FEATURED ARTIST: Karyn Olivier, Buoy and line, 2013. Abandoned lobster buoy and new line. 15 ft. x 39 in. Courtesy the artist.=
Romy Kießling, Veronica Wüst and Gloria Glitzer, Mine: An Asset-Light Existence, (Gloria Glitzer, 2014)
20 × 28cm, 36 pages, 18 glued-in, offset printed images, a sheet of digital printed stickers on transparent foil. Publication risograph printed in 6 colors (blue, burgundy, yellow, brown, green and black).
From Gloria Glitzer:
MINE. an asset-light existence is a travel catalogue offering private home rentals near significant mines worldwide.
Courtesy Gloria Glitzer.
WHAT’S ON: DAHN VO. May 17- Dec 5, 2014. Brooklyn Bridge Park, Pier 3 Greenway Terrace.
Dahn Vo, We The People, 2010-2014, copper. Courtesy Public Art Fund.
FEATURED ARTIST: Karyn Olivier
In her work, Karyn Olivier (b. Trinidad and Tobago) shifts the viewer’s experience of the familiar through the discrete placement, rearrangement, embellishment, and replication of everyday objects in various sites. Revealing the malleable and unfixed nature of objects and spaces, this manipulation forces us to reconcile memory with the present moment, collapsing the past with the present. Olivier incorporates photographs and photo collages into her practice in order to mine the everyday, blur the line between friction and ease, dissonance and unity and mirror the complexities that define humanity. The hope is to create a sleight of eye, a slit into something else, a conflation suggesting a visual accord that’s not necessarily there.
Olivier’s work has been exhibited nationally and internationally, including exhibitions at the Gwangju and Busan Biennials, Korea; World Festival of Black Arts and Culture, Senegal; the Wanas Foundation, Sweden; SculptureCenter, NY; The Studio Museum in Harlem, NY; The Whitney Museum of Art, NY; MoMA P.S.1, NY; The Museum of Fine Arts Houston, Texas; The Contemporary Arts Museum Houston, Texas; and Socrates Sculpture Park, New York. She is the recipient of the John Simon Guggenheim Memorial Foundation Fellowship, the Joan Mitchell Foundation Award, the New York Foundation for the Arts Award, a Pollock-Krasner Foundation grant, the William H. Johnson Prize, the Louis Comfort Tiffany Foundation Biennial Award and a Creative Capital Foundation grant.
Karyn Olivier, Untitled (Coffee Table), Installation view at MoMA PS1 L.I.C., NY, 2005. Coffee table, foam board and latex paint, h.13 ft. w.50 in. d.23 in. Courtesy the artist and MoMA PS1.
Click here to see images of Karyn Olivier’s artwork at SculptureCenter as a part of In Practice, 2004.
Sara Cwynar, Kitsch Encyclopedia,(Blonde Art Books, 2014).
From Sara Cwynar:
Kitsch Encyclopedia is a book project that brings together writings by Milan Kundera, Roland Barthes and Jean Baudrillard, as well as my own writing to formulate a relationship of kitsch to images. Kundera considers kitsch to be a categorizing phenomenon: a means through which complex human experience is distilled to simple, sentimental motifs. All three writers discuss a similar circumstance of the contemporary image world: the way that our culture of images, especially in the age of the internet, provides an Idealized, kitsch-based image world that exists on top of the real world and in many ways has subsumed it.
See Cwynar’s Featured Artist post on SN here.
Courtesy Blonde Art Books.
WHAT’S ON: Spirit, Curiosity and Opportunity, Katja Novitskova. May 3- June 28, 2014. Kraupa-Tuskany Zeidler, Berlin.
From Kraupa-Tuskany Zeidler:
Novitskova takes the case of Mars UFOlogy as a study of the highly complex phenomena of visual perception and information interpretation; features which have been evolving for millions of years in response to a variety of environments on Earth. The human tendency to mistake tree branches for snakes, if seen at the edge of visibility, is one example of the myriad of instincts that frst developed to protect humans from danger. These instincts have generated a set of weird byproducts like apophenia (identifying meaningful patterns in meaningless randomness) and pareidolia (perceiving vague and random images or sounds as signifcant). Combined with hierography (perceiving the manifestation of the sacred in the usual fabric of reality) these perceptional efects are argued to be at the base of animistic and religious thinking, helping early societies to organise chaos around them and make the world intelligible.
Courtesy Kraupa-Tuskany Zeidler.
Summer is finally here, and with it comes the SculptureCenter NewArtNetwork Summer Membership Drive!
Mark your calendars for our annual Summer Social. On July 28th, the Summer Social will coincide with the closing of our current exhibitions, and anyone who joins or renews before July 7th will have their name added the invitation as a host. We will open up the courtyard for music, cocktails, and summer socializing, and we’d love you to be a part of the celebration!
NewArtNetwork members support SculptureCenter’s mission to explore experimental and innovative developments in contemporary sculpture, and membership starts at a fully tax deductible $75.00.
