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{data:[{exhibition:{content:[{label:X,_key:"njlVO9La",type:[r],image:{caption:[{markDefs:[],children:[{_type:a,marks:[g],text:"Hadi Fallapisheh.",_key:"afaf71f1e136"},{marks:[],text:n,_key:"28fe73fdabb7",_type:a},{_key:"1cd20ae687c4",_type:a,marks:[f],text:aQv},{text:", 2017-2018. Chromogenic print. 54 × 32 inches (137.16 × 81.28 cm).",_key:"f96531500fe4",_type:a,marks:[]}],_type:c,style:d,_key:"bhek7hS0"}],asset:{_ref:aop,_type:b},_type:e},asset:{extension:F,_type:B,_rev:aQw,uploadId:aQx,_createdAt:ahr,size:aQy,originalFilename:aQz,mimeType:G,sha1hash:ahs,metadata:{_type:C,palette:{darkMuted:{foreground:i,title:i,population:u,background:aQA,_type:l},muted:{_type:l,foreground:i,title:i,population:aoq,background:aQB},lightVibrant:{background:aQC,_type:l,foreground:o,title:o,population:gl},darkVibrant:{_type:l,foreground:i,title:i,population:aQD,background:aQE},lightMuted:{_type:l,foreground:o,title:i,population:aor,background:aQF},vibrant:{_type:l,foreground:o,title:i,population:aht,background:ahu},dominant:{population:aht,background:ahu,_type:l,foreground:o,title:i},_type:D},hasAlpha:t,lqip:aQG,dimensions:{_type:E,width:aQH,aspectRatio:aQI,height:aQJ},isOpaque:j},_id:aop,assetId:ahs,url:aQK,path:aQL,_updatedAt:ahr},_type:K},{text:[{_key:"68e517bfb2d8",markDefs:[],children:[{_type:a,marks:[],text:ahv,_key:"68e517bfb2d80"},{_type:a,marks:[f],text:ce,_key:"68e517bfb2d81"},{text:", a group exhibition featuring the work of Hadi Fallahpisheh, Baseera Khan, and Gloria Maximo, three artists based in New York whose work addresses themes of legibility, adaptation, and transience. Each artist works across several disciplines—photography, performance, and installation, among them—responding to conditions of public neglect and policing in the United States. The process of adapting—or refusing to adapt—to a society whose messages and policies are increasingly unaccommodating, is evinced materially, linguistically, and kinetically throughout the exhibition. While often placing their bodies before the camera, they make work through acts of obscurity, agitation, and abstraction, many times as a means of sheltering the self.",_key:"68e517bfb2d82",_type:a,marks:[]}],_type:c,style:d},{style:d,_key:"4337a0dff71c",markDefs:[],children:[{marks:[],text:"Hadi Fallahpisheh, who hails from Tehran, contributes new work from a series entitled ",_key:"4337a0dff71c0",_type:a},{_type:a,marks:[f],text:"The Truth Has Four Legs",_key:"4337a0dff71c1"},{marks:[],text:", a part diaristic, part fictional project, about a year he spent alone in 2017 in a remote town in Upstate, NY. Through a process of cameraless photography made in his garage darkroom, the artist confronts reductive public perceptions about his identity, and a social climate informed by anti-immigrant policies. Tracing his encounters with found images, in the photographs, gestures of the artist’s own body and written inscriptions made with light, appear phantom-like on the page. A large handmade vase suspended from the ceiling nearby vocalizes anxieties of a collective subject through an audio track hidden within the vessel. Moving fluidly between languages including Farsi, Turkish, Arabic, Spanish, and English, as well as a sounding sheep, the vase echoes pleas for help as visitors approach.",_key:"4337a0dff71c2",_type:a}],_type:c},{_key:"c8438b796bb1",markDefs:[],children:[{_type:a,marks:[],text:"Calls for protection also appear in ",_key:"c8438b796bb10"},{marks:[f],text:fy,_key:"c8438b796bb11",_type:a},{_type:a,marks:[],text:", a new installation by Baseera Khan, which transmits paraphrased, feminist translations by the artist of the Four Quls, the prayers for protection which form the final chapters of the Quran, onto the wall of the gallery. Installed behind panes of two-way mirror, a material used to surveil and police, Khan adapts the material and prayer for her own devices, creating a protective shield which both envelops and deflects its surroundings. Related collages named after the prayers, layer scanned images from her personal archive among transparencies. Also presented for the first time is ",_key:"c8438b796bb12"},{_type:a,marks:[f],text:"Planet Fitness",_key:"c8438b796bb13"},{_type:a,marks:[],text:" (2016), a video of the artist running before a blank green screen in a NYC public park. Set to a soundtrack mixed by Khan including Sufi musician Nustrat Fateh Ali Khan, Robyn, and renowned Indian vocalist Lata Mangeshkar, Khan’s ritual of resilience speaks to her experiences of displacement within the United States, and to the projections others place onto her identity.",_key:"c8438b796bb14"}],_type:c,style:d},{_type:c,style:d,_key:"23398775dbe6",markDefs:[],children:[{text:"Tracing the movement of individuals within dominant social systems and institutions, concerns Gloria Maximo who uses abstraction to explore realist subjects in a new series entitled ",_key:"23398775dbe60",_type:a,marks:[]},{text:"Upward Mobility.",_key:"23398775dbe61",_type:a,marks:[f]},{text:" A video of the artist seated at a table on a sidewalk in New York portrays a woman working in the early morning, at a promotional table. An internal dialogue manifests underneath the table, a semi-private space where her hands gesture a repeating sequence of idiosyncratic movements that convey her exasperation, or pleading of a case. The barriers to gainful employment and resulting instability is shown in two paintings on plaster nearby. 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Fallahpisheh.",_key:"cZp51MIP",_type:a},{text:n,_key:"513ed7113fa3",_type:a,marks:[]},{text:aQv,_key:"877665ca462c",_type:a,marks:[f]},{_type:a,marks:[],text:", 2017-18. 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He has presented work at venues including PAGE Gallery, Kai Matsumaiya, Off Vendome, ICP, and Callicoon Fine Arts, and in Tehran at Delgosha Gallery, Dastan Gallery and Maryam Harandi Gallery, among others.\n"}],_type:c,style:d,_key:"0848048d997c",markDefs:[]},{markDefs:[],children:[{_key:"df07daded81d",_type:a,marks:[g],text:ar},{_key:"84dab7a2b6d0",_type:a,marks:[],text:" (b. 1980, Denton, TX) is a New York-based artist whose work shares experiences of exile and kinship shaped by economic, pop cultural, and political situations. She treats decolonial histories, practices, and archives as geographies of the future. Khan was included in "},{text:aRH,_key:"31a68b8b8948",_type:a,marks:[f]},{_type:a,marks:[],text:" at SculptureCenter (2018), and ",_key:"ba959bb48334"},{_type:a,marks:[f],text:aow,_key:"1e4241c01e23"},{_key:"b60cc0b56dfa",_type:a,marks:[],text:" at Participant Inc (2017) which toured to Moudy Gallery at Texas Christian University, and Fine Arts Center of Colorado College. She has performed at the Whitney Museum of American Art, Queens Museum, and ArtPop Montreal International Music Festival. Khan is currently an artist in resident at Pioneer Works, and previously completed residencies and fellowships through Abrons Art Center, Apexart in Jerusalem and Ramallah, LMCC, and the Skowhegan School of Painting and Sculpture. She received an M.F.A. at Cornell University and B.F.A. from the University of North Texas."}],_type:c,style:d,_key:"1eb441f34634"},{style:d,_key:"86b3d7c6510b",markDefs:[],children:[{_key:"36a8b9b9e532",_type:a,marks:[g],text:"Gloria Maximo "},{_type:a,marks:[],text:"(b. 1978, Rockville Centre, NY) creates paintings and videos, which in her recent projects study the conditioned and idiosyncratic movements, physical orientation, and behaviors of individuals within dominant social systems and institutions. Her work has been included in the 2018 Queens International: ",_key:"e42242078090"},{marks:[f],text:"Volumes",_key:"980c761a1f80",_type:a},{_key:"f489d814394a",_type:a,marks:[],text:", and previously in exhibitions at Metro Pictures Gallery, Queens Museum, Bridget Donahue Gallery, MOMA P.S.1, the Palais de Tokyo, and Portland Institute for Contemporary Art. Maximo was a finalist for the 2014 William H. Johnson Prize for painting, and an inaugural fellow of the Shandaken Paint School (2017-18). She holds a B.A. from Antioch College in Ohio, and lives and works in New York."}],_type:c},{markDefs:[],children:[{_type:a,marks:[g],text:"Allie Tepper ",_key:"250cb468c401"},{text:"(b. 1989, Schenectady, NY) is an independent curator and currently the Mellon Interdisciplinary Fellow at the Walker Art Center, Minneapolis, MN. Her recent exhibitions include ",_key:"bca5b2bbcc98",_type:a,marks:[]},{_type:a,marks:[f],text:"Derek Fordjour: Half Mast",_key:"d510270e581e"},{marks:[],text:" (Whitney Museum of American Art, 2018), ",_key:"6a1f6c4fc2f6",_type:a},{_type:a,marks:[f],text:"Running Towards the Sun: Guadalupe Maravilla, Grace Rosario Perkins, & Efraín Rozas",_key:"3ea7b5a3362c"},{text:" (315 Gallery, 2018), and ",_key:"94b3c89abc99",_type:a,marks:[]},{_type:a,marks:[f],text:aRH,_key:"5e1240419d4f"},{text:" (SculptureCenter, 2018). She has held curatorial positions previously at the Whitney Museum and MoMA, and is the former assistant director of the magazine and arts venue Triple Canopy.",_key:"bfc9e0f257e1",_type:a,marks:[]}],_type:c,style:d,_key:"bb582e221f63"}],_key:"df4fbab4d5f9",boxed:j,_type:w,label:aox}],description:"Simone Subal Gallery is pleased to present Not for everybody, a group exhibition featuring the work of Hadi Fallahpisheh, Baseera Khan, and Gloria Maximo, three artists based in New York whose work addresses themes of legibility, adaptation, and transience. Each artist works across several disciplines—photography, performance, and installation, among them—responding to conditions of public neglect and policing in the United States. The process of adapting—or refusing to adapt—to a society whose messages and policies are increasingly unaccommodating, is evinced materially, linguistically, and kinetically throughout the exhibition. While often placing their bodies before the camera, they make work through acts of obscurity, agitation, and abstraction, many times as a means of sheltering the self.",slug:{current:"not-for-everybody",_type:p},_createdAt:"2021-03-10T19:08:16Z",_id:iz,opening:"Opening Sunday, November 4th from 6-8pm",_type:J,bg_color:"#caf664",_rev:"MWmNCqYHykGVsUkC58hdxB",thumbnail:{_type:e,caption:[{children:[{_key:"357f9acb685e",_type:a,marks:[],text:"Gloria Maximo. "},{marks:[f],text:"Upward Mobility (The Latter Rain)",_key:"f743f10ce2b8",_type:a},{_type:a,marks:[],text:", 2018. 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Zhegrova",slug:{current:"tools-for-conviviality",_type:p},artists:[{_key:"fe1f840c15f0",title:hh,slug:{current:hh,_type:p},sortName:hh,_type:v}],_id:"fbb339d3-e8c7-4596-8c6d-9fa0de409480",_type:J,_createdAt:"2024-06-14T21:54:19Z",content:[{_type:K,_key:"088f7f856950",type:[r],image:{caption:[{children:[{text:ai,_key:"e69f9e94d8a10",_type:a,marks:[]},{_key:"e69f9e94d8a11",_type:a,marks:[f],text:R},{_type:a,marks:[],text:aRI,_key:"e69f9e94d8a12"}],_type:c,style:d,_key:"f616c0b941cb",markDefs:[]}],asset:{_ref:aDj,_type:b},_type:e}},{_type:w,label:"Am schwarz 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an alternative to technocratic disaster, I have a vision of a convivial society.“",_key:"6d17a66e45790",_type:a}]},{style:d,_key:"8252ff0db39c",markDefs:[],children:[{text:"(Ivan Illich, 1973)",_key:"c03dd887f617",_type:a,marks:[]}],_type:c},{_type:c,style:d,_key:"96ce66b1c55c",markDefs:[],children:[{text:q,_key:"a3a3a69a3699",_type:a,marks:[]}]},{_key:"250fc3499a15",markDefs:[],children:[{_key:"389f1dc8c3370",_type:a,marks:[],text:"he fourth and final presentation of the three galleries, whose owners all have Vien-nese roots, features a selection of seven artists. Oswald Oberhuber and Heinz Frank take on the role of doyens, while Anna Ehrenstein‘s „Tools for Conviviality“ gives the exhibition its title. Referring to the book of the same name published in 1973 by the philosopher, theologian and rebel Ivan Illich, the artist criticizes the utopia of modern media and communication technologies. „Tools for Conviviality“ is a collaborative project that consists of photographs, textile sculptures, and a 360° video and addres-ses questions of contemporary media and their socio-cultural implications. „Objects“ from the digital world, such as bitcoins or VR glasses, are rendered surreal and para-phrased in photoshop, creating a vast repertoire of images. As for Illich, from a mo-dified viewpoint 50 years later, Ehrenstein‘s concern is a political one. In this regard, Illich pleaded for social regulations of the convivial, „which guarantee the individual comprehensive and free access to the tools and could only restrict this freedom for the sake of the same freedom of another.“"}],_type:c,style:d},{style:d,_key:"d4b29103e48d",markDefs:[],children:[{_key:"583dd099f4bc",_type:a,marks:[],text:"\nIn the temporary constellation of the exhibition, it is presumably Oswald Oberhuber, who - always open to new strategies- rejected dogmas and conventions. Any con-cept of „originality“ was probably repugnant to him as criticism and commentary built the base of his works, living from the informal and surreal, from wit and quotation. Besides his artistic output (for example as a Biennale and Documenta participant), Oberhuber‘s important role as a gallery owner and as a Professor and Rector at the Akademie für Angewandte Kunst is often forgotten."}],_type:c},{markDefs:[],children:[{_type:a,marks:[],text:"\nHeinz Frank‘s texts can be read as both a warning and a call for a self-determined convivial society. The slightly younger Frank, who shared with Oberhuber a penchant for the anti-heroic and absurd, centered his works around language. This interest can be both understood philosophically as well as poetically as it deals with questions of form, space and the body, creating a parallel world of language that probes the very system of “art”. Frank was a unique individual who never held an official teaching position. However, he left his studio in Vienna‘s 15th district to posterity, which the estate (represented by LambdaLambdaLambda) is endeavoring to preserve.",_key:"519d48cab164"}],_type:c,style:d,_key:"d52152857145"},{_type:c,style:d,_key:"941cea010e60",markDefs:[],children:[{_type:a,marks:[],text:"\nWith the younger artists in the exhibition, points of view and reference arise and touch topics of the convivial and societal. The laconic, sometimes cryptic quality seems to be characteristic of Veronika Pausova‘s paintings, which give form to a choreography of fragmentarily staged things within a concise, scaffold-like structure. Pausova‘s works have therefore sometimes been compared to „short stories“, when a poignant narrative is set in motion between the title of the picture and the motifs depicted. Blerta Hashani could be associated with a sentence by Illich, who understood „self-limitation“ in relation to the environmental context. In response to the question what a desirable future could look like, Illich argued for „a life in which we consciously give preference to doing over consuming.“ As a quasi „classic“ landscape painter, Hashani looks for her motifs in the surroundings of her Kosovan homeland. They are small pictures, mounted on jute, which reveal their strength precisely in their restraint. LambdaLambdaLambda also shows a voodoo doll by Hashani‘s compatriot Dardan Zhegrova as a kind of counterpart. The puppets have their roots in the Dodona Pup-pet Theater, which has been an important site of Albanian cultural resistance in Koso-vo since it was founded in 1986. At the Manifesta in Prishtina (2022), one doll leaned against a wall and recited Zhegrova‘s texts. When the end of the text displayed on the doll reads: „... get too much hope, lose some other,“ the activist (and journalist) Zhegrova is not so far removed from Illich‘s social utopias. cameron clayborn is the second artist that Simone Subal brought with her from New York alongside Pausova. The textile wall works shown are each titled „reliquary“, which brings them close to the ceremonial, if not the religious. The sculpturally motivated form emphasizes en-closures while details and the view into the interior, which contains photo transfers of windows and closed blinds, suggest narratives that allude to a private past and can only be guessed at.",_key:"7560b911e582"}]},{style:d,_key:"02d00946d613",markDefs:[],children:[{_type:a,marks:[],text:"\nKOW‘s third contribution to the exhibition is the artist duo Clegg & Guttmann, who have been working together for 30 years. 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Upcoming exhibitions include: Simone Subal Gallery, New York, US, (2024, forthcoming) and Blanc Space\u002FUnion Pacific, Beijing, China (2023, forthcoming). Recent solo exhibitions include: Union Pacific, London, UK (2021); Enjoy Public Art Gallery, Wellington, New Zealand (2014); and Sunroom Project Space, Wave Hill, New York, US (2012). Selected group exhibitions include: Simone Subal Gallery, New York, US (2022); Honor Fraser, Los Angeles, US (2021); LAMAG, Los Angeles, US (2020); Wave Hill, New York, US (2017, 2020); Charlie James Gallery, Los Angeles, US (2019); PSLA, Los Angeles, US (2019); Condo Shanghai, Gallery Vacancy, Shanghai, China (2019); LACI | AIR, Los Angeles, US (2018); LAXART, Los Angeles, US (2018); Denk Gallery, Los Angeles, US (2017); Somerset House, London, UK (2016, 2017); Jepson Center, Telfair Museums, Savannah, US (2016); Singapore Science Center, Singapore (2015); Ars Electronica Center, Linz, Austria (2014, 2015); Future Innovators Summit, Linz, Austria (2014); CAFKA.14 Biennial, Kitchener-Waterloo, Canada (2014); Laiterie Les Bouillants, Vern-sur-Seiche, France (2014); Studio 13\u002F16, Centre Pompidou, Paris, France (2013); Art Museum of Nanjing University of The Arts, Nanjing, China (2013); ICC, Tokyo, Japan (2013); Espace Saint-Sauveur, Paris, France (2013); Warp Contemporary Art Platform, Sint-Niklaas, Belgium (2013); National Taiwan Museum of Fine Arts, Taichung, Taiwan (2012); Seoul Art Space_Geumcheon, Seoul, South Korea (2012); iMAL, Brussels, Belgium (2012); OK Offenes Kulturhaus, Linz, Austria (2012); and SESI-SP Art Gallery, Fiesp Cultural Center, São Paulo, Brazil (2012). Nova Jiang has also created numerous permanent art commissions for public spaces, including: San Diego International Airport Vertical Ticketing Hall, San Diego, US (2024, forthcoming); SE Redmond Station, Redmond, US (2024, forthcoming); Mecklenburg County Northeast Community Resource Center, Charlotte, US (2023, forthcoming); SAFE Credit Union Performing Arts Center, Sacramento, US (2021); King Open Elementary, Cambridge, US (2019); and The Village at Westfield Topanga, Los Angeles, US (2015).",_key:"b2a51a8fbac3"}],_type:c,style:d,_key:"b94c85d811dc",markDefs:[]},{style:d,_key:"0a920ab658fd",markDefs:[],children:[{_key:"691c616f1cbc",_type:a,marks:[],text:q}],_type:c},{_key:"a4d262d50c58",asset:{_type:b,_ref:"file-fd8f9a425bad8890e203e0a258e71d8f85bcbf8c-pdf"},title:"Nova Jiang - CV",_type:ab}],press:[{title:"Liste Art Fair 2022: Five Artists to Watch",url:"https:\u002F\u002Focula.com\u002Fadvisory\u002Fperspectives\u002Fliste-art-fair-2022-five-artists-to-watch\u002F",date:"2022-06-15",date_time:"2022-11-11T17:12:55.669Z",publication:hj,_type:k,_key:"b5ab8e8413c8"}],sortName:aSe}],open_date:"2024-05-23",thumbnail:{asset:{metadata:{dimensions:{width:1858,aspectRatio:1.9354166666666666,height:aSf,_type:E},isOpaque:j,blurHash:"MBC~PC~BX8V@0fWBIpIpjsbI0fRjs:kC%L",_type:C,palette:{lightVibrant:{title:i,population:u,background:"#d9aaa0",_type:l,foreground:o},darkVibrant:{background:"#4d2c1b",_type:l,foreground:i,title:i,population:Ey},lightMuted:{population:8.94,background:"#ceb19d",_type:l,foreground:o,title:i},vibrant:{background:"#6e382c",_type:l,foreground:i,title:i,population:hc},dominant:{_type:l,foreground:i,title:i,population:aib,background:aSg},_type:D,darkMuted:{_type:l,foreground:i,title:i,population:aib,background:aSg},muted:{population:aDr,background:"#957363",_type:l,foreground:i,title:i}},hasAlpha:t,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAKABQDASIAAhEBAxEB\u002F8QAGAAAAwEBAAAAAAAAAAAAAAAAAAIGBAX\u002FxAAhEAACAgIBBAMAAAAAAAAAAAABAgADBREEEhQxQSEyUf\u002FEABYBAQEBAAAAAAAAAAAAAAAAAAQDBf\u002FEABgRAQEAAwAAAAAAAAAAAAAAAAABAhEh\u002F9oADAMBAAIRAxEAPwCbx2FoGM728hayvk+z+CcnipwW5oNwJrJIKb9TZkHYY6lAx6N76d\u002FEmLCRyDowc60MtQl6qtzhPqCdQiN5hKjv\u002F9k="},_createdAt:aSh,_id:aDs,sha1hash:aSi,path:"images\u002Fub94fyvm\u002Fproduction\u002Fab15fb660ebc700f0dfb87a26e43bf44baab7150-1858x960.jpg",uploadId:"rokFfBeeDFsEdHAQCwl8CTFZ3KanHQFf",_type:B,mimeType:G,originalFilename:"2024_05_16 SSG3184 copy.jpg",assetId:aSi,size:1012808,_rev:"9q4DLwlx4GaCDdOE1flRyZ",extension:F,url:"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fub94fyvm\u002Fproduction\u002Fab15fb660ebc700f0dfb87a26e43bf44baab7150-1858x960.jpg",_updatedAt:aSh},caption:[{markDefs:[],children:[{marks:[],text:aSj,_key:"384758395312",_type:a},{_key:"1fec94a72f5c0",_type:a,marks:[f],text:aSk},{_key:"1fec94a72f5c1",_type:a,marks:[],text:aSl}],_type:c,style:d,_key:"dd52de4925cf"}]},_rev:"BPH4a20Bwes5LYz5H6FG2S",bg_color:"#bed8e4",_id:aRU,slug:{current:"lesson",_type:p},title:cr,opening:"Opening: May 23rd, 6  - 8PM ",cover:{_type:r,asset:{_ref:aDs,_type:b}},_createdAt:"2024-05-17T19:23:15Z",content:[{type:[r],image:{caption:[{children:[{marks:[],text:aSj,_key:"7aa81bfb54aa",_type:a},{_type:a,marks:[f],text:aSk,_key:"bdca44920ea4"},{text:aSl,_key:"8378a9a85189",_type:a,marks:[]}],_type:c,style:d,_key:"ad0dc03eb8ef",markDefs:[]}],asset:{_ref:aDs,_type:b},_type:e},_type:K,_key:"ebdfd239c2e2"},{text:[{children:[{marks:[],text:ahv,_key:"d7018850e1f00",_type:a},{text:cr,_key:"d7018850e1f01",_type:a,marks:[f]},{_key:"d7018850e1f02",_type:a,marks:[],text:", Nova Jiang’s first solo exhibition with the gallery."}],_type:c,style:d,_key:"0dbf7608c486",markDefs:[]},{style:d,_key:"d45d1835301b",markDefs:[],children:[{text:"\n\nNova Jiang’s intimate paintings seem frozen in time, like stolen moments bathed in the rippling light of memory or magic. Juxtaposing the broken and the whole, the living and the dead, the animal and the human, Jiang transforms loss into growth, sadness into fertility. ",_key:"58554b31be7a",_type:a,marks:[]},{marks:[f],text:cr,_key:"d7018850e1f03",_type:a},{_type:a,marks:[],text:", from which the exhibition takes its title, depicts two books fused together along the spine, opening away from each other, like a four-winged creature tensed to fly. A child’s hands hold the small blank pages open to the viewer. A pair of larger hands opens the second book in the opposite direction. Its contents, and reader, remain out of sight. A parent perhaps? Or an influence, long dead? Unseen and unknowable, the other side of the story is stitched into the binding. Jiang mines the mystery of inheritance and the anxiety of loss throughout the exhibition, imbuing everyday objects with a talismanic significance.",_key:"d7018850e1f04"}],_type:c},{style:d,_key:"2c5506da217f",markDefs:[],children:[{text:"\n\nIn ",_key:"3e2c0f754a29",_type:a,marks:[]},{marks:[f],text:aSm,_key:"d7018850e1f05",_type:a},{_type:a,marks:[],text:", Vermeer’s earthenware jug pours milk into an open nipple. Suffused with rich golden light, the uncanny image is ambiguous. The body being nourished or a refusal of an offering? The image speaks to a sense of artistic lineage, a transfusion of one painter to another through time and space. Jiang brings together references to the seventeenth century Dutch masters, Velasquez and Chardin, and Chinese ceramic, sculpture and painting. In ",_key:"d7018850e1f06"},{text:"News",_key:"d7018850e1f07",_type:a,marks:[f]},{text:", a vase of daisies and lilies shatters in slow motion. Each glossy blue fragment is suspended, held together by milky white ceramic cicatrices. Transformed into something shiny, broken, and new. Like Rachel Ruysch, who often depicted flowers that bloom in different seasons, Jiang’s still lives exist outside of time, twisting up personal and historical chronologies into unstable tangles – winding a red thread around the fingers of the living and the dead.",_key:"d7018850e1f08",_type:a,marks:[]}],_type:c},{style:d,_key:"207084fc7f90",markDefs:[],children:[{text:"\n\nThroughout the exhibition, Jiang catches tadpoles, frogs and birds – trapping them inside a bulbous cheek, turning them to glass, and splaying them open. The natural world becomes unstable and on the point of collapse. Amphibians, one of the animals most acutely affected by climate change, are cared for by Jiang’s supple brush. Quietly, tenderly, Nova Jiang slips through the ages to trap time, and its lessons, between her fingers.",_key:"7c7b08341923",_type:a,marks:[]}],_type:c}],_key:"b7986e305d31",_type:w,label:aic},{install:[{_type:e,caption:[{markDefs:[],children:[{_key:"eaaae9cea578",_type:a,marks:[],text:h},{_type:a,marks:[f],text:cr,_key:"3f9a01712806"},{text:dd,_key:"4d6661554834",_type:a,marks:[]}],_type:c,style:d,_key:"188d56da9769"}],_key:"9ccb4b444b66",asset:{_ref:"image-a81fcc8a8a22ca2e532110bafd14b2872283cd7a-2250x1500-jpg",_type:b}},{asset:{_type:b,_ref:"image-481f17044bd35cf93c8f18308c2a404de23dbe1c-2250x1500-jpg"},_type:e,caption:[{children:[{text:h,_key:"a9e8cf89ba4d",_type:a,marks:[]},{_key:"250d0306b59c",_type:a,marks:[f],text:cr},{_key:"a0171adec49c",_type:a,marks:[],text:dd}],_type:c,style:d,_key:"cd8741bf9aaa",markDefs:[]}],_key:"16462fef69c4"},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:h,_key:"605f59031c7a"},{text:cr,_key:"6b31b6b38d5b",_type:a,marks:[f]},{text:dd,_key:"9471805d1e44",_type:a,marks:[]}],_type:c,style:d,_key:"6d82f8a03d5e"}],_key:"6d509ced9ff9",asset:{_ref:"image-7f7feee0e9a1090492931f1d1cd087652339a7b9-2250x1500-jpg",_type:b}},{caption:[{_key:"3c08b8271528",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"046db2e40645"},{_type:a,marks:[f],text:cr,_key:"6a1882c1e121"},{_type:a,marks:[],text:dd,_key:"05871ac98da4"}],_type:c,style:d}],_key:"bc75abc2419b",asset:{_type:b,_ref:"image-3b5dcee4ce8b5af1814e1acf8f8491339518a839-2250x1500-jpg"},_type:e},{caption:[{markDefs:[],children:[{_key:"6f5b8815362f",_type:a,marks:[],text:h},{_key:"b442284fe872",_type:a,marks:[f],text:cr},{_type:a,marks:[],text:dd,_key:"0db97530ffaf"}],_type:c,style:d,_key:"afe2592cd1a1"}],_key:"79c14e097d02",asset:{_ref:"image-e8a0962358574b1ee8c0b8cfca4f6db578fa0a27-2250x1500-jpg",_type:b},_type:e},{asset:{_ref:"image-2a833aecbaadf685963bbd542fbe6a5d484e97bb-2250x1500-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{marks:[],text:h,_key:"8569dbac2a86",_type:a},{_key:"c4d97ad32c97",_type:a,marks:[f],text:cr},{_type:a,marks:[],text:dd,_key:"b38e6d9178b4"}],_type:c,style:d,_key:"ee92f3d79fbf"}],_key:"52577ee626c0"},{caption:[{_type:c,style:d,_key:"1d38684eac42",markDefs:[],children:[{marks:[],text:h,_key:"e87cae05f966",_type:a},{text:cr,_key:"2f0448229e56",_type:a,marks:[f]},{marks:[],text:dd,_key:"21629e6ef740",_type:a}]}],_key:"cb456d4f3b64",asset:{_type:b,_ref:"image-5c91be3230f0d20eec210f195b723c27e66d589e-2250x1500-jpg"},_type:e},{asset:{_ref:"image-c97ad1eee8475624a554107fa58987bd2e46e42a-2250x1500-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"c532f83ce005",markDefs:[],children:[{_key:"399d52edeee6",_type:a,marks:[],text:h},{marks:[f],text:cr,_key:"dae54bdff7f2",_type:a},{_type:a,marks:[],text:dd,_key:"51cf763a5d92"}]}],_key:"1ae3def3e5bc"},{_key:"e75326116cac",asset:{_type:b,_ref:"image-1bb12b0f777cac9e98dbe1187d9e99c9adc334c9-3750x878-jpg"},_type:e,caption:[{_key:"d5635a0518c8",markDefs:[],children:[{marks:[],text:h,_key:"f7ecd16cc79d",_type:a},{marks:[f],text:cr,_key:"54fba00bbe90",_type:a},{marks:[],text:dd,_key:"dc011d59e0a8",_type:a}],_type:c,style:d}]},{asset:{_ref:"image-ec6f90983db3df6e8004e27ebd26fdb02c99edb4-2250x1500-jpg",_type:b},_type:e,caption:[{children:[{text:h,_key:"0c021caf6597",_type:a,marks:[]},{_key:"67e0ac22710f",_type:a,marks:[f],text:cr},{_type:a,marks:[],text:dd,_key:"8d02e15169ab"}],_type:c,style:d,_key:"9b4d86d4a12c",markDefs:[]}],_key:"a4fd634f7bf7"},{asset:{_ref:"image-817dbb71cc6375cf1741bbc19e7de47d17a3ace8-2250x1500-jpg",_type:b},_type:e,caption:[{style:d,_key:"0761c0936dd3",markDefs:[],children:[{marks:[],text:h,_key:"dbff88b6cbee",_type:a},{_type:a,marks:[f],text:cr,_key:"5e0c2cbbfeec"},{marks:[],text:dd,_key:"954e9f932c3b",_type:a}],_type:c}],_key:"2677877d581a"},{_type:e,caption:[{_key:"d16a4466ecdf",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"009f9d70fb13"},{text:cr,_key:"dc9f0d1cebe0",_type:a,marks:[f]},{text:dd,_key:"4fb8cae37e44",_type:a,marks:[]}],_type:c,style:d}],_key:"75786c054462",asset:{_ref:"image-4ccdb74b3c46c5be284527dc5d8cb4824def96ff-2250x1500-jpg",_type:b}},{caption:[{children:[{text:h,_key:"69f78c1e4c2f",_type:a,marks:[]},{_key:"c5b24dcd8108",_type:a,marks:[f],text:cr},{_type:a,marks:[],text:dd,_key:"9123deca33c3"}],_type:c,style:d,_key:"058b276d8b9d",markDefs:[]}],_key:"0f9cb837e722",asset:{_type:b,_ref:"image-4767742357443d3a9591fc183220d62ba5801c75-2250x1500-jpg"},_type:e},{caption:[{_type:c,style:d,_key:"62986d0e55f8",markDefs:[],children:[{text:h,_key:"67a07c971d9c",_type:a,marks:[]},{_key:"d8dd5460c53d",_type:a,marks:[f],text:cr},{text:dd,_key:"2ef361fc71be",_type:a,marks:[]}]}],_key:"7456ddcd8989",asset:{_ref:"image-a2d37e62a640fb5f4b910b4f4e72482696383935-2250x1500-jpg",_type:b},_type:e}],work:[{_type:e,caption:[{children:[{_type:a,marks:[],text:aDl,_key:"337291cc839f0"},{_type:a,marks:[f],text:aSm,_key:"516002b09af7"},{_type:a,marks:[],text:", 2023. 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Oil on panel. 14 × 18 × 1 inches (35.56 × 45.72 × 2.54 cm).",_key:"b8c3698756f00",_type:a,marks:[]}],_type:c,style:d}],_key:"a05aa51da269",asset:{_type:b,_ref:"image-a25ed8db5910031cbdd85a4347716e22ffc3d85a-2250x1819-jpg"},_type:e},{_key:"f6b2c27e3024",asset:{_type:b,_ref:"image-aa25636a68813d6147618570280364c55d711bc7-2250x2174-jpg"},_type:e,caption:[{_key:"692992a9f3e2",markDefs:[],children:[{_key:"df3ac9c755c50",_type:a,marks:[],text:"Nova Jiang, Cradle, 2024. Oil on panel. 12 × 12 × 1 inches (30.48 × 30.48 × 2.54 cm)."}],_type:c,style:d}]},{_type:e,caption:[{_key:"5e77cfa3240c",markDefs:[],children:[{marks:[],text:"Nova Jiang, News, 2024. Oil on panel. 20 × 16 × 1 inches (50.80 × 40.64 × 2.54 cm).",_key:"1d33c0e813fb0",_type:a}],_type:c,style:d}],_key:"d40460fd6feb",asset:{_ref:"image-f7736be7b36f34bc16c15963de51facfab8796e7-1967x2250-jpg",_type:b}},{asset:{_ref:"image-d8ef1889472e42a3a007b05a0401be929394acfe-2250x1819-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{marks:[],text:"Nova Jiang, Captivator, 2024. Oil on panel. 14 × 18 × 1 inches (35.56 × 45.72 × 2.54 cm).",_key:"8d24dab8ae6f0",_type:a}],_type:c,style:d,_key:"64ebb871e0fd"}],_key:"9420acc65897"}],display:aR,_type:L,label:aDt,_key:"35fb946757de"},{label:cE,text:[{children:[{_key:"886b28c11d1a",_type:a,marks:[g],text:Sw},{_key:"b1cbde68b160",_type:a,marks:[],text:" (b. 1985 in Dalian, China) lives and works in Los Angeles. Jiang's work often references the art historical cannon, subverting its traditions with a subtle morbid humor. Throughout her paintings, she plays with themes of death and decay, depicting them in a glowing light.\n\nRecent solo exhibitions include: Union Pacific, London, UK (2023, 2021); Enjoy Public Art Gallery, Wellington, New Zealand (2014); and Sunroom Project Space, Wave Hill, New York, US (2012). Selected group exhibitions include: Simone Subal Gallery, New York, US (2022); Honor Fraser, Los Angeles, US (2021); LAMAG, Los Angeles, US (2020); Wave Hill, New York, US (2017, 2020); Charlie James Gallery, Los Angeles, US (2019); PSLA, Los Angeles, US (2019); Condo Shanghai, Gallery Vacancy, Shanghai, China (2019); LACI | AIR, Los Angeles, US (2018); LAXART, Los Angeles, US (2018); Denk Gallery, Los Angeles, US (2017); Somerset House, London, UK (2016, 2017); Jepson Center, Telfair Museums, Savannah, US (2016); Singapore Science Center, Singapore (2015); Ars Electronica Center, Linz, Austria (2014, 2015); Future Innovators Summit, Linz, Austria (2014); CAFKA.14 Biennial, Kitchener-Waterloo, Canada (2014); Laiterie Les Bouillants, Vern-sur-Seiche, France (2014); Studio 13\u002F16, Centre Pompidou, Paris, France (2013); Art Museum of Nanjing University of The Arts, Nanjing, China (2013); ICC, Tokyo, Japan (2013); Espace Saint-Sauveur, Paris, France (2013); Warp Contemporary Art Platform, Sint-Niklaas, Belgium (2013); National Taiwan Museum of Fine Arts, Taichung, Taiwan (2012); Seoul Art Space_Geumcheon, Seoul, South Korea (2012); iMAL, Brussels, Belgium (2012); OK Offenes Kulturhaus, Linz, Austria (2012); and SESI-SP Art Gallery, Fiesp Cultural Center, São Paulo, Brazil (2012).\n\nNova Jiang has also created numerous permanent art commissions for public spaces, including: San Diego International Airport Vertical Ticketing Hall, San Diego, US (2024, forthcoming); SE Redmond Station, Redmond, US (2024, forthcoming); Ella B. Scarborough Community Resource Center, Charlotte, US (2023); SAFE Credit Union Performing Arts Center, Sacramento, US (2021); King Open Elementary, Cambridge, US (2019); and The Village at Westfield Topanga, Los Angeles, US (2015)."}],_type:c,style:d,_key:"9c1b87f05fbe",markDefs:[]}],_key:"186e2ddbe369",boxed:j,_type:w}]},{_type:J,title:"No more, not yet, with works by Alice Creischer, Heinrich Dunst, Frank Heath, Nova Jiang, Thomas Lerooy, Hanne Lippard, Emile Rubino,  Nora Turato and Franz Erhard Walther",_id:"37d10306-bb8f-42ea-94c5-54e0bec900e2",cover:{crop:{bottom:u,_type:iC,right:.20205479452054798,top:u,left:.2328767123287671},hotspot:{height:hf,_type:iD,width:.5650684931506847,x:.5154109589041096,y:Sv},_type:r,asset:{_type:b,_ref:aDu}},opening:"Opening: May 15th, 6 - 9PM",slug:{current:"no-more-not-yet",_type:p},content:[{_key:"bb740f8531ff",type:[r],image:{_type:e,caption:[{markDefs:[],children:[{marks:[],text:aSn,_key:"049e472a4248",_type:a},{_type:a,marks:[f],text:aSo,_key:"b1934b25684a"},{_key:"6d38e9cc3a4c",_type:a,marks:[],text:aSp}],_type:c,style:d,_key:"5056b734e534"}],asset:{_type:b,_ref:aDu}},_type:K},{label:"bio ",text:[{markDefs:[{_key:aSq,_type:av,href:ahL},{_type:av,href:ahM,_key:aSr},{href:ahN,_key:aSs,_type:av},{href:ahO,_key:aSt,_type:av},{href:ahP,_key:aSu,_type:av},{_type:av,href:ahQ,_key:aSv}],children:[{marks:[f],text:ahR,_key:"5c1726ee0a9e",_type:a},{_type:a,marks:[],text:ahS,_key:"0d6ffa9b8ee3"},{marks:[aSq],text:ahT,_key:"152780d4f6a5",_type:a},{_key:"ae1fa3d7b989",_type:a,marks:[aSr],text:ahU},{_key:"6dcf619184a8",_type:a,marks:[],text:ahV},{marks:[aSs],text:ahW,_key:"63cc5e7577e8",_type:a},{_type:a,marks:[aSt],text:ahX,_key:"a4a1c69dbf31"},{text:ahY,_key:"162b21158320",_type:a,marks:[]},{marks:[aSu],text:ahZ,_key:"f198330da0e8",_type:a},{marks:[aSv],text:ah_,_key:"e5583998f36b",_type:a},{_type:a,marks:[],text:ah$,_key:"1e9674af674e"},{_type:a,marks:[f],text:hh,_key:"ab4491425dd4"},{text:aia,_key:"d55ff18a9627",_type:a,marks:[]}],_type:c,style:d,_key:"df08d7a74ba4"}],_key:"a878578cb4af",boxed:j,_type:w},{_type:w,label:cD,text:[{_key:"076fd4fb1e59",markDefs:[],children:[{_type:a,marks:[],text:"As you pass through a narrow iron gate, traverse the garden, and enter the apartment, you’re greeted by a striking scene: a red floor, lofty ceiling, large windows, and shelves adorning the walls. This space serves as a resonant platform for representation, functioning as both a stage and a display structure that temporarily transforms into a gallery. The presence of artworks alters its ambience, rendering it an interstitial realm, distinct from conventional showrooms; it assumes the role of a framing structure, signifying a state of ",_key:"e0e70da902df0"},{marks:[f],text:"“no more”",_key:"301c41a87348",_type:a},{_type:a,marks:[],text:Sy,_key:"b57de13d1301"},{text:"“not yet.”",_key:"fb0f4d85a202",_type:a,marks:[f]}],_type:c,style:d},{style:d,_key:"ceafd014b9ce",markDefs:[],children:[{_type:a,marks:[],text:"On entering, you’re greeted by a polyphony of voices—some audible, others conveyed through written words, phrases, and silent exclamation marks. Semantic layers intertwine, sometimes on the verge of collision, sometimes in dialogue. Language, whether articulated through letters or images, in motion or still, converges with abstract visual expressions. Words expand into the spatial realm, materializing as physical manifestations of thoughts and arguments.",_key:"67c088f0185b0"}],_type:c},{children:[{_type:a,marks:[],text:"Etched onto plexiglass are curses born of rejection, refusal, and cancellation, echoing the word “no” until it takes on a rhythmic pattern. These written negations embody emotions, while other echoes of curses and disembodied voices reverberate in mirrors, extending the articulating self.",_key:"ca162553b9690"}],_type:c,style:d,_key:"e5c42f6c0423",markDefs:[]},{markDefs:[],children:[{text:"Photographic reflections capture the essence of everyday life, illuminating the animistic presence of small devices and their ability to generate images independent of their intended function. These photographs play with the declarative nature of the medium, its discourses and histories. They elevate the seemingly mundane to the status of a case study, inviting a close examination of the semantics of image and object.",_key:"5d9f950143750",_type:a,marks:[]}],_type:c,style:d,_key:"d35ce64f07b9"},{_type:c,style:d,_key:"17ebf0ad959f",markDefs:[],children:[{marks:[],text:"In another part of the vast space, phrases in bold red and black leap aggressively from a muted grey background: “Got a reactive mind?” The phrases appear without context, without linguistic framing, synchronous yet disconnected—likely sourced from the internet or television. Communication seems to collapse, compensating for its displacement through its visual impact. Syntax is transformed into images, capturing the volatility of language within typographic structures.",_key:"94d7087629360",_type:a}]},{children:[{_type:a,marks:[],text:"Amidst this, attention is drawn to a solitary, oversized brown letter—a Q, perhaps symbolizing a question. This fabric structure oscillates between image and object, its form indebted to the typography conceived by the artist long ago. It exists as a three-dimensional volume, converting the solitary letter into a symbol, an abbreviation, or a linguistic entity, autonomous in its spatial presence yet resonant with its surroundings.",_key:"19fac365aa1f0"}],_type:c,style:d,_key:"e5913e6553df",markDefs:[]},{_type:c,style:d,_key:"840121abb80f",markDefs:[],children:[{_type:a,marks:[],text:"At times, deciphering a text in this exhibition requires a closer look—a text woven from keywords extracted from biographies, interwoven with botanical imagery, ascending chronologically from roots to leaves. These words illuminate individuals who were active during the Nazi era, never brought to justice, who continued their activities after the war, serving other regimes. Now their once hidden past, like roots buried in the ground, becomes legible.",_key:"b2ce6f50a6580"}]},{_type:c,style:d,_key:"02db65825012",markDefs:[],children:[{_key:"46b7bcfd2a110",_type:a,marks:[],text:"Other aspects of concealment and disappearance permeate the exhibition, albeit with a lighter tone. Paintings evoke a strange sense of familiarity through references to art history. They disrupt classical motifs, distorting them while retaining their appeal. Playing with recognition and camouflage, oscillating between the familiar and the grotesque, they subvert the viewer’s expectations, compelling us to speak on their behalf and plunging us deeper into their realm of alienated artificiality."