best prints are made with the most even and thin layer of ink possible. In my Printing Series I experiment with the opposite question by throwing clumps of pigment under the press.

Needles and String, 2013, Knitting needles and string, Varies in size

Needles and String is my never ending meditation. It’s an object and a performance in which I knit a ball of string and leave its end untied so that I may reknit it. Upon reaching the end (or beginning) I continue to reknit it, so that its form is constantly being destroyed and recreated anew.