- Personalized NewArtNetwork Membership card
- Free admission and 10% off all publications
- Exhibition previews and tours
- Access to artists’ studios, private collections, tours of galleries and museums, art fairs, and more
- Invitation to the NewArtNetwork Summer Social
- Free coffee at Sage General Store at 24-20 Jackson Ave.
Your participation and support makes our programming and events possible, and we look forward to welcoming you to the NewArtNetwork!
WHAT’S ON: Intermedial, Mary Bauermeister, Sylvano Bussotti, John Cage, Hans G Helms, Joe Jones, Nam June Paik, Ben Patterson, Otto Piene, Takako Saito, Karlheinz Stockhausen. May 3- June 28, 2014. 401 Contemporary, Berlin.
Courtesy 401 Contemporary.
FEATURED ARTIST: Lucy Kim
Lucy Kim, The Doubtful (Caress), 2013. Tinted silicone on wood panel, 20 x 16 inches. Courtesy the artist and Lisa Cooley, New York.
WHAT’S ON: Glimpse, Jessica Stockholder. May 28- September 10, 2014. Galleria Raffaella Cortese, Milan.
Courtesy Galleria Raffaella Cortese.
FEATURED ARTIST: Lucy Kim
Lucy Kim, Parrot Figurines, 2013. Oil paint, aluminum foil, spray paint, and plastic on wood panel, 20 x 16 inches. Courtesy the artist and Lisa Cooley, New York.
WHAT’S ON: Chemical Computer, Andrew Cannon. May 17- July 12, 2014. Santa Monica Museum of Art.
From Santa Monica Museum of Art:
Constructed almost entirely on the floor and without paintbrushes, the paintings are the products of both improvisatory manipulation and technical craft. Marks made through pouring, fingerprinting, embossing, and baking, create dynamic topographies that embed surfaces with layers alternately opaque, translucent, and reflective…The paintings shift between complex insular systems and overtly patterned decoration—simultaneously invoking ideas of simulation, psychedelia, kitsch, handicraft, illusion, and solipsism that stand in and outside of the history of painting.
Courtesy Santa Monica Museum of Art.
FEATURED ARTIST: Lucy Kim
Lucy Kim, Marilyn Marks (Jon and Lucy), 2013. Oil paint and plastic on wood panel, 16 x 12 inches. Courtesy the artist and Lisa Cooley, New York.
Abraham Cruzvillegas: The Autoconstrucción Suites (Walker Art Center, 2013)
Texts by Abraham Cruzvillegas, Verónica Gerber Bicecci, Patricia Falguières, Catalina Lozano, David Miranda, and Sergio González Rodríguez.
From Walker Art Center:
One of the most important artists to come out of a burgeoning scene in Mexico City, Abraham Cruzvillegas has garnered international acclaim for his dynamic assemblage sculptures made of found objects. Published by the Walker on the occasion of the artist’s first major survey, this volume explores the rich terrain of Cruzvillegas work over the past 10 years, rooting his sculptural language within the volcanic landscape of his childhood home in Ajusco, Mexico. The publication elaborates on his interest in autoconstrucción, or “self-construction,” a method of building arising from the constraints of poverty, in which parts are recycled and adapted for new purposes.
Developed in collaboration with the artist, the volume features five essays examining autoconstrucción through the lens of art history, politics, architecture, and urban migration in Mexico in the 1960s. The catalogue also illustrates sculptures by Cruzvillegas and features materials such as his photographs of Ajusco, song lyrics inspired by his neighborhood, maps depicting urban migration, and musical and filmic references that together represent a kind of atlas of the artist’s mind. Bilingual (English/Spanish).
Courtesy Walker Art Center.
FEATURED ARTIST: Lucy Kim
Lucy Kim (b. 1978, Seoul, Korea, lives and works in Massachusetts) incorporates plastic and aluminum foil casts of people, animals, and objects into her relief paintings, often distorting the recognizable by manipulating the materials during the mold-making and casting process. She developed this method to merge the representational lineage and plasticity of painting with indexical impressions of the people and objects around her. The visceral distortions - flattening, unfolding, stretching, and enlarging - are attempts at physically mimicking manipulations commonly used in photographic images, the literalness usually leading to eerie humor. Drawn from both her personal life and popular media, the work engages with the entangled relationship between the two and forces the compression of image and subject.
Kim received her BFA from the Rhode Island School of Design in 2001 and her MFA from the Yale School of Art in 2007. She has been a fellow at the Yale Norfolk Summer School of Art and Music and the MacDowell Colony, and a participant at the Skowhegan School of Painting and Sculpture. Her work has been featured at Lisa Cooley, New York; Mon Chéri, Brussels; Flash Art NY Desk, New York; Regina Rex, Queens; Ortega y Gasset Projects, Brooklyn; Tiger Strikes Asteroid, Philadelphia; Field Projects, New York; Wassaic Project, Wassaic and others. She is a founding member of the collaborative kijidome. She has an upcoming solo exhibition at Lisa Cooley in 2015.
Lucy Kim, He Left With Flounders, 2014. Oil paint, various plastics, spray paint on dibond panel, 64 x 48 inches. Courtesy the artist and Lisa Cooley, New York.