}]},{children:[{marks:[],text:"Other paintings evoke the tradition of still life, another eloquent genre of the past. They arrange everyday elements in unexpected compositions, exploring the formation of identities or our troubled relationship with nature. Once again, closer examination reveals subtle yet profound interventions into the realm of realistic representation—gentle yet powerful challenges to certainties that unfold new narratives.",_key:"7fc3b440a2950",_type:a}],_type:c,style:d,_key:"725c0b481ff5",markDefs:[]},{children:[{marks:[],text:"Finally, a video beckons our attention with poetic interventions into the fabric of perceived reality and the infrastructures upon which it rests. Moments of disjunction and existential musings reveal a world far more complex than its surface suggests. Communication and its networks continue to exist within this realm of ambiguity, but now their hidden frameworks and implications come to light.",_key:"e606bc545a8c0",_type:a}],_type:c,style:d,_key:"11002d7e6c7e",markDefs:[]},{markDefs:[],children:[{text:"Have we noticed the imposing panel that cuts through the space? It obstructs our view or diverts it elsewhere, asking us to navigate around its disruptions of the symmetries that define this environment. Adorned with a small painting bearing a written word, the wall-like structure is transformed into a display element. The word, in turn, takes on the form of an image, while the wall is integrated into the architectural ensemble. This arrangement of elements, each distinct yet interconnected, blurs conventional categories—the pictorial, the sculptural, the spatial and the textual—decontextualizing and reconfiguring them, pointing to the impossibility of translation from one medium to another.",_key:"e7d60eee83340",_type:a,marks:[]}],_type:c,style:d,_key:"a0c61cbf53c1"},{style:d,_key:"4ec3ed00bdd3",markDefs:[],children:[{marks:[],text:"Shall we retire to the garden for a moment and contemplate these multilayered acts of speech, these discursive and visual negotiations involving text, object, and image? As we leave the room, the artworks continue their dialogue, awaiting our return to engage once more.",_key:"98e9c0d3e7850",_type:a}],_type:c},{_type:c,style:bd,_key:"a5f20fcd1e33",markDefs:[],children:[{marks:[],text:"\n- Vanessa Joan Müller 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Ink, crude oil, acrylic, and oil paint on paper. 51 ½ × 36 ½ inches (130.81 × 92.71 cm). 57 ½ × 41 ½ inches (146.05 × 105.41 cm) (framed)."}],_type:c,style:d,_key:"ef4d76c5ccea"}],asset:{_ref:aDv,_type:b},_type:e},_type:K,_key:"641a92317f21",type:[r]},{_type:w,label:aSI,text:[{_key:"eeb9419b9799",markDefs:[],children:[{text:"Simone Subal Gallery is proud to announce the opening of Baseera Khan’s ",_key:"7ab9beb7815f0",_type:a,marks:[]},{_type:a,marks:[f],text:"Floral Fix, ",_key:"7ab9beb7815f1"},{marks:[],text:"Khan’s second solo exhibition with the gallery, on Friday, April 12th, 2024, 6 - 8PM at 131 Bowery, NY.",_key:"7ab9beb7815f2",_type:a}],_type:c,style:d},{_key:"fbe36bf4420b",markDefs:[],children:[{_type:a,marks:[],text:aDw,_key:"631b9c710b42"},{text:cs,_key:"7ab9beb7815f3",_type:a,marks:[f]},{_key:"7ab9beb7815f4",_type:a,marks:[],text:" marks Baseera Khan’s passionate return to painting, a medium that they are drawn to for its emotional and gestural immediacy, and capacities for embodiment. In these new paintings, Khan studies the flora of Kashmir, examining both their intrinsic medicinal qualities and exploitation in global markets. The oils and pigments of Kashmiri flowers are extracted for beauty serums, makeup, and scents in exclusive luxury goods—uses that now threaten the indigenous plants with extinction. In "},{text:cs,_key:"7ab9beb7815f5",_type:a,marks:[f]},{_type:a,marks:[],text:", Khan critiques Western mythologies of self-care, and compulsive beauty “fixes,” that are built through a systematic extraction of resources from the subcontinent. Their paintings engage the polarities of beauty, medicine, and violence, that are latent in the natural forms of orchids, lotuses, poppies, and saffron crocuses. To make their works, Khan submerges hand-crafted paper in water, which they then stack with alcohol-based inks, crude oil, and oil paint—materials that repel one another as they intermix. Possessing radiant hues of greens, pinks, and purples, Khan’s transfixing flowers appear both emergent and smothered, vitally blooming and bleeding in a chemical field.",_key:"7ab9beb7815f6"}],_type:c,style:d},{style:d,_key:"88233708f33d",markDefs:[],children:[{marks:[],text:"\n\nAt the center of the exhibition is an expansive grid of ten paintings, a field of flowers that extends ten feet high, and sixteen feet long. Each unit of the grid consists of two paintings that the artist cut along a diagonal and sutured together—two flowers meeting diametrically as one. Together the composition forms a sacred geometry or pattern—like a quilted square, or the recurring motifs of a Kashmiri rug. By engaging the “cut” as a method, Khan’s paintings extend a language that exists in their previous work in collage, a rupture that summons new spatial kinships and forms. And through these cuts, Khan’s floral figurations enter the language of abstraction, to which the artist is committed. The field’s geometries begin to invoke other formations, like agrarian crop lines or a military airfield, read from above. In another series of smaller works on wood panels, the artist extends this visual vocabulary, while integrating fragments of actual Kashmiri rugs, whose embroidered patterns contain the flowers the artist paints.",_key:"ec782f94943f",_type:a}],_type:c},{children:[{_type:a,marks:[],text:"\n\nAs a companion to these grids of flowers, Khan also presents a new floor-based installation of plastic water bags, filled with crude oil, water, and pigmentation—the same materials that compose their paintings. Khan’s soft bags of colored water are reminiscent of artist Senga Nengudi’s ",_key:"1103356749ea"},{_type:a,marks:[f],text:"Water Compositions ",_key:"7ab9beb7815f7"},{_type:a,marks:[],text:"series (1969-70)",_key:"7ab9beb7815f8"},{_key:"7ab9beb7815f9",_type:a,marks:[f],text:db},{text:"as they engage the vitality of liquid color",_key:"7ab9beb7815f10",_type:a,marks:[]},{_type:a,marks:[f],text:$,_key:"7ab9beb7815f11"},{marks:[],text:"Khan’s formulations, however, dispersed across the gallery floor, appear like airdropped resources—failed attempts at humanitarian aid. Khan’s poetic forms extend into the geopolitics of the present, from Kashmir to the shadows of colonial occupation around the world.",_key:"7ab9beb7815f12",_type:a}],_type:c,style:d,_key:"20a35e9ba775",markDefs:[]},{markDefs:[],children:[{text:q,_key:"c0d6ba6fa1a7",_type:a,marks:[]}],_type:c,style:d,_key:"4771fb1e534a"},{style:d,_key:"9215e446fd1d",markDefs:[],children:[{text:"\nStill, Khan fixates on their flowers’ potentialities of healing. To this end, their exploration of color and luminosity is key. While closely studying the inherent medicinal qualities and natural pigmentation of their floral subjects, the artist arranges colors according to principles of energy and chakra meditation, and encases their works in custom frames of iridescent plexiglass. 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A pyramid becomes a building when it is large enough to fit inside, and conversely becomes more vague when that function is eliminated. Despite associations to tombs, mausoleums, etc., its function is to be an object of admiration or a container. Cleaning out someone’s home after their death exemplifies a spatial reduction in favor of the object. A house is sold and an heirloom supplants the presence of that environment. All conditions of this presence are now condensed within the object.\n",_key:"be7480fb45d22",_type:a}],_type:c},{style:d,_key:"88ed581a6e64",markDefs:[],children:[{_key:"530a9762a1890",_type:a,marks:[],text:"Miniaturization offers a sampling of much more intricate connotations, and underscores opportunities for display, explanation, or reverence. Display both obfuscates and illuminates because it is inherently selective. Miniaturization also transmutes the concealability of a large structure or object, processing it into something small enough to hoard. In this transformation, sacrifices of detail must be made and creative liberties taken. An idea, thoughts, or feelings, become reified in this object. If the object is admired again and again, especially on display, is its function an altar? Dedication to its creation and preservation at least indicate an importance. Reverence of the object (even one implicated with "},{marks:[f],text:"negative ",_key:"530a9762a1891",_type:a},{_key:"530a9762a1892",_type:a,marks:[],text:"associations), dedication to its existence (even as an imperfect duplicate), and the opportunity to admire make the miniature a fetish object. Devotion ensures that."}],_type:c},{style:d,_key:"2af3cfb47a70",markDefs:[],children:[{text:q,_key:"d3389961efef0",_type:a,marks:[]}],_type:c},{style:d,_key:"a4ef9984e487",markDefs:[],children:[{_type:a,marks:[],text:"A dollhouse insists on translating a ",_key:"73c70f86bc4e0"},{_type:a,marks:[f],text:"home",_key:"73c70f86bc4e1"},{_type:a,marks:[],text:" into an object. Level of detail can be determined by the contractor. With a reduction in scale, the supporting structure of the house becomes thinner and more delicate. The smallest dollhouse in the universe might have a translucent membrane for walls — it might quiver and take flight with the slightest breeze.",_key:"73c70f86bc4e2"}],_type:c},{markDefs:[],children:[{_key:"f94921160e7c0",_type:a,marks:[],text:q}],_type:c,style:d,_key:"3f53819c29ec"},{markDefs:[],children:[{_type:a,marks:[],text:"A significant object’s scale might be altered through a segmentation. Reduction does not need to be holistic and is sometimes achieved by physically excavational methods. A separation from a larger piece has an implied violence, even performed under the most clinical or surgical of means. The fracturing is brutal. A chunk of something — a sample — can be retrieved for observation or display, or for archival purposes. Its scale becomes more manageable through this method of reduction, but its significance and the context to which it gestures are even further complicated. Much like the vacated home, it becomes condensed and thus softened, details blurred.",_key:"ea39e5e101980"}],_type:c,style:d,_key:"ed6ba16b7f06"},{_key:"28035b89e176",markDefs:[],children:[{text:q,_key:"a0b281686bc70",_type:a,marks:[]}],_type:c,style:d},{_type:c,style:d,_key:"5f1bbfce49e7",markDefs:[],children:[{_key:"f872ae1b76570",_type:a,marks:[],text:"The still life painting provides a unique opportunity to take a declarative position in presenting meaningful objects. It is important that the object itself can be kept, or maintain its function, and that the painting is a translation of it. A painting is similar to the miniature in this way, both resulting in condensed physical manifestations of disparate subjects. "},{_type:a,marks:[f],text:"Because",_key:"f872ae1b76571"},{_type:a,marks:[],text:" of their vagueness or obscurity, and ",_key:"f872ae1b76572"},{_key:"f872ae1b76573",_type:a,marks:[f],text:"despite"},{_type:a,marks:[],text:" their apparent fidelity, the paintings in ",_key:"f872ae1b76574"},{_type:a,marks:[f],text:cF,_key:"f872ae1b76575"},{marks:[],text:" have distinctly positioned the practice of making and the act of constructing a still life ahead of the understanding of the personal significance (to the artist) of symbols within the works. The privacy generated through this act underscores the insistence on process. Their materiality asserts their objecthood\n",_key:"f872ae1b76576",_type:a}]},{_key:"11a7bba2b1ff",markDefs:[],children:[{_key:"0518104b25f10",_type:a,marks:[],text:"Perhaps the translation is not so representational. Sometimes the subject is just a stand-in for some enormous projections, and that makes representationalism problematic. Dominick Di Meo’s skulls and rubble establish a generative visual language with a proclivity for a few themes: catacombs, altars, funerals, brutality, bodily harm, illness, death, and ghosts. The devotion of making, especially within a repetitive visual parameter, implicates ritualism. Their miniaturization and reference to the diorama lends a daintiness to otherwise severe construction materials. In his "},{_type:a,marks:[f],text:"Relief Wall Drawings,",_key:"0518104b25f11"},{_type:a,marks:[],text:" rigidity of material is deceptive — with inspection it is understood that the immutable support was once flexible fabric, and the scale of the cross-hatched wire reduces it to something like lace. Their scale asserts that they are altars rather than monuments. Even his works ",_key:"0518104b25f12"},{text:"Studies for Monuments ",_key:"0518104b25f13",_type:a,marks:[f]},{text:"function as shrines at ‘study’ scale — they are consequently more intimate, and just as loaded.\n",_key:"0518104b25f14",_type:a,marks:[]}],_type:c,style:d},{_type:c,style:d,_key:"bab364c64cc9",markDefs:[],children:[{text:"The process of making is a gothic process. Devotional objects are catalytic of big feelings. Both artists have struggled with severe and chronic illness, and thanatological themes imbue a bodily and psychological malaise into the work (the studio as catacomb, the process as funeral, the studio as…heaven?). Symptomatic consequences of illness elicit a retreation into the studio or home, to be further consumed by making. Objects of affection assist greatly in the nesting process, and provide fuel for work.",_key:"486e9e2b54450",_type:a,marks:[]}]},{_type:c,style:d,_key:"ce02e21b1845",markDefs:[],children:[{text:q,_key:"3896695a61310",_type:a,marks:[]}]},{children:[{_key:"8a197d933b3b0",_type:a,marks:[],text:"A doll can embody a subject of a portrait; an object or arrangement can be built of materials that each have discrete significance, but assumes new meaning through its assemblage; the language of material is exigent, and clarity may come only through an examination of a "},{_type:a,marks:[f],text:"body",_key:"8a197d933b3b1"},{_key:"8a197d933b3b2",_type:a,marks:[],text:" of work; an altar (or its ephemeral sibling, a"},{_type:a,marks:[f],text:" reposoir",_key:"8a197d933b3b3"},{text:") helps us practice conscious remembering; cognizant hoarding (as well as art-making) can be a mnemonic device; an approximation of a thing can get an idea across; handheld scale can augment intensity.",_key:"8a197d933b3b4",_type:a,marks:[]}],_type:c,style:d,_key:"af8e8339db70",markDefs:[]},{style:d,_key:"e92e89fe813a",markDefs:[],children:[{text:q,_key:"6cc11b7fc56d0",_type:a,marks:[]}],_type:c},{children:[{_key:"dbeee6eccbca0",_type:a,marks:[],text:W}],_type:c,style:d,_key:"0cb6d42ecc57",markDefs:[]},{_type:c,style:d,_key:"a7489262dc83",markDefs:[],children:[{_type:a,marks:[],text:"– Ella Rose Flood, 2024",_key:"c585196ed7670"}]}]},{work:[{asset:{_ref:"image-f11a074f494dd651c50be42a2e9b7879545ce268-3118x2263-jpg",_type:b},_type:e,caption:[{_key:"11796ce82dec",markDefs:[],children:[{marks:[],text:"Ella Rose Flood, Untitled, 2024. Oil on linen. 5 × 7 inches (12.70 × 17.78 cm).",_key:"f0f45cc5144c0",_type:a}],_type:c,style:d}],_key:"45661d4ed73c"},{caption:[{_type:c,style:d,_key:"941fd7bbb808",markDefs:[],children:[{text:"Ella Rose Flood, Yoga wall with reduced scale, 2024. Oil on linen. 40 × 30 inches (101.60 × 76.20 cm).",_key:"e3af621a1db90",_type:a,marks:[]}]}],_key:"7aa082c80c92",asset:{_ref:"image-48729a559283ec46620a91c163efcf7b7af44a85-2921x3365-jpg",_type:b},_type:e},{_key:"c92ba59e3271",asset:{_ref:"image-913b9560230ebb8311a50905bbcddbb660f90917-2795x4000-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"f6dbfe0fafa3",markDefs:[],children:[{_type:a,marks:[],text:"Dominick Di Meo, Untitled, 1979. Polyform and acrylic on polymer-coated canvas and wire mesh. 27 × 9 × 13 inches (68.58 × 22.86 × 33.02 cm).",_key:"bfec24365f230"}]}]},{asset:{_type:b,_ref:"image-89ec7bdbb59391d60815f9c6291a26bbd9f97606-4000x3118-jpg"},_type:e,caption:[{_type:c,style:d,_key:"1f750e8ca3ed",markDefs:[],children:[{_type:a,marks:[],text:"Dominick Di Meo, Untitled, 1980. Polyform and acrylic on polymer-coated canvas and wire mesh. 8 × 19 × 19 inches (20.32 × 48.26 × 48.26 cm).",_key:"857ac1a9c1880"}]}],_key:"cd7d4c2c785f"},{_type:e,caption:[{markDefs:[],children:[{marks:[],text:"Ella Rose Flood, Wall mockup with glass shards and 100 year old bricks from the church, 2024. Oil on linen 29 × 50 inches (73.66 × 127.00 cm).",_key:"90225351b3bb0",_type:a}],_type:c,style:d,_key:"a31b25564e4d"}],_key:"0c13c1d01f61",asset:{_ref:"image-96735edd8413e75989d47d68aecfbdf94a4af583-3230x2227-jpg",_type:b}},{_type:e,caption:[{_type:c,style:d,_key:"7352e6751b8b",markDefs:[],children:[{_key:"9488de719bf80",_type:a,marks:[],text:"Dominick Di Meo, Untitled, 1979. Acrylic and sculptural elements mounted on polymer coated canvas and mesh wire. 13 × 17 × 9 1\u002F2 inches (33.02 × 43.18 × 24.13 cm)."}]}],_key:"1d5629571d9a",asset:{_ref:"image-ac628999109b5d36866a34e5c80be0a04fd136f1-4000x3074-jpg",_type:b}},{asset:{_ref:"image-59b4ea8062980ecc64fc39c3824400085d49be8b-3261x4094-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{text:"Ella Rose Flood, Steak for Bunny, 2024. Oil on linen. 22 × 16 inches (55.88 × 40.64 cm).",_key:"2b73a896ed170",_type:a,marks:[]}],_type:c,style:d,_key:"cb4d96e2a999"}],_key:"9232c4f02fb9"},{asset:{_ref:"image-6b00cb54fed524f4082fe629cd98a915f12a1527-4000x2779-jpg",_type:b},_type:e,caption:[{children:[{_key:"9d232e1e3ca60",_type:a,marks:[],text:"Dominick Di Meo, Untitled (Study for 'A Monument'), 1979. Acrylic and sculptural elements mounted on polymer coated canvas and mesh wire. 9 × 34 × 11 inches (22.86 × 86.36 × 27.94 cm)."}],_type:c,style:d,_key:"9c3ecbbd77c2",markDefs:[]}],_key:"d4b8087c9772"},{_key:"6038ff15dad5",asset:{_type:b,_ref:"image-17734ffa22bd0cf46a265c06a435b7cbaf21a4b2-2712x3489-jpg"},_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:"Ella Rose Flood, Dove that came to live with us this winter. I saw him at my studio throughout the fall. He is living in the back stairs of our apartment (which are mostly enclosed), 2024. Oil on linen. 20 × 12 inches (50.80 × 30.48 cm).",_key:"88ef78d30fb30"}],_type:c,style:d,_key:"f663d985d791"}]},{asset:{_ref:"image-267e0905866862433d5fb6a3fc225b0aa49a8e10-2994x3430-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"9ee10c6566a7",markDefs:[],children:[{_key:"24247da1226f0",_type:a,marks:[],text:"Ella Rose Flood, Wall closeup with hand injury, 2024. Oil on linen. 12 × 8 inches (30.48 × 20.32 cm)."}]}],_key:"eede91736834"},{_key:"2e0a201d879b",asset:{_ref:"image-0a5294794e39b3fbaa9f1f151754ad0fddcc86c0-3697x4000-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"3ead44a82f33",markDefs:[],children:[{_key:"a585593f91580",_type:a,marks:[],text:"Dominick Di Meo, Untitled, 1990s (Undated). Sculptural elements, graphite, wire, acrylic, and canvas. 14 × 17 × 3 1\u002F2 inches (35.56 × 43.18 × 8.89 cm)."}]}]},{caption:[{_type:c,style:d,_key:"361704c42e98",markDefs:[],children:[{marks:[],text:"Dominick Di Meo, Untitled, 1978. Polyform and acrylic on polymer-coated canvas and wire mesh. 21 × 19 × 3 1\u002F2 inches (53.34 × 48.26 × 8.89 cm).",_key:"5de1398afd650",_type:a}]}],_key:"838cc7cafcf0",asset:{_type:b,_ref:"image-4ece0538478ae6c588d3f76c203728f354eb229d-3322x4000-jpg"},_type:e},{caption:[{_type:c,style:d,_key:"a91fa9e8bd52",markDefs:[],children:[{_type:a,marks:[],text:"Dominick Di Meo, Untitled, 1990s (Undated). 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​​(b. 1927, Niagara Falls, NY) lives and works in New York City. Dominick Di Meo is one of Chicago’s key transitional figures and an artist of immense power and sensitivity. One of the original members of the so-called Monster Roster, a 1950s group of Chicago artists that included Leon Golub, Nancy Spero, Cosmo Campoli, George Cohen, June Leaf, Ted Halkin, and Seymour Rosofsky, Di Meo’s Chicago-era work was ferociously unique and personal. His early paintings and drawings featured stressed, existentially tormented figures. He was deeply moved by his encounters with the catacombs of Mexico and Rome, and his dark, haunting images began to acquire a set of common icons, which included skulls and disarticulated limbs and bones. By the late ’50s, Di Meo was making reliefs, utilizing papier-mache, plastic, wood, layers of vinyl and plaster.\n\nDi Meo has held select solo and group exhibitions at Tang Museum, Saratoga Springs, NY, USA (2018), Smart Museum, Chicago, IL, USA (2016), The Menil Collection, Houston, TX, USA (2015), Corbett vs. Dempsey, Chicago, USA (2014), Thomas Dane, London, UK (2013), DePaul Art Museum, Chicago, IL, USA (2013), Corbett vs. Dempsey, Chicago, IL (2011), Samek Art Gallery, Bucknell University, Lewisburg, PA, USA (2011), The Puffin Room, New York, NY, USA (2010), Corbett vs. Dempsey, Chicago, IL, USA (2008), Museum of Contemporary Art, Chicago, IL, USA (1984), The Institute for Art and Urban Resources, P.S.1, Long Island City, NY, USA (1982), Smithsonian Institution, Washington D.C., USA (1979), Westbroadway Gallery, New York, NY, USA (1976, 1975), Whitney Museum of American Art, New York, NY, USA (1967).\n\nHis work is included in the collections of The Art Institute of Chicago; the Whitney Museum of American Art, New York; DePaul University Art Museum, Chicago; Smithsonian American Art Museum; Hammer Museum; Grunwald Center for the Graphic Arts; University of Chicago; and the Smart Museum of Art.",_key:"b321d67c89ce",_type:a}],_type:c,style:d}],_key:"9ad3977924a7"},{_key:"9c668f2035d3",boxed:j,_type:w,label:"Ella Rose Flood",text:[{_key:"8de1491f02e0",markDefs:[],children:[{_type:a,marks:[g],text:aTf,_key:"3db4ecad28840"},{_type:a,marks:[],text:"(b. 1999, Chicago, IL) lives and works in Chicago. She completed her BFA at the School of the Art Institute of Chicago in 2021. Her work investigates funeral rites, mourning practices, and her own experiences of loss and chronic illness.\n\nFlood has had solo and two-person exhibitions at Galerie Hussenot, Paris, FR (2023); In Lieu, Los Angeles, CA, USA (2023); Lubov, New York, NY, USA (2023); Jargon Projects, Chicago, IL, USA (2022); and BAITBALL 02, Polignano a Mare, IT (2022). She has been included in group exhibitions at Bodenrader, Chicago, IL, USA (2023); Roberts Projects, Los Angeles, CA, USA (2023); White Columns, New York, NY, USA (2023); Jargon Projects, Chicago, IL, USA (2021).",_key:"3db4ecad28841"}],_type:c,style:d}]}],_rev:"VtjkJew4F4lZQ7TtUriSQL",thumbnail:{caption:[{children:[{marks:[],text:aTc,_key:"e9f2d48568f8",_type:a},{marks:[f],text:aTd,_key:"8d0d5282a621",_type:a},{marks:[],text:aTe,_key:"7adb104f26a9",_type:a}],_type:c,style:d,_key:"4dc1e8acded8",markDefs:[]}],asset:{size:1527950,originalFilename:"ERF DDM web 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Subal Gallery is pleased to present"},{text:gE,_key:"e0e3d00effc51",_type:a,marks:[]},{marks:[g,f],text:aDF,_key:"e0e3d00effc52",_type:a},{_key:"e0e3d00effc53",_type:a,marks:[g],text:", featuring works by Ernesto Burgos, Masaya Chiba, Anna K.E. and Pauline Shaw."}],_type:c,style:"center",_key:"75a70b0a516e",markDefs:[]},{style:d,_key:"cf10bfb222a8",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"fa7a9e79318e0"}],_type:c},{_type:c,style:d,_key:"ad35c4f8dcad",markDefs:[],children:[{_type:a,marks:[],text:"An object becomes untethered from its physical form. The ball rolls upwards against gravity, the brain floods with forgotten synapses, and paper crumples outwards, unfurling, as an empty swimming pool takes flight. The memory of its original state is precarious; matter itself tensing and stretching its disobedient edges. The hunt to pin it down is on – is it better to track the essence through its atoms? To graph its architecture? Its invisible biology? Or the hither and thithering of its impression? Material and image are unreliable sources, intractable and sneaky. So we wait, on tenterhooks, stitching together what ",_key:"08200c02d39a0"},{_key:"08200c02d39a1",_type:a,marks:[f],text:"is"},{text:".\n",_key:"08200c02d39a2",_type:a,marks:[]}]},{_type:c,style:d,_key:"370b08f729f3",markDefs:[],children:[{marks:[],text:"\nErnesto Burgos twists and tears cardboard and fiberglass, caving in and contorting their internal structures. The wall sculptures seem held up by an invisible wind, like crumpled tissue, blown against the wall for only a moment. Scrawls in charcoal and oil paint loop and scribble over and through the creased and lacerated forms, like tire marks or rubbed out messages. They seem to have only just arrived, and already are barely held back from flying away.",_key:"6759d0607cb1",_type:a}]},{_key:"9d918f03f67d",markDefs:[],children:[{_key:"6a53a96c15ae",_type:a,marks:[],text:"\n\nMasaya Chiba’s paintings too are taut with the possibility of motion. The still-lives have a shallow depth of field, depicting spheres arranged on a wooden cross, like an unfired trebuchet. They stand in front of chewed-up bust-like shapes, flat profiles of unknown characters. Muted and quiet, they imply Morandi’s careful family portraits of bottles and vases. Chiba’s repeated motifs, however, are not familiar objects but stylized metaphysical constellations – encoded models of unknown systems."}],_type:c,style:d},{markDefs:[],children:[{_key:"faee9e39dd24",_type:a,marks:[],text:"\n\nAnna K.E.’s works on canvas also seem to speak of a metaphysical space, a De Chirico-world of empty archways and stairs going nowhere. The unstretched canvases have a surface like rubber, like the squeak of a gymnasium floor or a brightly colored ball of Playdoh. Bouncing technicolor forms ricochet through hyperspace, while copper struts dissipate into smoke. Like early computer games, they urge the viewer to press start, to connect the dots or to venture into their slow-loading, uninhabited realms."}],_type:c,style:d,_key:"212a7e625821"},{_key:"043c64cc848d",markDefs:[],children:[{_type:a,marks:[],text:"\n\nPauline Shaw’s fabric works are strung up like the wooly skins of imaginary beasts. Shaw bases the tapestries on images of the brain remembering, tracing delicate lines of a memory’s biological structure. Crisscrossed by veins of black and green felt, they could be blotted out maps of underwater floodplains or Rorschach tests – a cartography of an inconstant impression, drawn through repeated recall and ever-changing retellings. Shaw chases an unconscious image through skein and bone, and into abstraction.\n",_key:"3b5831b3ba51"}],_type:c,style:d},{children:[{_key:"31ea9e938592",_type:a,marks:[],text:q}],_type:c,style:d,_key:"bc057d5545e2",markDefs:[]},{style:d,_key:"f847250d4a06",markDefs:[],children:[{_key:"cc29c95dd64b",_type:a,marks:[],text:q}],_type:c},{markDefs:[],children:[{_type:a,marks:[],text:"- Thea Voyles, 2024",_key:"b68e1d0c666e0"}],_type:c,style:bd,_key:"e56e95e4616c"}],_key:"b6a7e09b4e79",_type:w,label:"PR 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2023. Mixed media on canvas. 16 1\u002F2 × 21 1\u002F2 inches (41.91 × 54.61 cm); 17 3\u002F4 × 22 3\u002F4 inches (45.09 × 57.79 cm) (framed). ",_key:"f2d8bc8322ba"}]}],_key:"50fc730c83db"},{asset:{_type:b,_ref:"image-46a32e8d7fbc6979b944f445f111ccd19da36a38-3214x4000-jpg"},_type:e,caption:[{style:d,_key:"e18e6ac3803f",markDefs:[],children:[{marks:[],text:aTD,_key:"ea2c56fafdcf0",_type:a},{_type:a,marks:[f],text:"Brittle Star,",_key:"4f4edd34fd63"},{text:" 2023. Hand felted wool, cotton scrim, metal rod and D-rings. 82 × 64 inches (208.28 × 162.56 cm).",_key:"78867ee40765",_type:a,marks:[]}],_type:c}],_key:"ff062074c563"},{caption:[{children:[{text:aDH,_key:"ae84d9ca3b1f0",_type:a,marks:[]},{text:"Painting and Vegetable #7 (Prophet)",_key:"5eff1340042e",_type:a,marks:[f]},{text:", 2023. Oil on canvas, panel, vegetable, wood. 16 1\u002F2 × 22 1\u002F2 inches (41.91 × 57.15 cm).",_key:"e5f6e1764527",_type:a,marks:[]}],_type:c,style:d,_key:"a07dcc716631",markDefs:[]}],_key:"65acfe2a99c5",asset:{_ref:"image-2b56216d0898249c18620d8fcf4d1227902fdecb-1700x1275-jpg",_type:b},_type:e},{caption:[{children:[{_key:"d63abc56e5880",_type:a,marks:[],text:aDI},{_key:"1d946b5993d9",_type:a,marks:[f],text:"Flèche"},{marks:[],text:", 2023. Fiberglass, resin, wood, cardboard, charcoal, oil paint. 58 × 46 × 7 inches (147.32 × 116.84 × 17.78 cm).",_key:"1de14f5de2b7",_type:a}],_type:c,style:d,_key:"271bb0a0692a",markDefs:[]}],_key:"ddf383237713",asset:{_ref:"image-dac1cc9e6e19aac5dd5d96cd80e11f444e2060f7-2000x2669-jpg",_type:b},_type:e},{_key:"f4cf29b7c99d",asset:{_ref:"image-a74e86065ddf42affad1a2a30510233ff142adf1-1500x2100-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:a_,_key:"7a1f560fa4cd0"},{text:"apoteosis",_key:"c0253a8f12d9",_type:a,marks:[f]},{_key:"e3eea2027562",_type:a,marks:[],text:", 2023. Mixed media on canvas. 7 7\u002F8 × 5 7\u002F8 inches (20.00 × 14.92 cm); 9 1\u002F8 × 7 1\u002F2 inches (23.18 × 19.05 cm) (framed)."}],_type:c,style:d,_key:"aede81784a3f"}]},{_type:e,caption:[{style:d,_key:"e06c25bc5494",markDefs:[],children:[{_type:a,marks:[],text:aDI,_key:"0dff4c0ef9b50"},{_type:a,marks:[f],text:"Blemish",_key:"822451329c68"},{_key:"30db4174e78f",_type:a,marks:[],text:", 2023. Fiberglass, resin, wood, cardboard, charcoal, oil paint. 30 × 25 × 4 inches (76.20 × 63.50 × 10.16 cm)."}],_type:c}],_key:"34e3791e23b6",asset:{_type:b,_ref:"image-9b0c5f845c2d665ff88915c8ead8649c56dc0b8b-1700x2324-jpg"}},{_type:e,caption:[{children:[{marks:[],text:aTD,_key:"42440e1359e10",_type:a},{text:"Passing Through",_key:"0a2eb74b3176",_type:a,marks:[f]},{_type:a,marks:[],text:", 2023. Hand felted wool and cotton scrim. 60 × 35 inches (152.40 × 88.90 cm).",_key:"472dd6c45c8b"}],_type:c,style:d,_key:"8db36b677390",markDefs:[]}],_key:"a7d288d74f4b",asset:{_ref:"image-826f7865c38a40cf40a6cb5794a0fd2ca2c00e0c-2000x2000-jpg",_type:b}},{caption:[{_key:"f4cc6ab27adb",markDefs:[],children:[{_key:"f60fa1ace2010",_type:a,marks:[],text:aDH},{text:"Painting and Vegetable #8 (Persimmon Tree)",_key:"3e3aebadc1dd",_type:a,marks:[f]},{text:", 2023. Oil on canvas, panel, vegetable, wood. 14 × 16 7\u002F8 inches (35.56 × 42.86 cm).",_key:"9ec8fe88997e",_type:a,marks:[]}],_type:c,style:d}],_key:"0e24dcf61439",asset:{_ref:"image-c374aa57263e83d68718252280c703bc7abf49ef-1800x1350-jpg",_type:b},_type:e},{asset:{_ref:"image-a516e4abd989a0253a5cc365580b86f53a73d068-1700x2268-jpg",_type:b},_type:e,caption:[{children:[{_key:"0ce961e4ea210",_type:a,marks:[],text:aDI},{marks:[f],text:"Emblem",_key:"4d7267f175a5",_type:a},{_type:a,marks:[],text:", 2023. Fiberglass, resin, wood, cardboard, charcoal, oil paint. 49 × 36 × 6 inches (124.46 × 91.44 × 15.24 cm).",_key:"48bcd6ef8e63"}],_type:c,style:d,_key:"88fc2492cd41",markDefs:[]}],_key:"3bc118ffe404"},{caption:[{children:[{text:a_,_key:"88bbae873c9e0",_type:a,marks:[]},{_key:"f0c5f7c2d59e",_type:a,marks:[f],text:"in front of the trajectory"},{_type:a,marks:[],text:", 2023. Mixed media on canvas. 6 × 8 inches (15.24 × 20.32 cm); 7 1\u002F2 × 9 1\u002F8 inches (19.05 × 23.18 cm) (framed).",_key:"fe5e25113980"}],_type:c,style:d,_key:"f2526f62eaf7",markDefs:[]}],_key:"55faaaffaf6c",asset:{_ref:"image-7ab824185e959710c9152e160706fe0762e6ae8a-2200x1572-jpg",_type:b},_type:e},{_key:"cb52ef8f07cf",asset:{_type:b,_ref:"image-cbb839e219e65685c0606be263642393fb8d104a-4000x3200-jpg"},_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:aDH,_key:"13d52efa50f90"},{text:"Theater in The World of Plaid",_key:"7867b5880755",_type:a,marks:[f]},{_key:"839b70093a2a",_type:a,marks:[],text:", 2023. Cloth, oil on canvas, paper, photograph, gouache. 45 1\u002F4 × 59 1\u002F2 inches (114.94 × 151.13 cm)."}],_type:c,style:d,_key:"510c4aea8f97"}]}],display:aR,_type:L,label:aDt},{text:[{_type:c,style:d,_key:"2fd314ab7e9f",markDefs:[],children:[{_type:a,marks:[g],text:aTE,_key:"598364ee80ff0"},{_type:a,marks:[],text:"(Chilean-American, b. 1979, Santa Clara, CA) lives and works in New York, NY. Burgos manipulates commercial materials such as cardboard, fiberglass and resin to create his organically shaped works. The work relays the illusionary and physical space of abstraction; each form mimics the stroke in an inverse or manipulated relationship. He bends, tears, cuts and glues repeatedly until the abstraction becomes three dimensional. Through this bodily process of sculptural painting, he explores the progression of change, mark making, movement and manipulation. The work changes as the viewer’s perspective shifts in relation to the piece, the illusionary space is contorted and expanded adding depth to the gestural motions.\n\nRecent solo and two person exhibitions include The Sunday Painter, London, UK (2023); Parrasch Heijnen, Los Angeles, CA, USA (2023); Gana Art, Seoul, Korea (2023); AK Contemporary, Cologne, Germany (2022); Galerie Julien Cadet, Paris, France (2022); Ross+Kramer Gallery, East Hampton, NY, USA (2021); Galeria The Goma, Madrid, Spain (2015, 2019); University of Buffalo Art Gallery, Buffalo, NY, USA (2018); Galeria Revolver, Lima, Peru (2017); Kate Werble Gallery, New York, NY, USA (2017); Halsey McKay Gallery, East Hampton, NY, USA (2017); Nino Mier Gallery, Los Angeles, CA, USA (2016). Recent group exhibitions include Club Rhubarb, New York, NY, USA (2022, 2023); Revolver Galeria, New York, NY, USA (2023); Anthony Meier, Mill Valley, CA, USA (2023); Helena Anrather Gallery, New York, NY, USA (2023); Sorry We’re Closed, Brussels, Belgium (2022); Gana Art NineOne, Seoul, Korea (2022); Swivel Gallery, Saugerties, NY, USA (2022); Magenta Plains, New York, NY, USA (2021); Kate Werble Gallery, New York, NY, USA (2021); Halsey McKay Gallery, East Hampton, NY, USA (2017, 2021); Galeria Alegria, Madrid, Spain (2019); Curated by Lawrence Van Hagen, London, UK (2017); FLAT: TWO, London, UK (2017); The Chimney, New York, NY, USA (2017); Curated by Lawrence Van Hagen, New York, NY, USA (2017); CODE Art Fair, Copenhagen, Denmark (2016); Aetopoulos, Athens, Greece (2016); Geoffrey Young Gallery, Great Barrington, MA, USA (2016); 67 Ludlow St, New York, NY, USA (2016); Van Horn, Dusseldorf, Germany (2016); Junior Projects, New York, NY, USA (2015); Park Life Gallery, San Francisco, CA, USA (2015); Kunstmuseum Magdeburg, Magdeburg, Germany (2015); Helper Projects, Brooklyn, NY, USA (2015).\n\nErnesto Burgos’s work is in the collection of the Kunstmuseum Magdeburg in Magdeburg, Germany.",_key:"598364ee80ff1"}]}],_key:"7a20885874c8",boxed:j,_type:w,label:aTE},{_key:"fcabb62f3597",boxed:j,_type:w,label:aTF,text:[{_key:"95575cb9b03b",markDefs:[],children:[{_type:a,marks:[g],text:aTF,_key:"6109e2559a000"},{_key:"6109e2559a001",_type:a,marks:[],text:"(b. 1980 Kanagawa, Japan) lives and works in Tokyo, Japan. Chiba’s paintings are created through a process in which the artist actively engages with the objects of his choice as much as necessary; he extracts images from his surroundings and previous life events and reconstructs them on canvas while utilizing his handmade motifs. With his sophisticated skill set, Chiba can differentiate textures of various motifs in his paintings where he establishes a complex world combining pseudo-reality, pure artificiality and reality. While sincerely imprinting copious achievements of paintings of all times and places on his mind, the artist boldly disturbs the existing structure of contemporary art with his preferred medium, painting.\n\nRecent solo and two person exhibitions include ShugoArts, Tokyo, Japan (2016, 2017, 2023); Bel Ami, Los Angeles, CA (2022); Tokyo Opera City Art Gallery, Tokyo, Japan (2021); gallery αM, Tokyo, Japan (2018); Art Center Ongoing, Tokyo, Japan (2018); The Steak House DOSKOI, Tokyo, Japan (2016, and 2018, with Shogo Shimizu). Recent group exhibitions include Nonaka-Hill, Los Angeles, CA, US (2021); soda, Tokyo, Japan (2020); ShugoArts, Tokyo, Japan (2015, 2017, 2018, 2020); Former Minato Dormitory of Nagoya Custom, Aichi, Japan (2019); Mine Project, Hong Kong, Hong Kong (2019); Video Box, Paris, France (2019); THE STEAK HOUSE DOSKOI, Tokyo, Japan (2019); FUKUGAN GALLERY, Osaka, Japan (2019); Museum of Contemporary Art Tokyo, Tokyo, Japan (2019); Guimarães, Vienna, Austria (2018-19); Power Station of Art (PSA), Shanghai, China (2018); Aomori Museum of Art, Aomori, Japan (2018); Iwami Art Museum, Shimane, Japan (2018); Shizuoka Prefectural Museum of Art, Shizuoka, Japan (2018); Art Center Ongoing, Tokyo, Japan (2018); Mori Art Museum, Tokyo, Japan (2017); Tama Art University Hachioji Campus, Art-Theque Gallery, Tokyo, Japan (2017); Suzu City, Ishikawa, Japan (2017, participated as OngoingCollective); XYZ collective, Tokyo, Japan (2017); Taipei National University of the Arts, Taipei, Taiwan (2016); White Rainbow Gallery, London, UK (2015); Art Sonje Center, Seoul, Korea (2015); Art Laboratory Hashimoto, Kanagawa, Japan (2015); Hiroshima City Museum of Contemporary Art, Hiroshima, Japan (2015, traveled to Seoul and Taipei).\n\nIn 2021, Masaya Chiba’s first exhibition catalog was published by the Tokyo Opera City Art Gallery, including images of his solo exhibition at the museum and his past major works.\n\nMasaya Chiba’s work is in the public collections of The Japan Foundation, Tokyo, Japan; Musée d’Art Moderne Grand Duc Jean, Luxembourg City, Luxembourg; The National Museum of Modern Art, Tokyo, Japan; Museum of Contemporary Art Tokyo, Tokyo, Japan; Mori Art Museum, Tokyo, Japan; M+ The West Kowloon Cultural District Authority Hong Kong, Hong Kong; Orange County Museum of Art, Santa Ana, CA, US.; Taguchi Art Collection, Tokyo, Japan; and Takahashi Ryutaro Collection, Tokyo, Japan."