Saturday, March 7, 2015

art on paper review

Happy to be mentioned in Hyperallergic's article on the art on paper fair

Art on Paper Joins the Armory Week Fold

Art on Paper
Puppets by Wayne White at Art on Paper, which were part of the 2014 ‘FOE’ installation at York College; cardboard, wood, and acrylic paint. Joshua Liner Gallery, New York. (all photos by the author for Hyperallergic)
Despite Art on Paper‘s name, the work on view at the first-time Armory Week fair includes as many different materials as at any other fair, with art created on paper and art inspired by paper on view.
Art on Paper
Exterior of Art on Paper at Pier 36, with a banner of a rabbit drawing by Dave Eggers at left. (click to enlarge)
The fair has a fantastic showpiece installation in the form of Wayne White‘s colossal cardboard cowboys, one of which towers just inside the main entrance at Pier 36 on the East River. They were originally on view at York College of Pennsylvania last year as giant puppets. Also greeting visitors is a giant banner of a rabbit drawn by Dave Eggers on the exterior of the pier — the author is showing his illustrations with San Francisco gallery Electric Works — and an indoor installation of giant paper airplanes by Michael Scoggins, who has more oversized, elementary school-inspired notebook paperwork with New York’s Freight + Volume.
Perhaps a little ironically for a fair about art that celebrates paper, quite a few artists on view destroyed paper objects — namely books — to make their work. Most of it is well-crafted, however. Francesca Pastine‘s mask made from an issue of Artforum, the X-Acto blades dangling like necklaces, is on view with San Francisco’s Eleanor Harwood Gallery, and Brian Dettmer‘s tower of sliced hardcovers reveals a collage of encyclopedia images in the booth of New York’s Jayne H. Baum Gallery.
While the major art cities of the US coasts are well represented at the fair, there are also galleries from Paris, Vienna, Baltimore, Toronto, and elsewhere that don’t often show in New York present. Art on Paper was launched by Art Market Productions, which runs other fairs around the United States like Miami Project, Texas Contemporary, and Seattle Art Fair. If it sticks around for another year, it has the potential to fold some new regional flavor into the Armory Week fair frenzy.
Art on Paper
Francesca Pastine, “ARTFORUM 53, Mgulu Rgulu, Mask Series” (2014), cut Artforum magazine, plexiglas, wood, screws strings, x-acto blades. To the left is an ink on paper work by Paul Wackers. Eleanor Harwood Gallery, San Francisco.
Art on Paper
Michael Scoggins, “Dogfight” (2014), paper planes; presented by Freight + Volume, New York
Art on Paper
Art by Michael Scoggins, graphite and pencil on paper; Freight + Volume, New York
Art on Paper
Detail of Brian Dettmer’s “New Standards” (2015), hardcover books, acrylic varnish; Jayne H. Baum Gallery, New York
Art on Paper
Nathalia Edenmont, “Growing Up” (2012), c-print mounted on glass; Nancy Hoffman Gallery, New York
Art on Paper
Art by Federico Uribe made from books. Adelson Galleries, New York.
Art on Paper
Art by Federico Uribe made from books. Adelson Galleries, New York.
Art on Paper
Carolle Bénitah, “Le déguisement” (“The disguise”) (2009), archival pigment print with silk thread; Sous les Étoiles Gallery, New York
Art on Paper
Melanie Pullen, “Ghosts (The Haunted Series)” (2015), ink on paper; Jenkins Johnson Gallery, San Francisco/New York
Art on Paper
Sheridan Jones, “Coracus”; Rebecca Hossack Gallery, New York
Art on Paper
Eva Jospin, “Untitled” (2015), cut paper; LN Gallery, Paris
Art on Paper
Photographs by Adam Katseff; Sasha Wolf Gallery, New York
Art on Paper
Art by Katherine Bradford; Richard Levy Gallery, Albuquerque
Art on Paper
Detail of Diana Guerrero-Maciá, “Siblings of the Sun” (2015), series of 10 cut latex enamel & paper collage. Traywick Contemporary, Berkeley, California.
Art on Paper
Fair view of Art on Paper in Pier 36
Art on Paper continues through March 8 at Pier 36 (299 South Street, Lower East Side, Manhattan). 

Saturday, February 21, 2015

Installation shots of TOTEM

TOTEM: Francesca Pastine Solo Exhibition


 





photography:  Jay Jones

Sunday, January 25, 2015

Tuesday, January 20, 2015

Tuesday, January 6, 2015

TOTEM

ARTFORUM 49, Ori Olokum, Mask Series
1295 Alabama Street
San Francisco, CA 94110

January 10 through February 21
Opening Reception: January 10, 4 - 7 pm

Saturday, November 15, 2014

RELICS at ICA San Jose


 I'm happy to be included in Relics, a group exhibition at ICA San Jose curated by Cathy Kimball.

Relics


Nov. 8, 2014 — Jan. 24, 2015
Main Gallery
San Jose Institute of Contemporary Art
560 South First Street San Jose, CA 95113
408.283.8155
Relics is a group exhibition that explores the consequences of today’s accelerated embrace of new technology as well as the political, social and environmental consequences of technical and functional obsolescence.
Curated by ICA Executive Director Cathy Kimball, the exhibition will include work by a wide range of artists from the Bay Area and beyond, including Jim Campbell, Ching Ching Cheng, Max de Esteban, Katheryn Dunlevie, Genevieve Hastings, Victoria Mara Heilweil, Ferit Kuyas, Shona Macdonald, MANUAL (Hill & Bloom), David Pace, Ulrike Palmbach, Francesca Pastine, Lucy Puls, Nicola Vruwink and Stephen Wirtz. Running through January 24, Relics is comprised of photographs, sculptures, works on paper and video that serve as forensic testimonies of dead technologies. From GPS navigation systems to the abundance of social media sites, advancements in technology over the past decade have dramatically changed the world. They affect how we live, how we do business, how we acquire information and how we communicate. Dozens of devices and formats that were once considered cutting-edge technology are now regarded as obsolete. Many common items that were once ubiquitous have vanished from our lives. Typewriters, pagers, 8-track tapes, walkmans, answering machines, slides and slide projectors are true relics of the past. How does our society dispose of these antiquated objects of recent history? What is the effect of society’s desire to “upgrade” at every time a new technological advancement is announced?

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