N. Dash, Groundings (1), 2012. Adobe, jute, linen, wood support, 78 1/2 x 100”. RECOMMENDED: N. Dash’s first solo show is currently on view at Untitled (30 Orchard Street) through June 17, 2012. The exhibition presents new photographs and wall sculptures. The wall pieces are made from the otherwise hidden materials of traditional painting—linen, wood, rabbit skin glue, canvas, jute—they read as deconstructed canvases, wavering between sculpture and painting. Dash earned her MFA from Columbia University in 2010 and has recently exhibited at Peter Blum Gallery, Tonya Bonakdar, and Nicole Klagsbrun Gallery. She lives and works in New York and New Mexico.
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N. Dash, Groundings (1), 2012. Adobe, jute, linen, wood support, 78 1/2 x 100”.

RECOMMENDED: N. Dash’s first solo show is currently on view at Untitled (30 Orchard Street) through June 17, 2012. The exhibition presents new photographs and wall sculptures. The wall pieces are made from the otherwise hidden materials of traditional painting—linen, wood, rabbit skin glue, canvas, jute—they read as deconstructed canvases, wavering between sculpture and painting. Dash earned her MFA from Columbia University in 2010 and has recently exhibited at Peter Blum Gallery, Tonya Bonakdar, and Nicole Klagsbrun Gallery. She lives and works in New York and New Mexico.

RECOMMENDED: N. Dash’s first solo show is currently on view at Untitled (30 Orchard Street) through June 17, 2012. The exhibition presents new photographs and wall sculptures. The wall pieces are made from the otherwise hidden materials of traditional painting—linen, wood, rabbit skin glue, canvas, jute—they read as deconstructed canvases, wavering between sculpture and painting. Dash earned her MFA from Columbia University in 2010 and has recently exhibited at Peter Blum Gallery, Tonya Bonakdar, and Nicole Klagsbrun Gallery. She lives and works in New York and New Mexico. 

N. Dash, Groundings (4), 2012. Linen, rabbit skin glue, wood support, 53 x 57”.

London-based artist Jess Flood-Paddock is known for her monumental sculptures of pop culture objects, such as an enormous baseball cap or book jacket—often constructed of soft, ephemeral materials. She holds degrees from the Royal College of Art, London and the Slade School of Fine Art and has recently exhibited at Carl Freedman Gallery, Hayward Gallery, and Kendall Koppe, Glasgow. She is represented by GRIMM Gallery, Amsterdam and Carl Freedman Gallery, London.

Jess Flood-Paddock, Big Lobster Supper (installation view) 2010 at Hayward Gallery Project Space, London. Courtesy of Carl Freedman Gallery, London.

Jeremy Couillard, My Apocalypse Fantasy, 2012. Single channel video, 10:00.

Jeremy Couillard, Healing Hertz, 2011. Acrylic paint, electronics, wood, dimensions variable.
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Jeremy Couillard, Healing Hertz, 2011. Acrylic paint, electronics, wood, dimensions variable.

Jeremy Couillard’s most recent works combine video, painting, and sculpture to create interactive and brightly colored pieces inspired by how the future was represented in the past. He sites video games, cartoons, and early 20th century Futurism among his influences. Jeremy recently received his MFA from Columbia University. 

Jeremy Couillard, Future Job, 2011. Acrylic LCD monitors and electrical components on and in panel, 48 x 48”.

New York-based sculptor Erik Wysocan’s recent works explore themes of history, materiality, and the boundaries between spaces and objects. He received his MFA from Columbia University and has recently exhibited at Thierry Goldberg, Andrea Rosen, Laurel Gitlen, and Socrates Sculpture Park.

Erik Wysocan, A Thousand & One Nights (∎ ∎∎∎∎∎∎∎∎ ∎ ∎∎∎ ∎∎∎∎∎∎), 2011. Found glass vessel, silicone, acrylic, plywood, dimensions variable. Courtesy of the artist and Laurel Gitlen. Photo: Elisabeth Bernstein.

Christian De Vietri, Spectral Study 5, 2012. 8.5” x 11.5”. Digital C-Print, Plexi.RECOMMENDED: A Camera Darkly, curated by A. E. Benenson and featuring the work of Phillip Stearns and Christian de Vietri, is currently on view at The Camera Club of New York (336 West 37th Street, Suite 206) through June 23, 2012. The work on display engages early photographic techniques and the genre’s more contemporary forms. Stearns rewires a digital camera’s photosensitive chips to respond to electric pulses instead of light. The resulting images resemble 19th Century light-less entoptic images. De Vietri submits a series of Gustave Doré black and white lithographs to a scanner, which translates the prints into waves of color, suggesting a complex relationship between printmaking and digital production. 
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Christian De Vietri, Spectral Study 5, 2012. 8.5” x 11.5”. Digital C-Print, Plexi.

RECOMMENDED: A Camera Darkly, curated by A. E. Benenson and featuring the work of Phillip Stearns and Christian de Vietri, is currently on view at The Camera Club of New York (336 West 37th Street, Suite 206) through June 23, 2012. The work on display engages early photographic techniques and the genre’s more contemporary forms. Stearns rewires a digital camera’s photosensitive chips to respond to electric pulses instead of light. The resulting images resemble 19th Century light-less entoptic images. De Vietri submits a series of Gustave Doré black and white lithographs to a scanner, which translates the prints into waves of color, suggesting a complex relationship between printmaking and digital production. 

Phillip Stearns, DCP_0267, 2012. 9” x 6”. Digital C-Print.RECOMMENDED: A Camera Darkly, curated by A. E. Benenson and featuring the work of Phillip Stearns and Christian de Vietri, is currently on view at The Camera Club of New York (336 West 37th Street, Suite 206) through June 23, 2012. The work on display engages early photographic techniques and the genre’s more contemporary forms. Stearns rewires a digital camera’s photosensitive chips to respond to electric pulses instead of light. The resulting images resemble 19th Century light-less entoptic images. De Vietri submits a series of Gustave Doré black and white lithographs to a scanner, which translates the prints into waves of color, suggesting a complex relationship between printmaking and digital production. 
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Phillip Stearns, DCP_0267, 2012. 9” x 6”. Digital C-Print.

RECOMMENDED: A Camera Darkly, curated by A. E. Benenson and featuring the work of Phillip Stearns and Christian de Vietri, is currently on view at The Camera Club of New York (336 West 37th Street, Suite 206) through June 23, 2012. The work on display engages early photographic techniques and the genre’s more contemporary forms. Stearns rewires a digital camera’s photosensitive chips to respond to electric pulses instead of light. The resulting images resemble 19th Century light-less entoptic images. De Vietri submits a series of Gustave Doré black and white lithographs to a scanner, which translates the prints into waves of color, suggesting a complex relationship between printmaking and digital production. 

RECOMMENDED: A Camera Darkly, curated by A. E. Benenson and featuring the work of Phillip Stearns and Christian de Vietri, is currently on view at The Camera Club of New York (336 West 37th Street, Suite 206) through June 23, 2012. The work on display engages early photographic techniques and the genre’s more contemporary forms. Stearns rewires a digital camera’s photosensitive chips to respond to electric pulses instead of light. The resulting images resemble 19th Century light-less entoptic images. De Vietri submits a series of Gustave Doré black and white lithographs to a scanner, which translates the prints into waves of color, suggesting a complex relationship between printmaking and digital production.

Phillip Stearns, DCP_0022, 2012. 36” x 27”. Digital C-Print.