}],_type:c,style:d}]},{boxed:j,_type:w,label:I,text:[{_type:c,style:d,_key:"8127503af6de",markDefs:[],children:[{_type:a,marks:[g],text:I,_key:"ed918826c2500"},{_type:a,marks:[],text:"(b. 1986 in Tbilisi, Georgia) lives and works in Queens, New York. Anna K.E.’s practice investigates the body as agent and receptor in a technologically and physically mediated landscape; and the absurd nature of the creative act. Working across painting, sculpture, performance, and photography, K.E. mines the tension and humor of the body in space, and the ironies of social relationships and transactions.\n\nUpcoming solo shows include Haus Esters, Krefeld, Germany (2024) and the Kestner Gesellschaft, Hannover, Germany (2024). Recent solo and two person exhibitions include Galerie Barbara Thumm, Berlin, Germany (2013, 2015, 2020, 2022); National Georgian Museum, Tbilisi, Georgia (2022); Gallery Artbeat, Tbilisi, Georgia (2022); Simone Subal Gallery, New York, NY, USA (2013, 2015, 2018, 2020, 2021); The Delaware Contemporary, Wilmington, DE, USA (2020); Georgian Pavilion at the Venice Biennale, Venice, Italy (2019); Kunstpalais Erlangen, Erlangen, Germany (2019); Sammlung Philara, Düsseldorf, Germany (2018); Queens Museum, Queens, NY, USA (2017-2018); Primary, Nottingham, UK (2017); Sommer Gallery, Tel Aviv, Israel (2016). Recent group exhibitions include Simone Subal Gallery, New York, NY, USA (2023); E.A Shared Space, Tbilisi, Georgia (2022); Oxygen Biennial, Tbilisi, Georgia (2021); Hardspace, Basel, Switzerland (2019); September Gallery, Hudson, NY, USA (2018); Galeria Nara Roesler, São Paulo, Brazil (2018); Galerie Gisela Clement, Bonn, Germany (2018); Zentrum für Kunst und Medien, Karlsruhe, Karlsruhe, Germany (2017); G2 Kunsthalle, Leipzig, Germany (2016); The Kitchen, New York, NY, USA (2015); Museum of Contemporary Art, Santa Barbara, CA, USA (2015); Kunstverein Wiesen e.V. Wiesen, Wiesen, Germany (2015); Kunst Raum Riehen, Riehen, Switzerland (2015).\n\nAnna K.E. represented Georgia at the 2019 Venice Biennale with her work ",_key:"ed918826c2501"},{_key:"ed918826c2502",_type:a,marks:[f],text:hD},{_type:a,marks:[],text:hE,_key:"ed918826c2503"},{marks:[f],text:hF,_key:"ed918826c2504",_type:a},{_type:a,marks:[],text:hG,_key:"ed918826c2505"},{marks:[f],text:hH,_key:"ed918826c2506",_type:a},{text:hI,_key:"ed918826c2507",_type:a,marks:[]}]}],_key:"8892e219b05a"},{text:[{style:d,_key:"26da227a1484",markDefs:[],children:[{_type:a,marks:[g],text:aTA,_key:"ede5577a15a10"},{_type:a,marks:[],text:" (b. 1988, Kirkland, Washington) lives and works in Brooklyn, NY, USA. Shaw completed her MFA at Columbia University in 2019 and received her BFA from Rhode Island School of Design in 2011. Shaw is a multidisciplinary artist whose practice examines the intersections between personal experience and broader ethnic and spiritual histories. Working with wool and found objects, Shaw investigates the power of materials and commonplace objects to hold memory and unspoken emotion.\n\nShaw will have a solo show at Naranjo 141 in Mexico City, Mexico this spring, where she will be a resident. Recent solo and two person exhibitions include Chapter NY, New York, NY, USA (2023, with Antonia Kuo); In Lieu, Los Angeles, CA, USA (2021); Rhabbitat, Los Angeles, CA, USA (2016). Recent group exhibitions include the Boston Museum of Fine Arts, Boston, MA, USA (2023); Frost Museum, Miami, FL, USA (2023); Harper’s Gallery, New York, NY, USA (2023); Newchild Gallery, Antwerp, Belgium (2023); Dinner Gallery, New York, NY, USA (2023); ISCP, New York, NY, USA (2022); Friends Indeed Gallery, San Francisco, CA, USA (2022); Someday Gallery, New York, NY, USA (2022); Downs and Ross, New York, NY, USA (2022); J-OHS, Mexico City, Mexico (2022); Spurs, Beijing, China (2021); The Shed, New York, NY, USA (2021); In Lieu, Los Angeles, CA, USA (2016, 2019, 2020); Under Glass, Half Gallery, New York, NY, USA (2020); Almine Rech, Paris, France (2019); Gagosian, Park & 75th, New York, NY, USA (2019); ICA Singapore, Lasalle College of the Arts, Singapore (2019); Wallach Art Gallery, Columbia University, NY, USA (2018, 2019); Times Square Space, New York, NY, USA (2018); The Jewish Museum, New York, NY, USA (2018); Elevator Mondays, Los Angeles, CA, USA (2017); Ms. Barbers, Los Angeles, CA, USA (2017); Central Park Benefit Auction, Central Park Gallery, Los Angeles, CA, USA (2016); BBQLA, Los Angeles, CA, USA (2016); Rocine Studios, Los Angeles, CA, USA (2016); Night Gallery, Los Angeles, CA, USA (2015).\n\nShaw has been an artist in residence at the ISCP, New York, New York (2020), and the France Los Angeles Residency Exchange Program (2014). In 2023, Pauline Shaw was commissioned by the Queens Museum to create a mural for the Center court of the Queens Center, NY.\n\nPauline Shaw’s work is in the collection of the Boston Museum of Fine Arts, Boston, MA, USA.",_key:"ede5577a15a11"}],_type:c}],_key:"c1e7be0f3a65",boxed:j,_type:w,label:"Pauline Shaw "}],open_date:"2024-01-12",_createdAt:"2023-12-22T18:18:56Z",cover:{hotspot:{width:.988013698630137,x:.5059931506849316,y:Sv,height:hf,_type:iD},_type:r,asset:{_ref:aTG,_type:b},crop:{top:u,left:.011986301369863013,bottom:u,_type:iC,right:u}},bg_color:"#b0dada",opening:"Opening: January 12th, 6 – 8 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a caterpillar transforms into a butterfly, it must first dissolve itself into a pure matter, from which a new body is formed. In this liminal, mushy state, the body is still only a possibility. ",_key:"0969b5494ebd0",_type:a},{marks:[f],text:cf,_key:"0969b5494ebd1",_type:a},{text:" explores the intimate and mystical possibilities of this primeval rawness, just on the edge of becoming. Ellie Krakow, Luciana Maas, and So Young Park each capture moments of metamorphosis: the uncanny dismantling of the body, the excavation of a form from an unrestrained undergrowth, or the secret movements of a winking cosmos.",_key:"0969b5494ebd2",_type:a,marks:[]}],_type:c},{markDefs:[],children:[{marks:[],text:"Ellie Krakow’s glazed ceramic ",_key:"59575d378b270",_type:a},{_type:a,marks:[f],text:"Body Frames",_key:"59575d378b271"},{_key:"59575d378b272",_type:a,marks:[],text:" seem to be straining their pipes. Bulging and puckering, the frames’ nubby tubes and open cubbies imply a building pressure within, stretching the seams of their casings. They invite the eye to circle within them, ricocheting through their negative spaces. Turning in on themselves, Krakow’s tubular systems are suggestive of car parts or digestive tracts. Whether engines or organs, they are simultaneously self-contained and amputated pieces of an absent body - floating on a white wall, like transplants on ice."}],_type:c,style:d,_key:"ee0c05c19344"},{_type:c,style:d,_key:"e88146b3c982",markDefs:[],children:[{text:"Luciana Maas’s application of paint is loose and raw. The surface of her paintings is smeared and sprayed, as though the figures are clawing against abstraction. Ghostly figures hover, cross-legged, holding the smoking tendrils of a staff or the sagging rope of a swing. Still translucent, it’s unclear if they have been summoned from the ether or if they are loitering on the ‘other side.’ In ",_key:"0810ac659da40",_type:a,marks:[]},{marks:[f],text:"Balanço sobre pedra",_key:"0810ac659da41",_type:a},{text:", 2023, a female form is roughly outlined in fluorescent green and aubergine. The figure’s legs dissolve into an animal that looks out plaintively from the bottom of the canvas. In Maas’s swampy otherworld, animal, plant and human are loose and transient categories.",_key:"0810ac659da42",_type:a,marks:[]}]},{_type:c,style:d,_key:"de21f95080ee",markDefs:[],children:[{_type:a,marks:[],text:"In So Young Park’s cryptic paintings, clouds build into hands and figures and collapse again into the mist. Dreamlike landscapes are caught in the moment of taking shape, shifting and shivering on the canvas. Park’s paintings are at once gateways to mystical territories and gilded surfaces, blinking back at the viewer. In ",_key:"c6dd117416b00"},{marks:[f],text:aif,_key:"c6dd117416b01",_type:a},{_type:a,marks:[],text:", 2022, the surface is washed in silver, stained like the damp wall of a primordial wishing well or a rusting alien spacecraft. An eye looks out from the bottom of the canvas; curious, inquisitive, all-seeing.\n\n",_key:"c6dd117416b02"}]},{_key:"892402dcaa03",markDefs:[],children:[{text:"- Thea 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Mountain",_key:"b867f50748ec",_type:a},{_key:"d557d7f38e8a",_type:a,marks:[],text:", 2022. Mixed media on canvas. 19 5\u002F8 × 15 3\u002F4 inches (49.85 × 40.01 cm). Image courtesy of the artist, P21, Seoul and Simone Subal Gallery, New York. "}],_type:c,style:d,_key:"6b8cc4d668e9",markDefs:[]}],_key:"35cbf14ed325",asset:{_ref:"image-d5f31a6e871fe0293e40e4322975ec6fbda329bc-1065x1287-jpg",_type:b}},{caption:[{markDefs:[],children:[{_type:a,marks:[],text:aDJ,_key:"84ff58c4446c0"},{_type:a,marks:[f],text:"No balanço da galinha",_key:"f63331b5081b"},{marks:[],text:", 2023. Oil, oil stick and spray on canvas. 70 7\u002F8 × 51.1875 inches (180.02 × 130.02 cm). Image courtesy of the artist, Projeto Vênus, São Paulo, and Simone Subal Gallery, New York. Photo: Ding Musa ",_key:"d9d286764ca6",_type:a}],_type:c,style:d,_key:"a43e0d7e7478"}],_key:"cc3efc4fe37f",asset:{_ref:"image-bd58229f1feed648fa913fe1ab5616d3faa66bc4-2825x4000-jpg",_type:b},_type:e},{asset:{_ref:"image-3169662608b8558710cf2095d9ea80e7a1c4a379-2857x4000-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"13f5dfd358f0",markDefs:[],children:[{marks:[],text:EB,_key:"5167ea4eb2290",_type:a},{marks:[f],text:"Body Frame (Two Tone with Grid)",_key:"123233b62702",_type:a},{marks:[],text:", 2022. Glazed ceramic. 14 × 10 × 2 inches (35.56 × 25.40 × 5.08 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Ellie Krakow",_key:"35164388f004",_type:a}]}],_key:"a47554ae0a23"},{_key:"1121e5f20754",asset:{_ref:"image-910bca2093bb02d42b1abc833145155276f54362-2857x4000-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"d8cf1b7f2e0f",markDefs:[],children:[{marks:[],text:EB,_key:"2d8b14a5f6880",_type:a},{_type:a,marks:[f],text:"Body Frame (Handled)",_key:"eddbbdbd3025"},{text:", 2022. Glazed ceramic. 14 × 10 × 2 1\u002F2 inches (35.56 × 25.40 × 6.35 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Ellie Krakow",_key:"62e69c20ac5b",_type:a,marks:[]}]}]},{_key:"8c12ab06712a",asset:{_ref:"image-a21b9dfd25342337b2a880ccd0fe296cf5d9ee55-1335x1706-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"10b39f51cd14",markDefs:[],children:[{text:aig,_key:"4532ef8c5294",_type:a,marks:[]},{_type:a,marks:[f],text:aif,_key:"7922ac8ef65a"},{marks:[],text:", 2022. Mixed media on canvas. 70 7\u002F8 × 55 1\u002F8 inches (180.02 × 140.02 cm). Image courtesy of the artist, P21, Seoul and Simone Subal Gallery, New York. ",_key:"b46acad4d9d1",_type:a}]}]},{_type:e,caption:[{style:d,_key:"247424a67972",markDefs:[],children:[{marks:[],text:EB,_key:"f499e80f11380",_type:a},{_type:a,marks:[f],text:"Bent Figure with Interior",_key:"b569cf380e18"},{text:", 2020-21. Ceramic, wood, resin, and paint. 15 × 9 1\u002F2 × 13 1\u002F2 inches (38.10 × 24.13 × 34.29 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Ellie Krakow",_key:"b6007ba81ca0",_type:a,marks:[]}],_type:c}],_key:"3f10ec841382",asset:{_ref:"image-0e34da11d45626f26be7aff400aed3bdf6e16d12-3485x3677-jpg",_type:b}},{asset:{_type:b,_ref:"image-0d815d71646cf9ad7b5f0296ca76ef34ef624eb3-1039x1313-jpg"},_type:e,caption:[{_key:"b36df6d45210",markDefs:[],children:[{text:aig,_key:"3ea73a8aa1eb",_type:a,marks:[]},{marks:[f],text:"Mermaid",_key:"b1602cd7f13a",_type:a},{_key:"c176d3e38109",_type:a,marks:[],text:", 2023. Mixed media on canvas. 19 5\u002F8 × 15 3\u002F4 inches (49.85 × 40.01 cm). Image courtesy of the artist, P21, Seoul and Simone Subal Gallery, New York. "}],_type:c,style:d}],_key:"2c2eced94f20"},{caption:[{style:d,_key:"d7aea3eec600",markDefs:[],children:[{marks:[],text:aDJ,_key:"0409e404ea6f0",_type:a},{marks:[f],text:"Meia Calça",_key:"94005472385b",_type:a},{text:", 2023. Oil, oil stick and spray on canvas. 76 3\u002F4 × 47.0625 inches (194.95 × 119.54 cm). Image courtesy of the artist, Projeto Vênus, São Paulo, and Simone Subal Gallery, New York. Photo: Ding Musa",_key:"d1b421536176",_type:a,marks:[]}],_type:c}],_key:"91a9d6d036a8",asset:{_type:b,_ref:"image-a6169fec24becdb3803c887ad7bee8003afbf0c3-2659x4000-jpg"},_type:e},{_type:e,caption:[{markDefs:[],children:[{text:EB,_key:"0862cfa209d00",_type:a,marks:[]},{_type:a,marks:[f],text:"Port",_key:"0d190b6f26ec"},{_key:"8823fb8b7699",_type:a,marks:[],text:", 2023. Aqua resin, rubber, acrylic paint. 3 1\u002F2 × 3 1\u002F2 × 14 inches (8.89 × 8.89 × 35.56 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Ellie Krakow"}],_type:c,style:d,_key:"6dc67955a675"}],_key:"7d865d21f0f6",asset:{_ref:"image-dec8e4f8ec877a7a8d416702efc957314c3c4301-4000x2858-jpg",_type:b}},{_key:"6cde3a4fe00b",asset:{_ref:"image-3ee685ad57e605ca4eef191f6f4f92572fed90c7-1064x1321-jpg",_type:b},_type:e,caption:[{style:d,_key:"a829cfc531a2",markDefs:[],children:[{_type:a,marks:[],text:aig,_key:"c4244e9d4d65"},{marks:[f],text:"Road",_key:"4d3fcac6eac7",_type:a},{text:", 2021 Mixed media on canvas. 19 5\u002F8 × 15 3\u002F4 inches (49.85 × 40.01 cm). Image courtesy of the artist, P21, Seoul and Simone Subal Gallery, New York. ",_key:"1b9ed3379499",_type:a,marks:[]}],_type:c}]},{asset:{_ref:"image-38b5bf086a793158ed31578693c51b24bde27afc-2681x4000-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{_key:"49c4a6527d9d0",_type:a,marks:[],text:EB},{text:"Body Frame (Orange Half with Hole)",_key:"2e0ce882eeb0",_type:a,marks:[f]},{marks:[],text:", 2021. Glazed ceramic. 14 × 7 1\u002F2 × 6 inches (35.56 × 19.05 × 15.24 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Matt Grubb",_key:"65f1bc616148",_type:a}],_type:c,style:d,_key:"81054adf71a9"}],_key:"50c4d1f10d0f"},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:EB,_key:"6a4106dd901c0"},{_type:a,marks:[f],text:"Body Frame (Tiered Line)",_key:"e9062ec9bc25"},{_type:a,marks:[],text:", 2022. Glazed ceramic. 14 × 1 1\u002F2 × 1 1\u002F2 inches (35.56 × 3.81 × 3.81 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Ellie Krakow",_key:"10004944e9a7"}],_type:c,style:d,_key:"aedab8c73588"}],_key:"b1ac7d3498c8",asset:{_ref:"image-2ba81bb61a3aaaa9dd24994fd6b5cbfd6c30c41b-2857x4000-jpg",_type:b}},{caption:[{_type:c,style:d,_key:"606be947929d",markDefs:[],children:[{_type:a,marks:[],text:aDJ,_key:"eb71b9860a1a0"},{marks:[f],text:"Sob cipós",_key:"3a71a7eef6c9",_type:a},{text:", 2022. Oil and spray on canvas. 66.9375 × 78 3\u002F4 inches (170.02 × 200.03 cm). Image courtesy of the artist, Projeto Vênus, São Paulo, and Simone Subal Gallery, New York. Photo: Bruno Leão",_key:"dac755287403",_type:a,marks:[]}]}],_key:"e550d7fa416b",asset:{_ref:"image-b9bd9d55dcf940c863d7b5d412f90126f950c3df-4000x4000-jpg",_type:b},_type:e}],display:aR,_type:L,label:eb,_key:"0a140ca139ce"},{_type:w,label:"Bio - Ellie Krakow",text:[{children:[{marks:[g],text:aTQ,_key:"9f8b792a128e",_type:a},{text:" lives and works between New York, NY and Framingham, MA. She received her MFA from Hunter College and her BA through study at Yale University and the Rhode Island School of Design. Recent solo and two-person exhibitions include: Marinaro, New York, NY (2022); Below Grand, New York, NY (2021); Mazmanian Gallery, Framingham State University, Framingham, MA (2018); Goodyear Gallery, Dickinson College, Carlisle, PA (2018); Miranda Kuo Gallery, New York, NY (2017); Abrons Arts Center, New York, NY (2017); NURTUREart, Brooklyn, NY (2016); Skowhegan NYC Space (2015); Spring\u002FBreak Art Show, New York, NY (2014); Cuchifritos Gallery, New York, NY (2013). Recent group exhibitions include: 1\u002F9unosunovo, Rome, Italy (2023); Marinaro, New York, NY (2021, 2022); Printed Matter, New York, NY (2018); NADA, Abrons Arts Center, New York, NY (2018); Zeitgeist Gallery, Nashville, TN (2018); Wasserman Projects, Detroit, MI (2017); Collarworks Gallery, Troy, NY (2017); Present Company, Brooklyn, NY (2016); The Alice, Seattle, WA (2016); Field Projects, New York, NY (2016); KCB Cultural Center, Belgrade, Serbia (2015); Kingston Sculpture Biennial, Arts Society of Kingston, Kingston, NY (2015); Interstate Projects, Brooklyn, NY (2013); Hal Bromm, New York, NY (2013); NARS Foundation, Brooklyn, NY (2013); Socrates Sculpture Park, Queens, NY (2013); The Hole, New York, NY (2013); Thierry Goldberg Gallery, New York, NY (2013). In parallel to her studio practice, Krakow works on text-based and curatorial projects.",_key:"d5a3249ffdb1",_type:a,marks:[]}],_type:c,style:d,_key:"1cfe9f703dc7",markDefs:[]}],_key:"fd415cb44605",boxed:j},{text:[{children:[{_key:"251e1d3f148d",_type:a,marks:[g],text:aTR},{text:" (b. 1984) lives and works in São Paulo, Brazil. Maas graduated in Architecture and Urbanism at Universidade Presbiteriana Mackenzie, she participated in study groups with Agnaldo Farias and Pedro França. Luciana also followed the production of artists such as Osmar Pinheiro and Carlos Fajardo in visits to their studios during some years. In 2003, she taught a workshop on the Encaustic technique at Núcleo de Arte Contemporânea in São Paulo. Solo exhibitions include: Projeto Vênus, São Paulo, Brazil (2022); Espaço Cultural Citi, São Paulo, Brazil (2009); and AMCHAM Brasil, São Paulo, Brazil (2005). Group exhibitions include: Galeria Olhão, São Paulo, Brazil (2018); Kunsvereiner Museum, Salzburg, Austria (2018); Solar Gallery, Rio de Janeiro, Brazil (2017); Casa Fidalga 182’ Espaço Independente, São Paulo, Brazil (2016); Espaço Cultural Citi, São Paulo, Brazil (2008); Venado Tuerto, Argentina (2006); MAC USP, São Paulo, Brazil (2004); Casa das Retortas,São Paulo, Brazil (2004); Casa de Portinari Museum, Brodowski, Brazil (2004); Galeria Municipal de Artes, Barueri, Brazil (2004).",_key:"ce8351b803eb",_type:a,marks:[]}],_type:c,style:d,_key:"85662ad7d180",markDefs:[]}],_key:"f6d1860d8995",boxed:j,_type:w,label:"Bio - LM"},{label:"Bio - SYP",text:[{children:[{_type:a,marks:[g],text:"So Young Park ",_key:"a6a1c3751840"},{_key:"a3b04a3c10b8",_type:a,marks:[],text:"(b. Seoul, KR) lives and works between Seoul, KR and Berlin, DE. Recent solo exhibitions include: P21, Seoul, Korea (2023); Frontviews Berlin, Berlin, Germany (2022); PS Sarubia, Seoul, Korea (2021); Incheon Art platform window gallery, Incheon, Korea (2019); Hapjungjigu, Seoul, Korea (2018); Till-richter Museum, Buggenhagen, Germany (2017); ESMoA Museum in Air, California, USA (2016); Lake Gallery, Oldenburg, Germany (2013); Artlab21, California, USA (2012); E105 gallery, in Berlin, Germany (2011), Basel, Switzerland and Bonn, Germany (2010); janinebeangallery, Berlin, Germany (2009); Berlin Art Scouts, Berlin, Germany (2008). Recent group exhibitions include:Frontviews Berlin, Berlin, Germany (2023); Uferhallen, Berlin, Germany (2018, 2019, 2021, 2022); Artspace3, Seoul, Korea (2019, 2022); P21, Seoul, Korea (2021); Aram art Museum, Gyeonggi-do, Korea (2019); Bethanien Project space, Berlin, Germany (2019); Till-Richter Museum, Buggenhagen (2017); Louis lui Gallery, Karlsruhe, Germany (2017); Leopold Hof, Hamburg, Germany (2016); ESMoA Museum, California, USA (2013, 2016); Unter Schloss Gallery, Paehl, Germany (2014); E105 gallery, Bonn, Germany (2007, 2008, 2014); M3 Kunst Halle, Berlin, Germany (2011); Zoll-verein Stiftung, Dortmund, Germany (2010); Caprice Horn gallery, Berlin, Germany (2010). "}],_type:c,style:d,_key:"27224ebc30af",markDefs:[]}],_key:"6b5eba41e965",boxed:j,_type:w}],open_date:aTY},{_createdAt:"2023-10-28T18:28:53Z",_rev:"JVgM4fiNYuKRqn4PLxGx8P",cover:{_type:r,asset:{_ref:aDK,_type:b}},bg_color:"#8b97ff",close_date:aTO,thumbnail:{caption:[{markDefs:[],children:[{text:aTZ,_key:"021414e14309",_type:a,marks:[]},{text:aDL,_key:"d3a2651c71980",_type:a,marks:[f]},{marks:[],text:aT_,_key:"d3a2651c71981",_type:a}],_type:c,style:d,_key:"e4c3d9434862"}],asset:{_type:B,uploadId:"qOtWTe0lG4nmF22a0TmlQjWe7T0ZQAPQ",url:"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fub94fyvm\u002Fproduction\u002F70db2d5cfb0f5bc3825820da9f4a49513041180d-2216x1527.jpg",assetId:aT$,size:2307514,_updatedAt:aUa,extension:F,path:"images\u002Fub94fyvm\u002Fproduction\u002F70db2d5cfb0f5bc3825820da9f4a49513041180d-2216x1527.jpg",_createdAt:aUa,originalFilename:"SA23-02-web.jpg",mimeType:G,_id:aDK,sha1hash:aT$,metadata:{hasAlpha:t,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAOABQDASIAAhEBAxEB\u002F8QAGQAAAgMBAAAAAAAAAAAAAAAAAAcDBQYI\u002F8QAJBAAAgIBAgcAAwAAAAAAAAAAAQMCBAAFEQYHEhQhImFBQnL\u002FxAAWAQEBAQAAAAAAAAAAAAAAAAACAQP\u002FxAAaEQACAgMAAAAAAAAAAAAAAAAAAQIREiFR\u002F9oADAMBAAIRAxEAPwB06O0JskSO0psiB99cWHP5FjVWUaenxmxznH0j+2wyPlTxpd1\u002FW3VdQXDetAsiYfnYbZd3Wd9xXVkR09vTc8f0fGGCtbNZtO3xHNDYNQ2ameJwJjIfcM0tihXbYbOcT1GZJ8\u002FcMlhxP\u002F\u002FZ",dimensions:{height:1527,_type:E,width:2216,aspectRatio:1.4512115258677145},isOpaque:j,blurHash:"VmKK$m~W9FM{s,%2%MoMV@tRRjRkRkWBayxboekAofaf",_type:C,palette:{vibrant:{foreground:i,title:i,population:aB,background:"#a64964",_type:l},dominant:{title:i,population:aUb,background:aUc,_type:l,foreground:i},_type:D,darkMuted:{_type:l,foreground:i,title:i,population:5.61,background:"#5b2f36"},muted:{_type:l,foreground:i,title:i,population:aUb,background:aUc},lightVibrant:{foreground:o,title:o,population:6.26,background:"#b8dce4",_type:l},darkVibrant:{title:i,population:EA,background:"#470a1d",_type:l,foreground:i},lightMuted:{background:"#d8bed7",_type:l,foreground:o,title:o,population:aUd}}},_rev:"zQRFnnY1dEHjBeFnZzn0iB"}},opening:aTP,open_date:aTY,slug:{_type:p,current:"in-the-study-l-shape"},_type:J,_updatedAt:"2023-11-17T19:49:01Z",content:[{text:[{markDefs:[],children:[{_type:a,marks:[g,f],text:"Ó (o acute) ",_key:"2c33d91772b5"},{text:"| BOOK LAUNCH",_key:"a1811a8cb69a",_type:a,marks:[g]},{_type:a,marks:[],text:W,_key:"140d65241e89"},{_type:a,marks:[g],text:"NOVEMBER 4th, 2023 | 5",_key:"3982f586a596"},{marks:[],text:gE,_key:"4e80e618956f",_type:a},{_type:a,marks:[g],text:"— 6PM",_key:"b4fc0ae0b62c"},{_type:a,marks:[],text:aDw,_key:"912430cfc545"}],_type:c,style:d,_key:"79f609faf5b4"},{style:d,_key:"7103af6687ee",markDefs:[],children:[{_key:"05a000f5bd9e",_type:a,marks:[g],text:"Join us for a conversation between Sónia Almeida and curator Bruno Marchand on artist books and the role of printed matter in Almeida's work."},{text:"\n\nWe will also be celebrating the publication of Almeida's monograph ",_key:"c5bb0b4f8dd7",_type:a,marks:[]},{_type:a,marks:[f],text:"Ó (o acute),",_key:"a85e9d38d842"},{text:" produced on the occasion of the artist's solo exhibition at Culturgest, Lisbon. The catalog features texts by Bruno Marchand, Gloria Sutton\nJoão Ribas, and Rahel Aima. ",_key:"bc7b46f6f523",_type:a,marks:[]}],_type:c},{markDefs:[],children:[{marks:[],text:"The book will be available for purchase at the gallery.\n\n\n",_key:"b7c22a44f30f",_type:a}],_type:c,style:d,_key:"31f85396ba89"}],_key:"62b9838d0ac9",boxed:j,_type:w,label:"Event"},{image:{caption:[{style:d,_key:"5f36b956f577",markDefs:[],children:[{text:aTZ,_key:"e428d15e3dd1",_type:a,marks:[]},{marks:[f],text:aDL,_key:"46c0248a1b1c",_type:a},{_key:"f0d1e0f2e8c0",_type:a,marks:[],text:aT_}],_type:c},{style:d,_key:"fc1d4f4baf4d",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"cb88556bdae7"}],_type:c},{_key:"3ac50e2b48aa",markDefs:[],children:[{text:q,_key:"d4cea7618a35",_type:a,marks:[]}],_type:c,style:d},{markDefs:[],children:[{text:q,_key:"0efeead9bb5b",_type:a,marks:[]}],_type:c,style:d,_key:"01dc1e6d0925"}],asset:{_ref:aDK,_type:b},_type:e},_type:K,_key:"3bca6419f47c",type:[r]},{_type:w,label:cD,text:[{_key:"8503e9f4bbfc",markDefs:[],children:[{marks:[f],text:"An L-shape is easy to make. Stretching the thumb and index finger of your left hand away from each other, the shape sits between your open fingers. The invisible ‘L’ orients you within space; an embodied signpost to check directions or follow dance steps – a link between the body and the language we use to position it.",_key:"d7cac2fe9a760",_type:a}],_type:c,style:d},{style:d,_key:"4a8800b03cbc",markDefs:[],children:[{marks:[],text:W,_key:"291762bc3e960",_type:a},{_key:"291762bc3e961",_type:a,marks:[f],text:eg},{_type:a,marks:[],text:" takes its title from Sónia Almeida’s eponymous artist book produced in 2018. An L-shape is a piece of card or board that frames where the image is registered on the page in the wood-block printing process. It’s an object that creates a functional negative space – a border. The margins of a book separate the text from the outside world, and isolate the words themselves within a white frame. For some writers (and readers), the margin can also be a generative site for an annotation, a question, a definition, or a disclaimer. ",_key:"291762bc3e962"},{_type:a,marks:[f],text:"L Shape ",_key:"291762bc3e963"},{marks:[],text:"(2018), does not have consistent margins. Instead, each page plays in and around the traditional dimensions of a book, altering its reading and use.",_key:"291762bc3e964",_type:a}],_type:c},{style:d,_key:"dc7fb4db2826",markDefs:[],children:[{text:"\nAlmeida’s recent sculptural wall works, created for the artist’s mid-career retrospective at Culturgest, Lisbon, consist of two components, one of which is built as a functional drawer that allows the viewer to physically adjust the image. These multi-layered pieces, like Almeida’s books, reject the notion of a single viewing or narrative. The human body itself and its internal workings are implicated through depictions of the synapses of the nervous system and huge skeletal imprints. Following an ongoing throughline in Almeida’s practice, the body is recentered as the locus for communication and the medium of exchange. Often thought of as exclusively mental, language and communication are absorbed, interpreted, translated, and expressed through the body, before being broken down – and reassembled in motion.",_key:"a74221508fb30",_type:a,marks:[]}],_type:c},{_type:c,style:d,_key:"7004b3e1333f",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"52e42fd1baec0"}]}],_key:"cb67be07ca8d"},{text:[{children:[{text:hM,_key:"0d7814b166e00",_type:a,marks:[g]},{text:" (b. 1978 Lisbon, Portugal) lives and works in Boston, MA. Sónia Almeida’s practice often pulls from (and pulls apart) systems of communication, such as call-and-response music, dialogue between two or more participants, and notational methods of conveying or obscuring language. Solo exhibitions include: Culturgest, Lisbon, Portugal (2023); Simone Subal Gallery, New York, NY (2012) (2014) (2016) (2019) (2021); MIT List Visual Arts Center, Cambridge, MA (2014); T293, Rome, Italy (2011); Chiado 8, Culturgest, Lisbon, Portugal (2009); Croxhapox, Gent, Belgium (2009). Group shows include: Fabric Arts Festival, Fall River, MA (2023); Centre de Création Contemporaine Olivier Debré (CCC OD), Tours, France(2022); Kunstverein Bielefeld, Bielefeld, Germany (2022); Atelier-Museum Júlio Pomar, Lisbon, Portugal (2021); Calouste Gulbenkian Foundation, Lisbon, Portugal (2021); Institute of Contemporary Art at MECA, Portland, ME (2021); Pina, Vienna, Austria (2021); Tørreloft, Copenhagen, Denmark (2020); Grimm, New York (2020); Leslie University, Cambridge (2019); Tufts University Art Galleries, Boston (2019); Carpenter Center for the Visual Arts at Harvard University, Cambridge (2018); ICA, Boston (2017); The Serralves Museum of Contemporary Art, Porto, Portugal (2016); Simone Subal Gallery, New York, NY (2016); Serralves Museum, Oporto, Portugal (2014); DeCordova Biennial, deCordova Sculpture Park and Museum, Boston, MA (2013); Carl Freedman Gallery, London, UK (2012); Marianne Boesky Gallery, New York, NY (2012); Muzeul National de Arta Cluj-Napoca, Romania (2012); Prague Biennale 5, Prague, Czech Republic (2011); Centrum Sztuki Współczesnej Zamek Ujazdowski, Warsaw, Poland (2011); Portugal Arte 10, Lisbon (2010); Southfirst Gallery, Brooklyn, New York (2010); EDP Novos Artistas, Lisbon, Portugal (2009); The Elementary Particles (Paperback Edition), Standard (OSLO), Norway (2006). ",_key:"0d7814b166e01",_type:a,marks:[]}],_type:c,style:d,_key:"4942239924e7",markDefs:[]}],_key:"1247d6eb3ce3",boxed:j,_type:w,label:"SA Bio "},{_key:"e46ebfa93040",install:[{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:h,_key:"ecb20d06cd64"},{marks:[f],text:eg,_key:"ae2e5513a81b",_type:a},{marks:[],text:aih,_key:"a198b80f6a29",_type:a}],_type:c,style:d,_key:"918d6d901a19"}],_key:"9be3c3019c21",asset:{_ref:"image-eff9ca1635b07dd10a2cfbbda32b33c9af156d8b-2066x2250-jpg",_type:b}},{caption:[{_type:c,style:d,_key:"f783be4ec78c",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"9093390ce526"},{marks:[f],text:eg,_key:"4c59f84004f9",_type:a},{_type:a,marks:[],text:aih,_key:"57027ba75885"}]}],_key:"3454f0011458",asset:{_ref:"image-0963db895c4c64934ab2cfad9ee536a7cbb2161c-3000x1969-jpg",_type:b},_type:e},{_type:e,caption:[{_key:"21752abca1bb",markDefs:[],children:[{marks:[],text:h,_key:"f978ec73c005",_type:a},{_type:a,marks:[f],text:eg,_key:"122af82ce6d0"},{text:aih,_key:"be88e281c890",_type:a,marks:[]}],_type:c,style:d}],_key:"859faa0bb622",asset:{_ref:hN,_type:b}},{caption:[{_type:c,style:d,_key:"2ae92fccaaf9",markDefs:[],children:[{_key:"6567d8c288eb",_type:a,marks:[],text:h},{text:eg,_key:"5fac62daffcf",_type:a,marks:[f]},{_type:a,marks:[],text:aih,_key:"43eaaa4004c4"}]}],_key:"a150872342c0",asset:{_ref:hO,_type:b},_type:e}],work:[{asset:{_ref:"image-09f86f7032b4927f09ba2ab04fbca7eb4330ba81-3200x4000-jpg",_type:b},_type:e,caption:[{_key:"cb5b8aa0a734",markDefs:[],children:[{text:aii,_key:"628ae6ee27550",_type:a,marks:[]},{_key:"509446387369",_type:a,marks:[f],text:aDL},{marks:[],text:", 2023. Oil on green olive fabric and drawer with woodcut print. Closed: 59 × 37 × 3 3\u002F8 inches (149.86 × 93.98 × 8.57 cm) Open: 59 × 53 × 3 3\u002F8 inches (149.86 × 134.62 × 8.57 cm)",_key:"a67b73776071",_type:a}],_type:c,style:d},{_key:"cc290cb0acf1",markDefs:[],children:[{_type:a,marks:[],text:aUe,_key:"3e45e2d07ce4"}],_type:c,style:d}],_key:"b243e92dd8ce"},{_key:"181d4a8745ba",asset:{_ref:"image-0116316687362b982f59ec393e21217dfab2af53-552x538-png",_type:b},_type:e,caption:[{_type:c,style:d,_key:"9d12e8a950a5",markDefs:[],children:[{marks:[],text:aii,_key:"f5258a0aaba10",_type:a},{text:"On Borders",_key:"16019f138677",_type:a,marks:[f]},{_type:a,marks:[],text:", 2022. Woodcuts and xerox copies 11.5 × 31 cm (4 1\u002F2 × 12 1\u002F4 inches).",_key:"f09be2895540"}]},{_key:"c7a6abe7b409",markDefs:[],children:[{text:aUf,_key:"19e43ebe2615",_type:a,marks:[]}],_type:c,style:d}]},{_type:e,caption:[{markDefs:[],children:[{_key:"bd0dd53e5de00",_type:a,marks:[],text:aii},{_key:"320096e476b0",_type:a,marks:[f],text:eg},{_type:a,marks:[],text:", 2018. Hardcover, 16 pages, includes ink and permanent pens drawings, oil on gessoed paper, transparencies, lithograph, woodcut and monotype 13 1\u002F4 × 10 1\u002F4 × 1\u002F4 inches (33.66 cm × 26.04 cm × 6.35 mm)",_key:"1643a33988da"}],_type:c,style:d,_key:"7338cd68f997"},{_type:c,style:d,_key:"f66565fcacf5",markDefs:[],children:[{marks:[],text:aUf,_key:"599a47aab24e",_type:a}]}],_key:"72c97e3da878",asset:{_type:b,_ref:hP}},{_type:e,caption:[{style:d,_key:"eb5b05a365a5",markDefs:[],children:[{marks:[],text:aii,_key:"e4ec22656583",_type:a},{marks:[f],text:"Central nervous system\u002F Sistema nervoso central",_key:"496fba905c3b",_type:a},{_type:a,marks:[],text:", 2023. Oil on blue fabric and drawer with woodcut print. Closed: 72 × 44 × 3 3\u002F8 inches (182.88 × 111.76 × 8.57 cm) Open: 72 × 60 × 3 3\u002F8 inches (182.88 × 152.40 × 8.57 cm)",_key:"d9cef44353c0"}],_type:c},{style:d,_key:"f328ea26b0da",markDefs:[],children:[{text:aUe,_key:"ead9a8371e46",_type:a,marks:[]}],_type:c}],_key:"792f3d44b167",asset:{_ref:"image-546360d1899afcfb2d4d153b121040c7ab60dc5e-3200x4000-jpg",_type:b}}],display:aR,_type:L,label:eb}],title:"In the Study: L Shape 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",_key:"625c0c608dde1",_type:a},{_key:"625c0c608dde2",_type:a,marks:[],text:"(Detail), 2023. Oil on canvas. 1: 63 × 52 ¾ inches (160.02 × 133.99 cm), 2: 18 × 15 inches (45.72 × 38.10 cm), 3: 63 × 52 ¾ inches (160.02 × 133.99 cm).\nImage courtesy of the artist and Simone Subal Gallery, New York. Photo: Paul Litherland"}],_type:c}],asset:{_type:b,_ref:aDM}}},{_key:"d64d34cc132c",_type:w,label:cD,text:[{markDefs:[],children:[{text:W,_key:"86e95822b7b80",_type:a,marks:[]}],_type:c,style:d,_key:"ce7187722bee"},{_type:c,style:d,_key:"a9bf02230fdb",markDefs:[],children:[{_type:a,marks:[],text:ahv,_key:"828970fd87350"},{marks:[f],text:aQ,_key:"828970fd87351",_type:a},{_key:"828970fd87352",_type:a,marks:[],text:", Veronika Pausova’s fourth exhibition with the gallery, comprising intricate new paintings.\n"}]},{_type:c,style:d,_key:"7c9e6bbcedf4",markDefs:[],children:[{_type:a,marks:[],text:"A trusty turtleneck worn by Pausova for over fifteen years is one of many recurring characters in ",_key:"ef43993d6c4c0"},{_key:"ef43993d6c4c1",_type:a,marks:[f],text:aQ},{_key:"ef43993d6c4c2",_type:a,marks:[],text:", an exhibition that mines the overlaps between disembodiment, control, and surrender. Favorite articles of clothing get softer from years of steadily absorbing the oils of our skin, as well as our actions, metaphysical impulses, and desires. As the fibers become increasingly pliant, Pausova reanimates her clothing for a second use: to absorb the pigments that she dips and smears them in before laying them to rest on the surfaces of her canvases. Relinquishing a controlled outcome, Pausova allows her unruly turtleneck to inadvertently create a different persona each time it flops onto the canvas, sometimes appearing exuberant while at other times deflated, or docile."}]},{style:d,_key:"59f9ad293184",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"e1dffa2fb2730"}],_type:c},{children:[{_type:a,marks:[],text:"Throughout the exhibition, old clothes and borrowed feet disobey the fabric of accepted reality. Pausova’s disembodied limbs and inanimate objects are in fact alive and kicking, manifesting an innocent yearning to see things that aren’t really there. Although the turtleneck is pulled directly from Pausova’s lived experience, the sassy open-toed heels are a motif of pure masquerade. Reminiscent of a desire to try on Mom’s heels, Pausova’s imagery raises questions about how far the pantomime can go. Maybe it’s okay that the nail polish has started to chip; all performances have their limitations. Elsewhere, empty clothes hangers and insects flutter amicably across windowscapes, and strings and scaffolding imply a marionette-like logic: the mechanics are in plain sight, yet the operator remains to be seen.",_key:"a933f60a5ef80"}],_type:c,style:d,_key:"37767f7ac717",markDefs:[]},{children:[{_type:a,marks:[],text:W,_key:"99ffa5303ae80"}],_type:c,style:d,_key:"d3eaa6fc200e",markDefs:[]},{style:d,_key:"5937bbadb218",markDefs:[],children:[{_type:a,marks:[],text:"Given the right conditions a tiny, centralized point of energy has the potential to unfurl into new life, whether that results in the opening of a fresh leaf or the birth of the cosmos. As seen in Pausova’s expansive triptych, an enormous spider-like celestial body swallows up an eclipse of moths and subsequently radiates outward. A stomach, a brain, a uterus, a family – Pausova further complicates the ambiguity of these bodily points of origin by isolating and using them interchangeably. Without an actionable path forward, sometimes the only way to loosen a knot in one’s stomach is to seek comic release and to laugh out loud.",_key:"01f6472f1fc70"}],_type:c},{children:[{_key:"63e202a49d4b0",_type:a,marks:[],text:q}],_type:c,style:d,_key:"edb0d38a5336",markDefs:[]},{markDefs:[],children:[{_key:"3b10acf055a9",_type:a,marks:[],text:aDN}],_type:c,style:d,_key:"a7d78409516e"}]},{text:[{_type:c,style:d,_key:"d18a2b02ae0e",markDefs:[],children:[{marks:[],text:"Veronika Pausova was born in 1987 in Prague, Czech Republic. She currently lives and works in Montréal, Quebec, Canada. Selected solo and two-person exhibitions include Simone Subal Gallery, New York (2023 (forthcoming), 2022, 2019, 2017); Esker Foundation, Calgary, Canada (2022); Bradley Ertaskiran, Montréal, Canada (2021); The Sunday Painter, London, UK (2021); Parisian Laundry, Montréal (2018); Hunt Kastner, Prague (2018); Franz Kaka, Toronto (2018); Tatjana Pieters, Ghent, Belgium (2017); Paramo Galeria, Guadalajara, Mexico (2016); Motel, Brooklyn, New York (2016); and SARDINE, Brooklyn, New York (2015). Selected group shows include Public Gallery, London, UK (2024, forthcoming); Bradley Ertaskiran, Montréal, Canada (2023); Hunt Gallery, Toronto, Canada (2022); Xiao Museum of Contemporary Art, Rizhao, China (2022); Perrotin, Paris, France (2022); Public Gallery, London, UK (2022); Taymour Grahne Gallery, London, UK (2022); Santander Art Gallery, Madrid, Spain (2020); Remai Modern, Saskatoon, Saskatchewan (2019); Cleve Carney Gallery, Chicago, Illinois (2018); Oakville Galleries, Oakville, Ontario (2018); Andrehn-Schiptjenko, Stockholm (2018); Peana Projects, Monterrey, Mexico (2017); National Gallery of Canada, Ottawa, Ontario (2017); Disturb the Neighbours, New York, NY (2017); Flat File at Deli Gallery, New York, NY (2017); University of Georgia, Dodd School of Art, Athens, GA (2017); Motel at Roberta Pelan, Toronto, Canada (2017); White Columns, New York, NY (2017); 11R, New York, NY (2017); Bureau, New York, NY (2016) and Simone Subal, New York, NY (2016). Pausova has been awarded numerous awards including the Canada Council for the Arts Explore and Create Grant (2018) and the RBC Painting Prize Finalist and Honorable Mention (2017). Veronika Pausova’s work is part of the following public and private collections: Banque Nationale, Canada; Claridge, Montréal, Canada; Equitable Bank, Toronto, Canada; Montréal Museum of Fine Arts, Montréal, Canada; Rachofsky House, Dallas, US; Royal Bank of Canada, Canada; Scotiabank, Canada; Xiao Museum of Contemporary Art, Rizhao, CN; Zabludowicz Collection, London, UK. In 2023, the Esker Foundation published a catalog of Veronika Pausova’s work titled ",_key:"dcea928a15aa0",_type:a},{_key:"dcea928a15aa2",_type:a,marks:[f],text:ED},{_type:a,marks:[],text:fI,_key:"dcea928a15aa3"}]}],_key:"c19cd2c825a1",boxed:j,_type:w,label:"Artist Bio "},{label:aDE,_key:"d22a5b7a66f1",install:[{_key:"a73a02c40d1c",asset:{_ref:"image-80773d506e5f072b6b582e50f48273b093bf12f1-8688x5792-jpg",_type:b},_type:e,caption:[{style:d,_key:"95db698f2350",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"009eb6af966a"},{_key:"8537c9100a39",_type:a,marks:[f],text:aQ},{_key:"fe861d30e967",_type:a,marks:[],text:fJ}],_type:c}]},{asset:{_ref:"image-6db7fcab6268dcb20f21d0e7a1bb38890ce922e7-8688x5792-jpg",_type:b},_type:e,caption:[{_key:"e2c0c9056e5e",markDefs:[],children:[{marks:[],text:h,_key:"3aab789b0cc8",_type:a},{_type:a,marks:[f],text:aQ,_key:"56eba0aa6f09"},{marks:[],text:fJ,_key:"aa91a58fd890",_type:a}],_type:c,style:d}],_key:"e210d0ea5ff3"},{caption:[{markDefs:[],children:[{_type:a,marks:[],text:h,_key:"45825208d942"},{_type:a,marks:[f],text:aQ,_key:"24ccaf69ef1e"},{text:fJ,_key:"709bfc7c3012",_type:a,marks:[]}],_type:c,style:d,_key:"b1effc7760f3"}],_key:"47286710d830",asset:{_ref:"image-f16ce0d43dee51b7b77ef65d39eaeadd0b304d60-4000x2667-jpg",_type:b},_type:e},{_key:"3c157e13c309",asset:{_ref:"image-cb1067c48ba8b35f453dfc497c1f695c856a6100-8688x5792-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{marks:[],text:h,_key:"9e7facaf2ef0",_type:a},{text:aQ,_key:"0ea816a05a79",_type:a,marks:[f]},{_type:a,marks:[],text:fJ,_key:"1b2b069fc760"}],_type:c,style:d,_key:"62b85020601d"}]},{_key:"9880c20d4dd4",asset:{_type:b,_ref:"image-8568f9d435862755bb98e17c65851bcebf5f3d34-4000x2667-jpg"},_type:e,caption:[{_key:"e505808e23de",markDefs:[],children:[{_key:"5a975be37043",_type:a,marks:[],text:h},{_type:a,marks:[f],text:aQ,_key:"aa2ca4e1bf8d"},{marks:[],text:fJ,_key:"7f811e9e80ef",_type:a}],_type:c,style:d}]},{asset:{_ref:EE,_type:b},_type:e,caption:[{style:d,_key:"a646d2520ff2",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"b6582f7536d1"},{_type:a,marks:[f],text:aQ,_key:"ea286090270b"},{marks:[],text:fJ,_key:"c4b9c6a4714f",_type:a}],_type:c}],_key:"54ef98a90506"},{_type:e,caption:[{_type:c,style:d,_key:"b748496471fd",markDefs:[],children:[{_key:"ea1871b81b5d",_type:a,marks:[],text:h},{_type:a,marks:[f],text:aQ,_key:"878bdab7c074"},{marks:[],text:fJ,_key:"0c332a696e79",_type:a}]}],_key:"8b3123d987af",asset:{_type:b,_ref:EF}},{_type:e,caption:[{style:d,_key:"d2874383c16f",markDefs:[],children:[{text:h,_key:"cbe8774adba3",_type:a,marks:[]},{_type:a,marks:[f],text:aQ,_key:"66cb3890cb99"},{_key:"b6938549505e",_type:a,marks:[],text:fJ}],_type:c}],_key:"fdd510f30fa5",asset:{_ref:"image-a328f912db4ade4fa97dda52e6a84f0c886cdfc5-8688x5792-jpg",_type:b}},{asset:{_ref:EG,_type:b},_type:e,caption:[{_type:c,style:d,_key:"f9ab3e47f377",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"b1ec51d73d94"},{text:aQ,_key:"c72bfbc953c2",_type:a,marks:[f]},{_type:a,marks:[],text:fJ,_key:"72e1e003236e"}]}],_key:"edbd1ae80853"},{_type:e,caption:[{style:d,_key:"792283304af3",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"fad83053ed09"},{_type:a,marks:[f],text:aQ,_key:"b9f6e61811d2"},{_type:a,marks:[],text:fJ,_key:"cb473a132c14"}],_type:c}],_key:"f13aa7966cf9",asset:{_ref:"image-a5cb287285857393f1e14af38ec4990e01dbf728-8688x5792-jpg",_type:b}}],work:[{asset:{_ref:EH,_type:b},_type:e,caption:[{_type:c,style:d,_key:"7148a571126c",markDefs:[],children:[{text:ai,_key:"c6fdaf2717090",_type:a,marks:[]},{text:"Dish Washer",_key:"33233c47dee0",_type:a,marks:[f]},{_type:a,marks:[],text:aDO,_key:"59fb135a75f5"}]}],_key:"a211c652b79b"},{_key:"c29ce4a26954",asset:{_ref:"image-2e5d5d609ba9987410f340c0fc6f4ebd9a40b352-2667x4000-jpg",_type:b},_type:e,caption:[{_key:"e1ecd6083775",markDefs:[],children:[{text:ai,_key:"4eae56b88a30",_type:a,marks:[]},{marks:[f],text:"Sad Woman",_key:"fb727617c194",_type:a},{_key:"55b1125ddd69",_type:a,marks:[],text:", 2023. 