Saturday, May 30, 2015
Saturday, March 7, 2015
Happy to be mentioned in Hyperallergic's article on the art on paper fair
Art on Paper Joins the Armory Week Fold
by Allison Meier on March 6, 2015
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 continues through March 8 at Pier 36 (299 South Street, Lower East Side, Manhattan).
Tagged as: Adam Katseff, art fairs, Art on Paper, Brian Dettmer, Carolle Benitah, Dave Eggers, Diana Guerrero-Macia, Eleanor Harwood Gallery, Electric Works, Eva Jospin, Federico Uribe, Francesca Pastine, Freight + Volume, Jayne H. Baum Gallery, Joshua Liner Gallery, Katherine Bradford, Melanie Pullen, Michael Scoggins, Nathalia Edenmont, Paul Wackers, Sheridan Jones, Wayne White
Saturday, February 21, 2015
Sunday, January 25, 2015
Tuesday, January 20, 2015
Tuesday, January 6, 2015
|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
I'm happy to be included in Relics, a group exhibition at ICA San Jose curated by Cathy Kimball.
Nov. 8, 2014 — Jan. 24, 2015
San Jose Institute of Contemporary Art
560 South First Street San Jose, CA 95113
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?
|Mutual Fund Web #3|