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No matter how long you’ve mistakenly left that jar in the back of your cupboard slightly ajar, it somehow never fully dries to the touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch touch",_key:"c4d673e35d400",_type:a,marks:[]}],_type:c,style:d,_key:"f117f4d1934a",markDefs:[]},{_type:c,style:d,_key:"e276f3817877",markDefs:[],children:[{_key:"fe8ea5bd780c0",_type:a,marks:[],text:W}]},{style:d,_key:"cf2dca281d24",markDefs:[],children:[{_type:a,marks:[],text:"With beginnings in the prehistoric period, bee husbandry and mankind’s collection of natural honey has been obsessively standardized over many millennia. First, hoards of frenetic bees drink nectar from flowers in the surrounding area, before coming home to the hive to regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitateregurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitateregurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate regurgitate their lunch.",_key:"8950ae8a2ac20"}],_type:c},{_key:"4c7ea3707491",markDefs:[],children:[{_key:"e40f37a06cf50",_type:a,marks:[],text:W}],_type:c,style:d},{_type:c,style:d,_key:"64e08ecebc69",markDefs:[],children:[{_key:"ae6121154df80",_type:a,marks:[],text:"The regurgitation continues, as workers pass it along amongst themselves in a chainlike formation. Eventually the organic material has had enough water pressed out of it to become what we market as honey. The beekeeper must now prepare to safely remove the frames of honey from the hive. By filling the internal corridors and crevices with thick smoke, the keeper subdues the bees into compliance and their honey is non-consensually extracted and the cycle begins again. "}]}],_key:"8e02f9c3f9f7"},{_type:w,label:aSJ,text:[{style:d,_key:"d36bdcd74dbd",markDefs:[],children:[{text:"Florian Meisenberg (b. 1980, Berlin, Germany) lives and works in New York and Düsseldorf. He has upcoming solo exhibitions at Kate MacGarry, London (2023, forthcoming); Simone Subal Gallery, New York (2023, forthcoming); and Ora et Lege (2024, forthcoming).Recent solo shows include Provinz, Bochum, Germany (2023); E.A Shared Space, Tbilisi, Georgia (2022); Kate MacGarry, London (2020, 2013, 2011); Simone Subal Gallery, New York (2021, 2020, 2018, 2015, 2013); Kunstparterre, Munich (2020); Avlskarl, Copenhagen (2020, 2017); Zabludowicz Collection, London (2019); Kunstpalais Erlangen, Germany (2019); Wentrup Gallery, Berlin (2019, 2017, 2016, 2014, 2012); Ghebaly Gallery, Los Angeles (2018); and SIGNAL, New York (2016). Selected group exhibitions include: Berthold Pott, Cologne, Germany (2024, Forthcoming); Kunstpalais Erlangen, Erlangen, Germany (2023); Margot Samel, New York, NY (2023); Insel Hombroich Kulturraum, Neuss, Germany (2023), Ruhruniversitaet Bochum, Bochum (2023); Educational and Cultural Center Broumov, Broumov, Czech Republic (2021); Wentrup, Berlin, Germany (2020); Jetzt! Junge Malerei in Deutschland, exhibition in four locations in Germany, Kunstmuseum Bonn, Museum Wiesbaden, Kunstsammlungen Chemnitz Museum Gunzenhauser, and Deichtorhallen Hamburg (2019); Künstlerhaus Bremen, Germany (2019 – 2020); Museum der Bildenden Kuenste Leipzig, Germany (2019); neue Gesellschaft für Bildende Kunst, Berlin, Germany (2018); Zabludowicz Collection, London (2018); Zeppelin Museum, Friedrichshafen, Germany (2017); Broehan Museum, Berlin, Germany, (2017); Zentrum für Kunst und Medien, Karlsruhe, Germany (2017); Neuer Kunstverein Aschaffenburg, Germany (2017); ICA, Philadelphia (2017); and Kiasma Finnish National Gallery, Helsinki, Finland, (2017). Florian Meisenberg’s work is part of the following collections Hammer Museum, Los Angeles, USA; Boros Collection, Berlin, Germany; Zabludowicz Collection, London, UK; Kiasma Museum, Helsinki, Finland; and the Sammlung Stadtsparkasse Düsseldorf im Museum Kunstpalast, Germany. In 2018, Distanz published Meisenberg’s third monograph with the title: SOMEWHERE, SIDEWAYS DOWN, AT AN ANGLE, BUT VERY CLOSE.",_key:"f665be1d61560",_type:a,marks:[]}],_type:c}],_key:"b55813ccaa88"},{label:eb,_key:"7efc009cf227",install:[{caption:[{children:[{_type:a,marks:[],text:h,_key:"2275d197ffeb"},{_key:"b811213fc1c0",_type:a,marks:[f],text:cb},{_type:a,marks:[],text:aij,_key:"59f0ce5a2567"}],_type:c,style:d,_key:"306cf2b7fc1f",markDefs:[]}],_key:"f12ee09c62bc",asset:{_ref:"image-971ac0cdd825baf70c23a6dbbd36106dfe02b730-8688x5792-jpg",_type:b},_type:e},{asset:{_ref:E$,_type:b},_type:e,caption:[{style:d,_key:"f6855a30db24",markDefs:[],children:[{marks:[],text:h,_key:"3a71e032e050",_type:a},{_type:a,marks:[f],text:cb,_key:"f830e915d78b"},{_type:a,marks:[],text:aij,_key:"52ce6f2d1301"}],_type:c}],_key:"5bfebb056b26"},{caption:[{markDefs:[],children:[{_key:"1d3798d83c4d",_type:a,marks:[],text:h},{marks:[f],text:cb,_key:"9515d2bc41b1",_type:a},{_type:a,marks:[],text:aij,_key:"e33411cc6190"}],_type:c,style:d,_key:"edbf0c5ff029"}],_key:"b03603b8a9ad",asset:{_ref:"image-60a3b066b9e67f874cee96a293e6f6b0687fd808-8688x5792-jpg",_type:b},_type:e},{_type:e,caption:[{_type:c,style:d,_key:"cfd6894cbe30",markDefs:[],children:[{_key:"079c562a1ef8",_type:a,marks:[],text:h},{_type:a,marks:[f],text:cb,_key:"d428b46ddee7"},{_type:a,marks:[],text:aij,_key:"99b36f3d7aa0"}]}],_key:"9ffafc591fd9",asset:{_ref:"image-71d894c1afa4b7762befe9de4cf05e256a726a81-8688x5792-jpg",_type:b}}],work:[{_key:"17c2ad26539e",asset:{_ref:E_,_type:b},_type:e,caption:[{_type:c,style:d,_key:"5a2c7b7c1527",markDefs:[],children:[{_type:a,marks:[],text:aZ,_key:"10fa9cb05f28"},{_type:a,marks:[f],text:"economics of making the most out of it: a painting of the sun and other patterns, in the style of biomorphic abstraction, melting, light sky-blue and dark gray, expressionist figures, polychrome sculpture, cellular formations, eroded interiors, ",_key:"aed71d7d8af3"},{text:"2023. Oil paint, airbrush, and marble dust on canvas. 36 × 28 inches (91.44 × 71.12 cm) Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo ",_key:"68d147f83a5b",_type:a,marks:[]}]}]},{asset:{_ref:"image-d92c0d29c832c571f1e223a3ed1bb48844cc18a3-8109x5792-jpg",_type:b},_type:e,caption:[{children:[{text:aZ,_key:"a1cdab5a8fef",_type:a,marks:[]},{_type:a,marks:[f],text:CM,_key:"920d2e85c9c4"},{text:" 2023. Oil paint and marble dust on canvas. 16 × 20 inches (40.64 × 50.80 cm)Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo ",_key:"768b6cf51a5d",_type:a,marks:[]}],_type:c,style:d,_key:"ba229293a4f8",markDefs:[]}],_key:"0a6fe487a599"},{_type:e,caption:[{_key:"d729504cdf6b",markDefs:[],children:[{_key:"74f60920c7eb",_type:a,marks:[],text:aZ},{_type:a,marks:[f],text:CL,_key:"52970bdccd52"},{marks:[],text:aDR,_key:"338176d1360f",_type:a}],_type:c,style:d}],_key:"2745c43339db",asset:{_ref:Fa,_type:b}},{_type:e,caption:[{children:[{marks:[],text:aZ,_key:"1eccc1ec4d1b",_type:a},{_key:"bc2cda392956",_type:a,marks:[f],text:R},{_type:a,marks:[],text:", 2023. Oil paint and marble dust on canvas. 40 × 30 inches (101.60 × 76.20 cm) Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo ",_key:"59485d393b72"}],_type:c,style:d,_key:"642623a10710",markDefs:[]}],_key:"df6567dd4829",asset:{_type:b,_ref:"image-c89d0a2e96b91fc9b05de33b0f099b3327065eaa-5792x8109-jpg"}},{_type:e,caption:[{markDefs:[],children:[{text:aX,_key:"beeb4165a05f",_type:a,marks:[]},{marks:[f],text:R,_key:"d0c9593a92d0",_type:a},{_type:a,marks:[],text:aDR,_key:"7e6d39db1ad3"}],_type:c,style:d,_key:"fc348cfeb04f"}],_key:"214862567c88",asset:{_ref:Fb,_type:b}},{asset:{_ref:"image-a42354749c6f2195e5e4815ef98793687c58f1aa-5792x8109-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"0571dd28c870",markDefs:[],children:[{marks:[],text:aZ,_key:"e29e489a8387",_type:a},{_type:a,marks:[f],text:R,_key:"f5d4a4aa2270"},{marks:[],text:", 2023. Oil paint and marble dust on canvas. 7 × 5 inches (17.78 × 12.70 cm)Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo ",_key:"3f19ca5d1b54",_type:a}]}],_key:"e2ff91530064"},{asset:{_ref:"image-56fc61c70e248eeb4f9eda05dcdf0294fd3df4d7-5792x8109-jpg",_type:b},_type:e,caption:[{style:d,_key:"fa3923d62051",markDefs:[],children:[{text:aZ,_key:"c0d8c0485f96",_type:a,marks:[]},{text:R,_key:"44f2cdb6fbe8",_type:a,marks:[f]},{marks:[],text:aDR,_key:"e0edc7844c91",_type:a}],_type:c}],_key:"479054a2dbd8"},{asset:{_ref:"image-3d30163396ad31cdd18ccf13de6e90363533eedc-5792x8109-jpg",_type:b},_type:e,caption:[{_key:"447462313b60",markDefs:[],children:[{marks:[],text:aZ,_key:"849d35040bf6",_type:a},{_type:a,marks:[f],text:CM,_key:"017ef5ba9fbe"},{_type:a,marks:[],text:" 2023. Oil paint and marble dust on canvas 40 × 30 inches (101.60 × 76.20 cm) Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo ",_key:"e0f6095dc74d"}],_type:c,style:d}],_key:"594657cdd35c"}],display:aR,_type:L}]},{_rev:"Gn3SCkL4Zl3ItTwShDloks",_id:hC,_type:J,content:[{_key:"5c83798c760b",type:[r],image:{caption:[{markDefs:[],children:[{_type:a,marks:[g],text:aUu,_key:"3ef8602c2660"},{_type:a,marks:[f],text:aUv,_key:"1d0942bf4326"},{_type:a,marks:[],text:aUw,_key:"b28828f3619a"}],_type:c,style:d,_key:"04b6037ea9b9"}],asset:{_ref:aDS,_type:b},_type:e},_type:K},{_type:w,label:"Text",text:[{_type:c,style:d,_key:"ec0dad7b4028",markDefs:[],children:[{text:q,_key:"50deb072063c",_type:a,marks:[]}]},{style:d,_key:"e8f5afbb0dce",markDefs:[],children:[{text:"Curated by Jeannette Bisschops",_key:"b38e41030817",_type:a,marks:[f]}],_type:c},{children:[{text:q,_key:"b7df9e08abef",_type:a,marks:[]}],_type:c,style:d,_key:"6ccaeb5273d6",markDefs:[]},{_type:c,style:d,_key:"d8eaf89fece4",markDefs:[],children:[{marks:[],text:q,_key:"76fb9c2d4aea",_type:a}]},{style:d,_key:"b6cc9f2a65eb",markDefs:[],children:[{_key:"f4075811252c",_type:a,marks:[f],text:"Off Script "},{_key:"3262e3115429",_type:a,marks:[],text:"brings together a group of artists whose works offer propositions to liberate signs, symbols and words from the conventions of traditional language and text. Including works by Art & Language, Joel Dean, Paige K.B., Anna K.E., Christine Sun Kim, Kang Seung Lee, and Sue Tompkins, "},{_type:a,marks:[f],text:ei,_key:"30aae2be2bfe1"},{text:" revels in open-ended storytelling, uncovering new forms for vocabulary and dialogue. Destabilizing a fundamental linguistic hierarchy, the works break out of the constraints of straightforward meaning and interpretation and deflate ideas of truth and authorship.\n",_key:"30aae2be2bfe2",_type:a,marks:[]}],_type:c},{style:d,_key:"7d583772bc6d",markDefs:[],children:[{_type:a,marks:[],text:"Celebrating the messiness and sensuousness of communication, questioning the authoritarian effect of printed text, and exploring the opaque quality of unfamiliar or forgotten signs, the works in this exhibition tell tales that abandon and adhere to different carriers, spill in new structures and forms, and activate the bodily functions of communication. Where does language originate and leave our body? How does it find its receivers and where does it fail? Has the digital age abstracted our interactions by the use of complexity-reducing interfaces and scripts? Making use of linguistic and symbolic layering, blurring, and repetition, the works in this exhibition show how the use of ambiguity could expose the indefinite quality language inherently carries. Asking questions that do not need to be answered, these works deliberately extend a line of escape to a language that refuses to be easily processed and predicted.",_key:"697b947d83410"}],_type:c},{style:d,_key:"ed6cad87e16e",markDefs:[],children:[{text:W,_key:"04d13df758e30",_type:a,marks:[]}],_type:c},{_key:"ecb634b039ba",markDefs:[],children:[{marks:[],text:"– Jeanette 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Graphite on goatskin parchment, antique 24K gold thread on Sambe, walnut frame. 1: 37 1\u002F2 × 31 1\u002F2 × 3 inches (95.25 × 80.01 × 7.62 cm) (framed). 2:10 × 12 × 3 inches (25.40 × 30.48 × 7.62 cm) (framed)",_key:"797b9ae408c6",_type:a}],_type:c,style:d,_key:"48b584b4e416"},{_key:"414a27d99830",markDefs:[],children:[{marks:[],text:aUy,_key:"f2cd29374618",_type:a}],_type:c,style:d}],_key:"98555f347ec5"},{asset:{_ref:"image-7f160e88b711c6bd7269fdc3c9104215aeee8f49-3321x4982-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"594fcbf10cce",markDefs:[],children:[{text:aDT,_key:"cb7ae1707a0d0",_type:a,marks:[]},{_type:a,marks:[f],text:"SPRI",_key:"4124d524e82b"},{text:", 2018. Acrylic on canvas, aluminum frame. 16 1\u002F2 × 12.6 × 1 1\u002F2 inches (41.91 × 32.00 × 3.81 cm). ",_key:"279d96f8345c",_type:a,marks:[]}]},{markDefs:[],children:[{_type:a,marks:[],text:aDU,_key:"134fdb56b51a0"}],_type:c,style:d,_key:"49c2d2a8f4a2"}],_key:"f20fd4676653"},{_type:e,caption:[{children:[{_key:"8130d5f3b73c0",_type:a,marks:[],text:"Joel Dean, "},{_type:a,marks:[f],text:"Initial B and the Transformative Power of Symbolism in Storytelling",_key:"ce2d4a434d81"},{_key:"61395f862d1a",_type:a,marks:[],text:", 2023. Oil on canvas. 64 × 48 inches (162.56 × 121.92 cm). "}],_type:c,style:d,_key:"4ac214768135",markDefs:[]},{markDefs:[],children:[{marks:[],text:"Images courtesy of the artist, Derosia, New York and Simone Subal Gallery, New York. Photo: Marc Tatti",_key:"f16a82d7071a0",_type:a}],_type:c,style:d,_key:"f2cbb52d9882"}],_key:"092326263896",asset:{_ref:"image-3163f9e2d56909a44820bef6394bc64fd335abb4-6962x9000-jpg",_type:b}},{_type:e,caption:[{markDefs:[],children:[{_key:"d12ff065a651",_type:a,marks:[],text:aUx},{text:"Untitled (Nocturne)",_key:"c8d19d337567",_type:a,marks:[f]},{text:", 2022. Graphite on goatskin parchment, antique 24K gold thread on Sambe, walnut frame. 1: 39 × 31 × 3 inches (99.06 × 78.74 × 7.62 cm) (framed). 2: 9 3\u002F4 × 8 1\u002F4 × 3 inches (24.77 × 20.96 × 7.62 cm) (framed)",_key:"ddd88100427f",_type:a,marks:[]}],_type:c,style:d,_key:"d5baaa56a2e7"},{_type:c,style:d,_key:"a1c576d7f9df",markDefs:[],children:[{_type:a,marks:[],text:aUy,_key:"cfb9af1733a8"}]}],_key:"666c2a1afdba",asset:{_ref:"image-7dabe2687aa923d05dc87c89ddeba4a6c8b95050-8365x8365-jpg",_type:b}},{asset:{_type:b,_ref:"image-b914d3b78f639a110dc88bdc00e88b2d9e6e9895-3464x5196-jpg"},_type:e,caption:[{_key:"2ee446b990b6",markDefs:[],children:[{_key:"d8999f72820b0",_type:a,marks:[],text:aDT},{text:"Mores",_key:"ebeb8b9a897f",_type:a,marks:[f]},{_key:"a8596b7cb4ec",_type:a,marks:[],text:", 2018. Acrylic on canvas, aluminum frame. 16 1\u002F2 × 12.6 × 1 1\u002F2 inches (41.91 × 32.00 × 3.81 cm)."}],_type:c,style:d},{markDefs:[],children:[{marks:[],text:aDU,_key:"8abcaf0dcf47",_type:a}],_type:c,style:d,_key:"25d50a1f7721"}],_key:"aff6570b9edf"},{_type:e,caption:[{children:[{marks:[],text:aUz,_key:"d3c4373ddff60",_type:a},{_type:a,marks:[f],text:"Debt Debt Impt Cool",_key:"6b9d5df65bb7"},{marks:[],text:", 2022 Charcoal on paper. 44 × 44 inches (111.76 × 111.76 cm). ",_key:"bf5d4cbb6c76",_type:a}],_type:c,style:d,_key:"5edb024b66c0",markDefs:[]},{_key:"396f94e196f6",markDefs:[],children:[{marks:[],text:aUA,_key:"ce46611195360",_type:a}],_type:c,style:d}],_key:"dfe74077f9b4",asset:{_type:b,_ref:"image-837f091ad4690a00f9daf18e344c7c1212139117-4000x3950-jpg"}},{caption:[{children:[{_type:a,marks:[],text:aUz,_key:"c4017928b41f0"},{marks:[f],text:"Owe Owe For For",_key:"c39736274af1",_type:a},{_type:a,marks:[],text:", 2022. Charcoal on paper. 44 × 44 inches (111.76 × 111.76 cm). ",_key:"daa418c38201"}],_type:c,style:d,_key:"ba5237798475",markDefs:[]},{_type:c,style:d,_key:"6ec9959b86bd",markDefs:[],children:[{_key:"189e20329dd2",_type:a,marks:[],text:aUA}]}],_key:"fd44d0cb5014",asset:{_ref:"image-efec766befdb1256af8adb9718ced0ddf5830145-4000x3950-jpg",_type:b},_type:e},{caption:[{style:d,_key:"99fafe01a4dd",markDefs:[],children:[{_type:a,marks:[],text:aDV,_key:"298eb96af1180"},{text:"She works for DARPA...",_key:"3ac674996cc2",_type:a,marks:[f]},{_type:a,marks:[],text:", 2023. Collage, acrylic, pen, gouache, book binding net, book cloth, wax, Swarovski crystals, preserved cherry blossoms, PVA and methyl cellulose, tissue paper with ash on hand marbled paper mounted on birch panel with latex paint 19 3\u002F4 × 27 5\u002F8 × 2 inches (50.17 × 70.17 × 5.08 cm). ",_key:"e46b0180950f"}],_type:c},{markDefs:[],children:[{_key:"1a507bfe3cd3",_type:a,marks:[],text:aik}],_type:c,style:d,_key:"0b3e2380672c"}],_key:"f8ea7c339140",asset:{_ref:"image-7ebef5fe3a57868b1bc91e52fa7163ca05bbce9c-2250x1761-jpg",_type:b},_type:e},{asset:{_type:b,_ref:"image-64475b93ef027a01d6c5211ec2379528085ca63c-1704x2250-jpg"},_type:e,caption:[{markDefs:[],children:[{marks:[],text:a_,_key:"40b7ea70a8f1",_type:a},{marks:[f],text:"45 DEGREE",_key:"3eff24767eab",_type:a},{_type:a,marks:[],text:", 2023. Voice and audio recordings, drumbeats, musical composition edited in Ableton. 13:13 min. ",_key:"8cad027c60a7"}],_type:c,style:d,_key:"77012455d240"},{_key:"3bd85a8537dd",markDefs:[],children:[{text:aik,_key:"d2704519f350",_type:a,marks:[]}],_type:c,style:d}],_key:"4f10fd7a90e8"},{_type:e,caption:[{_type:c,style:d,_key:"c6d3bdbf1a57",markDefs:[],children:[{_type:a,marks:[],text:"Art & Language, ",_key:"1a2a717dc5d50"},{text:"Not That it is Needed Now (Archive) XX",_key:"ff989e3ab4c3",_type:a,marks:[f]},{text:", 2015 Oil and mixed media on canvas. 24 × 24 inches (60.96 × 60.96 cm). ",_key:"0dbbe089f670",_type:a,marks:[]}]},{markDefs:[],children:[{_type:a,marks:[],text:"Image courtesy of the artist, Lisson Gallery, London, New York, and Simone Subal Gallery, New York. ",_key:"4c7e3ee7cd11"}],_type:c,style:d,_key:"7628dfcf75ac"}],_key:"12fa87b4fc79",asset:{_type:b,_ref:"image-9826f31725797dc00eddf7833bc1fc11f405883f-3744x5000-jpg"}},{_key:"a427b1976405",asset:{_type:b,_ref:"image-377c7e130a546bfc2e2d1158aadbd640f0117aa1-4982x3321-jpg"},_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:aDT,_key:"9ea49807522e0"},{_type:a,marks:[f],text:"Din",_key:"c09007676384"},{marks:[],text:", 2016. Acrylic paint, metallic paint, glitter on canvas, aluminum frame 10.6 × 12.6 × 1 1\u002F2 inches (26.92 × 32.00 × 3.81 cm)",_key:"271af3077dae",_type:a}],_type:c,style:d,_key:"1e79e8a1ab23"},{style:d,_key:"bff1c43e7139",markDefs:[],children:[{_type:a,marks:[],text:aDU,_key:"2f28a24973bc"}],_type:c}]},{_key:"94d7aaef816d",asset:{_ref:"image-02a76c5a5302e87e28f52a1f51f3c421bd696372-2002x2250-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"c0b056de02bf",markDefs:[],children:[{_type:a,marks:[],text:aDV,_key:"f3e7c6d6dc5a0"},{_type:a,marks:[f],text:"There Are No Facts Only Interpretations (like projections of purpose)",_key:"f22c1c099e8c"},{_key:"97717e926e06",_type:a,marks:[],text:", 2021. Dye sublimation print on polyester voile, polyester thread, transfer paper on linen with rock, paper, embroidery scissors, dye sublimation print on polyester voile. 20 1\u002F2 × 18 1\u002F4 × 2 inches (52.07 × 46.36 × 5.08 cm)"}]},{_key:"d293615e462e",markDefs:[],children:[{_key:"af61d51e4db7",_type:a,marks:[],text:aik}],_type:c,style:d}]},{_key:"ec3757f1f631",asset:{_type:b,_ref:"image-21975cc3a103c2ef657a9672c902b6184c594076-2222x2250-jpg"},_type:e,caption:[{markDefs:[],children:[{text:aDV,_key:"5865938cddb1",_type:a,marks:[]},{_key:"702b89b9b2d1",_type:a,marks:[f],text:"Animate Nagano October 2018 (It's AbOuT time),"},{_type:a,marks:[],text:" 2022. Photographic pigment print mounted on Dibond, plexiglas with latex painted frame. 23 × 23 × 1 1\u002F2 inches (58.42 × 58.42 × 3.81 cm). 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Oil on canvas. 66 x 52 in (167.64 × 132.08 cm). \nImage courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo ",_key:"d267d238d1fd",_type:a,marks:[]}],_type:c,style:"h6",_key:"ebbdbb7ea1b5",markDefs:[]}],asset:{_ref:"image-adcf4e8a2c7c1f664c6db0b4e8497c9b29189f0e-4570x1977-jpg",_type:b}},_type:K,_key:"6daa919a4396"},{_type:w,label:aUG,text:[{children:[{marks:[],text:"Simone Subal Gallery is pleased to present ",_key:"68298618eb2c0",_type:a},{_type:a,marks:[f],text:bf,_key:"68298618eb2c2"},{_type:a,marks:[],text:", Mie Yim’s first solo exhibition with the gallery. 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Evocative of a flesh-eating pinball machine or a crazed game of intestinal snakes and ladders, Yim’s vibrant homage spins Mondrian’s infatuation with New York City into a totally unique and guttural dimension.",_key:"5f4a82a7e3a74",_type:a}],_type:c,style:d,_key:"b1d42e2d5e6f"},{markDefs:[],children:[{_key:"f6d1f7a449500",_type:a,marks:[],text:q}],_type:c,style:d,_key:"45bb42000a6d"},{_key:"be2fb7b2aa70",markDefs:[],children:[{_type:a,marks:[],text:"Throughout her career, Yim has considered her practice as an engagement in varying levels of self-portraiture and relentlessly mines her own raw emotional material. In ",_key:"7d5d06ecb2c70"},{text:agI,_key:"7d5d06ecb2c71",_type:a,marks:[f]},{marks:[],text:", 2023, a grotesque female protagonist coyly peers back at a viewer over her shoulder. 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Her works on paper vary in media and mood, from jubilant watercolors to somber oil pastels. 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Photo: Greg Carideo",_key:"78b91e195c18",_type:a,marks:[]}],_type:c,style:d,_key:"31e8472e56fd"}],_key:"807e7475dcfa",asset:{_type:b,_ref:aUQ}},{_type:e,caption:[{_type:c,style:d,_key:"fa6d44f450ca",markDefs:[],children:[{_type:a,marks:[],text:gJ,_key:"0e187bb08232"},{marks:[f],text:"Hothouse Flower",_key:"9ef0ca2a937a",_type:a},{_type:a,marks:[],text:", 2023 Oil on canvas 52 × 48 inches (132.08 × 121.92 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo",_key:"efd2798b836b"}]}],_key:"7f278c047f1b",asset:{_ref:"image-35f38ff74bcad5dafc7ce856ce55918b3a231205-5792x8109-jpg",_type:b}},{asset:{_type:b,_ref:"image-7973b7c81c48cdad6678607aa3421984972635c1-5792x8108-jpg"},_type:e,caption:[{_type:c,style:d,_key:"5393b648f445",markDefs:[],children:[{_type:a,marks:[],text:gJ,_key:"d5b69aabe67b0"},{_type:a,marks:[f],text:"Mondo Cane",_key:"d5b69aabe67b1"},{marks:[],text:", 2023 Oil on canvas 18 × 14 inches (45.72 × 35.56 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo",_key:"d5b69aabe67b2",_type:a}]}],_key:"3069eb90d7d9"}],display:aR,_type:L},{_type:w,label:cE,text:[{children:[{_type:a,marks:[g],text:ig,_key:"7eece5e4dd8d0"},{_type:a,marks:[],text:" was born in South Korea and lives and works in New York. 2023 solo shows include: Inna Art Space, Hangzhou, China; Simone Subal Gallery, New York, NY; and Olympia, New York, NY.",_key:"7eece5e4dd8d1"}],_type:c,style:d,_key:"bf7500329e82",markDefs:[]},{markDefs:[],children:[{_type:a,marks:[],text:"Selected solo exhibitions include: ScottMillerProjects, Birmingham, AL (2022); Brattleboro Art Museum, Brattleboro, VT (2022); Galeria Mascota, CDMX, Mexico (2022); Villa Magdalena, San Sebastian, Spain (2021); Olympia, New York, NY (2021); the Durst Foundation, New York, NY (2019); Ground Floor Gallery, Brooklyn, NY (2018); Michael Steinberg Fine Art, New York, NY (2009); Lehmann Maupin, New York, NY (2004); Galerie in Arco, Torino, Italy (2004).",_key:"4e177397eebc0"}],_type:c,style:d,_key:"293719d0b75e"},{markDefs:[],children:[{marks:[],text:"Selected group exhibitions include: Canada Gallery, New York NY (2022); Samuele Visentin, London, UK (2022); Marcia Wood Gallery, Atlanta, GA (2022, 2020, 2017); Patrick Parrish Gallery, New York, NY (2021); Untitled Art Fair, Miami, FL (2021); LaiSun Keane, Boston, MA (2021); AB Gallery, East Hampton, NY (2021); Olympia, New York, NY (2021); Provincetown Art & Assoc. Museum, Provincetown, MA (2019); Kathryn Markel Fine Arts, New York, NY (2019); Abrazo Interno Gallery, New York, NY (2019); Kustera Projects, Brooklyn, NY (2018); 326 Gallery, New York, NY (2018); The Visual & Performing Arts Center, Western Conn. University, Danbury, Conn (2018); Mitchell Algus Gallery, New York, NY (2017); Geoffrey Young Gallery, Great Barrington, MA (2017); BRIC Arts Center, Brooklyn, NY (2017); Mrs. Gallery, Queens, NY (2017); McKinsey & Company, New York, NY (2016); Theodore: Art, Brooklyn, NY (2016); Mark Borghi Gallery, New York, NY (2016); Ground floor Gallery, Brooklyn, NY (2016); LABspace, HIllsdale, NY (2016); Bronx River Art Center, NY (2015); Ise Cultural Foundation, New York, NY (2006); The Drawing Center, New York, NY (2003, 1993); Weatherspoon Art Museum, Greensboro, NC (2000); and the Bronx Museum, New York, NY (1991).",_key:"731738dd61930",_type:a}],_type:c,style:d,_key:"6ee342cdc301"},{style:d,_key:"d434c14b1583",markDefs:[],children:[{_key:"2d50605488b4",_type:a,marks:[],text:"Mie Yim has been awarded numerous grants and fellowships including Sharpe Walentas Studio Residency, Brooklyn, NY (2023); Yaddo Artist Residency, Saratoga Springs, NY (2022); Pollock Krasner Foundation Grant (2020); the Lillian Orlowsky and William Freed Grant (2018); the New York Foundation of the Arts Painting Fellowship (2021, 2015); and the Bronx Museum AIM Fellowship (1991). Mie Yim’s work is part of important collections including the JPMorgan Chase Art Collection, New York, NY and the Nelsons Atkins Museum of Art, Kansas City, MO."}],_type:c}],_key:"76d44b5f7748",boxed:j}],open_date:"2023-04-14",thumbnail:{caption:[{_key:"3c507fbaa960",markDefs:[],children:[{text:ec,_key:"1fc4cc1a3c37",_type:a,marks:[]},{marks:[f],text:agI,_key:"7cc879cdeb5f",_type:a},{_key:"758a9988c499",_type:a,marks:[],text:", 2023. Oil on canvas. 79 × 55 inches (195.58 × 139.70 cm) Image courtesy of the artist and Simone Subal Gallery, New York. 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Selected solo and two-person exhibitions include: Pace University, New York, NY (2023); Simone Subal Gallery, New York, NY (2023); Inna Art Space, Hangzhou, CN (2023); Olympia Gallery, New York, NY (2023); ScottMillerProjects, Birmingham, AL (2022); Brattleboro Art Museum, Brattleboro, VT (2022); Galeria Mascota, CDMX, Mexico (2022); Villa Magdalena, San Sebastian, Spain (2021); Olympia Gallery, New York, NY (2021); Marcia Wood Gallery, Atlanta, GA (2020); the Durst Foundation, New York, NY (2019); Ground Floor Gallery, Brooklyn, NY (2018); Michael Steinberg Fine Art, New York, NY (2009); Lehmann Maupin, New York, NY (2004); Galerie in Arco, Torino, Italy (2004). Selected group exhibitions include: Lehmann Maupin Gallery, Seoul, KR (2024; Unit London, London, UK (2023); Hive Center for Contemporary Art, Beijing, CN (2023); Jessica Silverman, San Francisco, CA (2023); Hales Gallery, New York, NY (2023); Platform New York, NY (2023); Canada Gallery, New York NY (2022); Samuele Visentin, London, UK (2022); Marcia Wood Gallery, Atlanta, GA (2022, 2020, 2017); Patrick Parrish Gallery, New York, NY (2021); LaiSun Keane, Boston, MA (2021); AB Gallery, East Hampton, NY (2021); Olympia Gallery, New York, NY (2021); Provincetown Art & Assoc. Museum, Provincetown, MA (2019); Opalka Gallery, Sage College, Albany, NY (2021); Kathryn Markel Fine Arts, New York, NY (2019); Abrazo Interno Gallery, New York, NY (2019); Tiger Strikes Asteroid, Brooklyn, NY (2018); Kustera Projects, Brooklyn, NY (2018); 326 Gallery, New York, NY (2018); The Visual & Performing Arts Center, Western Conn. University, Danbury, Conn (2018); Mitchell Algus Gallery, New York, NY (2017); Geoffrey Young Gallery, Great Barrington, MA (2017); BRIC Arts Center, Brooklyn, NY (2017); Mrs. Gallery, Queens, NY (2017); McKinsey & Company, New York, NY (2016); Theodore: Art, Brooklyn, NY (2016); Mark Borghi Gallery, New York, NY (2016); Ground floor Gallery, Brooklyn, NY (2016); LABspace, Hillsdale, NY (2016); Storefront Ten Eyck, Brooklyn, NY (2015); Bronx River Art Center, NY (2015); Storefront Ten eyck, Brooklyn, NY (2015); Ise Cultural Foundation, New York, NY (2006); The Drawing Center, New York, NY (2003, 1993); Weatherspoon Art Museum, Greensboro, NC (2000); and the Bronx Museum, New York, NY (1991). Mie Yim has been awarded numerous grants and fellowships including a Sharpe-Walentas Studio Residency, New York, NY (2023); Yaddo Artist Residency, Saratoga Springs, NY (2022); Pollock Krasner Foundation Grant (2020); the Lillian Orlowsky and William Freed Grant (2018); the New York Foundation of the Arts Painting Fellowship (2021, 2015); and the Bronx Museum AIM Fellowship (1991). Mie Yim’s work is in the public collection at the Nelsons Atkins Museum of Art, Kansas City, MO.",_key:"5f62e2bb0d72"}],_type:c},{_type:c,style:d,_key:"bd3bf00468ad",markDefs:[],children:[{text:q,_key:"97feda18655f",_type:a,marks:[]}]},{title:"Mie Yim - CV",_type:ab,_key:"1de04cb4e6c6",asset:{_ref:"file-c9f8d30bbf16f518fdb06d3f86c4a2ef8cdacbfb-pdf",_type:b}}],selected_exhibitions:[{_type:ae,link:"https:\u002F\u002Fwww.pace.edu\u002Fdyson\u002Flife-dyson\u002Fart-gallery\u002Fpast-exhibitions\u002Fmie-yim-mother-octopus",place:"Pace University Art Gallery",_key:"3203d849461a",title:"Mie Yim: Mother Octopus",open_date:"2023-11-14",close_date:"2024-01-27",thumbnail:{_type:r,asset:{_ref:"image-587c33c3ede60c695c7ea22048bc6ca7585cefa1-4000x3154-jpg",_type:b}}},{_type:b,_key:"67d8fd97b4af",_ref:aUX},{_type:ae,link:"https:\u002F\u002Fwww.brattleboromuseum.org\u002F2022\u002F03\u002F01\u002Fmie-yim-fluid-boundaries\u002F",place:"Brattleboro Museum & Art Center",_key:"a5880e804a0c",title:agJ,open_date:aUY,close_date:"2022-10-10",thumbnail:{asset:{_type:b,_ref:aUZ},_type:r}},{_type:b,_key:"3e763a83b6b3",_ref:"30298879-15ac-43e1-a32f-b1c61851d531"}],sortName:"Yim",_updatedAt:"2024-03-01T17:48:04Z",_type:ac,gallery:[{_key:"66e128b57544",asset:{_type:b,_ref:aTx},_type:e,caption:[{markDefs:[],children:[{marks:[],text:h,_key:"b72ac35c7189",_type:a},{text:"Fremdkörper, ",_key:"c5afaadc60b1",_type:a,marks:[f]},{_key:"f388ada8938c",_type:a,marks:[],text:"Am Schwarzenbergplatz, Vienna, AT. "}],_type:c,style:d,_key:"cda991669fa3"}]},{_key:"0f8cbfdc1c81",asset:{_ref:aTy,_type:b},_type:e,caption:[{_key:"caccbf85db45",markDefs:[],children:[{text:ec,_key:"261cc4a71da8",_type:a,marks:[]},{text:aie,_key:"0d0b6e2411ed0",_type:a,marks:[f]},{_type:a,marks:[],text:", 2024. Oil on canvas. 66 × 52 inches (167.64 × 132.08 cm). ",_key:"0d0b6e2411ed1"}],_type:c,style:d}]},{_type:e,caption:[{markDefs:[],children:[{text:h,_key:"cba7da6a4a8c",_type:a,marks:[]},{text:aU_,_key:"bdf8c0bb83a5",_type:a,marks:[f]},{text:aU$,_key:"d0de09af51f5",_type:a,marks:[]}],_type:c,style:d,_key:"f93e01ea8167"}],_key:"85d48f32a280",asset:{_ref:"image-7a1882b528446a0bd755293b5c77e6816c8ca037-3500x2334-jpg",_type:b}},{_type:e,caption:[{_key:"b769e5dea8a7",markDefs:[],children:[{_key:"4745225f0aa0",_type:a,marks:[],text:h},{_type:a,marks:[f],text:aU_,_key:"56ea24817cff"},{text:aU$,_key:"1f6ec4a1dc42",_type:a,marks:[]}],_type:c,style:d}],_key:"3da4f26b744b",asset:{_ref:"image-eef0faa5a83b481c93db20b941837d90c4149bf8-3500x2334-jpg",_type:b}},{_type:e,caption:[{children:[{marks:[],text:aDY,_key:"622748b993a70",_type:a},{_type:a,marks:[f],text:"Metamorphosis",_key:"622748b993a71"},{_type:a,marks:[],text:", 2023. Oil on canvas . 72 × 60 inches (182.88 × 152.40 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: GC Photography",_key:"622748b993a72"}],_type:c,style:d,_key:"325414800cf5",markDefs:[]}],_key:"509724b3f451",asset:{_type:b,_ref:"image-c8cfd8c5b53b7fd010a778adf39a21051ff640a9-2857x4000-jpg"}},{_type:e,caption:[{markDefs:[],children:[{text:"Installation view, Booth B25 Simone Subal Gallery, Art Basel Miami Beach, 2023. ",_key:"4eabff9e6b4a",_type:a,marks:[]}],_type:c,style:d,_key:"8306b60603cf"}],_key:"137b22e77805",asset:{_ref:"image-df9c2bc35788bd53caa374f0dd38266209bb28eb-1252x702-png",_type:b}},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:ec,_key:"070cf200966b0"},{_key:"1ad8756e4d24",_type:a,marks:[f],text:"Mariposa,"},{marks:[],text:" 2023. Oil on canvas. 36 × 44 1\u002F2 inches (91.44 × 113.03 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo ",_key:"22a05282a7bc",_type:a}],_type:c,style:d,_key:"234e573fd624"}],_key:"bb27a8fb02ca",asset:{_type:b,_ref:"image-54e4b795d756793254f0213959af6e738ded0cfd-4000x2857-jpg"}},{_type:e,caption:[{style:d,_key:"5b589ed74b94",markDefs:[],children:[{_type:a,marks:[],text:bc,_key:"53db2a0efa500"}],_type:c}],_key:"eef4d61ec6d1",asset:{_ref:CR,_type:b}},{caption:[{children:[{text:ec,_key:"180fe68335bf",_type:a,marks:[]},{_key:"47256d37e567",_type:a,marks:[f],text:"Momo"},{_key:"c63c6e0c037d",_type:a,marks:[],text:", 2023. Oil on canvas. 16 × 12 inches (40.64 × 30.48 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo "}],_type:c,style:d,_key:"d5aa7101a646",markDefs:[]}],_key:"67b38acf48f7",asset:{_ref:"image-1de019772070d3c3be6b6fb32219db67f5a418f4-2857x4000-jpg",_type:b},_type:e},{_key:"332fd261ebe3",asset:{_type:b,_ref:"image-ffe68d11a4725fb1bcb304c4012e718aa5f89a39-6720x4480-jpg"},_type:e,caption:[{children:[{marks:[],text:h,_key:"983f3a7e8a0b",_type:a},{_key:"4db86c1e9f0d",_type:a,marks:[f],text:"Polyreality"},{text:", Hive Center for Contemporary Art, Beijing. Photo: Hive Center for Contemporary Art.",_key:"0aae0018a526",_type:a,marks:[]}],_type:c,style:d,_key:"caae04a0d47b",markDefs:[]}]},{_type:e,caption:[{_key:"30c419b49d05",markDefs:[],children:[{marks:[],text:ec,_key:"23375b3dba690",_type:a},{_key:"6420dfdd22390",_type:a,marks:[f],text:"Peyote"},{marks:[],text:", 2023. Oil on canvas. 60 × 56 inches (152.40 × 142.24 cm). Photo: Greg Carideo",_key:"6420dfdd22391",_type:a}],_type:c,style:d}],_key:"79aff32899cd",asset:{_type:b,_ref:"image-0c5ab12c0d1d387059fd3f48e4edc9f6a0dbb503-5792x8109-jpg"}},{caption:[{_key:"aaa621281c79",markDefs:[],children:[{marks:[],text:aD,_key:"df0593f99d44",_type:a},{_key:"8dfaefb84f09",_type:a,marks:[f],text:aVa},{_type:a,marks:[],text:aVb,_key:"7e63e472c24b"}],_type:c,style:d}],_key:"b42adbcb6e8d",asset:{_ref:"image-7152304639d88fb14fad149a4b8f36ae03f8c028-2000x1331-jpg",_type:b},_type:e},{caption:[{children:[{_type:a,marks:[],text:aD,_key:"c04417532349"},{_key:"254966871996",_type:a,marks:[f],text:aVa},{_type:a,marks:[],text:aVb,_key:"46bb61dba695"}],_type:c,style:d,_key:"d3d05a997088",markDefs:[]}],_key:"e4d1d3382357",asset:{_ref:"image-dbdc0fa3e80151c8ec401cbe1dc9527fcdc74c98-2000x1231-jpg",_type:b},_type:e},{asset:{_ref:aUJ,_type:b},_type:e,caption:[{markDefs:[],children:[{_key:"40685870eff6",_type:a,marks:[],text:h},{text:bf,_key:"55ffadb4e821",_type:a,marks:[f]},{_type:a,marks:[],text:bK,_key:"c211ad853078"}],_type:c,style:d,_key:"e16aaf32361a"}],_key:"bb8691362f4d"},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:ec,_key:"b51bcdfafc850"},{_type:a,marks:[f],text:aDW,_key:"0c334a8f26c3"},{_type:a,marks:[],text:", 2023. Oil on canvas. 66 × 52 inches (167.64 × 132.08 cm). Photo: Greg Carideo",_key:"dd5d3f71ed6b"}],_type:c,style:d,_key:"b50c292d9d1c"}],_key:"0f8c80fe4fb3",asset:{_ref:aUO,_type:b}},{_type:e,caption:[{markDefs:[],children:[{text:h,_key:"b8f8c11a00d2",_type:a,marks:[]},{_type:a,marks:[f],text:bf,_key:"adb5ab7bdbf7"},{_key:"58bfc771d01b",_type:a,marks:[],text:bK}],_type:c,style:d,_key:"56291ce81a9a"}],_key:"42e4cd99f89c",asset:{_ref:aUM,_type:b}},{_type:e,caption:[{children:[{_type:a,marks:[],text:ec,_key:"4d10b182f6620"},{marks:[f],text:aUP,_key:"4511a9daddb5",_type:a},{_key:"1424bd58ac0b",_type:a,marks:[],text:", 2023. Oil on canvas. 20 × 16 inches (50.80 × 40.64 cm). 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This is Lerooy’s first solo presentation with the gallery.",_key:"4c92a83d3fc6",_type:a,marks:[]}],_type:c,style:d,_key:"cc44ca05ccd4"},{style:d,_key:"cb151ed057c3",markDefs:[],children:[{_type:a,marks:[],text:"Thomas Lerooy, well-known for his decades-long sculptural practice, presents new works stemming from his relatively recent foray into painting. This series of distorted portraits shares continuity with his surrealist, sculptural poetics, yet offers a level of plasticity that is more readily accessible through his painting practice. By melding traditional art historical styles of portraiture with contemporary and personal concepts of advertising, voyeurism, and play, Lerooy’s imagery bears an unusually poignant and playful sentiment rendered in a style uniquely his own. He pulls visual snippets from both traditionally “high” and “low” cultural spheres, ranging from Courbet and Renoir, to the drapery of fabrics pulled tight across the bodies of reality TV stars in fashion magazines. The resulting works often feel imbued with a sense of familiarity, but are ultimately unplaceable.",_key:"f51ab90c6567"}],_type:c},{_type:c,style:d,_key:"f0c2240ec352",markDefs:[],children:[{marks:[],text:q,_key:"0a91284bc890",_type:a}]},{_key:"5bf4ac8c89a6",markDefs:[],children:[{_type:a,marks:[],text:"Evocative of guests attending a surrealist masquerade ball, several of Lerooy’s coquettish subjects coyly engage a viewer behind masks of waxy anthurium petals, chalky seashells, and brightly colored feathers. Lerooy never permits a full face to be visible, often employing humorous and absurd motifs to partially conceal his subjects. In ",_key:"e39174eb0b93"},{_type:a,marks:[f],text:"Eye Love You",_key:"e1347718349a1"},{marks:[],text:", 2023, a Rococo-like beauty is simultaneously obscured and revealed by a trail of milky snail slime, while in ",_key:"e1347718349a2",_type:a},{_key:"e1347718349a3",_type:a,marks:[f],text:aNj},{_key:"e1347718349a4",_type:a,marks:[],text:", 2023 a woman’s face is seen through a translucent yellow balloon filled with writhing snakes. Nodding loosely towards the interpretive logic of allegories and fables, Lerooy uses these motifs to create a calculated distance between subject and viewer, and in doing so often calls attention to the surface of the painting itself."}],_type:c,style:d},{markDefs:[],children:[{_type:a,marks:[],text:q,_key:"4f46232d4cd50"}],_type:c,style:d,_key:"df2b8a182e7b"},{children:[{text:"A permeable barrier can be felt between the viewer’s world and the world within Lerooy’s subject matter – akin to glimpsing another through a pane of glass or in the reflection of a cloudy mirror. This separation refuses a viewer’s ability to escape completely into the imagery; the fourth wall is broken and the act of voyeurism is emphasized. While partial information and a feeling of connection with Lerooy’s subjects can be garnered, the “truth” of a figure’s total subjectivity remains murky. This intentional obscurity points to there being something inaccessible about each subject; something inherently unknowable behind the eyes of any person that one may encounter in life, whether a stranger, a close friend, or a lover. Rather, this unfulfilled desire for connection comprises Lerooy’s love language. His use of flora and fauna equally points to this distance between subject and viewer – humans have the ability to relate to other living creatures on some level, but complete, mutual understanding is beyond the scope of possibility.",_key:"5bcb69732b11",_type:a,marks:[]}],_type:c,style:d,_key:"7682ef4e2339",markDefs:[]}],_key:"17d90cb05046",_type:w,label:cD},{work:[{caption:[{_type:c,style:d,_key:"ae9bb5ffca34",markDefs:[],children:[{_type:a,marks:[],text:ii,_key:"2a59e3291743"},{marks:[f],text:", Eye on You",_key:"f92a105898f60",_type:a},{marks:[],text:", 2023. Oil on canvas. 32 × 26 inches (81.28 × 66.04 cm). Photo: Hugard and Vanoverschelde ",_key:"f92a105898f61",_type:a}]}],_key:"f90ff2cbefd3",asset:{_ref:"image-3affa9b4b5e72346ebd972cb75a177a9096722cc-2362x2808-jpg",_type:b},_type:e},{caption:[{_type:c,style:d,_key:"fdc15ec366d9",markDefs:[],children:[{marks:[],text:cg,_key:"f7ec56a8b426",_type:a},{_type:a,marks:[f],text:aNj,_key:"85b1b79c8e49"},{marks:[],text:aVu,_key:"1cd2c0ee784b",_type:a}]}],_key:"86699b092609",asset:{_type:b,_ref:aVv},_type:e},{_key:"4913039bc760",asset:{_type:b,_ref:aVw},_type:e,caption:[{style:d,_key:"62d32203266f",markDefs:[],children:[{_key:"c1fcec0e3f0c",_type:a,marks:[],text:ii},{_type:a,marks:[f],text:", For your eyes only",_key:"641a3d05c4360"},{_key:"641a3d05c4361",_type:a,marks:[],text:", 2023. Oil on canvas. 27 ½ × 23 ⅝ inches (69.85 × 60.01 cm). 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Upcoming shows include: Simone Subal Gallery, New York, NY, USA (2023, forthcoming), and Nino Mier Gallery, Los Angeles, CA USA (2023, forthcoming). Solo and two person exhibitions include: rodolphe janssen, Brussels, Belgium (2021, 2014, 2011, 2009); Royal Museum of Fine Arts of Belgium, Brussels, Belgium (2019); Gaasbeek Castle, Gaasbeek, Belgium (2018); Stigter Van Doesburg, Amsterdam, The Netherlands (2018); Museum Dhondt-Dhaenens, Deurle, Belgium (2017); Galleri Brandstrup, Oslo, Norway (2016); Petit Palais, Musée des Beaux-Arts de la Ville de Paris, Paris, France (2015); Maison Particulière, Brussels, Belgium (2014); Villa Knokke, Knokke Heist, Belgium (2012); Galerie Nathalie Obadia, Paris, France (2012, 2010, 2009); Kunsthalle Krems, Austria (2010); Künstlerhaus Bethaniën, Berlin, Germany (2010); Sorry We’re Closed, Brussels, Belgium (2007); Museum Dhondt-Dhaenens, Deurle, Belgium (2006). Group exhibitions include: rodolphe janssen, Brussels, Belgium (2022); Knokke-Heist, Belgium (2021); Triennial Bruges (2021); TraumA, Bruges, Belgium (2021); The Hole, New York, NY USA (2021); Mario Mauroner Contemporary Art Gallery Salzburg-Vienna, Austria (2020); Puurs, Belgium (2020); Contemporary Art Biennial, Autumn, France (2020); TANK, Shanghai, China (2020); Galerie Michael Haas, Berlin, Germany (2020); Centre of Contemporary Art, Torun, Poland (2018); Pamelekerk, Oudenaarde, Belgium (2018); MOMENTUM 18, Ypres, Belgium (2018); Kunstenfestival Watou, Tussen Taal & Beeld\u002FVerzamelde verhalen, Watou, Belgium (2018); Herzog Anton Ulrich-Museum, Braunschweig, Germany (2018); WORKFLOW, Sint-Niklaas, Belgium (2018); Kunstmuseum Bochum, Bochum, Germany (2017); Panthera, Brussels, Belgium (2017); Geukens & De Vil, Antwerp, Belgium (2017); rodolphe janssen, Brussels, Belgium (2017, 2016, 2015, 2013, 2012); Galleri Brandstrup, Oslo, Norway (2017); Utsunomiya Museum of Art, Utsunomiya (2017); Hyogo Prefectural Museum of Art, Kobe; The Bunkamura Museum of Art, Tokyo, Japan (2017); Geukens & De Vil, Antwerp, Belgium (2017); Centre Wallonie Bruxelles, Paris, France (2017); Belfius art gallery, Brussels, Belgium (2016); La Centrale For Contemporary Art, Brussels, Belgium (2016); Weserburg\u002FMuseum Fur moderne kunst, Bremen, Germany (2016); Museum Folkwang, Essen, Germany (2016); Abbaye St André Centre d’art contemporain, Meymac, France (2016);collateral event of the 56th Venice Biennale, Palazzo Cavalli Franchetti and Fondazione Berengo, Venice, Italy (2015); LaM, Lille Métropole Musée d’Art Moderne, d’Art Contemporain et d’Art Brut, Villeneuve d’Ascq, France (2015); Phoenix Art Museum, Phoenix, AZ USA (2014); Musée de l’Hôpital Notre-Dame à la Rose, Lessines, Belgium (2014); Maison Particulière, Brussels, Belgium (2014, 2013); Centre Pompidou Musée d’Art Moderne, Paris, France (2013); All Visual Arts, London, United Kingdom (2012); Villa Jauss, Oberstdorf, Germany (2012); ME-Collectors Room, Berlin, Germany (2012).  Thomas Lerooy’s work is in numerous public collections, including:Belfius Art Collection, Brussels, Belgium; 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Solo and two person exhibitions include: Simone Subal Gallery, New York, NY, USA (2023); rodolphe janssen, Brussels, Belgium (2021, 2014, 2011, 2009); Royal Museum of Fine Arts of Belgium, Brussels, Belgium (2019); Gaasbeek Castle, Gaasbeek, Belgium (2018); Stigter Van Doesburg, Amsterdam, The Netherlands (2018); Museum Dhondt-Dhaenens, Deurle, Belgium (2017); Galleri Brandstrup, Oslo, Norway (2016); Petit Palais, Musée des Beaux-Arts de la Ville de Paris, Paris, France (2015); Maison Particulière, Brussels, Belgium (2014); Villa Knokke, Knokke Heist, Belgium (2012); Galerie Nathalie Obadia, Paris, France (2012, 2010, 2009); Kunsthalle Krems, Austria (2010); Künstlerhaus Bethaniën, Berlin, Germany (2010); Sorry We’re Closed, Brussels, Belgium (2007); Museum Dhondt-Dhaenens, Deurle, Belgium (2006). Group exhibitions include: rodolphe janssen, Brussels, Belgium (2022); Knokke-Heist, Belgium (2021); Triennial Bruges (2021); TraumA, Bruges, Belgium (2021); The Hole, New York, NY USA (2021); Mario Mauroner Contemporary Art Gallery Salzburg-Vienna, Austria (2020); Puurs, Belgium (2020); Contemporary Art Biennial, Autumn, France (2020); TANK, Shanghai, China (2020); Galerie Michael Haas, Berlin, Germany (2020); Centre of Contemporary Art, Torun, Poland (2018); Pamelekerk, Oudenaarde, Belgium (2018); ",_key:"6526b605722e0",_type:a},{text:"MOMENTUM 18",_key:"6526b605722e1",_type:a,marks:[f]},{marks:[],text:", Ypres, Belgium (2018); Kunstenfestival Watou, Tussen Taal & Beeld\u002FVerzamelde verhalen, Watou, Belgium (2018); Herzog Anton Ulrich-Museum, Braunschweig, Germany (2018); WORKFLOW, Sint-Niklaas, Belgium (2018); Kunstmuseum Bochum, Bochum, Germany (2017); Panthera, Brussels, Belgium (2017); Geukens & De Vil, Antwerp, Belgium (2017); rodolphe janssen, Brussels, Belgium (2017, 2016, 2015, 2013, 2012); Galleri Brandstrup, Oslo, Norway (2017); Utsunomiya Museum of Art, Utsunomiya (2017); Hyogo Prefectural Museum of Art, Kobe; The Bunkamura Museum of Art, Tokyo, Japan (2017); Geukens & De Vil, Antwerp, Belgium (2017); Centre Wallonie Bruxelles, Paris, France (2017); Belfius art gallery, Brussels, Belgium (2016); La Centrale For Contemporary Art, Brussels, Belgium (2016); Weserburg\u002FMuseum Fur Moderne Kunst, Bremen, Germany (2016); Museum Folkwang, Essen, Germany (2016); Abbaye St André Centre d’Art Contemporain, Meymac, France (2016); collateral event of the 56th Venice Biennale, Palazzo Cavalli Franchetti and Fondazione Berengo, Venice, Italy (2015); LaM, Lille Métropole Musée d’Art Moderne, d’Art Contemporain et d’Art Brut, Villeneuve d’Ascq, France (2015); Phoenix Art Museum, Phoenix, AZ USA (2014); Musée de l’Hôpital Notre-Dame à la Rose, Lessines, Belgium (2014); Maison Particulière, Brussels, Belgium (2014, 2013); Centre Pompidou Musée d’Art Moderne, Paris, France (2013); All Visual Arts, London, United Kingdom (2012); Villa Jauss, Oberstdorf, Germany (2012); ME-Collectors Room, Berlin, Germany (2012). Thomas Lerooy’s work is in numerous public collections, including: Belfius Art Collection, Brussels, Belgium; Ville de Bruxelles, Belgium; Musée National d’Art Moderne - Centre Pompidou, Paris, France; City of Knokke, Belgium; City of Puurs, Belgium; Provincie West-Vlaanderen, Belgium; Zuzeum Art Center, Riga, Latvia.",_key:"6526b605722e2",_type:a}],_type:c,style:d,_key:"85efd6f41389"},{_type:c,style:d,_key:"917ee8ab37c6",markDefs:[],children:[{text:q,_key:"d14ef1dea8dc",_type:a,marks:[]}]},{children:[{_type:a,marks:[],text:q,_key:"997744c27e55"}],_type:c,style:d,_key:"ef1b2747cd7f",markDefs:[]},{_key:"60778b8df3db",asset:{_ref:"file-7164c9cb1178a1d588f019ae443bc6e6efd7ed81-pdf",_type:b},title:"Thomas Lerooy - CV ",_type:ab}],_id:"adae1bc8-fe05-465e-9407-33855c5a439c",gallery:[{asset:{_ref:hm,_type:b},_type:e,caption:[{markDefs:[],children:[{text:da,_key:"29268c2f0eb10",_type:a,marks:[]}],_type:c,style:d,_key:"a00f9b784675"}],_key:"5891dbd7f185"},{_type:e,caption:[{_type:c,style:d,_key:"01776513ddbd",markDefs:[],children:[{marks:[],text:cg,_key:"793fcf6349620",_type:a},{_type:a,marks:[f],text:"Mindblowing",_key:"f467b90f51060"},{_type:a,marks:[],text:", 2023. 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for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions—trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms; and as they fall, as they shape themselves into the life of Monday or Tuesday, the accent falls differently from of old; the moment of importance came not here but there; so that if a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work upon his own feeling and not upon convention, there would be no plot, no comedy, no tragedy, no love interest or catastrophe in the accepted style, and perhaps not a single button sewn on as the Bond Street tailors would have it. Life is not a series of gig lamps symmetrically arranged; but a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end. ",_key:"735e86188d75",_type:a},{marks:[],text:"(1) \n",_key:"9693e35f3eaf",_type:a}]},{style:d,_key:"591b5ed2a555",markDefs:[],children:[{_key:"52156bc4ddcb0",_type:a,marks:[],text:"To beat a matrix is to press paper pulp into a tray of metal type (or matrix) so as to make a mold for a printing plate. This process is called stereotyping, and the plates it produces are called stereotypes or clichés. The word “matrix” can also signify: a medium in which something is originated, the environment in which a process begins, a point of origin and growth, the rock in which a fossil is embedded, a supporting or enclosing structure, a womb, or an array of symbols representing a truth value. The words “stereotype” and “cliché” refer to the petrification of type.\n"}],_type:c},{_key:"6cd869fb0c39",markDefs:[],children:[{marks:[],text:"Everything in this exhibition is a sequence or part of a sequence. Like language. Like this text. Like the sentences but also the words in this text, which are meant to be read in a linear fashion, knowing that the only way to transform a line is to follow it repeatedly until it bends to form a circle that spins into a spiral and leads you elsewhere.\n",_key:"2a0c8308150f0",_type:a}],_type:c,style:d},{children:[{marks:[],text:"Every work in this exhibition is a form or its impression. What little paint I have used has been pressed through the matrix of a serigraphy screen. Even the drawings were mediated and abstracted by the milky vellum through and onto which I drew them.\n",_key:"384c650008130",_type:a}],_type:c,style:d,_key:"20debc972498",markDefs:[]},{markDefs:[],children:[{marks:[],text:"These works neither contain nor communicate anything other than the potential to become what alone they can never be. The colors of one of the wallpapers are the average color of the universe, calculated in two different ways. The image that forms its pattern is a slice of the vast universe that covers “a patch of sky approximately the size of a grain of sand held at arm’s length by someone on the ground.” (2) The images I used for the drawings and video are those that stayed with me, like grit or sand, from the flux of images that I, like everyone else, produce and consume on a daily basis. They are images I want to remember, for reasons often unrelated to anything other than the circumstances in which I encountered them. The other objects on view are also residues, deposits, traces of a pursuit both errant and purposeful, like scrolling past images on one’s phone, or like this text, which is just as necessary or trivial as anything I could have written in its stead.",_key:"2c82a59a96790",_type:a}],_type:c,style:d,_key:"a45c8c00e45d"},{_type:c,style:d,_key:"61a461da76c1",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"a4c5dfd5b4fa0"}]},{style:d,_key:"961a92ebaa43",markDefs:[],children:[{_key:"16ead4c663500",_type:a,marks:[],text:"                                                                                                 – Julien Bismuth"}],_type:c},{markDefs:[],children:[{marks:[],text:q,_key:"828529550ae8",_type:a}],_type:c,style:d,_key:"fef0c65c36dc"},{children:[{_key:"2be970dcb239",_type:a,marks:[],text:q}],_type:c,style:d,_key:"4b1d5cbbd1b6",markDefs:[]},{_key:"96707a0e018f",markDefs:[],children:[{text:"__________",_key:"f9da494e119f",_type:a,marks:[]}],_type:c,style:d},{_key:"fcb9d9bbcb20",markDefs:[],children:[{_type:a,marks:[],text:"(1) Woolf, Virginia. 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The porousness and tactility of Smith’s materials recall a lived-in skin, inconclusively marred by the pleasures and pressures of femininity.",_key:"dc4d8a1e65300"}],_type:c},{_type:c,style:d,_key:"9da89e2291c1",markDefs:[],children:[{_key:"ffb6e81b23d60",_type:a,marks:[],text:W}]},{_key:"26babd8a63c2",markDefs:[],children:[{_key:"ce5dd96c39fd0",_type:a,marks:[],text:"– curated by Moira Sims, 2022"}],_type:c,style:d},{_type:c,style:d,_key:"bb64a83296eb",markDefs:[],children:[{_type:a,marks:[],text:W,_key:"8ee68afcd1350"}]}],_key:"101f882eb7d8",_type:w},{text:[{_type:c,style:d,_key:"8258ccfcbfc9",markDefs:[],children:[{marks:[g],text:aWg,_key:"ee1389ed0186",_type:a},{_key:"b34a3558ba70",_type:a,marks:[],text:" (b. 1985 in Buenos Aires) lives and works between Mexico and Argentina. Solo exhibitions include: Daniela Elbahara Gallery, Mexico City, MX (2021), Locust Projects, Miami, US (2019); Natalia Hug Gallery, Cologne, DE (2018); and La Fábrica, Buenos Aires, AR (2014). Recent group exhibitions include: Museo Moderno de Buenos Aires (MAMBA), AR (2022)The Drawing Center, New York, US (2019); Sculpture Center, New York, US (2018)); Centro Cultural Tlatelolco (CCUT), MX (2019). "},{text:"El Lado Quieto",_key:"7ccbf4311994",_type:a,marks:[f]},{_type:a,marks:[],text:" (2021) a recent feature film co-directed by filmmaker Miko Revereza, was screened in the following film festivals: Doc-Fortnight MoMa 2022 (New York, US), IDFA 2021 (Amsterdam, NL) Open City Film Festival 2021 (London, UK), Yamagata International Documentary Film Festival 2021 (JP), Dok-Leipzig 2021 (DE), Black Canvas 2021 (MX), DMZ 2021 (KOR); Images Festival 2022 (CA), True\u002F False Film Festival 2022 (US), Camara Lucida 2021 (Ecuador) and Pravo Ljudski Film Festival 2021 (Sarajevo). Carolina Fusilier has received The Pollock-Krasner Foundation Fellowship (2019-2020, US), ACC Cinemafund (2020, KOR), Fundacion Jumex (2019, MX) and The Raul Urtasun-Frances Harley Fellowship (2015, The Banff Center, CA).",_key:"5f2c641bf9a9"}]}],_key:"99d44c7eeb95",boxed:j,_type:w,label:"CF Bio"},{_key:"e8d607f2e5d1",boxed:j,_type:w,label:"SHW Bio",text:[{markDefs:[],children:[{marks:[g],text:aWi,_key:"c4b7283dcb0d",_type:a},{text:" (b. 1994 in Cincinnati) lives and works in New York, US. Solo and two-person exhibitions include: A.D. NYC, New York, US (2022); Badwater, Knoxville, US (2022); Interstate Projects, Brooklyn, US (2021); New Works, Chicago, (2019); Bar 4000, Chicago, US (2018); Limbo, Limbo, Limbo, London, UK (2016); Locker 95, London, UK (2016); Jacket Contemporary, Chicago, US (2016). Recent group exhibitions include: Westbeth, New York, US (2022); King’s Leap, New York, US (2021); Annex de Odelon, New York, US (2021); 464, New York, US (2021); MX Gallery, New York, US (2018); Obst, Chicago, US (2018); Frontera 115, Mexico City, MX (2018); 348 N. Ashland Ave. Rooftop, Chicago, US (2017); Siragusa Gallery at The School of the Art Institute of Chicago, Chicago, US (2014); Prairie Gallery, Cincinnati, US (2013).",_key:"d6c5408b650b",_type:a,marks:[]}],_type:c,style:d,_key:"5f77eabcd1ba"}]},{_type:w,label:"PJ Bio",text:[{children:[{_type:a,marks:[g],text:aWh,_key:"1d766bffee8e"},{_type:a,marks:[],text:" (b. 1990 in Bryan, TX) lives and works in New York. Solo exhibitions include: Ryan Lee, New York, US (2019); Interstate Projects, New York, US (2016); and 139 Essex St, New York, US (2015). Recent group exhibitions include: Downs & Ross, New York, US (2022); Colnaghi, New York, US (2022); SVA, New York, US (2022); Miriam and Ira D. Wallach Art Gallery at Columbia University, New York, US (2021, 2021); Chashama, New York, US (2021); On Ground Gallery, Seoul, Korea (2020); Alyssa Davis Gallery + Abby Lloyd, New York, US (2020); Columbia University, New York, US (2019); Virginia Commonwealth University, Richmond, US (2018), Fisher Parrish Gallery, New York, US (2017, 2018), Quintana Roo, MX (2018); Rzeplinski, New York, US (2017); 99c Gallery, New York, US (2016); Sunset Drive Gallery, Miami Beach, US (2013, 2015). Priscilla Jeong has received numerous awards and fellowships, including: the AHL - T&W Foundation Contemporary Visual Art Awards’ Gold Award, New York, US (2022); the Andrew Fisher Fellowship, New York, US (2021); Hayman Visual Arts Gift, New York, US (2021); and the Choy Family Fellowship, New York, US (2020-2021).",_key:"77271d5aa427"}],_type:c,style:d,_key:"2c051804b62a",markDefs:[]}],_key:"659af4d99802",boxed:j},{boxed:j,_type:w,label:"UN Bio",text:[{_key:"e9759b8874cf",markDefs:[],children:[{_key:"caf3a6c4bb6e",_type:a,marks:[g],text:aWj},{marks:[],text:" (b. 1991 in Japan) lives and works between the US and Japan. Solo and two-person exhibitions include: Kristina Kite, Los Angeles, US (forthcoming 2023); Final Hot Desert, Salt Lake City, US (2022); Someday Gallery, New York, US (2022); Tilling, Montreal, CA (2022); Holding Contemporary, Portland, US (2020); American Institute of Thoughts and Feelings, Tucson, US (2020); The Anderson, Richmond, US (2019); Terrault Contemporary, Baltimore, US (2016). Selected group exhibitions include: Compás 88, Mexico City, MX (2022); XYZ Collective, Tokyo, JP (2022); Kristina Kite Gallery, Los Angeles, US (2022); Sapien Gallery, Kansas City, US (2021); Miriam Gallery, New York, US (2021); Recess Gallery, New York, US (2020); Underground Flower\u002FThe Sunroom, Richmond, US (2019); Evening Hours, New York, US (2019); Collision Craft, Baltimore, US (2019); Candidacy Show, Richmond, US (2019).",_key:"e47fd5d54127",_type:a}],_type:c,style:d}],_key:"72e1c05be28d"},{_key:"f0df693c928f",boxed:j,_type:w,label:"SS Bio",text:[{markDefs:[],children:[{text:aWk,_key:"af9e048351a1",_type:a,marks:[g]},{_type:a,marks:[],text:" (b. 1989 in Woodbridge, NJ) lives and works in New York City. Solo and two-person exhibitions include: Gallery Vacancy, Shanghai, CN (2021); Queens Museum, New York, US (2021); Sophia Tappeiner, Vienna, AT (2019); New Museum, New York, US (2019); Hotel Art Pavilion, New York, US (2018); For Seasons, Zurich, CH (2018); Springsteen, Baltimore, US (2017); Motel, New York, US (2017); Holy Motors, Hong Kong, CN (2016); Roberta Pelan, Toronto, CA (2016); Weekends, London, UK (2016); and Interstate Projects, New York, US (2015). Recent group exhibitions include: Lubov, New York, US (2022); Kraupa-Tuskany Zeidler, Berlin, DE (2022); 47 Canal, New York, US (2022); Gallery Vacancy, Shanghai, CN (2021, 2022); Deutsches Hygiene-Museum, Dresden, DE (2021); Museum Het Valkhof, Nijmegen, NL (2021); SIBLING, Toronto, CA (2019); The Loon, Toronto, CA (2019); Aldea, Bergen, NO (2019); INVISIBLE-EXPORTS, New York, US (2019); Pina, Vienna, AT (2018); Deitch Projects, New York, US (2018); american medium, New York, US (2018); Chicago Manual of Style, Chicago, US (2018); Condo Mexico City, Springsteen hosted by Breve, MX (2018); and Shimmer, Rotterdam, NL (2018). Sydney Shen’s work is part of the following public collections: Asymmetry Art Foundation, London, UK; Longlati Foundation, Hong Kong, CN; Macalline Art Center, Beijing, CN; and the Sigg Collection, Basel, CH.",_key:"275f6a0ede75"}],_type:c,style:d,_key:"7908dc19d150"}]},{text:[{_type:c,style:d,_key:"352e695ca9fe",markDefs:[],children:[{text:aWl,_key:"7a3985f16bee",_type:a,marks:[g]},{text:" (b. Los Angeles, CA) lives and works in New Haven, Connecticut. In 2021, her work was presented in a solo exhibition at M23, New York, NY. Selected group exhibitions include: Bard Center for Curatorial Studies, Annandale-on-Hudson, US (2023, forthcoming), Hesse Flatow, New York, US (2022); ArtYard, Frenchtown, US (2021), RUSCHMAN, Chicago, US (2021), M23, online, New York, US (2020); Yale University, New Haven, US (2020); The Wrong Biennale, online (2019); and Forest City Gallery, London, CA (2019). Karinne Smith has received numerous grants and fellowships, including: the Connecticut Office of the Arts Emerging Artist Award (2021), Topical Cream’s Black Womxn & GNC Artists Grant (2020), West Collection Visual Arts Fund (2020), Yale University Dean’s Critical Practice Research Grant (2020), Yale University’s Fannie B. 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For me, the expression always held an enticing poignancy, an implication that the essence of things is sometimes held not in what they are but when they are not, in what happens in the gaps, in the moments of destruction, deconstruction, and decay. In many ways, societies formed in the aftermath of the collapse of settler colonialism and apartheid can also be understood and made sense of by engaging with the ruptures, the gaps; that which is defined by articulating the negative space.\n"}],_type:c,style:d,_key:"5d218b50bdf9",markDefs:[]},{markDefs:[],children:[{marks:[],text:q,_key:"affe6eec6395",_type:a}],_type:c,style:d,_key:"f4e373bbd033"},{_key:"6bd5609a59ca",markDefs:[],children:[{marks:[],text:W,_key:"cad3fa4c95a6",_type:a},{marks:[g],text:Dk,_key:"f02c95321fe1",_type:a},{_type:a,marks:[],text:" based in Johannesburg, South Africa and Gresham Tapiwa Nyaude based in Harare, Zimbabwe are on opposite sides of grappling with the spectrum of drama and turbulence of their home cities and societies. Johannesburg is a sprawling, anxious, and dynamic metropolis established on greed and extraction of the mining industry, and was leveraged by colonialism and apartheid to become a multicultural melting pot, a destination for “making it”. It is neither a simple place, nor an easy place, nor a safe space. For a poet like Mokoena, it is both home and a puzzle to resolve into art. Amid the anxiety and violence of contested legacies and the realities of South Africa, Mokoena is reaching for the possibility of a future that escapes the trauma through the best of what makes us human, and for a reality that is explicable despite its many madnesses. Painting and art history become construction tools and partners in a project that is both optimistic and anxiously aspirational.\n",_key:"ec7dbdf9ffb4"}],_type:c,style:d},{_type:c,style:d,_key:"ccb9a86093d7",markDefs:[],children:[{marks:[],text:q,_key:"15d16cfcaf8d",_type:a}]},{_type:c,style:d,_key:"e3820c262264",markDefs:[],children:[{marks:[],text:W,_key:"5383d68bb984",_type:a},{_type:a,marks:[g],text:"Gresham Tapiwa Nya",_key:"a29f34d5e673"},{marks:[g],text:"ude",_key:"49c3f7c62fb5",_type:a},{_type:a,marks:[],text:" was born and raised in Mbare, a historic neighbourhood originally called Harare, which means ‘he who never sleeps’. Mbare became the road port and residential neighbourhood for Africans working in the colonial capital Salisbury, which assumed the name Harare after independence in 1980. To a casual visitor on any given day, Mbare, like most of Zimbabwe, is sunny, green, and optimistic. People grow maize, bananas, lemons, and avocados in their front yards. The discourse of the street is busy, cheerful, and safe. Yet to those able to read the subtext, this same neighbourhood is the heart of political turbulence, one of the reddest of redlight districts, the grittiest of places to negotiate and definitively not one to venture into without an interlocutor. This is the emotional and the invisible to the outside eye spectacular, which Nyaude exposes in his works. Populated by symbols poignantly sensed by all but intimately intelligible only to insiders, his canvases are a forthright plea to engage sincerely with the drama and turmoil of life, which is invariably swept under the carpet by political band-aid measures and a culture where overt conflict is taboo.\n",_key:"7a666bdaa355"}]},{_key:"e9f5c1beec36",markDefs:[],children:[{marks:[],text:q,_key:"78cf0ea77293",_type:a}],_type:c,style:d},{markDefs:[],children:[{_key:"be41320a14ad",_type:a,marks:[],text:"\nSeesawing between Nyaude’s passionately dramatic storytelling and Mokoena’s elegantly poetic yearning, it becomes obvious that the works of the two artists speak to two sides of the same quest, which is intrinsic to all humans – to understand oneself and one’s place in this world, with honesty and compassion.\n"}],_type:c,style:d,_key:"e07f428f3a91"},{_key:"6fbd4e619bc8",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"836eaa2b73ec"}],_type:c,style:d},{style:d,_key:"ff8fbffb18e6",markDefs:[],children:[{_key:"d4e6d2519a4c",_type:a,marks:[],text:"\nAt a time when so much art is treated didactically and reductively, these artists resist the pressure for predigested content or context. As painters based in Africa, they also assert their right as heirs to the vastness of the history of painting, with full recognition of the weight that history presents to each painter who ever dared to approach a blank canvas while rising up to the challenge of having their voice heard among the giants, for whom painting was The Thing.\n"}],_type:c},{_key:"f7e2cab29603",markDefs:[],children:[{text:q,_key:"d28648910d21",_type:a,marks:[]}],_type:c,style:d},{_key:"5dac0ae5f0c8",markDefs:[],children:[{_key:"6937b2e4f08b",_type:a,marks:[],text:q}],_type:c,style:d},{_type:c,style:d,_key:"7c60b882fca9",markDefs:[],children:[{_type:a,marks:[],text:"– Valerie Kabov ©2022",_key:"e1578af517510"}]}],_key:"8a9d31534308"},{display:aR,_type:L,label:eb,_key:"28a8345541d6",install:[{asset:{_ref:"image-3423301f16068f23811f26841f2c04ed25b97923-2250x1483-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{text:aj,_key:"a5efb9ccc91e",_type:a,marks:[]},{marks:[f],text:eL,_key:"bb682814bef0",_type:a},{_key:"cb348620b5bd",_type:a,marks:[],text:eM}],_type:c,style:d,_key:"108d29289c41"}],_key:"5af3b2f4a8af"},{_key:"be20390e7af0",asset:{_ref:"image-ba26c7a5323ca440436e0583cc7d8e2df865403c-2250x1500-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"35bb7ca65cc3",markDefs:[],children:[{_type:a,marks:[],text:aj,_key:"3b148534d93a"},{_key:"320387a49326",_type:a,marks:[f],text:eL},{_type:a,marks:[],text:eM,_key:"9244349c7a94"}]}]},{caption:[{markDefs:[],children:[{text:aj,_key:"b9f0a46ee5ab",_type:a,marks:[]},{_key:"b73b11d6388e",_type:a,marks:[f],text:eL},{_type:a,marks:[],text:eM,_key:"775987eb8932"}],_type:c,style:d,_key:"7e35f11fc180"}],_key:"a6114b70a0e0",asset:{_ref:"image-4a86feee6f081bacf082c9b9a42e4410af2f8b4c-2250x1500-jpg",_type:b},_type:e},{_type:e,caption:[{markDefs:[],children:[{marks:[],text:aj,_key:"a2a5673296f5",_type:a},{_key:"a34586393e54",_type:a,marks:[f],text:eL},{marks:[],text:eM,_key:"87a04517946e",_type:a}],_type:c,style:d,_key:"55b941d5a86a"}],_key:"dc18e3ff37d4",asset:{_ref:"image-c24852549fe89fb1eedfdad513989c99027cd5de-2250x1500-jpg",_type:b}},{_type:e,caption:[{markDefs:[],children:[{_key:"d978658fbb16",_type:a,marks:[],text:aj},{_type:a,marks:[f],text:eL,_key:"7fa69abf8f4f"},{_type:a,marks:[],text:eM,_key:"d562d7723c85"}],_type:c,style:d,_key:"8eead52ae041"}],_key:"846f7c5b1061",asset:{_ref:"image-d6c0ed1d140fb840cb0fbc4bb2cb3605010792e3-2250x1500-jpg",_type:b}},{asset:{_ref:"image-db30a1c4aad6cc287da6afb870553a6a1ed8bb6e-2250x1500-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"dac015a2ae2d",markDefs:[],children:[{_type:a,marks:[],text:aj,_key:"4b71d4562ed7"},{_type:a,marks:[f],text:eL,_key:"cb68b687fa07"},{_type:a,marks:[],text:eM,_key:"e8584377d195"}]}],_key:"fbb7e5c45730"},{asset:{_type:b,_ref:"image-409a8a6eb5ec957981ba3c8145cd66839edd89f2-2250x1500-jpg"},_type:e,caption:[{_key:"a99dfab98af7",markDefs:[],children:[{_key:"f76ee8f6e40b",_type:a,marks:[],text:aj},{_type:a,marks:[f],text:eL,_key:"c6807f7c38c5"},{text:eM,_key:"7d9571aeb795",_type:a,marks:[]}],_type:c,style:d}],_key:"c56da9698615"},{asset:{_type:b,_ref:"image-e3ed808526af1237967e52d340ccc45433192faa-2250x1500-jpg"},_type:e,caption:[{markDefs:[],children:[{text:aj,_key:"a806a9d1d642",_type:a,marks:[]},{marks:[f],text:eL,_key:"0511a5bf4257",_type:a},{_type:a,marks:[],text:eM,_key:"244b34c8c140"}],_type:c,style:d,_key:"a693b5844559"}],_key:"77ec5e3e191a"},{caption:[{style:d,_key:"37475d47473f",markDefs:[],children:[{marks:[],text:aj,_key:"07d23c5a32c8",_type:a},{_key:"e8e95bbf141b",_type:a,marks:[f],text:eL},{_key:"9352aa35581e",_type:a,marks:[],text:eM}],_type:c}],_key:"5f50db96859e",asset:{_type:b,_ref:"image-b09f324a7b7a5b8d161434ca36bd6819192d4f74-2250x1500-jpg"},_type:e},{_key:"f8ab9eea6d60",asset:{_ref:"image-8a1eec650029b477751ccd2389a4db9e171c689a-2250x1500-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{_key:"c7c751e43d62",_type:a,marks:[],text:aj},{_key:"4e02b15cb809",_type:a,marks:[f],text:eL},{marks:[],text:eM,_key:"ae98f38339e0",_type:a}],_type:c,style:d,_key:"faac228ff1dc"}]},{caption:[{_key:"7b1ee223a7d3",markDefs:[],children:[{marks:[],text:aj,_key:"a4cc24964fe0",_type:a},{_type:a,marks:[f],text:eL,_key:"565303176f2b"},{_key:"b79a086e0d9c",_type:a,marks:[],text:eM}],_type:c,style:d}],_key:"a25783b6129d",asset:{_type:b,_ref:"image-739a2b9d18b5ba57a62a431b754a9bf20dba108a-2250x1500-jpg"},_type:e},{_type:e,caption:[{style:d,_key:"df987a79ece4",markDefs:[],children:[{marks:[],text:aj,_key:"81e6c9cf9cc0",_type:a},{text:eL,_key:"ee752778b05c",_type:a,marks:[f]},{text:eM,_key:"48e6d95790c6",_type:a,marks:[]}],_type:c}],_key:"f5261787c3f4",asset:{_type:b,_ref:"image-15c4150b43797bb6257ca9d05f1a53a404ad9ec3-2250x1500-jpg"}}],work:[{_key:"4387b7b46002",asset:{_ref:"image-00161d20c76b4b6e3f4f08afcf7a47f9a5d213da-2250x1780-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{text:Dk,_key:"31c7ba9754b7",_type:a,marks:[g]},{marks:[f],text:". Mingus Wing",_key:"da91d54e0a590",_type:a},{text:", 2022. Oil on canvas. 59.06 × 78.74 inches (150.01 × 200.00 cm). Image courtesy of the artist, First Floor Gallery Harare, Zimbabwe, and Simone Subal Gallery, New York. Photo by Marc Tatti.",_key:"da91d54e0a591",_type:a,marks:[]}],_type:c,style:d,_key:"7aa51fc82a04"}]},{_key:"0f3f71a5f15e",asset:{_ref:"image-24ed8d4195d8c08f0c4562d3ff2bdd11d552cec5-1800x2250-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{_key:"2ed15062db64",_type:a,marks:[g],text:LY},{text:dH,_key:"cab43123a22b0",_type:a,marks:[f]},{marks:[],text:", 2022. Oil on canvas. 70.87 × 55.12 inches (180.01 × 140.00 cm). Image courtesy of the artist, First Floor Gallery Harare, Zimbabwe, and Simone Subal Gallery, New York. Photo by Marc Tatti.",_key:"cab43123a22b1",_type:a}],_type:c,style:d,_key:"a9678bd74981"}]},{_type:e,caption:[{_type:c,style:d,_key:"1ff069250b81",markDefs:[],children:[{marks:[g],text:Dk,_key:"e019165383de",_type:a},{_type:a,marks:[f],text:". Pirates of Sunshine",_key:"90e9e4000d2a0"},{marks:[],text:aNt,_key:"90e9e4000d2a1",_type:a}]}],_key:"9aae55367d93",asset:{_ref:"image-b04fc29fed988dd786b8ae11f805718d65bdc40d-1957x2250-jpg",_type:b}},{_type:e,caption:[{_key:"896fc64555f4",markDefs:[],children:[{_key:"020739412252",_type:a,marks:[g],text:Dk},{marks:[f],text:". Sensations",_key:"7b4b5aa1e3880",_type:a},{_type:a,marks:[],text:aNt,_key:"7b4b5aa1e3881"}],_type:c,style:d}],_key:"05a79c2ef379",asset:{_ref:"image-b150031272a4c453947e343fce8f6e9f7fc7c5b9-1964x2250-jpg",_type:b}},{caption:[{markDefs:[],children:[{text:LY,_key:"212e01bbef25",_type:a,marks:[g]},{text:dH,_key:"8939722c30a50",_type:a,marks:[f]},{marks:[],text:", 2022. Oil on canvas. 78.74 × 66.93 inches (200.00 × 170.00 cm). Image courtesy of the artist, First Floor Gallery Harare, Zimbabwe, and Simone Subal Gallery, New York. Photo by Marc Tatti.",_key:"8939722c30a51",_type:a}],_type:c,style:d,_key:"1a548ba01011"}],_key:"b4f4a9674eae",asset:{_ref:"image-24c4b446d57be1f8fbed1b44ebba9c53892904c9-1917x2250-jpg",_type:b},_type:e},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:LY,_key:"c39f5bdcbdcd"},{text:dH,_key:"5c33af36742f0",_type:a,marks:[f]},{_type:a,marks:[],text:", 2022. Oil on canvas. 59.06 × 47.44 inches (150.01 × 120.50 cm). Image courtesy of the artist, First Floor Gallery Harare, Zimbabwe, and Simone Subal Gallery, New York. Photo by Marc Tatti.",_key:"5c33af36742f1"}],_type:c,style:d,_key:"0c1073f41998"}],_key:"97f58f28d091",asset:{_ref:"image-8591288c5b4c679b9be7862ca0d5b4d19070ec1b-1830x2250-jpg",_type:b}},{_key:"e99aa1b22820",asset:{_ref:"image-422fc76352ec608d5c2a9bf74dace431732da390-1956x2250-jpg",_type:b},_type:e,caption:[{_key:"b39738f17c8f",markDefs:[],children:[{_type:a,marks:[g],text:Dk,_key:"c49d655cc417"},{text:dH,_key:"8d1092ccfa5b0",_type:a,marks:[f]},{text:aNt,_key:"8d1092ccfa5b1",_type:a,marks:[]}],_type:c,style:d}]},{_key:"c76d3ef487b3",asset:{_ref:"image-dc3bf92b1521d7d466eca816dfd19df4aa6a5723-1583x2250-jpg",_type:b},_type:e,caption:[{_key:"d9b2c82cbb9f",markDefs:[],children:[{text:LY,_key:"28448080e0c5",_type:a,marks:[g]},{text:dH,_key:"260b9f5829540",_type:a,marks:[f]},{text:", 2022. Oil on canvas. 76.18 × 51 ⅜ inches (193.50 × 130.49 cm).",_key:"260b9f5829541",_type:a,marks:[]}],_type:c,style:d}]}]},{_type:w,label:"Pebofatso Mokoena Bio",text:[{_key:"4ee30bc3df16",markDefs:[],children:[{_key:"cd08955f1692",_type:a,marks:[g],text:Dk},{_key:"b8eed0dd25d6",_type:a,marks:[],text:" (b. 1993 Johannesburg, South Africa) lives and works in Johannesburg, South Africa. Selected solo and two-person exhibitions include: First Floor Gallery Harare, Harare, Zimbabwe (2021); David Krut Gallery, Johannesburg, South Africa (2020); The Bag Factory, Johannesburg, Zimbabwe (2018) and Hazard Gallery, Johannesburg, South Africa (2017). Selected group exhibitions include: StudioNxumalo & Aspire Art Auctions, Johannesburg (2022); Royal Academy, UK (2021); First Floor Gallery Harare, Harare, Zimbabwe (2021, 2020, 2019); Latitudes Art Fair, Johannesburg, South Africa (2019); Nazdik Precinct, Tehran, Iran (2018); ArtNext Art Fair, Hong Kong, China (2018); SMAC gallery, Johannesburg, South Africa (2017); Constitutional Hill, Johannesburg, South Africa (2016); NoMans Gallery, Tehran, Iran (2016); Hazard Gallery, Johannesburg, South Africa (2016); Springs Art Gallery, Johannesburg, South Africa (2015); and Gallery MOMO, Cape Town, South Africa (2015). Artist residencies include: First Floor Gallery Harare, Harare, Zimbabwe (2019); KOOSHK, Tehran, Iran (2018); Nirox Foundation, Krugersdorp, South Africa (2017); and The Cosmopolitan, Johannesburg, South Africa (2017)."}],_type:c,style:d}],_key:"b135d3db7089",boxed:j},{_type:w,label:"Gresham Tapiwa Nyaude bio",text:[{style:d,_key:"2336831d5e80",markDefs:[],children:[{text:LY,_key:"24266421b220",_type:a,marks:[g]},{text:" (b. 1988 in Harare, Zimbabwe) lives and works in Harare, Zimbabwe. Selected solo and two-persons exhibitions include: Selma Feriani Gallery, Tunis, Tunisia (2021); First Floor Gallery Harare, Harare, Zimbabwe (2021, 2019, 2017, 2013); Vanguard Gallery, Shanghai, China (2022, 2020, 2019); GNYP Gallery, Berlin, Germany (2019), Kristin Hjellegjerde Gallery, London, UK (2018); and Hazard Gallery, Johannesburg, SA (2015). Selected group exhibitions include: First Floor Gallery Harare, Zimbabwe (2021, 2020, 2019, 2017, 2016); Alon Segev Gallery, Tel Aviv, Israel (2019); Ex Africa semper aliquid novi, New Museum Triennial, New York, USA (2018); PS Art Space, Freemantle, Australia (2017); Sulger-Buel Lovell Gallery, London, UK (2016); and Ethan Cohen Fine Arts, NY, USA (2015). Artist residencies include: Le Studio, Tunis, Tunisia; Right at the Equator Residency, Pasadena, USA (2019); START, Tel Aviv, Israel (2018); The Gathering, Kenya (2017); and Asiko Art Residency, Maputo, Mozambique (2015). Gresham Tapiwa Nyaude’s work is part of the following public collections: Fondation Gandur, Geneva, Switzerland, Smithsonian National Museum of African Art, Washington DC, USA; Rubell Family Collection; Fundación Yannick y Ben Jakober, Mallorca, Spain; Tiroche de Leon Collection, Tel Aviv, Israel; and Museum of African Contemporary Art al Maaden (Macaal), Marrakech, Morocco.",_key:"39369f2f7cf3",_type:a,marks:[]}],_type:c}],_key:"95647eedccc0",boxed:j}],_id:"7b4e7d01-d711-40fe-9d79-be9eeb566d2a",group_show:t,title:"Negotiating Chaos: It’s the way it shatters that matters…",_createdAt:"2022-08-30T16:57:55Z",cover:{_type:r,asset:{_ref:aWE,_type:b}},bg_color:aNu,thumbnail:{asset:{assetId:aWF,mimeType:G,metadata:{lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAaABQDASIAAhEBAxEB\u002F8QAGAAAAwEBAAAAAAAAAAAAAAAAAAQFBgf\u002FxAAlEAACAQMEAQQDAAAAAAAAAAABAgMABBEFBhIhMRMiI1FBYaH\u002FxAAWAQEBAQAAAAAAAAAAAAAAAAAEBQP\u002FxAAmEQABAwIEBgMAAAAAAAAAAAABAAMEAiEGElKhBRMUFUGRUVNh\u002F9oADAMBAAIRAxEAPwCAiMJ0WU8c9hWHmm4oZEgV2dHdz7VX6rQXcMLKpuYeTeFx+KWHpi4tw0CrBGeiD3UdniZdpNWS+yruYYajt8nMCCRfyP34SsFpJ6fu5KfrFFW7l1aQFQuMDFFD7y5pCSMHxddWyz+mb90jULy2iimHJm8SjAqNuHcKwzrGvFy0LSFozkZDfyuRR9MpHR\u002FVVtKYmabJJ+JqssQW41JFG6BInuy6ga7eLWVu93vqsM\u002FCKZQmAQMUVjbkkydnPVFa9IxoHpZdwk\u002FYfa\u002F\u002F2Q==",dimensions:{_type:E,width:1019,aspectRatio:.7838461538461539,height:1300},isOpaque:j,blurHash:"dDJie4}B{cNsP-9^P9TI1QJA1#s9pb^3niR%vzEgb^XS",_type:C,palette:{lightMuted:{foreground:o,title:o,population:aQX,background:"#d7d0c9",_type:l},vibrant:{background:"#f56929",_type:l,foreground:i,title:i,population:8.84},dominant:{_type:l,foreground:i,title:i,population:aWG,background:aWH},_type:D,darkMuted:{foreground:i,title:i,population:.58,background:"#304c3d",_type:l},muted:{foreground:i,title:i,population:aWG,background:aWH,_type:l},lightVibrant:{background:"#f9983d",_type:l,foreground:o,title:i,population:3.74},darkVibrant:{background:"#0c6844",_type:l,foreground:i,title:i,population:u}},hasAlpha:t},url:"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fub94fyvm\u002Fproduction\u002F4a4737368a9f21dd0894cbb47d550f4b67cbd02b-1019x1300.jpg",_rev:"izHIIDv47YtBzCcEaK5eAw",originalFilename:"GreydraftforSubal180x140cm.jpeg",uploadId:"ecbD2CJzcpizrkxXEfBXmtsQnCdkjIFS",_type:B,sha1hash:aWF,_id:aWE,_createdAt:aWI,_updatedAt:aWI,path:"images\u002Fub94fyvm\u002Fproduction\u002F4a4737368a9f21dd0894cbb47d550f4b67cbd02b-1019x1300.jpg",size:434816,extension:F},caption:[{_type:c,style:d,_key:"3edef1bb508c",markDefs:[],children:[{_type:a,marks:[g],text:"Gresham Tapiwa Nyaude.",_key:"a90d8e4698c1"},{_type:a,marks:[],text:n,_key:"853fe97d8c41"},{_key:"cfb4a5d631b5",_type:a,marks:[f],text:"Ignorance is Bliss"},{marks:[],text:", 2022 (detail). Oil on canvas. 70.87 x 55.12 inches (180.00 x 140.00 cm). Image courtesy of the artist, First Floor Gallery Harare, Harare, Zimbabwe, and Simone Subal Gallery, New York.",_key:"775c3850e301",_type:a}]}]},_rev:"Mp8L05iighrl9435cXV4Ov",_type:J,artists:[{_type:v,_key:"f78b5b8a6666",title:Dk},{_type:v,_key:"d444d09c7e0b",title:LY}],slug:{current:"negotiating-chaos-its-the-way-it-shatters-that-matters",_type:p},opening:"Opening: September 7th, 4 - 8 PM",_updatedAt:"2022-09-07T21:31:59Z",close_date:"2022-10-29",open_date:"2022-09-07"},{_rev:"QQMAs128itkRotBnMe2shK",content:[{_type:K,label:Ez,_key:"b95b9640e655",type:[r],image:{caption:[{children:[{marks:[],text:aWJ,_key:"e9a28d1e9ec0",_type:a},{_key:"602d25b2267d",_type:a,marks:[f],text:aWK},{marks:[],text:", 2021 (detail). Tempera on canvas. 24 × 19 cm (9 ½ × 7 ½ inches). Image courtesy of the artist, KAYOKOYUKI, Tokyo, Japan, and Simone Subal Gallery, New York. Photo by Marc Tatti.",_key:"dd44f92e8bea",_type:a}],_type:c,style:d,_key:"4af237f610e1",markDefs:[]}],asset:{_ref:aNv,_type:b},_type:e}},{label:aic,text:[{children:[{_key:"0038c05762a6",_type:a,marks:[f],text:aWL},{_type:a,marks:[],text:"explores the macabre undercurrent to the banal and bureaucratic, the inexplicable sensation of knowing that someone at a distance is watching you, and the desire to retain anonymity and distance from another’s gaze. Featuring works by Gonzalo Fuenmayor, Hannah Lee, Yu Nishimura, and Maria Sulymenko, darker emotional undertones are made palpable within seemingly quotidien imagery and portraiture. Some works compel the viewer to adopt a voyeuristic role, while wary subjects in other works confront the viewer eye to eye. Like a wordless look shared by two people, ",_key:"792fbc0afcbc"},{_key:"5e40efcaa5bb",_type:a,marks:[f],text:aWL},{_key:"642cabf22cb5",_type:a,marks:[],text:"elicits a desire to initiate something without clear implications."}],_type:c,style:d,_key:"3bbc6f6868b7",markDefs:[]},{markDefs:[],children:[{marks:[],text:W,_key:"2e53148cf2700",_type:a}],_type:c,style:d,_key:"cf7347a37bac"},{style:d,_key:"a494f76aa67b",markDefs:[],children:[{_key:"426cf60569ed0",_type:a,marks:[],text:"Masked by fruits and foliage, Gonzalo Fuenmayor’s two portraits rendered in saturated charcoal – "},{text:"Flora Woman",_key:"426cf60569ed1",_type:a,marks:[f]},{marks:[],text:" and",_key:"426cf60569ed2",_type:a},{text:" Man With a Bowler Hat (Revisited)",_key:"426cf60569ed3",_type:a,marks:[f]},{text:", both 2022 – retain total anonymity, raising questions surrounding agency in a complex and continual postcolonial moment. Fuenmayor’s figures may at first appear as people-turned-commodities residual of a colonial past, yet upon further inspection their intentional obscurity feels rife with a powerfully radical potential hidden in plain sight.",_key:"426cf60569ed4",_type:a,marks:[]}],_type:c},{markDefs:[],children:[{marks:[],text:W,_key:"29350fa092130",_type:a}],_type:c,style:d,_key:"5a6198be5600"},{children:[{text:"The contents of Hannah Lee’s painting ",_key:"3a6d53a6a3640",_type:a,marks:[]},{_type:a,marks:[f],text:"Swimming Pool",_key:"3a6d53a6a3641"},{marks:[],text:", 2022 have an air of peaceful grandeur: a modernist home replete with a sprawling lawn and a massive aquamarine swimming pool dominate the frame, with lounging figures visible in the distance. However, the emotional resonance of Lee’s piece is far more nuanced than the sum of its motifs. Gloomy weather is rolling in across the horizon, the palette is deliberately muddied, and a soft pink towel that would typically beckon participation reads as alienating if not entirely ominous.",_key:"3a6d53a6a3642",_type:a}],_type:c,style:d,_key:"37758877c102",markDefs:[]},{_type:c,style:d,_key:"85e79dcd91c1",markDefs:[],children:[{marks:[],text:W,_key:"b491055f2e4f0",_type:a}]},{markDefs:[],children:[{text:"Yu Nishmura’s intimate portraiture dances between a multitude of emotions, his subjects looking back at the viewer pleadingly, with suspicion, and with feigned boredom. With a shaky, blurred line Nishimura’s characters are presented in motion and outside of the bounds of linear time. Through direct, unwavering eye contact these pieces address a viewer head on, stimulating an internal reckoning.",_key:"956e4c664bad0",_type:a,marks:[]}],_type:c,style:d,_key:"dbd590ad8eea"},{style:d,_key:"8026b6d372e5",markDefs:[],children:[{_type:a,marks:[],text:W,_key:"e68263ce25bf0"}],_type:c},{_type:c,style:d,_key:"42076936f648",markDefs:[],children:[{_key:"93443a2442920",_type:a,marks:[],text:"Maria Sulymenko’s hauntingly spare watercolor scenes are set in nonspecific locations that resemble construction sites, empty streets, suburban backyards, and the backstage of a theater production. Solitary figures stalk these abandoned areas, perhaps absorbed in a moment of existential crisis or becoming aware that they have been caught performing an unusual act. One standalone piece features three rigid figures – two are carrying the third who appears unable to walk on their own. Whether this scene is nefarious or altruistic remains uncertain, and this precise ambiguity lingers like a fog throughout Sulymenko’s depictions."}]},{_key:"d12efff8e227",markDefs:[],children:[{marks:[],text:W,_key:"57439807ef7f0",_type:a}],_type:c,style:d}],_key:"aa673aa234b9",_type:w},{_type:L,label:eb,_key:"eb4538c80c3c",install:[{caption:[{children:[{_type:a,marks:[],text:h,_key:"c9fef03a8df1"},{_type:a,marks:[f],text:eN,_key:"3e96d4ae306d"},{_type:a,marks:[],text:fj,_key:"2686d9eb8346"}],_type:c,style:d,_key:"b3f629a1884e",markDefs:[]}],_key:"1796e3d69374",asset:{_ref:"image-b48373e6d5adf22f53ef39f4f69253e2a171a137-3000x2000-jpg",_type:b},_type:e},{caption:[{style:d,_key:"2f9703b365cc",markDefs:[],children:[{text:h,_key:"8502a0f1355a",_type:a,marks:[]},{marks:[f],text:eN,_key:"877f562d60b3",_type:a},{marks:[],text:fj,_key:"773d6f2af8d2",_type:a}],_type:c}],_key:"13a6f46d11c2",asset:{_ref:"image-ce2d925786819418d613668ddbec3489da558f47-3000x2000-jpg",_type:b},_type:e},{_key:"2678481b5d77",asset:{_type:b,_ref:"image-f19c124117ec6b0b28f5a810286507ad70f69b17-3000x2000-jpg"},_type:e,caption:[{markDefs:[],children:[{marks:[],text:h,_key:"a0eb21704ec2",_type:a},{_type:a,marks:[f],text:eN,_key:"bd61415aff64"},{marks:[],text:fj,_key:"30f32ee6d91c",_type:a}],_type:c,style:d,_key:"bd41b517a797"}]},{_type:e,caption:[{_type:c,style:d,_key:"c976a82de6e5",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"99ce70cebbf2"},{marks:[f],text:eN,_key:"7d065f6fc67e",_type:a},{_type:a,marks:[],text:fj,_key:"0cd31ddab8a0"}]}],_key:"e4a2b2811eb3",asset:{_ref:"image-4b4cdd872fc78fa65f96592ac2bdf0f53da90c0b-3000x2000-jpg",_type:b}},{caption:[{style:d,_key:"7948b0dcf497",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"f11b191d2e59"},{_type:a,marks:[f],text:eN,_key:"99493253545d"},{_type:a,marks:[],text:fj,_key:"f0714d726bb1"}],_type:c}],_key:"393e1bb0a296",asset:{_ref:"image-bf3de424b7ca6d29105e67e4ca26949983b76f7b-3000x2000-jpg",_type:b},_type:e},{_key:"f7cadb6799c0",asset:{_ref:"image-8c7f521f613d9cf9693e2e7c42bf45a9b1815dfd-3000x2000-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"e7b1e05bd3e5",markDefs:[],children:[{marks:[],text:h,_key:"fe2c68b26257",_type:a},{text:eN,_key:"41a827601b69",_type:a,marks:[f]},{text:fj,_key:"5a753e788600",_type:a,marks:[]}]}]},{caption:[{_key:"7e215fc505e9",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"45f47cd022f7"},{_key:"5ccaed121689",_type:a,marks:[f],text:eN},{_type:a,marks:[],text:fj,_key:"3a30a4f5903f"}],_type:c,style:d}],_key:"1bd6476f9d54",asset:{_type:b,_ref:"image-503ae96689ba17eefe26b4898804a87809baae36-3000x2000-jpg"},_type:e},{_key:"1a4d2b466cba",asset:{_type:b,_ref:"image-4a3d88c4b67bd4a42c99d9d2282f246cb75cc7d3-3000x2000-jpg"},_type:e,caption:[{children:[{text:h,_key:"9a4bd00ad60a",_type:a,marks:[]},{_type:a,marks:[f],text:eN,_key:"a640399f9aa0"},{_type:a,marks:[],text:fj,_key:"f08a061df623"}],_type:c,style:d,_key:"25c60fa5561f",markDefs:[]}]},{caption:[{_key:"52e50010ffe8",markDefs:[],children:[{_key:"2085cdd3a1c5",_type:a,marks:[],text:h},{text:eN,_key:"aa27f50026eb",_type:a,marks:[f]},{marks:[],text:fj,_key:"69ddfd0b555d",_type:a}],_type:c,style:d}],_key:"dbd6e894790b",asset:{_ref:"image-65f6f07044d82533083d2b40f2253449e4245619-3000x2000-jpg",_type:b},_type:e},{_key:"2bf97ddaef7b",asset:{_ref:"image-4270cc32b3fe82edc42fcdf01514d863473ea9b3-3000x2000-jpg",_type:b},_type:e,caption:[{_key:"343f657840b4",markDefs:[],children:[{marks:[],text:h,_key:"65aadad2e7ee",_type:a},{_type:a,marks:[f],text:eN,_key:"b682e63deb5e"},{_type:a,marks:[],text:fj,_key:"17e93c02ac52"}],_type:c,style:d}]},{asset:{_ref:"image-fd028036570867fc7826e081efc431998e913e60-3000x2000-jpg",_type:b},_type:e,caption:[{style:d,_key:"ff483857f5a7",markDefs:[],children:[{text:h,_key:"5d3dbc4c8fbd",_type:a,marks:[]},{_key:"885f4ddc5b52",_type:a,marks:[f],text:eN},{_type:a,marks:[],text:fj,_key:"2073e742d102"}],_type:c}],_key:"2d6fea30cb23"}],work:[{asset:{_ref:"image-c10c8b0dd10480b70e35ee374679236e500b56d4-1724x2250-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"84d0f3175d92",markDefs:[],children:[{_key:"0bf31fddf54c",_type:a,marks:[g],text:Dl},{text:dH,_key:"adeffb08b4640",_type:a,marks:[f]},{_type:a,marks:[],text:", 2022. Watercolor and gouache on paper. 12 × 9 inches (30.48 × 22.86 cm). Image courtesy of the artist, Voloshyn Gallery, Kyiv, Ukraine and Simone Subal Gallery, New York. Photo by Marc Tatti. ",_key:"adeffb08b4641"}]}],_key:"bae90d1321f1"},{_type:e,caption:[{children:[{marks:[g],text:aiH,_key:"5ea57361779a",_type:a},{marks:[f],text:". Man With Bowler Hat Revisited",_key:"453807e4d8440",_type:a},{_type:a,marks:[],text:aWM,_key:"453807e4d8441"}],_type:c,style:d,_key:"432624d64c86",markDefs:[]}],_key:"c2bce7354aab",asset:{_ref:"image-c286baf9c82f58666889c6a36b0788359bbb9f44-1802x2250-jpg",_type:b}},{caption:[{_key:"27ff6695f717",markDefs:[],children:[{text:LZ,_key:"d2603cb3349e",_type:a,marks:[g]},{_type:a,marks:[f],text:". motion",_key:"4d9a431d985e0"},{marks:[],text:", 2021. Tempera on canvas. 24 × 19 cm (9 ½ × 7 ½ inches). Image courtesy of the artist, KAYOKOYUKI, Tokyo, Japan, and Simone Subal Gallery, New York. Photo by Marc Tatti.",_key:"4d9a431d985e1",_type:a}],_type:c,style:d}],_key:"599175cd45af",asset:{_ref:"image-727d29a144e760ecb189b6e2861409e37563f8b9-1828x2250-jpg",_type:b},_type:e},{_key:"655207200700",asset:{_type:b,_ref:"image-e6844c29450832c6ee01a1634b944c1559ba13e0-2250x1761-jpg"},_type:e,caption:[{children:[{_type:a,marks:[g],text:aNw,_key:"5d350fe059c2"},{_type:a,marks:[f],text:". Swimming Pool",_key:"fb83f24b083a0"},{_key:"fb83f24b083a1",_type:a,marks:[],text:", 2022. Oil on canvas. 18 × 24 inches (45.72 × 60.96 cm). Image courtesy of the artist, Entrance, New York and Simone Subal Gallery, New York. Photo by Marc Tatti."}],_type:c,style:d,_key:"60d15e57a05a",markDefs:[]}]},{asset:{_type:b,_ref:"image-910274d14fd78469b4c59bc8669317330c2b0f14-1720x2250-jpg"},_type:e,caption:[{_type:c,style:d,_key:"f73438e7b893",markDefs:[],children:[{_key:"7732ef6a7a58",_type:a,marks:[g],text:Dl},{marks:[f],text:dH,_key:"a30ba581b6630",_type:a},{marks:[],text:", 2022. Watercolor and gouache on paper. 11 ½ × 8 inches (29.21 × 20.32 cm). Image courtesy of the artist, Voloshyn Gallery, Kyiv, Ukraine and Simone Subal Gallery, New York. Photo by Marc Tatti.",_key:"a30ba581b6631",_type:a}]}],_key:"f5f2d3e2aec8"},{_type:e,caption:[{style:d,_key:"e77d465ba45a",markDefs:[],children:[{_type:a,marks:[g],text:Dl,_key:"784e6a32bea2"},{marks:[f],text:dH,_key:"35fa8bbcf0e50",_type:a},{_key:"35fa8bbcf0e51",_type:a,marks:[],text:", 2022. Watercolor and gouache on paper. 13 ½ × 9 ½ inches (34.29 × 24.13 cm).  Image courtesy of the artist, Voloshyn Gallery, Kyiv, Ukraine and Simone Subal Gallery, New York. Photo by Marc Tatti."}],_type:c}],_key:"f7ebb4f22652",asset:{_type:b,_ref:"image-111ab737078edf6fa23ed31f7032ff5989c59d69-1724x2250-jpg"}},{asset:{_ref:"image-20770144fc23b05cdf5484b120df64203160154c-1711x2250-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"30da7d10354d",markDefs:[],children:[{marks:[g],text:Dl,_key:"d6a5aaf59c68",_type:a},{_key:"d5391ba115420",_type:a,marks:[f],text:dH},{marks:[],text:", 2022. Watercolor and gouache on paper. 10 ½ × 8 inches (26.67 × 20.32 cm).  Image courtesy of the artist, Voloshyn Gallery, Kyiv, Ukraine and Simone Subal Gallery, New York. Photo by Marc Tatti.",_key:"d5391ba115421",_type:a}]}],_key:"469adc10bf50"},{asset:{_ref:"image-4c3ce591bbbc7528b465e3717e44304dad542a1a-1804x2250-jpg",_type:b},_type:e,caption:[{children:[{_type:a,marks:[g],text:aiH,_key:"50e126b84271"},{text:". Flora Woman",_key:"0ddec785587c0",_type:a,marks:[f]},{text:aWM,_key:"0ddec785587c1",_type:a,marks:[]}],_type:c,style:d,_key:"fcc5b4dff4b3",markDefs:[]}],_key:"8f91c989608b"},{_type:e,caption:[{style:d,_key:"cf7e5a851ca2",markDefs:[],children:[{_type:a,marks:[g],text:LZ,_key:"0f8ac429f7cf"},{_type:a,marks:[f],text:". man",_key:"0050882665b70"},{marks:[],text:", 2021. Oil on canvas. 41 × 31.8 cm (16 ⅛ × 12 ½ inches). Image courtesy of the artist, KAYOKOYUKI, Tokyo, Japan, and Simone Subal Gallery, New York. Photo by Marc Tatti.",_key:"0050882665b71",_type:a}],_type:c}],_key:"88f6d1e7d341",asset:{_ref:"image-0a163f0835244e5ece7ec5ae200414e216844688-1791x2250-jpg",_type:b}},{asset:{_ref:"image-3089b6b4956fc63addc6f6b5c6ed679df6091e92-1710x2250-jpg",_type:b},_type:e,caption:[{children:[{_key:"ea7483ab7822",_type:a,marks:[g],text:Dl},{marks:[f],text:". Untitled 2",_key:"4a8734c6bae20",_type:a},{_type:a,marks:[],text:", 2018. Watercolor and gouache on paper. 12 × 7 ¾ inches (30.48 × 19.69 cm).  Image courtesy of the artist, Voloshyn Gallery, Kyiv, Ukraine and Simone Subal Gallery, New York. Photo by Marc Tatti.",_key:"4a8734c6bae21"}],_type:c,style:d,_key:"19bfcee9f1e8",markDefs:[]}],_key:"de14bcae838d"},{caption:[{_key:"c38ec4d10b87",markDefs:[],children:[{marks:[g],text:LZ,_key:"5841bdcdfe05",_type:a},{marks:[f],text:". face on hand",_key:"9cf59644bd200",_type:a},{_type:a,marks:[],text:", 2021. Tempera on canvas. 33.3 × 24.2 cm (13 ⅛ × 9 ½ inches). Image courtesy of the artist, KAYOKOYUKI, Tokyo, Japan, and Simone Subal Gallery, New York. Photo by Marc Tatti.",_key:"9cf59644bd201"}],_type:c,style:d}],_key:"bc2612a8d711",asset:{_ref:"image-18eaea3a4923ef4a98fc46f9e0c274e9b6f1f16d-1699x2250-jpg",_type:b},_type:e},{_key:"635e0ab75206",asset:{_ref:"image-e2c325b968ad09a570058480d07cdef6ab6061bf-1786x2250-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{_key:"a9f672a43fc0",_type:a,marks:[g],text:LZ},{text:". face with glasses",_key:"0a7098e67e770",_type:a,marks:[f]},{_key:"0a7098e67e771",_type:a,marks:[],text:", 2022. Tempera on canvas. 41 × 31.8 cm (16 ⅛ × 12 ½ inches). Image courtesy of the artist, KAYOKOYUKI, Tokyo, Japan, and Simone Subal Gallery, New York. Photo by Marc Tatti."}],_type:c,style:d,_key:"a07dc1dc474b"}]}],display:aR},{_type:w,label:"Gonzalo bio",text:[{children:[{_type:a,marks:[g],text:aiH,_key:"1c766190cc22"},{_type:a,marks:[],text:" (b. 1977 in Barranquilla, Colombia) lives and works in Miami, Florida. Upcoming solo exhibition at Dolby Chadwick Gallery, San Francisco, CA (2023, forthcoming). Selected solo exhibitions include: Galería Fernando Pradilla, Madrid, Spain (2022, 2019); The Baker Museum, Naples, FL (2021); Dot Fiftyone Gallery, Miami, FL (2020, 2017, 2009); Galería El Museo, Bogotá, Colombia (2020, 2018, 2016); Dolby Chadwick Gallery, San Francisco, CA (2019, 2016, 2013); Windgate Center of Art + Design, UA Little Rock, AK (2019); and Museum of Fine Arts, Boston, MA (2015). Selected group exhibitions include: Weatherspoon Museum of Art, Greensboro, NC (2021); The Frank C. Ortis Art Gallery, Pembroke Pines, FL (2021); Coral Gables Museum, Miami, FL (2020); 45 Salon Nacional de Artistas, Museum of Modern Art, Bogotá, Colombia (2019); Oolites Gallery, Miami Beach, FL (2019); Galeria Fernando Pradilla, Madrid, Spain (2018); EVA International Biennial of Visual Art, Limerick, Ireland (2018); Frost Museum of Art, Miami, FL (2018); Orlando Museum of Art, Orlando, FL (2018); Diane Lowenstein Gallery, Miami, FL (2018); Galería El Museo, Bogotá, Colombia (2018, 2015); ArtNexus Foundation, Bogotá, Colombia (2017); Armory Art Center, Palm Beach, FL (2017); Passerelle Centre d’art contemporain, Brest, France (2017); Dolby Chadwick Gallery, San Francisco, CA (2017); Dot Fiftyone Gallery, Miami, FL (2017); LMAK Gallery, New York, NY (2016); Universidad de Antioquia, Medellin, Colombia (2016); Cornell Fine Arts Museum, Rollins College, Winter Park, FL (2016); The Bascom: Center for the Visual Arts, Highlands, NC (2016); Schmidt Center Gallery, Florida Atlantic University, Boca Raton, FL (2015); Galeria La Escuela, Barranquilla, Colombia (2015); Proa Foundation, Buenos Aires, Argentina (2015); and MINT Gallery, Atlanta, GA (2015). Gonzalo Fuenmayor’s work is part of the following public collections: Weatherspoon Museum of Art, Greensboro, NC; Perez Art Museum Miami, Miami, FL; Museum of Fine Arts, Boston, MA; The Cornell Fine Arts Museum, Winter Park; Gilberto Alzate Avendaño Foundation, Bogotá, Colombia; Museo de Arte Moderno de Bogotá, Bogotá, Colombia; and Museo de Arte Contemporáneo Minuto de Dios, Bogotá, Colombia.",_key:"8c1fb5c65c5f"}],_type:c,style:d,_key:"6f18df17c655",markDefs:[]}],_key:"46479e34948d",boxed:j},{_key:"28082c404c4d",boxed:j,_type:w,label:"Hannah bio",text:[{style:d,_key:"ce10af335fa3",markDefs:[],children:[{marks:[g],text:aNw,_key:"dbb23bf08fdf",_type:a},{_type:a,marks:[],text:" (b. 1989 in Madison, Wisconsin) lives and works in Brooklyn, NY. Upcoming solo exhibitions include Entrance, New York, NY (2023, forthcoming). Selected solo exhibitions include: Entrance, New York, NY (2021). Selected group exhibitions include:  Entrance, New York, NY (2022); Blanc Gallery, Quezon City, Philippines (2018, 2017, 2015); Yui Gallery, New York, NY (2018); ISB Gallery, Providence, RI (2018); DGT Gallery House, Brooklyn, NY (2018); 100 Rochester, Brooklyn, NY (2017); GBI Zine, Brooklyn, NY (2016); Gowanus Canal Conservancy, Brooklyn, NY (2016); and Space Space Gallery, Tokyo, Japan (2015). Hannah Lee received her BFA in 2012 at Parsons School of Design, New York, NY.",_key:"550e6fa5794e"}],_type:c}]},{boxed:j,_type:w,label:"Yu bio",text:[{markDefs:[],children:[{_type:a,marks:[g],text:LZ,_key:"f55c993c0839"},{_type:a,marks:[],text:" (b. 1982 in Kanagawa, Japan) lives and works in Kanagawa, Japan. Selected solo and two-persons exhibitions include: Dawid Radziszewski Gallery, Warsaw, Poland (2021); KING’S LEAP, New York (2021); KAYOKOYUKI, Tokyo, Japan (2020, 2017,2016); Galerie Crevecoeur, Paris, France (2020); Kanazawa 21st Century Museum, Kanazawa, Japan (2018); and Tokyo Opera City Art Gallery, Tokyo, Japan (2015). Selected group exhibitions include: Braunsfelder, Cologne, Germany (2022); Laurel Gitlen, New York (2022); Galerie Crèvecœur, La Porta, Corsica (2021); KAYOKOYUKI, Tokyo (2021, 2017, 2016); Tomio Koyama Gallery, Tokyo, Japan (2021); Galerie Crevecoeur, Paris, France (2021, 2020); Iwaki City Art Museum, Fukushima, Japan (2021); SHOP Taka Ishii Gallery, Hong Kong, China (2021); CADAN Yurakucho, Tokyo, Japan (2020); Ikaruga-an, Seikeitei, the Nezu Museum, Tokyo, Japn (2019); The Ueno Royal Museum, Tokyo, Japan (2019); Komagome SOKO, Tokyo, Japan (2019); Tokyo Arts and Space (TOKAS) Hongo, Tokyo, Japan (2019); Yokohama Civic Art Gallery Azamino, Kanagawa, Japan (2018); GALLERY VACANCY, China (2018); The Hiratsuka museum of art, Kanagawa, Japan (2018); Shibuya Hikarie, Tokyo, Japan (2018); Susaki Machikado Gallery, Kochi, Japan (2018, 2016); The National Art Center, Tokyo, Japan (2017); SHANE CAMPBELL GALLERY, Chicago (2017); Komagome SOKO, Tokyo, Japan (2017); Seiji Togo Memorial Sompo Japan Museum of Art, Tokyo, Japan (2016); and Akibatamabi 21, Tokyo, Japan (2016). Yu Nishimura’s work is part of the following public collections: Societa delle Api, X Museum, M Woods Museum, Kanazawa 21st Century Museum, Kiyosu City Haruhi Art Museum.",_key:"42f9a0b0f76f"}],_type:c,style:d,_key:"feeeaea1624e"}],_key:"09c222624bc1"},{boxed:j,_type:w,label:"maria bio",text:[{style:d,_key:"50d87e412aa6",markDefs:[],children:[{_type:a,marks:[g],text:Dl,_key:"26ee0e236cf2"},{marks:[],text:" (b. 1981 in Kyiv, Ukraine) lives and works in Fridingen an der Donau and Berlin, Germany. Selected solo exhibitions include: Voloshyn Gallery, Kyiv, Ukraine (2017); Galerie de Art, Ribeira Brava, Portugal (2015); and Art Center, Funchal, Portugal (2015). Selected group exhibitions include: Fredric Snitzer Gallery & Voloshyn Gallery, Miami, FL (2022); Voloshyn Gallery, Miami, FL (2022); NADA NY, NY (2022); NADA Miami, Miami, FL (2021); viennacontemporary, Vienna, Austria (2018); SCOPE Basel 2017, Clara-Huus, Basel, Switzerland (2017); Kunststiftung Sachsen-Anhalt, Halle, Berlin, Germany (2017); SCOPE Miami Beach 2016, Miami, FL (2016); K-Salon, Berlin, Germany (2015); and Museo Internazionale della Musica di Bologna, Bologna, Italy (2014). Maria Sulymenko received her MFA at Graduate School of Fine Arts, Offenbach, Germany.",_key:"4e9cafc7ff1b",_type:a}],_type:c}],_key:"21739fba2cea"}],cover:{crop:{_type:iC,right:u,top:u,left:u,bottom:u},hotspot:{height:.9851085432480788,_type:iD,width:.9898648648648668,x:.49999999999999994,y:.5332398588212539},_type:r,asset:{_type:b,_ref:aNv}},group_show:t,_id:"a984850b-9f45-4526-ad22-571033ceb581",title:eN,opening:"Opening: Friday, June 24, 12 - 6 PM",slug:{current:"shifting-glances",_type:p},open_date:"2022-06-24",_type:J,artists:[{title:aiH,_type:v,_key:"92b609fcee12"},{_type:v,_key:"b502df9e94a1",title:aNw},{title:LZ,_type:v,_key:"93ebd6b033ab"},{title:Dl,_type:v,_key:"b6f913fdff32"}],bg_color:aNu,close_date:"2022-07-29",_updatedAt:"2022-07-21T15:58:36Z",thumbnail:{caption:[{_key:"8493e33630fe",markDefs:[],children:[{text:aWJ,_key:"50d0f7d1053e",_type:a,marks:[]},{_key:"36293b863951",_type:a,marks:[f],text:aWK},{_type:a,marks:[],text:", 2021. Tempera on canvas. 24 × 19 cm (9 ½ × 7 ½ inches). 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The show proposes a taut line stretching between these artists, an electrical flash that hums between the artists’ works, one old and one new. ",_key:"2705e74ffcb1",_type:a}],_type:c},{markDefs:[],children:[{_type:a,marks:[],text:q,_key:"e0662fd15ffc"}],_type:c,style:d,_key:"420164c195ef"},{children:[{_type:a,marks:[],text:q,_key:"66651655d93e"}],_type:c,style:d,_key:"1279236da169",markDefs:[]},{style:d,_key:"00af9941a37b",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"1dd0103c7220"}],_type:c},{_type:c,_key:"d0a4f07aa18b",markDefs:[],children:[{marks:[],text:"To make her drawings, Zemánková describes sitting down to work well before dawn, during what she called the witching hour, when she could draw smoothly and without hesitation. I imagine a curved line on the page mirroring the movement of her hand, pulling two points together and creating a moment of connection and tension. Likewise, Pausova’s paintings depict unlikely stories that pick up speed and change direction as she works. Objects bump up against one another, creating a rhyming logic that is not easily explained. Art historian Helen Molesworth describes a tangential alternative to the textbook timeline of art history. In her version, she makes space for alliances across generations and moments of connection, where artists might discover—“a shared disavowal of speech and language and a common ambivalence toward claims of self-expression.” I picture a dialogue of shifting strings and weights between Pausova and Zemánková’s work. A shaky, bright line connecting a rosebud, an ear and lacey root tendrils. Visual logic, while informed by a dose of intuition, restructured to reflect a shared sense of the untranslatable nature of images and objects. ",_key:"4389e6211a6f",_type:a}]},{children:[{text:q,_key:"46990b241f56",_type:a,marks:[]}],_type:c,_key:"12f807f1123c",markDefs:[]},{style:d,_key:"a28fba786c2d",markDefs:[],children:[{text:q,_key:"0204103a141e",_type:a,marks:[]}],_type:c},{_type:c,style:d,_key:"603eba76a4db",markDefs:[],children:[{_key:"f701343871f4",_type:a,marks:[],text:q}]},{markDefs:[],children:[{_type:a,marks:[],text:"Pausova’s paintings depict maps of dense, detailed imagery that are both alluring and perplexing. In her paintings, layers of flat colour and implied texture create an intersecting dream space, where narrative and nonsense intertwine. Zemánková’s drawings often combine pencil crayon, ballpoint pen, pastel, and embroidery thread to create forms that look like lopsided fantastical flora or bodies under a microscope. The works share an intimacy that is alive with invention. As the painter Amy Sillman describes in her essay on the diagram, it is the saggy droop in the line that can’t be planned or the uneasy crop that pulls us in. “At finger’s end, beyond the graph, off the chart, in the realm of not-knowing, lay the weird unformed excess, the chora, not information.” Both artists’ works suggest a sense of structure that mirrors a failing circuit board, a poem on a page, or a cross section of a buzzing plant. ",_key:"7020abf73468"}],_type:c,_key:"4a818df772eb"},{markDefs:[],children:[{_key:"b3ae067d7995",_type:a,marks:[],text:q}],_type:c,_key:"f249aab418fc"},{markDefs:[],children:[{_type:a,marks:[],text:q,_key:"ccc4e106acde"}],_type:c,style:d,_key:"7e271f756d3e"},{style:d,_key:"6d5f960870d2",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"6dd78bb795af"}],_type:c},{children:[{marks:[],text:"The title for the exhibition ",_key:"c2fd6aaa6703",_type:a},{text:aWR,_key:"a12ffb336504",_type:a,marks:[f]},{_type:a,marks:[],text:"is borrowed from a drawing by Zemánková, made in the second half of the 1960s using pastel, india ink and ballpoint pen. 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Selected solo and two-person exhibitions include Esker Foundation, Calgary, Canada (2022); Bradley Ertaskiran, Montréal, Canada (2021); The Sunday Painter, London, UK (2021); Parisian Laundry, Montréal (2018); Hunt Kastner, Prague (2018); Kaka, Toronto (2018); Tatjana Pieters, Ghent, Belgium (2017); Motel, Brooklyn, New York (2016); and SARDINE, Brooklyn, New York (2015). 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Patinated bronze. 15 x 17 x 12 inches (38.10 x 43.18 x 30.48 cm).",_key:"e832cc3e09f8",_type:a}],_type:c,style:d,_key:"5002d9fd48fb"}]},{asset:{_type:b,_ref:"image-d744b11807b98ea19a8527bfae363da5621977cf-3344x5088-jpg"},_type:e,caption:[{_type:c,style:d,_key:"cac6041c2fe4",markDefs:[],children:[{_key:"09b88213d3e8",_type:a,marks:[g],text:cu},{_type:a,marks:[],text:$,_key:"221793766029"},{text:aXw,_key:"cd43aba5724e",_type:a,marks:[f]},{_type:a,marks:[],text:", 2016-2022. Cast aluminum alloy, metal detector. 55 x 12 x 9 inches (139.70 x 30.48 x 22.86 cm).",_key:"680e2a7a607a"}]}],_key:"7ee787edcddd"},{asset:{_ref:"image-a167b00f1a0f9de1c74824a3c957da41f39ee113-3840x5376-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"2ed0dc55dc99",markDefs:[],children:[{_type:a,marks:[g],text:aNF,_key:"bbb615740681"},{_type:a,marks:[],text:$,_key:"0de4be419b84"},{_key:"53691d65c34e",_type:a,marks:[f],text:aXx},{_type:a,marks:[],text:", 2020. Oil on canvas. 48 x 36 x 1 1\u002F2 inches (121.92 x 91.44 x 3.81 cm).",_key:"c5b6a7eb0776"}]}],_key:"9052fa99786f"},{_type:e,caption:[{_type:c,style:d,_key:"84cd37455c02",markDefs:[],children:[{_type:a,marks:[g],text:aNG,_key:"248764050e93"},{marks:[],text:$,_key:"fbdccc97116f",_type:a},{_type:a,marks:[f],text:"Into the Wind",_key:"7e99fd39fdae"},{text:", 2020. Graphite, colored pencil, and watercolor on paper. 10 x 14 inches (25.40 x 35.56 cm).",_key:"36205424ec87",_type:a,marks:[]}]}],_key:"de569d6bc215",asset:{_ref:"image-ade6b2559ac2020b46ce1edaa549080c6bfb9897-5315x3797-jpg",_type:b}},{asset:{_type:b,_ref:"image-a645ba8cd5670d8ad13ffdaf2bdd1c27a1348fd9-3840x5760-jpg"},_type:e,caption:[{_type:c,style:d,_key:"8c4da4b65acd",markDefs:[],children:[{_type:a,marks:[g],text:aXy,_key:"c37c91edb24d"},{text:n,_key:"413859878be6",_type:a,marks:[]},{_type:a,marks:[f],text:aNH,_key:"de1f9576174b"},{_key:"46a5a8b404ca",_type:a,marks:[],text:", 2020. Hide glue, sand, phragmites, saprophytic fungi, penicillium mold, dried rawhide, hand-dug clay, new urban soil, broken diorama, wood from Noah’s Ark toy, pine rosin, and artificial caviar. 22 x 6 x 10 inches (55.88 x 15.24 x 25.40 cm)."}]}],_key:"339019d6cf01"},{_type:e,caption:[{children:[{marks:[g],text:"Nova Jiang.",_key:"6f7b32838269",_type:a},{_type:a,marks:[],text:n,_key:"be9faf67470f"},{_key:"0a87ab34da99",_type:a,marks:[f],text:"Nibble,"},{text:" 2015. Oil on panel. 14 x 18 inches (35.56 x 45.72 cm). ",_key:"6978bd0f31d5",_type:a,marks:[]}],_type:c,style:d,_key:"bfc0274dc186",markDefs:[]}],_key:"2a9d25e33349",asset:{_type:b,_ref:aRY}}],display:aR},{_key:"819fd5c2be9f",_type:w,label:"PR Text",text:[{markDefs:[],children:[{_key:"8988a5df0619",_type:a,marks:[],text:ahv},{marks:[f],text:aV,_key:"075fb1f47681",_type:a},{marks:[],text:" featuring works by Davide Balula, Sam Ekwurtzel, Witt Fetter, Sophie Friedman-Pappas, and Nova Jiang.",_key:"b8e1a21b771c",_type:a}],_type:c,style:d,_key:"881ba8229fff"},{markDefs:[],children:[{_type:a,marks:[],text:W,_key:"22fd004bde4a0"}],_type:c,style:d,_key:"26e8cb88adcc"},{_type:c,style:d,_key:"29ec2acb571a",markDefs:[],children:[{marks:[],text:"Borrowing half of the age-old cliché “better the devil you know than the devil you don't” as its title, this group exhibition",_key:"26087c012aa40",_type:a},{_type:a,marks:[f],text:n,_key:"26087c012aa41"},{_type:a,marks:[],text:"explores the use of unconventional logic to make fun of, deconstruct, or contextualize systems that are no longer serving society well, yet somehow remain.",_key:"26087c012aa42"}]},{_type:c,style:d,_key:"0d2bc86efffa",markDefs:[],children:[{text:W,_key:"53037bf13a220",_type:a,marks:[]}]},{markDefs:[],children:[{_key:"1bf0641dfa9f0",_type:a,marks:[],text:"Davide Balula harnesses natural matter, as well as manmade structures and systems to generate his paintings, performances, and site–specific interventions. "},{text:aXv,_key:"1bf0641dfa9f1",_type:a,marks:[f]},{_type:a,marks:[],text:", 2020–2021 retains stains and sediment from being exposed to the elements in a specific natural location for over a year. Celestial blooms of lichen, mycelium, and earth dance across the unprimed canvas, accumulating into a unique thumbprint-like representation of a small and delicate ecosystem. Performance and collaboration also pervade Balula's art; in ",_key:"1bf0641dfa9f2"},{_type:a,marks:[f],text:aXu,_key:"1bf0641dfa9f3"},{_key:"1bf0641dfa9f4",_type:a,marks:[],text:", 2019–2022 Balula has fed a neural network with descriptions of his own artworks, asking it to generate ideas for new pieces. The resulting instructions often end up being poetic albeit nonsensical. This piece includes an original musical improvisation performed by Gelsey Bell, Sophie Becker, and Charlotte Mundy, intended to be experienced through visitor’s personal headphones."}],_type:c,style:d,_key:"bbe4be4d41de"},{children:[{text:W,_key:"4d511c16e26b0",_type:a,marks:[]}],_type:c,style:d,_key:"c7aa42a61900",markDefs:[]},{markDefs:[],children:[{_type:a,marks:[],text:"Sam Ekwurtzel’s ",_key:"17dae26ba76f0"},{_type:a,marks:[f],text:aXw,_key:"17dae26ba76f1"},{marks:[],text:", 2016–2022 recreates the unsolvable historical rabbit-duck illusion query. Attached below the aluminum animal head, an upside-down metal detector is reading the room. While the illusion itself cannot be “solved”, and both animal heads can be argued for or against, the metal detector does provide us with some factual although unhelpful information about the object. Inflated gloves are a recurring motif in Ekwurtzel’s practice, with ",_key:"17dae26ba76f2",_type:a},{text:ik,_key:"17dae26ba76f3",_type:a,marks:[f]},{_key:"17dae26ba76f4",_type:a,marks:[],text:", 2021 being his most recent iteration. Rendered in a bright teal patinated bronze, the classic schoolhouse gag is quickly brought to mind. Yet in this grouping, the act of rebellion somehow takes on the more sinister potential of workplace sabotage."}],_type:c,style:d,_key:"60c6f5d45996"},{_type:c,style:d,_key:"9831ca930f9d",markDefs:[],children:[{marks:[],text:W,_key:"a6b35a229aa10",_type:a}]},{_type:c,style:d,_key:"1cef1897f130",markDefs:[],children:[{_key:"6acd1c8bd4fc0",_type:a,marks:[],text:"By marrying highly specific personal memories with fictionalized spaces, Witt Fetter’s paintings exist in a parallel reality that toys with a reimagining of recent current events. "},{_key:"6acd1c8bd4fc1",_type:a,marks:[f],text:aXx},{_type:a,marks:[],text:", 2020 translates a video still of a “gender reveal” explosion that caused a devastating wildfire in Colorado into oil. The name of this cultural phenomenon is a misnomer (the explosion is intended to reveal an unborn child’s sex rather than their gender), and by freezing this ephemeral moment Fetter reveals its inherent and insidious absurdity. When a digital camera is used to take a photograph of another digital screen, the pixels of both screens overlap and misalign, to reveal a third ",_key:"6acd1c8bd4fc2"},{_key:"6acd1c8bd4fc3",_type:a,marks:[f],text:"moiré"},{_type:a,marks:[],text:" pattern that is created in-camera. Adopting this phenomenon as both an aesthetic and conceptual framework, the subjects of Fetter’s paintings (for instance, the bouncy castle net in ",_key:"6acd1c8bd4fc4"},{_key:"6acd1c8bd4fc5",_type:a,marks:[f],text:"Make Believe"},{marks:[],text:", 2020) exist in a middle space of misaligned concepts – floating somewhere between the real thing and its representation. Fetter likens this ambiguity to the reality of being a transgender person in America – always existing between two layers.",_key:"6acd1c8bd4fc6",_type:a}]},{style:d,_key:"2629b250cd5e",markDefs:[],children:[{_key:"3a65213d4f550",_type:a,marks:[],text:W}],_type:c},{markDefs:[],children:[{_type:a,marks:[],text:"Sophie Friedman-Pappas’ diorama-like sculptures and graphite drawings provide tongue-in-cheek solutions for the increasingly pervasive issue of waste, both human and domestic. These propositions reimagine our present and ask piss, pigeon shit, animal skins, and garbage to be repurposed serendipitously. They will demolish buildings, tan leather, and bandage burnt flesh. ",_key:"1077a4b919230"},{text:aNH,_key:"1077a4b919231",_type:a,marks:[f]},{marks:[],text:Sy,_key:"1077a4b919232",_type:a},{_type:a,marks:[f],text:"Tree in Perfect Circles Organized from the Top",_key:"1077a4b919233"},{text:", both 2020, feature miniature bricks cast from sand collected at Freshkills Park in Staten Island, handmade animal hide glue, and phragmites reeds that are often found growing near polluted waters. These Frankensteinian conglomerates are based on real architectures in the Financial district, and Friedman-Pappas is attempting in vain to reunite these displaced materials with their original usage.",_key:"1077a4b919234",_type:a,marks:[]}],_type:c,style:d,_key:"bd8b8527ab5f"},{_key:"f14c9671c806",markDefs:[],children:[{text:W,_key:"58b05d364df90",_type:a,marks:[]}],_type:c,style:d},{markDefs:[],children:[{text:"Nova Jiang’s intimate paintings reference historical Dutch still life painting, yet often emit an uncanny sense of morbid humor. Jiang’s brushstroke is supple, leaving the surfaces of her paintings with a feeling of rippling light. In ",_key:"8eed3bd1f7f90",_type:a,marks:[]},{_key:"8eed3bd1f7f91",_type:a,marks:[f],text:aR_},{_key:"8eed3bd1f7f92",_type:a,marks:[],text:", 2020, a worm wriggles out of an unbitten apple. Upon second glance, the worm is not only exiting the apple, but also entering the human hand through a small wound. The painting "},{_type:a,marks:[f],text:aDn,_key:"8eed3bd1f7f93"},{marks:[],text:", 2021 portrays an aging cluster of grapes rotting gracefully, in a perfect gradient. Through subtle details Jiang playfully conjures macabre themes of decay and dysfunction, while bringing some unanticipated lightness to otherwise heavy topics.",_key:"8eed3bd1f7f94",_type:a}],_type:c,style:d,_key:"cadc81439c68"},{children:[{_type:a,marks:[],text:q,_key:"0bcb05adb484"}],_type:c,style:d,_key:"05293ad491ae",markDefs:[]},{_type:c,style:d,_key:"0c069553a6bd",markDefs:[],children:[{marks:[],text:aDN,_key:"e7707fa5bf4b",_type:a}]},{children:[{_type:a,marks:[],text:W,_key:"8c1c987f85a40"}],_type:c,style:d,_key:"7d7d4edfd7c1",markDefs:[]}]},{_key:"5af278f10086",boxed:j,_type:w,label:"Davide Bio",text:[{_key:"8109d6f73f37",markDefs:[],children:[{_key:"7395e2a48ed2",_type:a,marks:[g],text:aiJ},{marks:[],text:" (b. 1978 in Vila dum Santo, Viseu, Portugal) lives and works in New York and France. Selected solo exhibitions include: Centre Pompidou, Paris, France (2018); Gagosian, Rome, Italy and Athens, Greece (2017, 2015); galerie frank elbaz, Paris, France (2015, 2012, 2010, 2007); Galerie Rodolphe Janssen, Brussels, Belgium (2014); and Francois Ghebaly Gallery, Los Angeles, CA (2013). Selected group shows include: Museum Morsbroich, Leverkusen, Germany (2017); The Latvian Centre for Contemporary Art, Riga, Latvia (2015); Fondazione Carriero, Milan, Italy (2015); Carr d’Art-Mus e d’art contemporain, Nimes, France (2015); Gagosian, Geneva, Switzerland and Paris, France (2015, 2014); Palazzo Cavour, Torino, Italy (2014); Bielfelder Kunstverein, Germany (2014); MoMA PS1, Rockaway Beach, New York (2014); Frac Franche-Comte, Besancon, France (2014); Fondation Ricard, Paris, France (2014, 2012); Palais de Tokyo, Paris, France (2014); WIELS centre d'art contemporain, Brussels, Belgium (2013); and Centre George Pompidou, Paris, France (2013).",_key:"3c824d23aadf",_type:a}],_type:c,style:d}]},{_key:"ea66c48e9a37",boxed:j,_type:w,label:"Sam Ekwurtzel Bio",text:[{children:[{_type:a,marks:[g],text:cu,_key:"da8234a8c0d0"},{marks:[],text:" (b. 1983 in Hartford, CT) lives and works in New York City. Solo exhibitions include: Simone Subal Gallery, NY (2019, 2016, 2014); The Richard and Dolly Maass Gallery at SUNY Purchase, NY (2019); Art Basel Miami Beach with Simone Subal Gallery (2014); Wellesley College, Wellesley, MA (2014); Real Art Ways Gallery, Hartford, CT (2013); Second Guest Projects, NY (2012); Reference Gallery, Richmond, VA (2011); and Reynolds Gallery, Richmond, VA (2011). Past group exhibitions include: Simone Subal Gallery, NY (2017, 2012); Green Farm Project, NY (2017); 247565, New York, NY (2015); Bass Museum of Art, Miami, FL (2014); The Kitchen, NY (2014); Soloway Gallery, NY (2013); Chocolate Factory Theater, NY (2012); Virginia Commonwealth University Fine Arts Gallery, Richmond, VA (2011); and Land of Tomorrow, Louisville, KY (2011).",_key:"b6f667af01c4",_type:a}],_type:c,style:d,_key:"4c291505589b",markDefs:[]},{_type:c,style:d,_key:"6ae2680fe7d9",markDefs:[],children:[{text:W,_key:"1f17050a5b790",_type:a,marks:[]}]}]},{boxed:j,_type:w,label:"Witt Fetter Bio",text:[{_key:"cf6f2a4f28b8",markDefs:[],children:[{_type:a,marks:[g],text:aNF,_key:"c7a80a882c47"},{_type:a,marks:[],text:" (b. 1994 in Los Angeles, CA) lives and works in New York City. Selected exhibitions include: ",_key:"dcb67b4161a5"},{marks:[f],text:"Surrender Dorothy",_key:"5f578966a5d3",_type:a},{_type:a,marks:[],text:", Pop Gun Art, New York, NY (2020); and ",_key:"3b465b914788"},{_key:"94347a123e05",_type:a,marks:[f],text:"There’s No Place Like Home"},{_type:a,marks:[],text:", Coulter Gallery at Stanford University, Stanford, CA (2017). Fetter has been awarded the Palanca Fantasy Award, Tom of Finland Foundation (2020); and the Raina Giese Award in Painting, Stanford University (2017). Fetter studied at Stanford University in Stanford, CA and received a B.A. in 2017 and a M.A. in 2018.",_key:"edc1b339b1c4"}],_type:c,style:d}],_key:"0cd27d778cb3"},{_key:"b7cedfffb700",boxed:j,_type:w,label:"SFP Bio",text:[{children:[{text:aNG,_key:"f65e1eef30da",_type:a,marks:[g]},{text:" (b. 1995 in New York, NY) lives and works in Los Angeles, CA. Selected exhibitions include: Alyssa Davis Gallery, organized by Octagon (Moira Sims), New York, NY (2021); in lieu, Los Angeles, CA (2021, 2019); Cuchifritos, curated by TJ Shin, New York, NY (2021); Kathryn Markel Gallery, curated by Fran Shalom, New York, NY (2021); Anonymous Gallery, curated by Joseph Ian Henrikson, New York, NY (2021); European Gallery, Boston, MA (2019); Ill Fame, Perth, Australia (2019); King’s Leap. Brooklyn, NY (2018); Resort Gallery, Baltimore, MD (2018); and Adds Donna, Chicago, IL (2017). Friedman-Pappas received a B.F.A. from the Maryland Institute College of Art, Baltimore, MD in 2017, and is a current M.F.A. candidate at UCLA, Los Angeles, CA.",_key:"860b9f67d472",_type:a,marks:[]}],_type:c,style:d,_key:"6059be6e1e4c",markDefs:[]},{markDefs:[],children:[{_type:a,marks:[],text:W,_key:"8414de7b2df40"}],_type:c,style:d,_key:"99173cc6b16b"}]},{label:"Nova Jiang Bio",text:[{style:d,_key:"4b04ab36ad18",markDefs:[],children:[{_key:"31504658a83f",_type:a,marks:[g],text:Sw},{_type:a,marks:[],text:" (b. 1986 in Dalian, China) lives and works in Los Angeles, CA. Selected exhibitions include: Union Pacific, London, UK (2021); Honor Fraser, Los Angeles, CA (2021); LAMAG, Los Angeles, CA (2020); Wave Hill, New York, NY (2020, 2017); Charlie James Gallery, Los Angeles, CA (2019); PSLA, Los Angeles, CA (2019); ltd los angeles, Los Angeles, CA (2019); LACI | AIR, Los Angeles, CA (2018); LAXART, Los Angeles, CA (2018); Brandstater Gallery, La Sierra University, Riverside, CA (2018); Denk Gallery, Los Angeles, CA (2017); Somerset House, London, UK (2017, 2016); Telfair Museum of Art, Savannah, GA (2016); Hammer Museum, Los Angeles, CA (2015); and Singapore Science Center, Singapore (2015). Jiang received a Bachelor’s degree from the University of Auckland, New Zealand in 2007, and a Master’s degree from UCLA, Los Angeles, CA in 2009.",_key:"a427ee94fff0"}],_type:c},{style:d,_key:"e326954beaf4",markDefs:[],children:[{_type:a,marks:[],text:W,_key:"d32d00fe18cf0"}],_type:c}],_key:"0143a023b6d8",boxed:j,_type:w}],cover:{asset:{_type:b,_ref:aXz},_type:r},open_date:"2022-02-08",bg_color:aNu,_id:hi,title:aV,opening:"Opening: Tuesday, February 8 from 12 – 6PM",_updatedAt:"2022-03-29T15:58:44Z",slug:{current:"the-devil-you-know",_type:p},_type:J,group_show:t,close_date:"2022-03-12",_rev:"p4BtQ0ZPcsKXL8oSUZIh5y",thumbnail:{caption:[{_type:c,style:d,_key:"558334fd8ca1",markDefs:[],children:[{marks:[g],text:aXy,_key:"8b4310d45db0",_type:a},{_type:a,marks:[],text:n,_key:"159191ad6e6c"},{_key:"22bc36bb395d",_type:a,marks:[f],text:aNH},{_key:"7efc85c8dca9",_type:a,marks:[],text:", 2020. 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",_key:"0ae1fc539411",_type:a,marks:[]}],_type:c,style:d,_key:"b517c6a84186"}],_key:"b803e653780d",asset:{_type:b,_ref:"image-09ac9bbefb61a1650238ab2ab85f8ed125ac441a-3000x2000-jpg"}},{_type:e,caption:[{style:d,_key:"fe6ea74fa6ce",markDefs:[],children:[{marks:[],text:"Sonia Almeida. Untitled (half step), 2021. woodblock, oil paint, and permanent marker on paper. 13 ¾ × 9 ¾ inches (34.93 × 24.77 cm). Photo: Daniel Terna.",_key:"5df09c5415eb",_type:a}],_type:c}],_key:"fedda75a70af",asset:{_ref:"image-e0b4ae472607d0b6dbf414a7cb390257b7ff118b-2400x3000-jpg",_type:b}}],display:aR,_type:L},{label:cD,text:[{style:d,_key:"7c736b373821",markDefs:[],children:[{marks:[],text:"Both timelines and pockets can be loosely described as utilitarian vessels: a timeline encases and organizes temporal information, while a pocket holds important belongings and tools close at hand. Sonia Almeida excavates the histories, transformations, and societal implications of these containers by choreographing together paintings, works on paper, and tactile fabric wall hangings.",_key:"c8fe2650a6c1",_type:a}],_type:c},{_key:"c908f6e49c93",markDefs:[],children:[{marks:[],text:"The way Western societies perceive, demarcate, and value “time” has always adhered to a linear logic, a logic which has readily served Capitalist gains and limited the potential for true “free time”. This rigid concept of a continuous timeline allows for little nuance or interpretation, and yet this rigidity seems to have become increasingly eroded by the unpredictability and resulting restrictions of the ongoing global pandemic. Throughout this fraught period, some of us may have discovered a newfound and alchemical ability of creating timelines all our own. Maybe the established concept of time has been wrong all along – maybe time twists around itself like a Möbius strip, or eats its own tail like an ouroboros. half step intermingles artworks both new and old, blurring the chronological timeline and expected logic of Almeida’s oeuvre. Abstractions of an omnipresent clock, feathered swatches of clashing colors, and undulating stripes evoke a sense of life happening at different speeds: in slow motion, reversed, and stuck on repeat.",_key:"9846718e1bee0",_type:a}],_type:c,style:d},{_type:c,style:d,_key:"92d48277c103",markDefs:[],children:[{_key:"c3f77d5248290",_type:a,marks:[],text:"Within the worlds of music, dance, and performance, the act of “keeping time” is necessary to replicate a piece after its first presentation. Flickering across the tops of Almeida’s ten paintings, five horizontal lines abstractly suggest the bar structure of musical notation. Sometimes prominent and sometimes visually obscured, the bars link these works together by implying a fractured musical composition that can be followed across the exhibition. Dance diagrams and limbs also fade in and out of view, and these independent sets of instructions function as a call and response between the painting and the viewer: the paintings show us how to move our feet or strike a note, and invoke the natural urge to follow along."}]},{_type:c,style:d,_key:"449cb2e421c6",markDefs:[],children:[{marks:[],text:"Historically, pockets in clothing were exclusively integrated into men’s garments, while women wore detachable “pockets” tied around their waists and hidden beneath petticoats. Eventually, women’s “pockets” evolved into “reticules” – precursors to the modern handbag that were considered more fashionable the smaller they were; the implication being that a woman of status need not carry around money because finances were handled by her husband. As the women’s movement took place in the West and women became increasingly financially independent, many women began to wear men’s trousers. Pockets were viewed as a radical and at times transgressive site where women could hide valuables on their person, thus giving them increased agency and power in society. Almeida has draped swaths of velvet corduroy across the walls of the exhibition, attaching pockets throughout. Slipping works on paper inside of these wall pockets and behind slatted shelving, Almeida only partially reveals her visual toolbox.",_key:"799b1ce339740",_type:a}]},{children:[{_type:a,marks:[],text:"By taking a half step back from defined societal structures, Sonia Almeida’s practice takes stock of what lies behind and what may come ahead. 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It was four weeks old. The show ended by natural causes and was surrounded by friends and family at the time of its death.",_key:"63b949c7841b"}],_type:c,style:d,_key:"b6a6d59688d6"},{_type:c,style:d,_key:"905daee7d189",markDefs:[],children:[{_type:a,marks:[f],text:cc,_key:"9a930d2e4a400"},{text:" opened on June 2nd after a delay with installation. The deceased featured two new video works: ",_key:"1212e926675e",_type:a,marks:[]},{_type:a,marks:[f],text:cc,_key:"10dd39679eef"},{_key:"8adb010d1452",_type:a,marks:[],text:Sy},{_type:a,marks:[f],text:gQ,_key:"3eac2ec9dab5"},{_type:a,marks:[],text:" (both 2021). Presented as a travelogue based on recent trips through the Suez Canal and the Onkalo spent nuclear fuel repository. The former video explored a plan for the total coverage of mortal remains practices, while the latter video recounted the history of The Crypt of Civilization (1940) and its role in the formation of The International Time Capsule Society (1990), a group dedicated to the registry and study of all known time capsules.",_key:"027d775770e3"}]},{_key:"00886c670bdd",markDefs:[],children:[{_type:a,marks:[],text:"Simone Subal fondly recalled her time hosting the show, “it will be dearly missed.”",_key:"82dba05080f80"}],_type:c,style:d},{_key:"c2ee94fe5e69",markDefs:[],children:[{_key:"4bbd492914df0",_type:a,marks:[f],text:cc},{_type:a,marks:[],text:" was preceded in death by three other solo exhibitions at the gallery: ",_key:"e45a42177416"},{_key:"1212a454a0ba",_type:a,marks:[f],text:ep},{_key:"684db02104a8",_type:a,marks:[],text:" (2012), "},{_type:a,marks:[f],text:eU,_key:"825e9423efe5"},{_type:a,marks:[],text:" (2014), and ",_key:"f45898ec9100"},{marks:[f],text:gR,_key:"a02847c98565",_type:a},{_key:"5a1d8da4ecbc",_type:a,marks:[],text:" (2018), as well as an extended family of relatives at other venues."}],_type:c,style:d},{markDefs:[],children:[{marks:[],text:"Arrangements may be sent to Simone Subal Gallery (131 Bowery 2nd Floor, New York, NY 10002).",_key:"a797194216070",_type:a}],_type:c,style:d,_key:"bd8cdf14a5db"},{markDefs:[{_key:aYe,_type:av,href:"https:\u002F\u002Fwww.donzigerdefense.com\u002F"}],children:[{text:"In lieu of flowers the family requests that donations be made to the ",_key:"2e8a81f7dced0",_type:a,marks:[]},{marks:[aYe],text:"Steven Donziger Legal Defense Fund.",_key:"94b6b46f2512",_type:a}],_type:c,style:d,_key:"11983f541894"}],_key:"2dfd68c38099"},{_key:"94ffe75b2099",works:[{medium:"4KUHD Video",title:gQ,exhibition:{_type:b,_ref:DP},more_info:"Featuring:\nPaul Hudson - 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He lives and works in New York, NY. Solo and two-person exhibitions include: Simone Subal Gallery, New York, NY (2012, 2014, 2018, 2021); Swiss Institute, New York (2017); Art Basel Statements, with Simone Subal Gallery, Basel, Switzerland (2016); Frieze Frame, with Simone Subal Gallery, New York, NY (2013); Roots and Culture, Chicago, IL (2011); and Videotage Gallery, Hong Kong, China (2007). Selected group exhibitions and screenings include: Climate Changing: On Artists, Institutions, and the Social Environment, The Box, Wexner Center for the Arts, Columbus, OH (2021); Speaking Images, Fluentum, Berlin (2019); Vilnius International Short Film Festival, Vilnius, Lithuania (2018); Leuven Short Film Festival, Leuven, Belgium (2018); International Film Festival Rotterdam, The Netherlands (2017); Centre Pompidou, Paris, France (2016); deCordova Sculpture Park and Museum, Lincoln, MA (2015); Ukrainian Institute of America, New York, NY (2015); Bureau, New York, NY (2015); Mixer, Istanbul, Turkey (2014); Franklin Street Works, Stamford, CT (2013, 2014); High Line Art, New York, NY (2014); The Power Plant, Toronto, Canada (2014); Kitchen, New York, NY (2012); Simon Preston Gallery, New York, NY (2012); Frutta, Rome, Italy (2012); and Wallspace, New York, NY 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Being with someone was.\nThe puzzling feeling of participating in yet another conversation, while simultaneously reflecting on identifying and liberating the algorithm inside - producing maniacally letters of sense - excavating rare but not too exotic words from the in-depth of our short term-memory to ultimately populate phrases full of short but smart answers.",_key:"9a1725ecf119",_type:a},{_key:"15dc3ac79fb9",_type:a,marks:[],text:", 2021. Iridescent acrylic and oil on canvas. 16 × 12 × 1 inches (40.64 × 30.48 × 2.54 cm). Photo: Joerg Lohse."}]}],_key:"9ceee88a1ff9"},{_type:e,caption:[{style:d,_key:"df5b79b085e1",markDefs:[],children:[{marks:[g],text:ba,_key:"bdb1c8278c2b",_type:a},{text:n,_key:"015be6a3c1b8",_type:a,marks:[]},{marks:[f],text:"The idle idiot",_key:"1997eca48972",_type:a},{_key:"b53678e92b44",_type:a,marks:[],text:", 2021. Oil on canvas. 24 × 20 × 1 ¾ inches (60.96 × 50.80 × 4.45 cm). 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Photo: Joerg Lohse.",_key:"bb28192ae7f8",_type:a,marks:[]}],_type:c,style:d,_key:"7f9e6c8b5c34"}],_key:"d919ee708b22",asset:{_type:b,_ref:"image-716fbbb873a778f583b4438346605b88d35aa6a5-1600x2000-jpg"}},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:ba,_key:"fdb383bf3fa2"},{_key:"6d8f9d6d7a1e",_type:a,marks:[],text:W},{_type:a,marks:[f],text:"Artists Love affair\nMade entirely of paper waste or life raft rubber these new works are fragile and susceptible to deterioration,\nand suggest a state of vulnerability and impermanence.\nThis work seeks to nurture an awareness of fragility of life and to build an awareness of transience, suggesting that life and death are transitory states and that there is no permanence in either. We are constantly changing, transforming, metamorphosising and transcending. By refining even further the understanding of the essence of the notion of bardo, it can then be applied to every moment of existence. The present moment, the now, is a continual bardo, always suspended between the past and the future (The moment of death is significant as a transient period, a passing over. Bardo is a Tibetan word literally meaning “intermediate state” or “in-between state”. It refers to the forty-nine day period after death and is described as the time, space or region that a spirit traverses between the moment of bodily death and spiritual settling. This period of bardo state is believed to be a time of vulnerability.)",_key:"f25742c244bf"},{text:", 2021. Iridescent acrylic, airbrush, and oil on canvas. 24 × 18 × ¾ inches (60.96 × 45.72 × 1.91 cm). Photo: Joerg Lohse.",_key:"dcb446148915",_type:a,marks:[]}],_type:c,style:d,_key:"8fbcadad128c"}],_key:"2080ee7c11b9",asset:{_type:b,_ref:"image-9a4090a20c8b174b3488892a6358ca36101c0e63-1608x2000-jpg"}},{asset:{_ref:"image-1268ee56ea0aedbe5eb81af536064ca5b8cec90e-1594x2000-jpg",_type:b},_type:e,caption:[{children:[{marks:[g],text:ba,_key:"d187874571c7",_type:a},{marks:[],text:W,_key:"6b4211c254d3",_type:a},{_key:"81748c528fd7",_type:a,marks:[f],text:"Server\nbehind the flower is a bush\nbehind the bush is a fence\nbehind the fence is a dog\nbehind the dog is a man\nbehind the man is a house\nbehind the house is a gradient\nbehind the gradient is white\nbehind the white is linen\nbehind the linen is space"},{marks:[],text:", 2021. Iridescent acrylic, airbrush, and oil on canvas. 40 × 30 × ¾ inches (101.60 × 76.20 × 1.91 cm). 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Nocturnes presents a collection of works by four artists exploring the ways in which our commonly held belief systems are in desperate need of personal, cultural, and structural revaluation. Utilizing contemporary queer and feminine lenses, the artists in Common Nocturnes chip away at outdated systems to reveal underlying and generative personal truths. The result is a fertile microcosm of perspectival shifts and radical transgressions. Exploring themes of sexuality, unconventional relationships, and humor in the privacy of their studios, these artists’ works possess the alchemical ability to bring a collective darkness into the daylight.\n\nTen Izu’s sculptures draw upon personal experiences with codependencies and hierarchies of power: from deconstructing their rebellions against a Catholic upbringing, to the realization that the artist’s cat depends on them for all aspects of survival. Many questions permeate Ten Izu’s practice: What motivates a pet goldfish to leap from its fishbowl to a certain death? Or, how do imbalanced systems of wealth and power produce constant economic precarity for some while not for others? Izu’s childhood introduction to Medieval representations of Hell and human mortality inspire their hybridized visual language that blends tropes of religious iconography with playful commentary on interpersonal relationships.\n\nSean Mullins‘ paintings echo well-known Medieval figuration and Northern Rennaissance portraiture. The subjects of Mullins tender renderings are friends, lovers, and those who evade simple relationship categorization. One figure sleeps under a tree with their nose in a book, completely obscuring their identity. The gestural quality of Mullins’ brushstrokes suggest the sleeper’s chest rising and falling before our eyes. With a seeming lack of concern for the audience’s gaze, Mullins’ figures present themselves as casually uninterested in outside attention.\n\nPenny Slinger’s suggestive photo collages from the 1970’s assemble a specific sexualized symbology: insects, feathers, and fruits entangle themselves with hermaphroditic bodies lounging within classical architectures. The common earthworm is an example of hermaphroditism from the natural world. In one particularly salacious photo collage a girthy worm protrudes from a woman’s ecstatic open mouth. In another image, a pupal cicada joins a writhing woman in bed as a welcome participant. Slinger’s imagery induces a psychosomatic reimagining of our natural sexual potential.\n\nJoanna Woś’ fleshy and seductive paintings render multiple viewpoints simultaneously, blurring planes of visual perception such that a sense of queer time is established as an appropriate conduit for representing a nuanced sexuality. Various articles of clothing confuse the context of the setting. These scenes exist outside of private or public bounds. Dryly humorous, Woś constructs a world of uncanny scenarios of sexual exploration and exploitation.",content:[{image:{_type:e,caption:[{_key:"aba199a35ebb",markDefs:[],children:[{_key:"576ce6172d4f",_type:a,marks:[],text:h},{_type:a,marks:[f],text:dL,_key:"11a8309a8004"},{_type:a,marks:[],text:dM,_key:"67dbd17dd038"}],_type:c,style:d}],asset:{_ref:aYk,_type:b}},_type:K,label:X,_key:"657bc6414445",type:[r]},{_key:"52ceb84c026c",_type:w,label:Z,text:[{style:d,_key:"c7d1bdda32c4",markDefs:[],children:[{_type:a,marks:[f],text:aNR,_key:"1ecdac925f70"},{_type:a,marks:[],text:" presents a collection of works by four artists exploring the ways in which our commonly held belief systems are in desperate need of personal, cultural, and structural revaluation. 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Many questions permeate Ten Izu’s practice: What motivates a pet goldfish to leap from its fishbowl to a certain death? Or, how do imbalanced systems of wealth and power produce constant economic precarity for some while not for others? Izu’s childhood introduction to Medieval representations of Hell and human mortality inspire their hybridized visual language that blends tropes of religious iconography with playful commentary on interpersonal relationships.",_key:"b7806700d2101"}],_type:c,style:d,_key:"040d908972af",markDefs:[]},{_type:c,style:d,_key:"4a7800beeb32",markDefs:[],children:[{marks:[g],text:aYm,_key:"fb722f5456770",_type:a},{_type:a,marks:[],text:"‘ paintings echo well-known Medieval figuration and Northern Rennaissance portraiture. The subjects of Mullins tender renderings are friends, lovers, and those who evade simple relationship categorization. One figure sleeps under a tree with their nose in a book, completely obscuring their identity. The gestural quality of Mullins’ brushstrokes suggest the sleeper’s chest rising and falling before our eyes. With a seeming lack of concern for the audience’s gaze, Mullins’ figures present themselves as casually uninterested in outside attention.",_key:"fb722f5456771"}]},{_type:c,style:d,_key:"11052e4fce02",markDefs:[],children:[{_type:a,marks:[g],text:aYn,_key:"35d4dbddb1170"},{_type:a,marks:[],text:"’s suggestive photo collages from the 1970’s assemble a specific sexualized symbology: insects, feathers, and fruits entangle themselves with hermaphroditic bodies lounging within classical architectures. The common earthworm is an example of hermaphroditism from the natural world. In one particularly salacious photo collage a girthy worm protrudes from a woman’s ecstatic open mouth. In another image, a pupal cicada joins a writhing woman in bed as a welcome participant. 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Photo collage on card. 12 1\u002F2 × 17 3\u002F4 inches (31.75 × 45.09 cm). © Penny Slinger, Courtesy of the artist and Blum & Poe, Los Angeles\u002FNew York\u002FTokyo."}]}],_key:"7283a6db1859",asset:{_ref:"image-ec9af5d0df824fc88f73cbacb60b5f96064a1b43-2800x1999-jpg",_type:b}},{_key:"93ad91dfa22f",asset:{_ref:aYt,_type:b},_type:e,caption:[{children:[{_type:a,marks:[],text:aYp,_key:"f0a571d3341c"},{_type:a,marks:[f],text:R,_key:"1abfc5fe887b"},{_key:"049ad892bdb8",_type:a,marks:[],text:aYq}],_type:c,style:d,_key:"855be569b7cf",markDefs:[]}]},{_key:"0a7a655eeb01",asset:{_ref:"image-f25ec28bdc05ea9bdd4ffb8e183a4cef3e38d8e5-1871x2800-jpg",_type:b},_type:e,caption:[{_key:"561b005a9501",markDefs:[],children:[{_key:"450fb6a007bd",_type:a,marks:[],text:ahf},{marks:[f],text:"Open Sesame",_key:"872584cda5d0",_type:a},{text:", 1970-1977. 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In Smith’s latest works, archaic tropes are often reconfigured to forward a sly feminist agenda. Evoking a feeling of deep time, the paintings in ",_key:"0af39245b5a82",_type:a,marks:[]},{_key:"0af39245b5a83",_type:a,marks:[f],text:cL},{_key:"0af39245b5a84",_type:a,marks:[],text:" reimagine age-old symbols of wheat, harvest mice, and ginkgo leaves; some of the oldest known surviving species on the planet. 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Straw itself, an agrarian byproduct from the cultivation of wheat, is the least desirable part of the plant and is often discarded, an analogy which Smith has likened to the dismissal of female subjectivity throughout modern history. Stalks of wheat are bundled to the side in ",_key:"d1199a1b5dac4"},{marks:[f],text:aYJ,_key:"d1199a1b5dac5",_type:a},{text:" (2020), bringing Millet’s ",_key:"d1199a1b5dac6",_type:a,marks:[]},{_key:"d1199a1b5dac7",_type:a,marks:[f],text:"Gleaners"},{_type:a,marks:[],text:" (1857) painting to mind. Millet depicts his subjects performing the final stage of agrarian labor; women painstakingly sift through straw debris, searching for the very last pieces of wheat stalk worthy enough to sell or eat. Smith’s servant subject, however, showcases a contrasting motif of lazy or misbehaving servants and maids commonly found in Western 17th century paintings. Although perhaps tempted to open Pandora’s box, Smith’s servant is mostly idle, yet this very indolence is a radical moment of rebellion, rife with explosive capability much like the dormant volcano pictured through an ocular window. A wheat motif reappears in ",_key:"d1199a1b5dac8"},{_type:a,marks:[f],text:aYK,_key:"d1199a1b5dac9"},{_key:"d1199a1b5dac10",_type:a,marks:[],text:" (2020), this time infested with pestilent harvest mice. The nimble rodents are playful and mischievous, and much like the servant, their disobedience puts into question the rules of normative, patriarchal systems."}],_type:c,style:d,_key:"d1199a1b5dac",markDefs:[]},{_key:"48ba7a60298d",markDefs:[],children:[{_key:"48ba7a60298d0",_type:a,marks:[],text:"Originating in Asia, the hardy ginkgo has become a ubiquitous urban tree in many American cities. In fall, the leaves and berries of female ginkgo trees drop, often all at once, and emit a powerful, acrid smell. This feminine energy is biologically designed to make its presence known. Commonly called maidenhair, fallen ginkgo leaves frame the face like bangs in Smith’s multi-layered "},{marks:[f],text:"Hair Horizon World",_key:"48ba7a60298d1",_type:a},{_type:a,marks:[],text:" (2020). Through the eyes and perhaps skull of this ginkgo girl, we see through to a landscape wrought with modern industry and smoke billowing across an unsettlingly amber sky.",_key:"48ba7a60298d2"}],_type:c,style:d},{style:d,_key:"8ff199665a56",markDefs:[],children:[{text:"The subjects in Smith’s paintings often appear backlit, an unusual painterly effect known as ",_key:"8ff199665a560",_type:a,marks:[]},{_key:"8ff199665a561",_type:a,marks:[f],text:"contre-jour"},{_type:a,marks:[],text:" (Fr. against daylight). This formal style creates the voyeuristic feeling of looking over someone’s shoulder, implying a literal shift in perspective between subject and viewer. Large circular windows and orifices act like eyes, and the faces in Smith’s paintings become semipermeable membranes: depending on the vantage point, a viewer can see into the mind of a subjective consciousness, or see the world through it. The exhibition’s eponymous painting, ",_key:"8ff199665a562"},{_type:a,marks:[f],text:cL,_key:"8ff199665a563"},{_type:a,marks:[],text:" (2020), depicts our trusty broom confronting a single stalk of wheat, perhaps coming to terms with its own fraught existence. As a whole, ",_key:"8ff199665a564"},{marks:[f],text:cL,_key:"8ff199665a565",_type:a},{_type:a,marks:[],text:" exemplifies moments of unapologetic resiliency, and an unknown potential on the edge of brimming over.",_key:"8ff199665a566"}],_type:c}],_key:"EOUeJApw"},{_type:L,label:V,_key:"XPQysAoz",install:[{asset:{_ref:aNT,_type:b},_type:e,caption:[{style:d,_key:"eWRIZVqF",markDefs:[],children:[{text:h,_key:"a49f2a6125b7",_type:a,marks:[]},{marks:[f],text:cL,_key:"4ab7ebb5f6a4",_type:a},{marks:[],text:bZ,_key:"555ccde4a8fb",_type:a}],_type:c}],_key:"lVfy3P5k"},{caption:[{children:[{_type:a,marks:[],text:h,_key:"e90461668fa5"},{_type:a,marks:[f],text:cL,_key:"4f142481bfa9"},{_key:"fbc6027ef5c4",_type:a,marks:[],text:bZ}],_type:c,style:d,_key:"eee26d8f0a2c",markDefs:[]}],_key:"tk9nftxq",asset:{_ref:"image-d58cfba8f420d9586da24a686110e7944f385368-2371x1778-jpg",_type:b},_type:e},{_type:e,caption:[{_type:c,style:d,_key:"Fx36mwfT",markDefs:[],children:[{text:h,_key:"412256f2f22e",_type:a,marks:[]},{text:cL,_key:"918235d2f28d",_type:a,marks:[f]},{_type:a,marks:[],text:bZ,_key:"2de960912db9"}]}],_key:"NlQ0LNsN",asset:{_ref:"image-c5d8b2ad97e7eb234f9ac56206b017bf5dbb5443-2555x1916-jpg",_type:b}},{_key:"M6sa9scO",asset:{_ref:"image-0cb7913c157b262eff89e90289117f46f362f7bc-2000x1500-jpg",_type:b},_type:e,caption:[{_key:"ezxTMX64",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"a95ee4b30e7f"},{_key:"a07a1b0c5f18",_type:a,marks:[f],text:cL},{text:bZ,_key:"b3d7f6dac975",_type:a,marks:[]}],_type:c,style:d}]},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:h,_key:"072730672d02"},{_type:a,marks:[f],text:cL,_key:"7dfb10815756"},{_key:"1f1d960ae5d5",_type:a,marks:[],text:bZ}],_type:c,style:d,_key:"6maedDNJ"}],_key:"kAVhWvLP",asset:{_type:b,_ref:"image-56cf492de3c9a90f396ecc7a31d9690ffe7161b4-2000x1500-jpg"}},{_key:"vWTFycDD",asset:{_ref:"image-d68a277c0a8db9895b5c6ac9b808884a3fb3d2e3-2693x2019-jpg",_type:b},_type:e,caption:[{_key:"Z3Yf2fbu",markDefs:[],children:[{_key:"b4728d749923",_type:a,marks:[],text:h},{marks:[f],text:cL,_key:"96a6b741f3fa",_type:a},{text:bZ,_key:"7cf9c1ccaabe",_type:a,marks:[]}],_type:c,style:d}]},{caption:[{children:[{text:h,_key:"c1cd6fc4f03e",_type:a,marks:[]},{_type:a,marks:[f],text:cL,_key:"65c06493f811"},{_type:a,marks:[],text:bZ,_key:"9445c827513d"}],_type:c,style:d,_key:"gAZJ7w8t",markDefs:[]}],_key:"gBUia4t7",asset:{_ref:"image-e20aa54c99b9323899a97058eb9c401ee1842d66-2439x1829-jpg",_type:b},_type:e}],work:[{_key:"ycorFIxL",asset:{_ref:"image-d07665948c25ca8007a2532085dc21e6b24cb393-2436x3000-jpg",_type:b},work:j,_type:e,caption:[{_key:"KIV6x38u",markDefs:[],children:[{_type:a,marks:[g],text:gg,_key:"Jur7uOtQ"},{_type:a,marks:[f],text:aYJ,_key:"b6c7e57096e9"},{marks:[],text:", 2020. Oil on linen. 84 × 67 inches (213.36 × 170.18 cm). Photo: Charles Benton.",_key:"4cbc264355f5",_type:a}],_type:c,style:d}]},{caption:[{markDefs:[],children:[{text:gg,_key:"L7fd0MMf",_type:a,marks:[g]},{marks:[f],text:"Voir Dire",_key:"2abaf97619fd",_type:a},{_type:a,marks:[],text:", 2020. Oil on linen. 67 × 51 inches (170.18 × 129.54 cm). Photo: Charles Benton.",_key:"356b222df4c7"}],_type:c,style:d,_key:"RZKpOltj"}],_key:"YnXNnKSU",asset:{_type:b,_ref:"image-4ed4aff4ae455daac05a61101c6bb2ed8911a205-2345x3000-jpg"},work:j,_type:e},{_key:"GPk002m8",asset:{_ref:"image-b0a1c7a2349366123fdf2ba0a9258993624777b8-2552x3000-jpg",_type:b},work:j,_type:e,caption:[{_type:c,style:d,_key:"6TIN1xYK",markDefs:[],children:[{text:gg,_key:"WLpqXkwU",_type:a,marks:[g]},{_type:a,marks:[f],text:"The Seether",_key:"4e36c1c7ba42"},{text:", 2020. Oil on linen. 18 × 15 inches (45.72 × 38.10 cm). Photo: Dario Lasagni.",_key:"2798c4a87381",_type:a,marks:[]}]}]},{caption:[{children:[{_type:a,marks:[g],text:gg,_key:"wsLdtPfQ"},{_key:"1f374b63ac89",_type:a,marks:[f],text:"Head Horizon World"},{text:", 2020. Oil on linen. 67 × 90 inches (170.18 × 228.60 cm). Photo: Charles Benton.",_key:"9457a745aeaa",_type:a,marks:[]}],_type:c,style:d,_key:"T4r5Xqii",markDefs:[]}],_key:"sAPR9lcO",asset:{_type:b,_ref:"image-15824e7275c446fa30f3b597833af26ae73056c8-3000x2266-jpg"},work:j,_type:e},{caption:[{_type:c,style:d,_key:"1pZIyAgD",markDefs:[],children:[{text:gU,_key:"3VAxbXLI",_type:a,marks:[g]},{_key:"0614738cbebb",_type:a,marks:[g,f],text:n},{marks:[f],text:"Unruly Thread, 2019. Oil on linen. 58 × 47 inches (147.32 × 119.38 cm). Photo: Charles Benton.",_key:"d58efa1d18cd",_type:a}]}],_key:"qWC2PAQT",asset:{_ref:"image-cf6a4c5284dd6cc7c5a4525c7347e246f7ab4a87-5460x6600-jpg",_type:b},work:j,_type:e},{caption:[{markDefs:[],children:[{text:gU,_key:"1vM6nh9c",_type:a,marks:[g]},{text:n,_key:"63278f3a1fe1",_type:a,marks:[g,f]},{_key:"ba17bc4be889",_type:a,marks:[f],text:aYK},{text:", 2020. Oil on linen. 90 × 67 inches (228.60 × 170.18 cm). Photo: Dario Lasagni.",_key:"86d492b19bb2",_type:a,marks:[]}],_type:c,style:d,_key:"i0lKHWc1"}],_key:"z9sJAe6m",asset:{_ref:"image-7c32caefb9aa05d550318be024849889931cb0a9-2282x3000-jpg",_type:b},work:j,_type:e},{_key:"LjiIOhin",asset:{_ref:"image-089d51220ec2e174d71341d8197c017965bad667-2475x3000-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{_key:"i5Lptco4",_type:a,marks:[g],text:gU},{_key:"7bfda38ed1e2",_type:a,marks:[],text:n},{_type:a,marks:[f],text:cL,_key:"07e09d1a195a"},{text:", 2020. Oil on linen. 10 × 8 inches (25.40 × 20.32 cm). Photo: Charles Benton.",_key:"afca7189a83c",_type:a,marks:[]}],_type:c,style:d,_key:"eyomdncE"}]}],numbered:t},{_key:"a67df26e2323",boxed:j,_type:w,label:cE,text:[{style:d,_key:"69fe40ca9a10",markDefs:[],children:[{_type:a,marks:[g],text:anm,_key:"d29fbe8537ce"},{_type:a,marks:[],text:" was born in 1979 in Austin, Texas. She currently lives and works in Brooklyn, New York. Recent solo exhibitions include: Simone Subal Gallery, New York, NY (2020, 2017); SCAD Museum of Art, Savannah, GA (2020); Marion Art Gallery, Rockefeller Arts Center, SUNY Fredonia, NY (2020); Perrotin, Tokyo (2019); Wadsworth Atheneum Museum of Art, Hartford, CT (2019); Le Consortium, Dijon, France (2018); CFA, Berlin, Germany (2018); Galerie Perrotin (two-person with Genesis Belanger), New York, NY (2018); SALTS (two-person exhibition with Adam Henry), Basel, Switzerland (2017); Rodolphe Janssen, Brussels, Belgium (2016); Mary Mary, Glasgow, Scotland, UK (2016); and Laurel Gitlen, New York, NY (2015). Select group exhibitions include: Petzel Gallery, New York, NY (2020); Hauser & Wirth, New York, NY (2019); Peter Freeman Inc., curated by Ugo Rondinone, New York, NY (2018); Tanya Bonakdar Gallery, New York, NY (2018); Lumber Room, Portland, OR (2017); König Galerie (St. Agnes), Berlin, Germany (2016); Simone Subal Gallery, New York, NY (2016); The Moore Building, organized by Jeffrey Deitch and Larry Gagosian, Miami, FL (2015); and Skirball Museum, Cincinnati, OH (2014).",_key:"fe06ae77f06b"}],_type:c}]}],_type:J,thumbnail:{caption:[{children:[{_type:a,marks:[],text:h,_key:"WavMNNDO"},{_key:"b7a3612d7e14",_type:a,marks:[f],text:cL},{text:bZ,_key:"c8814dc90520",_type:a,marks:[]}],_type:c,style:d,_key:"bwid3V8c",markDefs:[]}],asset:{_updatedAt:aYL,size:2242817,_type:B,metadata:{_type:C,palette:{darkMuted:{population:1.22,background:"#635048",_type:l,foreground:i,title:i},muted:{background:"#a99974",_type:l,foreground:o,title:i,population:ahx},lightVibrant:{foreground:o,title:i,population:hc,background:"#eda8a6",_type:l},darkVibrant:{population:u,background:"#645920",_type:l,foreground:i,title:i},lightMuted:{background:"#d2c0b0",_type:l,foreground:o,title:i,population:EA},vibrant:{title:i,population:aNU,background:aYM,_type:l,foreground:i},dominant:{background:aYM,_type:l,foreground:i,title:i,population:aNU},_type:D},hasAlpha:t,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAPABQDASIAAhEBAxEB\u002F8QAFwABAQEBAAAAAAAAAAAAAAAABQAGB\u002F\u002FEACQQAAIBAwMEAwEAAAAAAAAAAAECAwAEBQYRIRITQVEiIzFh\u002F8QAFgEBAQEAAAAAAAAAAAAAAAAAAQAC\u002F8QAGBEAAwEBAAAAAAAAAAAAAAAAAAECIRH\u002F2gAMAwEAAhEDEQA\u002FAOv6ijfG282QtpQnRx0MOGrN497zK20ssCCGNz1vITyo29e6X1JfPlLdoB8Iiwbb+ijLIXFrEI45fq22K+CKX0kMaa05p3IYwTtZ95y5DSScsx8mqkMBd2WOx4ghte2pYsQp43P7VWJmktFvcP\u002FZ",dimensions:{height:2020,_type:E,width:2694,aspectRatio:1.3336633663366337},isOpaque:j},sha1hash:aYN,_createdAt:aYL,uploadId:"rCjJi1CqJ0bPmCkVAS5IF2uBtNc8dOTo",extension:F,mimeType:G,path:"images\u002Fub94fyvm\u002Fproduction\u002Fe173699c5134654deeb22b5f01181b75b221fa30-2694x2020.jpg",url:"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fub94fyvm\u002Fproduction\u002Fe173699c5134654deeb22b5f01181b75b221fa30-2694x2020.jpg",originalFilename:"Simone-Subal-gallery_Emily-Mae-Smith_Kin_2020_0014.jpg",_rev:"7tk5lkST4yXptt1hH7lKPA",_id:aNT,assetId:aYN}},_updatedAt:"2021-05-04T07:54:25Z",bg_color:"#f6d45a",description:"Tangled in symbolism, Emily Mae Smith’s solo exhibition Kin interweaves totems and allegories that have marked her painting practice for over a decade. In Smith’s latest works, archaic tropes are often reconfigured to forward a sly feminist agenda. Evoking a feeling of deep time, the paintings in Kin reimagine age-old symbols of wheat, harvest mice, and ginkgo leaves; some of the oldest known surviving species on the planet. Meanwhile, in several instances throughout Kin, Smith’s illustrious anthropomorphic broom is shown undergoing a sweeping phase of reflection and self-reckoning within Smith’s Metarealist world.",_createdAt:"2021-02-23T21:16:23Z",slug:{current:aYH,_type:p},opening:"Opening: September 18, 2 – 7PM",_id:"cf3f4613-dcac-45b2-a13e-411e2d5922b9",_rev:"6QpSQ1LKij6fvuYEHROsAJ",close_date:"2020-11-07",open_date:"2020-09-19",title:cL},{artists:[{_createdAt:"2021-02-23T19:12:36Z",description:[{style:d,_key:"146a61686804",markDefs:[],children:[{marks:[],text:aYO,_key:"146a616868040",_type:a}],_type:c},{style:d,_key:"81f6e02de79b",markDefs:[],children:[{_key:"81f6e02de79b0",_type:a,marks:[],text:q}],_type:c},{_key:"5f88189725fb",markDefs:[],children:[{_type:a,marks:[],text:"Anna K.E. was born in 1986 in Tbilisi, Georgia. Selected solo shows include: REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation…, curated by Margot Norton, Georgian Pavilion at the Venice Biennale (2019); Queens Museum, New York, USA (2017-2018); Simone Subal Gallery, New York, USA (2018, 2015, 2013); Primary, Nottingham, UK (2017); Sommer Gallery, Tel Aviv (2016); Galerie Barbara Thumm, Berlin, Germany (2015, 2013); Mannheimer Kunstverein, Mannheim, Germany (2012); Kunstverein Leverkusen, Germany (2011). Selected group shows: Zentrum für Kunst und Medien, Karlsruhe, Germany (2017); G2 Kunsthalle, Leipzig, Germany (2016); The Kitchen, New York, NY (2015); Museum of Contemporary Art, Santa Barbara, CA (2015); Kunstverein Wiesen e.V. Wiesen, Germany (2015); Kunst Raum Riehen, Switzerland (2015); KAI10, Quadriennale Düsseldorf, Germany (2014); Petach Tikva Museum of Art, Israel (2014); The Renaissance Society, Chicago (2014); The III Moscow International Biennale for Young Art, Moscow, Russia (2012); Kunsthalle Recklinghausen, Germany (2011); Museum K21, Düsseldorf (2010); Young Biennale Köln 2010, Cologne (2010).",_key:"5f88189725fb0"}],_type:c,style:d},{children:[{_type:a,marks:[],text:"Meisenberg was born in 1980 in Berlin, Germany. Selected solo shows: Kunstparterre, Munich (2020); Zabludowicz Collection, London 2019); Simone Subal Gallery, New York (2013, 2015, 2018); Avlskarl Projects, Copenhagen, Denmark (2017, 2020); Kölnischer Kunstverein, Cologne, Germany (2014); Kasseler Kunstverein, Kassel, Germany (2014); Kunst aus NRW \u002F Förderpreis für Bildende Kunst, Ehemalige Reichsabtei, Aachen, Germany (2012); Wentrup Gallery, Berlin, Germany (2012, 2014, 2016, 2017); Kate McGarry, London, UK (2011, 2013, 2020); Wilhelm-Hack-Museum, Ludwigshafen, Germany (2011); Ludwig Forum für Internationale Kunst, Aachen, Germany (2009). Recent selected group exhibitions: Museum der Bildenden Kuenste Leipzig, Germany (Cat.) 2019; Kunstsammlung Chemnitz, Chemnitz (2019); Museum Wiesbaden, Germany (2019); neue Gesellschaft für Bildende Kunst, Berlin, Germany (2018); Zeppelin Museum, Friedrichshafen, Germany (2017); Broehan Museum, Berlin, Germany (2017); Broehan Museum, Berlin, Germany (2017); Kiasma Finnish National Gallery, Helsinki, Finland (2017); ICA, Philadelphia (Cat.) (2017); Schirn Kunsthalle, Frankfurt, Germany (Cat.) (2016); Kunsthalle Recklinghausen, Recklinghausen, Germany (Cat.) (2016); Bundeskunsthalle Bonn, Bonn, Germany (2015); Kunstpalais Erlangen, Erlangen, Germany (2015); Goethe Institute, Hong Kong (2015); Ausstellung in der Sammlung Kunst aus NRW in der ehemaligen Reichsabtei Aachen-Kornelimünster, Aachen, Germany (2014); Museum Kunsten, Aalborg, Denmark (2014); Queens Museum of Art, New York, USA (2014).",_key:"9dc7f65331c50"}],_type:c,style:d,_key:"9dc7f65331c5",markDefs:[]},{style:d,_key:"5fd1a5cdfb5a",markDefs:[],children:[{marks:[],text:q,_key:"b270751642a6",_type:a}],_type:c},{title:"Anna K.E. & Florian Meisenberg - CV",_type:ab,_key:"6d0f2d58620d",asset:{_ref:"file-a8f695b2a430dd4dc16e8339e72ef4f03be8cc3d-pdf",_type:b}}],sortName:"K.E. Meisenberg",_updatedAt:"2022-10-22T19:37:03Z",selected_exhibitions:[{_type:b,_key:"ed97ebb7acb0",_ref:CQ},{_ref:hL,_type:b,_key:"7689fb0ae287"},{_ref:"f90acb2c-99dc-44c3-9ed7-fe43de23bfc6",_type:b,_key:"dbcc44474fd3"}],_id:"df2c6266-dedc-466a-9507-966c138af1fc",_type:ac,_rev:"vByl72dY28f6O8QO32ILX2",gallery:[{_type:e,caption:[{style:d,_key:"9f0119afa7de",markDefs:[],children:[{_key:"1dff5b8a2dc0",_type:a,marks:[],text:be}],_type:c}],_key:"4acdd2b6b730",asset:{_ref:CO,_type:b}},{_type:e,caption:[{_type:c,style:d,_key:"147812321144",markDefs:[],children:[{_key:"853254e97aaf",_type:a,marks:[],text:be}]}],_key:"c539adf6c2e8",asset:{_type:b,_ref:Fi}},{_key:"ebff5db5a797",asset:{_ref:aYP,_type:b},_type:e,caption:[{_type:c,style:d,_key:"f6e4ed515cb1",markDefs:[],children:[{_type:a,marks:[],text:aYQ,_key:"68516d891b49"}]}]},{asset:{_ref:aYR,_type:b},_type:e,caption:[{children:[{_key:"1c4722f70f79",_type:a,marks:[],text:aYQ}],_type:c,style:d,_key:"e957c860c518",markDefs:[]}],_key:"71de16df280a"},{_type:e,caption:[{style:d,_key:"cef8d0806871",markDefs:[],children:[{_key:"3fe6dc209ee9",_type:a,marks:[],text:be}],_type:c}],_key:"afdd7e0b6d2f",asset:{_ref:aYS,_type:b}},{asset:{_ref:aYT,_type:b},_type:e,caption:[{style:d,_key:"0d5f4d588f47",markDefs:[],children:[{_type:a,marks:[],text:"Anna K.E., Florian Meisenberg. 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Selected solo shows include: REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation…, curated by Margot Norton, Georgian Pavilion at the Venice Biennale (2019); Queens Museum, New York, USA (2017-2018); Simone Subal Gallery, New York, USA (2018, 2015, 2013); Primary, Nottingham, UK (2017); Sommer Gallery, Tel Aviv (2016); Galerie Barbara Thumm, Berlin, Germany (2015, 2013); Mannheimer Kunstverein, Mannheim, Germany (2012); Kunstverein Leverkusen, Germany (2011). Selected group shows: Zentrum für Kunst und Medien, Karlsruhe, Germany (2017); G2 Kunsthalle, Leipzig, Germany (2016); The Kitchen, New York, NY (2015); Museum of Contemporary Art, Santa Barbara, CA (2015); Kunstverein Wiesen e.V. 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There are elements of fantasy here, a kind of surrealism for our present moment, as well as investigations into gender, desire, and the ways technology has become embedded within us. The recognition of the fragmented self is the not the end goal for these artists, but rather the starting point for envisioning identity as ever-expanding and perpetually available for reinvention."}],_type:c,style:d,_key:"0d8a3fd42b9c",markDefs:[]},{_key:"385aace419e3",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"385aace419e30"}],_type:c,style:d},{style:d,_key:"836083f8b350",markDefs:[],children:[{_key:"836083f8b3500",_type:a,marks:[],text:"E’wao Kagoshima came to prominence in Tokyo in the mid 1970s. He moved to New York in 1976 and became immersed in the burgeoning East Village art scene. His paintings, drawings, and collages often give the appearance of the unconscious unspooling in vivid technicolor. 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Living and working in New York since the late 1970s, Pfahler’s practice is infused with a gothic, horror-movie infused aesthetic, and is a celebration and emphasis on female presence."}],_type:c,style:d},{children:[{_type:a,marks:[],text:q,_key:"cb8fe4b469f90"}],_type:c,style:d,_key:"cb8fe4b469f9",markDefs:[]},{children:[{_type:a,marks:[],text:"The Chicago-based artist, Robert Lostutter, is closely affiliated with the Chicago Imagists. For years, his remarkably precise drawings and watercolors have focused on “portraits” of figures that are unsettlingly beautiful hybrids of men and bird-like creatures. Here the human and non-human animal divide has been elided to reveal, as Lostutter believes, that paradise is before us if we’re only able to look for it.",_key:"b7e825c430020"}],_type:c,style:d,_key:"b7e825c43002",markDefs:[]},{children:[{_key:"7f5b4bb16e490",_type:a,marks:[],text:q}],_type:c,style:d,_key:"7f5b4bb16e49",markDefs:[]},{children:[{_type:a,marks:[],text:"Lynn Hershman Leeson has been a key figure in the Bay Area art scene since the early 1970s. Her feminist inflected Conceptual art has offered some of the most radical investigations into artistic subjectivity. Hershman Leeson’s art has also focused on technology and the pervasiveness of surveillance in everyday life. 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Graphite on paper. 10 × 10 inches (25.40 × 25.40 cm).",_key:"c5a7615b10fd"}],_type:c}],_key:"rlu09YbS",asset:{_ref:"image-d778f03b66dab5eaf35016b107b862a714e22257-1500x1484-jpg",_type:b},work:j},{asset:{_ref:"image-84374f2bb24b144676ae029769cf7a46002bb1b0-2045x2727-jpg",_type:b},work:j,_type:e,caption:[{_key:"BrKMePnW",markDefs:[],children:[{_type:a,marks:[g],text:"Katrina Del Mar, Kembra Pfahler. ",_key:"CWRG33QB"},{_type:a,marks:[f],text:R,_key:"ad78580372ca"},{marks:[],text:", 1998. Vintage C-print. 14 × 11 inches (35.56 × 27.94 cm).",_key:"6b26d5921517",_type:a}],_type:c,style:d}],_key:"99LjFfN3"},{work:j,_type:e,caption:[{markDefs:[],children:[{marks:[g],text:anp,_key:"pqF09kvq",_type:a},{_type:a,marks:[f],text:R,_key:"26ed00c249a0"},{text:", 1978. 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Body paint, sharpie, pen ink and collage on paper. 22 ¼ × 21.9 inches (56.52 × 55.63 cm).",_key:"f856ede07426"}]}],_key:"fJjxO1Wi",asset:{_ref:"image-5b75b72815bd85403de65854d31a5bc250d1afac-2057x2742-jpg",_type:b},work:j},{asset:{_ref:"image-d845988394460411c5e5e94a6791c45584f4f02c-1990x2653-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:"Kembra Pfahler, Rona Yefman.",_key:"xmNQJuSf"},{_key:"28e7442b7539",_type:a,marks:[],text:n},{text:"Fuck Island",_key:"17901f2fa67a",_type:a,marks:[f]},{_type:a,marks:[],text:", 2012\u002F2019. Digital C-print. 14 × 11 inches (35.56 × 27.94 cm).",_key:"1b205cddcfa8"}],_type:c,style:d,_key:"ccuTGjAo"}],_key:"tRiFCRI0"},{work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:anp,_key:"fM3htLmZ"},{text:"Not Yet",_key:"f6a874a0aa73",_type:a,marks:[f]},{marks:[],text:", 2014. 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skin addresses traditional representations and their misrepresentations, which have led to volatile social environments globally and most notably within capitalist-driven societies such as the U.S. Volatility creates the need for self-censorship and secrecies among people who are marginalized and othered. Deploying linguistic shifts and fashion as political mediums, Khan attempts to untrap revolutionary material through work with textiles, archives, performance, and sculpture. Revolution can often be confined by its treatment through traditional documentation and its historical archive.",open_date:"2019-11-03",close_date:"2019-12-22",title:bj,_createdAt:"2021-03-10T19:03:34Z",slug:{_type:p,current:"baseera-khan-snake-skin"},_id:aY,content:[{type:[r],image:{caption:[{markDefs:[],children:[{marks:[],text:h,_key:"48371fbea484",_type:a},{_type:a,marks:[f],text:bj,_key:"d3c1e83dcb02"},{_type:a,marks:[],text:DR,_key:"2bf35052c431"}],_type:c,style:d,_key:"srkd0ZZZ"}],asset:{_type:b,_ref:aZl},_type:e},_type:K,label:X,_key:"DkSBizOa"},{text:[{style:d,_key:"5deb9d3aa192",markDefs:[],children:[{_key:"5deb9d3aa1920",_type:a,marks:[],text:"“I’m showing new work about eminent fallen powers and their circumstantial influences on visual culture. I dissected a singular 6×14 foot column through material traditions of resistance and dissent, by means of collaging graphic and ornamental histories within these acts of building sovereignty. I’m unpacking the blind spots and pointing to architectural connections to our body and how we adorn and outfit ourselves.”\n–Baseera Khan"}],_type:c},{markDefs:[],children:[{_type:a,marks:[],text:"The years that follow Baseera Khan’s 2017 exhibition ",_key:"41f7466721f00"},{text:aow,_key:"41f7466721f01",_type:a,marks:[f]},{_key:"41f7466721f02",_type:a,marks:[],text:" are prolific, there is so much in between. That "},{_type:a,marks:[f],text:bj,_key:"41f7466721f03"},{_key:"41f7466721f04",_type:a,marks:[],text:" is about shedding feels considerable because while involuntary, it is consensual with one’s own self. Rather than forced removal, the works produced for "},{_key:"41f7466721f05",_type:a,marks:[f],text:bj},{_type:a,marks:[],text:" suggest a certain grounding in the ‘underground.’ Influenced in part by German Democratic Republic ",_key:"41f7466721f06"},{_type:a,marks:[f],text:DS,_key:"41f7466721f07"},{marks:[],text:" magazines obtained by Khan in Berlin in 2015 and by recent conversations about color and geometry with Kashmiri rug makers with whom she collaborates, these new pieces employ both of these elements to insinuate that seemingly benign forces are able to elicit subversive intent. This work externalizes a lesson Khan learned at a young age: self-censorship and secrecies can be aestheticized.",_key:"41f7466721f08",_type:a}],_type:c,style:d,_key:"41f7466721f0"},{markDefs:[],children:[{text:"As Khan describes, “the ",_key:"f3a3e1629e0e0",_type:a,marks:[]},{_type:a,marks:[f],text:DS,_key:"f3a3e1629e0e1"},{marks:[],text:" magazines were seen as unimportant by the government at the time, yet their underground following was proportionately responsible for the eventual fall of the Berlin Wall. Similarly, the Kashmiri rug makers and the traditions of radical pattern-making hold this same practice: a rug itself is banal but I like to think of its subversive possibilities and the way its underground culture can operate in the same way as ",_key:"f3a3e1629e0e2",_type:a},{marks:[f],text:DS,_key:"f3a3e1629e0e3",_type:a},{_key:"f3a3e1629e0e4",_type:a,marks:[],text:".” Much like the unforeseen timing of "},{_key:"f3a3e1629e0e5",_type:a,marks:[f],text:aow},{text:", which culminated concurrently with the travel ban in 2017 [Executive Order 13769, titled Protecting the Nation from Foreign Terrorist Entry into the United States, also known as the Muslim ban], “these rugs are essentially contraband, smuggled out of Kashmir during an ongoing violent outbreak in which the Indian government is restraining movement of Kashmiri locals.”",_key:"f3a3e1629e0e6",_type:a,marks:[]}],_type:c,style:d,_key:"f3a3e1629e0e"},{markDefs:[],children:[{_key:"64a126459a060",_type:a,marks:[],text:"Khan’s series of sculptural works, "},{marks:[f],text:aZm,_key:"64a126459a061",_type:a},{_key:"64a126459a062",_type:a,marks:[],text:", is informed in part by the columns of the Malcolm X Masjid in Harlem, which are wrapped with the same prayer rugs as the floor of the mosque, flattening the structural elements into more of an expansive landscape. The vertical columns are functional as well as emblematic of institutional power, but the rugs veil and blend them with radical ornamentation and into histories of people coming together to talk and work on these rugs together. Why adorn the column? Obfuscating its patriarchal reinforcing ideals, “the rug wraps itself like a snake choking at this system, exposing a hollow core.” In addition to wrapping, the column was subjected to various forms of performative dissection by the artist — cutting, dividing, and scraping off emancipated slivers that migrate away from the larger architectural masses. Khan’s structural disassembly and scattering of the column’s parts reveal stratified layers of foam, its ‘hollow core,’ while her surface analysis evokes the peeling flyers of postered urban spaces that distribute a collaboratively assembled collage of materials and messages."}],_type:c,style:d,_key:"64a126459a06"},{children:[{marks:[f],text:aZm,_key:"a58bae1310480",_type:a},{_key:"a58bae1310481",_type:a,marks:[],text:" are paired with a series of chromatic collaged prints set in a handmade framing system with spacers made from the same Kashmiri rugs. Roman ruins, ancient mosques, and pages of Khan’s own reading material including 1980s issues of "},{_key:"a58bae1310482",_type:a,marks:[f],text:DS},{text:" and Arundhati Roy’s ",_key:"a58bae1310483",_type:a,marks:[]},{marks:[f],text:"End of Imagination",_key:"a58bae1310484",_type:a},{_key:"a58bae1310485",_type:a,marks:[],text:", are pieced together to draw connections between political revolutionary activities in Central Europe and India. Like a teenager scribbling out unwanted subjects, Khan uses Plexi cut-outs and screen-printing to redact elements of power throughout the material. Khan found the issues of "},{text:DS,_key:"a58bae1310486",_type:a,marks:[f]},{_key:"a58bae1310487",_type:a,marks:[],text:" — translated for the artist by friend and scholar of German Studies, Anna Horakova — to contain “resistance and dissent from capitalist mentality, but when it came to ideas on race and religion, "},{marks:[f],text:DS,_key:"a58bae1310488",_type:a},{_key:"a58bae1310489",_type:a,marks:[],text:" seemed to be stuck in the same way the right-wing regimes were stuck. Kind of like here and now, with the failures of the left, flying toward conservative anti-Islamic, anti-immigrant, anti-black policies.” Horakova notes, “The comic was devised as a socialist educational tool that would emulate the success of Disney comics in the West, while countering their perceived capitalist bias by offering a socialist narrative. It partially succeeds in this critique, while simultaneously creating a space in which to satirize the self-legitimation of state power in East Germany and power in general, thus resonating with Khan’s own recurrent motifs of columns and carpets. At its worst, however, "},{_type:a,marks:[f],text:DS,_key:"a58bae13104810"},{_key:"a58bae13104811",_type:a,marks:[],text:" evinces a recourse to racist and anti-Semitic representation in the caricatures and plot motifs it deploys – motifs that Khan’s collages appropriate and subsequently assail.”"}],_type:c,style:d,_key:"a58bae131048",markDefs:[]},{children:[{marks:[f],text:bj,_key:"4ff7bbf966300",_type:a},{_key:"4ff7bbf966301",_type:a,marks:[],text:" addresses traditional representations and their misrepresentations, which have led to volatile social environments globally and most notably within capitalist-driven societies such as the U.S. Volatility creates the need for self-censorship and secrecies among people who are marginalized and othered. Deploying linguistic shifts and fashion as political mediums, Khan attempts to untrap revolutionary material through work with textiles, archives, performance, and sculpture. Revolution can often be confined by its treatment through traditional documentation and its historical archive. Creating lexicons on her own terms, Khan challenges the evidentiary capabilities of all forms of documentation. Here, Khan’s precise alterations of architecture privilege “peculiar ruins,” and unseated or fallen powers, giving the feeling that their far-reaching implications are manifested in other forms of adornment like clothing or jewelry, or that they move the culture through music, and influence “the way people feel they can occupy and speak in spaces of generative cultural shifts.” Shedding and un-shedding."}],_type:c,style:d,_key:"4ff7bbf96630",markDefs:[]},{_type:c,style:d,_key:"2e4f57d6bf81",markDefs:[],children:[{text:"–Written by Lia Gangitano",_key:"2e4f57d6bf810",_type:a,marks:[]}]}],_key:"Zg4B6TVi",_type:w,label:Z},{_type:L,label:V,_key:"or8mzBzG",install:[{caption:[{markDefs:[],children:[{marks:[],text:h,_key:"0afc3d70b3c5",_type:a},{_type:a,marks:[f],text:bj,_key:"2dc6a399478b"},{marks:[],text:DR,_key:"07ec843da02c",_type:a}],_type:c,style:d,_key:"leMizAbi"}],_key:"WwT7tIWO",asset:{_ref:aZi,_type:b},_type:e},{asset:{_type:b,_ref:"image-865e3c17043d9ba413f972f640950e6d9fa28294-2782x2087-jpg"},_type:e,caption:[{_type:c,style:d,_key:"8SlWfyDI",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"ce7a02e2bfc6"},{_type:a,marks:[f],text:bj,_key:"d7eb9031564c"},{_type:a,marks:[],text:DR,_key:"4c373c9a3b8f"}]}],_key:"aPNynXF5"},{_type:e,caption:[{_type:c,style:d,_key:"tFN3EkVn",markDefs:[],children:[{_key:"a7bf46263ebc",_type:a,marks:[],text:h},{text:bj,_key:"a021d367e276",_type:a,marks:[f]},{marks:[],text:DR,_key:"9b676d1baaf3",_type:a}]}],_key:"J5cg1EP7",asset:{_ref:aZl,_type:b}},{caption:[{_type:c,style:d,_key:"R1vLelxN",markDefs:[],children:[{_key:"2f45b4dde005",_type:a,marks:[],text:h},{_type:a,marks:[f],text:bj,_key:"e56adfd5acba"},{_key:"04d409392104",_type:a,marks:[],text:DR}]}],_key:"uDO8OSzR",asset:{_type:b,_ref:"image-fc890f299e56a9eb29382941bc13cac610ecd347-2729x2047-jpg"},_type:e},{caption:[{style:d,_key:"1gxg2qTS",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"a8a514ebd0c9"},{marks:[f],text:bj,_key:"df6c3b68061b",_type:a},{_key:"7699d95d9cef",_type:a,marks:[],text:DR}],_type:c}],_key:"0FvfL3xv",asset:{_type:b,_ref:"image-b185defe8bb1fdcbe4a4bf3b2a2a39cae740fc4e-2780x2087-jpg"},_type:e},{_key:"R808O6XY",asset:{_ref:"image-6b7c9fafa1141bf299f74a02701134a5e66fc880-2716x2039-jpg",_type:b},_type:e,caption:[{_key:"ym4FuVZZ",markDefs:[],children:[{marks:[],text:DT,_key:"UB3buk5i",_type:a}],_type:c,style:d}]},{_type:e,caption:[{children:[{marks:[],text:DT,_key:"H0QfeTZF",_type:a}],_type:c,style:d,_key:"tlBBaWqB",markDefs:[]}],_key:"BuXP2HZD",asset:{_type:b,_ref:"image-686b156cc4c4e894336a0dfc3bfcc21abbd2cfce-2745x2059-jpg"}},{_type:e,caption:[{_type:c,style:d,_key:"cVxNIQCx",markDefs:[],children:[{text:DT,_key:"h8Hmxa93",_type:a,marks:[]}]}],_key:"ByNF7Cct",asset:{_ref:"image-0710ccd7c99d2a6f01aec6f041969b06eccc4d05-2346x1759-jpg",_type:b}},{caption:[{markDefs:[],children:[{_key:"AP29WVRM",_type:a,marks:[],text:DT}],_type:c,style:d,_key:"JEjkm2X0"}],_key:"wKmMoFzc",asset:{_ref:"image-81c8511dda453e6780d68c600c5dd101b887c0ee-2745x2059-jpg",_type:b},_type:e},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:DT,_key:"HsxaCzhj"}],_type:c,style:d,_key:"b0W5wGpu"}],_key:"Kj6KM0po",asset:{_ref:"image-1caf5171a2ba8643a985144f2942b6eae6708381-2690x2017-jpg",_type:b}},{_key:"Wn4IgXbs",asset:{_ref:"image-9ab4971cbea581eef1502c3aa91129215ec4db0b-2536x1902-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{marks:[],text:DT,_key:"y5SQkpoI",_type:a}],_type:c,style:d,_key:"JtT38qCU"}]},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:DT,_key:"2s2VU9sC"}],_type:c,style:d,_key:"Xd1v3NID"}],_key:"r2YDcGp2",asset:{_ref:"image-d47034f05cf15aa689e9a9f8ede39aaf6275dc2e-2631x1974-jpg",_type:b}}],work:[{work:j,_type:e,caption:[{_type:c,style:d,_key:"sVHHvWGS",markDefs:[],children:[{_key:"RE9Fbns6",_type:a,marks:[g],text:iA},{_type:a,marks:[],text:n,_key:"2b8cbd23f5bf"},{_type:a,marks:[f],text:"Column 1",_key:"d9f42bc0fcca"},{text:", 2019 (detail). Pink Panther foamular, plywood, resin dye, custom handmade silk rugs made in Kashmir. 72 × 19 × 72 inches (182.88 × 48.26 × 182.88 cm). Photo: Dario Lasagni.",_key:"6831e8de1eb1",_type:a,marks:[]}]}],_key:"L906i5SH",asset:{_ref:"image-203d810026c0ebc23381c939a13131e0224847e7-2080x2774-jpg",_type:b}},{_type:e,caption:[{_key:"kYKFsXNA",markDefs:[],children:[{marks:[g],text:N,_key:"vd7pq8bW",_type:a},{_key:"fa71fb1e44ef",_type:a,marks:[f],text:"Censored Hands"},{text:", 2019. Acrylic, chromatic prints, custom handmade silk rug pieces made in Kashmir. 25 × 19 inches (63.50 × 48.26 cm). Photo: Dario Lasagni.",_key:"753f7e26207b",_type:a,marks:[]}],_type:c,style:d}],_key:"GCa5dHwZ",asset:{_type:b,_ref:"image-f8b51440b85423b600b94cda062df0278ef61a28-2066x2755-jpg"},work:j},{_type:e,caption:[{markDefs:[],children:[{marks:[g],text:N,_key:"6AtEQtTk",_type:a},{_key:"265cb07d488b",_type:a,marks:[f],text:"Holding my Knowledge"},{_type:a,marks:[],text:anq,_key:"967755b86cc3"}],_type:c,style:d,_key:"1UAebovp"}],_key:"7K7Ozhes",asset:{_ref:"image-646f152ab26a1e9498fb64958ca7456c65383460-2066x2755-jpg",_type:b},work:j},{_type:e,caption:[{children:[{_type:a,marks:[g],text:iA,_key:"Qm5Vs0mf"},{marks:[],text:n,_key:"0cf190fe31c6",_type:a},{_type:a,marks:[f],text:"Column 1,",_key:"5f6545005ae4"},{text:" 2019 (detail). Pink Panther foamular, plywood, resin dye, custom handmade silk rugs made in Kashmir. 72 × 19 × 72 inches (182.88 × 48.26 × 182.88 cm). 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Photo: Dario Lasagni."}],_type:c}],_key:"ORqsNzba",asset:{_type:b,_ref:"image-fad4dfd5541836cd203fd31affb955440677b188-2088x2784-jpg"},work:j,_type:e},{_key:"VGRqIOX7",asset:{_ref:"image-404ee614cf7722952a0a32e8460e4ec79c469673-2696x2029-jpg",_type:b},work:j,_type:e,caption:[{children:[{_key:"oN00rsY0",_type:a,marks:[g],text:N},{_type:a,marks:[f],text:"Column 3",_key:"eaa5303fe438"},{text:", 2019 (detail). Pink Panther foamular, plywood, resin dye, custom handmade silk rugs made in Kashmir. 72 × 22 × 72 inches (182.88 × 55.88 × 182.88 cm). Photo: Dario Lasagni.",_key:"829d89ee164d",_type:a,marks:[]}],_type:c,style:d,_key:"Wus1l5mW",markDefs:[]}]},{_key:"xd5xGWVe",asset:{_type:b,_ref:"image-0633a6e24beaa7c61e425faf1906f12b5454941f-2066x2755-jpg"},work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:N,_key:"HKwORuNB"},{_type:a,marks:[f],text:"The Shaft is 5\u002F6 of the Total Height of the Column",_key:"59bd28b6741f"},{_type:a,marks:[],text:anq,_key:"83732f2eb93b"}],_type:c,style:d,_key:"IPnit1it"}]},{caption:[{_key:"HMOLUXnh",markDefs:[],children:[{_type:a,marks:[g],text:N,_key:"BbjoTkSl"},{_type:a,marks:[f],text:"Pink Cover Up",_key:"05c6dd5e660a"},{marks:[],text:", 2019. Acrylic, chromatic prints, screen print, custom handmade silk rug pieces made in Kashmir. 41 ¼ × 31 ¼ inches (104.78 × 79.38 cm). Photo: Dario Lasagni.",_key:"194f7ef4f720",_type:a}],_type:c,style:d}],_key:"ulMkLzVX",asset:{_ref:"image-4f84e1818c17d00e6b7cf7977d9d3af8db76447a-1997x2663-jpg",_type:b},work:j,_type:e},{work:j,_type:e,caption:[{markDefs:[],children:[{text:iA,_key:"PB2l2KQG",_type:a,marks:[g]},{_key:"04d133608721",_type:a,marks:[],text:n},{_key:"bbf28251290d",_type:a,marks:[f],text:"27 Jain"},{text:anq,_key:"4ef2e46360a9",_type:a,marks:[]}],_type:c,style:d,_key:"bCLKdDzL"}],_key:"lzNLBS12",asset:{_ref:"image-0f8c762872e866aed017e409b1b302d3b57ebf38-2066x2755-jpg",_type:b}},{caption:[{markDefs:[],children:[{text:N,_key:"9GKVZw4Y",_type:a,marks:[g]},{marks:[f],text:"Baarwaada, the Oldest Walk",_key:"3528912a6e6c",_type:a},{text:anq,_key:"f2bc15e87424",_type:a,marks:[]}],_type:c,style:d,_key:"4AIeYgJ8"}],_key:"FKaoWPWl",asset:{_type:b,_ref:"image-0d7296a2fae4464fc10c73fbb9b011845948d423-2066x2755-jpg"},work:j,_type:e},{caption:[{style:d,_key:"86ovThxJ",markDefs:[],children:[{_key:"SA2v9OmG",_type:a,marks:[g],text:N},{_key:"6f105afd3d6c",_type:a,marks:[f],text:"Column 5"},{text:", 2019. Pink Panther foamular, plywood, resin dye, custom handmade silk rugs made in Kashmir. 72 × 22 × 72 inches (182.88 × 55.88 × 182.88 cm). Photo: Dario Lasagni.",_key:"55aad0ea72ab",_type:a,marks:[]}],_type:c}],_key:"gdOqxVqs",asset:{_ref:"image-689d17609423cac82142e54f8a2b6c893851ab41-2056x2742-jpg",_type:b},work:j,_type:e},{asset:{_ref:"image-b022f8dd472dcb22be2af0f0f8631322611f8172-450x620-jpg",_type:b},work:j,_type:e,caption:[{children:[{marks:[g],text:N,_key:"CCYHGuvC",_type:a},{marks:[f],text:"Carry my Pieces",_key:"42b2c419b876",_type:a},{_key:"036001d0645c",_type:a,marks:[],text:", 2019. Chromogenic print, acrylic. 24 x 30 inches."}],_type:c,style:d,_key:"Z9KHHSQC",markDefs:[]}],_key:"yHMs8tpg"}],numbered:t}]},{title:cv,content:[{_key:"72NCSlc0",type:[r],image:{asset:{_ref:"image-9b94d2b8305a4c227c8401d9acee0b68a36b5032-2092x1338-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"uRrrtWdo",markDefs:[],children:[{text:h,_key:"cadb2591e6e9",_type:a,marks:[]},{marks:[f],text:cv,_key:"2a7509bdea4e",_type:a},{_key:"e261f2178754",_type:a,marks:[],text:T}]}]},_type:K,label:X},{_type:w,label:Z,text:[{children:[{marks:[],text:"Simone Subal Gallery is pleased to announce the opening of Sam Ekwurtzel’s Renderings on Sunday, September 8, 2019. This is Ekwurtzel’s third solo show at the gallery. The exhibition runs until October 27, 2019. Please join us for an opening reception on September 8 from 6 – 8 pm.",_key:"3ed6e73a0df20",_type:a}],_type:c,style:d,_key:"3ed6e73a0df2",markDefs:[]},{_type:c,style:d,_key:"667f8217def1",markDefs:[],children:[{text:"Ekwurtzel’s latest body of work focuses on commercially available aluminum bollards. Ubiquitous in the urban landscape, bollards are often used to prevent unwanted vehicle traffic around building entrances. For ",_key:"667f8217def10",_type:a,marks:[]},{_key:"667f8217def11",_type:a,marks:[f],text:cv},{_type:a,marks:[],text:", Ekwurtzel works with four bollard types, with two examples of each. To fashion each piece, he employs an innovative and counterintuitive technique he has experimented with for the last few years. He painstakingly coats each bollard in layers of a liquid ceramic material that is commonly used to build molds in the metal casting industry. Ekwurtzel then loads the ceramic encrusted bollard into a kiln and fires it to a temperature of 1500 degrees Fahrenheit, a bright orange\u002Fred heat, causing the bollard to melt inside of its shell and drain out, forming a pool of molten metal. What remains is a 3\u002F8” hollow ceramic shell structure and a now solidified aluminum outflow, in which slight variations in firing temperature, time, and the kiln-position of the bollard produced variety in the metal flow behavior.",_key:"667f8217def12"}]},{_key:"e11e12036a0e",markDefs:[],children:[{_key:"e11e12036a0e0",_type:a,marks:[],text:"Ekwurtzel has regularly investigated the processes and materials involved in industrial manufacturing and construction. He’s interested in how so many of these elements remain hidden to most people despite their necessity in everyday life. Ekwurtzel, though, twists and turns these techniques and materials, often using them against their stated purpose, finding poetic connections from transforming the mundane into something formally sophisticated. With Renderings, industrial molds are his subject. A single mold is typically used to generate many identical objects, converting formless raw material into reliably consistent product. Here, in a physical inversion of the typical casting process, the mold instead produces a unique one-off signature- each outflow onto the rectangular field of the kiln floor may be observed as a non-referential composition. Ekwurtzel’s last exhibition at the gallery, "},{_type:a,marks:[f],text:io,_key:"e11e12036a0e1"},{_type:a,marks:[],text:", dealt with the moment of origin for a set of building materials. Products manufactured at the same moment in time but in physically distant locations were brought together in sculptures. In Ekwurtzel’s current series, we again see pairs of identical objects, but in this case we witness a conclusion- the moment where a product returns to a raw material state.",_key:"e11e12036a0e2"}],_type:c,style:d},{markDefs:[],children:[{_key:"45ad4c96e0cc0",_type:a,marks:[],text:"Rendering is a term most commonly used today to refer to the final production of something digital. But Ekwurtzel returns the word to its analog origins: to melt, to extract. These actions literally occur here, and with Ekwurtzel the strangeness of his activity appears in every work. Nothing is without connotations. The inclusion of bollards speaks to their long history, their specific design to halt movement, whether sailing vessels or automobiles. They seem a telling object to invoke for our relentlessly fast era. But there is also the question of labor. As with almost all of Ekwurtzel’s art, these are incredibly labor intensive pieces, activities and actions that he always hides from the viewer. He never visually foregrounds his presence, and yet it lurks in every detail, in every pattern of the hardened molten aluminum. It suggests a complete dedication to something absurd, even useless, all in the service of making something profound."}],_type:c,style:d,_key:"45ad4c96e0cc"},{_key:"14c7ccad6665",markDefs:[],children:[{_key:"14c7ccad66650",_type:a,marks:[],text:"Sam Ekwurtzel (born 1983) lives and works in New York. 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Aluminum horse shoes, fused silica ceramic shell. 8 ¼ × 8 ¼ × 6 ½ inches (20.96 × 20.96 × 16.51 cm). Photo: Dario Lasagni.",_key:"88293abc8ff2"}],_type:c}]},{work:j,_type:e,caption:[{children:[{_key:"d54cd7d1a202",_type:a,marks:[g],text:aT},{_type:a,marks:[],text:" Process image for ",_key:"aaecac29ceb4"},{text:cv,_key:"2d4840d617d0",_type:a,marks:[f]},{text:CU,_key:"92213920c497",_type:a,marks:[]}],_type:c,style:d,_key:"wOjUtqhk",markDefs:[]}],_key:"S0ctrs2E",asset:{_type:b,_ref:"image-0eefcdc8068eef09909a43196f7f5c4c53c38b3d-1600x1836-jpg"}}],numbered:t,_type:L}],open_date:"2019-09-08",description:"Ekwurtzel’s latest body of work focuses on commercially available aluminum bollards. Ubiquitous in the urban landscape, bollards are often used to prevent unwanted vehicle traffic around building entrances. For Renderings, Ekwurtzel works with four bollard types, with two examples of each. To fashion each piece, he employs an innovative and counterintuitive technique he has experimented with for the last few years. He painstakingly coats each bollard in layers of a liquid ceramic material that is commonly used to build molds in the metal casting industry. Ekwurtzel then loads the ceramic encrusted bollard into a kiln and fires it to a temperature of 1500 degrees Fahrenheit, a bright orange\u002Fred heat, causing the bollard to melt inside of its shell and drain out, forming a pool of molten metal. What remains is a 3\u002F8” hollow ceramic shell structure and a now solidified aluminum outflow, in which slight variations in firing temperature, time, and the kiln-position of the bollard produced variety in the metal flow 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Comprised of objects which may have begun with a photographic reference, their point of origin has now long been effaced, the objects recombined into configurations that are surreal yet strangely intimate. A recent New York Times article notes that a quarter of the video views on the Facebook pages of major media companies last year featured anonymous hands with no visible face. Writer Amanda Hess asks “why are we so drawn to this feeling of vicarious competence?” (2) The independent body parts in Pausova’s paintings—eyes, hands, noses and knees—aren’t instructional, they seem at once linked to us yet disembodied and unencumbered by the physical rules of the world.",_key:"9f6fe41db8e10"}],_type:c,style:d},{style:d,_key:"56add25ceb1c",markDefs:[],children:[{_key:"56add25ceb1c0",_type:a,marks:[],text:"As in her previous paintings, Pausova articulates a psychological space where iconographic fragments of observable phenomena intermingle, like the internal action of a brain’s synapses connecting the dots. Pausova’s paintings don’t offer us this sense of “vicarious competence”; the way the dots are linked isn’t always logical or even possible, yet the paintings reflect back to us polyvocal points of view and the experience of dropping into another vantage point, another body. This is an act that is often uncomfortable, a thought experiment that is as awkward as it is essential."}],_type:c},{markDefs:[],children:[{text:"– Written by Clara Halpern.",_key:"4f9425c813060",_type:a,marks:[]}],_type:c,style:d,_key:"4f9425c81306"},{_key:"703daa7dc72d",markDefs:[],children:[{_type:a,marks:[],text:"(1) “Definition of ‘Matrix’ in English by Oxford Dictionaries.” Oxford Dictionaries | English\n(2) Hess, Amanda. “The Hidden Language of Hands Videos.” The New York Times, 30 July 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Oil on canvas. 41 × 49 inches (104.14 × 124.46 cm).",_key:"2069d8a934e0"}],_type:c,style:d}],_key:"ZuV5OkWK",asset:{_ref:EO,_type:b},work:j,_type:e},{_type:e,caption:[{_type:c,style:d,_key:"x6eaHJJo",markDefs:[],children:[{_type:a,marks:[g],text:fk,_key:"d1e691d964a1"},{_type:a,marks:[f],text:"window still",_key:"P0vpCPSz"},{text:", 2019. 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She currently lives and works in Toronto, Canada. Recent solo and two person exhibitions include ",_key:"14634ba81b6e"},{_type:a,marks:[f],text:"Busy Bodies",_key:"621908771178"},{marks:[],text:", with Frances Adair Mckenzie, Parisian Laundry, Montréal (2018); ",_key:"b73ee7ea976b",_type:a},{_type:a,marks:[f],text:"drawing the curtain",_key:"6a0df3181c2f"},{_type:a,marks:[],text:", Hunt Kastner, Prague (2018); ",_key:"9e3f2142370d"},{text:"Age me a heavy twig",_key:"d33758dae5cb",_type:a,marks:[f]},{_key:"f0a7dcb0cbca",_type:a,marks:[],text:", with Carl Marin, Franz Kaka, Toronto (2018); "},{_key:"82c2be6b3b89",_type:a,marks:[f],text:aZz},{_key:"9957547d5634",_type:a,marks:[],text:", Simone Subal Gallery, New York (2017); "},{marks:[f],text:"Forest House,",_key:"7aa15dca6f0c",_type:a},{marks:[],text:" Tatjana Pieters, Ghent, Belgium (2017); ",_key:"007945a91e69",_type:a},{text:"Elope By Mere Thread",_key:"c9d5e2eecb49",_type:a,marks:[f]},{_type:a,marks:[],text:", Paramo Galeria, Guadalajara, Mexico (2016); ",_key:"1e3bc46c6654"},{_key:"d396c067c5de",_type:a,marks:[f],text:"Chests in the Current"},{text:", Motel, Brooklyn, New York (2016); and ",_key:"8a72d8e7ce02",_type:a,marks:[]},{marks:[f],text:"Tasting the Waters",_key:"46869e65d372",_type:a},{marks:[],text:", SARDINE, Brooklyn, New York (2015). Select group shows include ",_key:"db9d3a343715",_type:a},{text:aWS,_key:"044054720ce8",_type:a,marks:[f]},{_key:"3e6e845be804",_type:a,marks:[],text:aWT},{_key:"80263cbe8c8b",_type:a,marks:[f],text:aWU},{_type:a,marks:[],text:aWV,_key:"5fb4d364d693"},{_type:a,marks:[f],text:aWW,_key:"f2b8c975b19e"},{_type:a,marks:[],text:aWX,_key:"272908ee9245"},{marks:[f],text:aWY,_key:"babaa1e1bb73",_type:a},{_type:a,marks:[],text:aWZ,_key:"3c622a396fb3"},{marks:[f],text:aW_,_key:"5feed6d450a2",_type:a},{text:aW$,_key:"04f233973c3d",_type:a,marks:[]},{marks:[f],text:aXa,_key:"3d33654fb8f5",_type:a},{_key:"3db4a88a2da1",_type:a,marks:[],text:aXb},{text:"You are Here",_key:"fc826dbf76b5",_type:a,marks:[f]},{_key:"015f0cbb0d09",_type:a,marks:[],text:", Peana Projects, Monterrey, Mexico (2017); "},{_type:a,marks:[f],text:aXc,_key:"62a9b6257e9f"},{_type:a,marks:[],text:aXd,_key:"bf3a2241d512"},{_type:a,marks:[f],text:eO,_key:"97ed5360e625"},{_key:"637436173a1f",_type:a,marks:[],text:aXe}],_type:c},{_key:"9443ebf786ed",markDefs:[],children:[{_key:"fdf6b6030cde",_type:a,marks:[],text:q}],_type:c,style:d}],_key:"64155ef9ef0c"}],description:"Veronika Pausova’s recent paintings bring together constellations of everyday elements, body parts, and other objects. Pausova positions hyperrealistic flowers, buzzing flies, utensils, oranges, shower heads, and individually rendered water drops within fields of abstraction. Each object is rendered with a precise attention to detail contrasting with the artist’s experimental treatment of surfaces, processes that are sometimes referential but often enigmatic. 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Both inherently pleasurable and meant to be treasured, it also at once could be tossed, and lost forever. These disembodied sacks that derive their forms via measurements taken off the bodies of the artist and their father—an abstraction of self and lineage into a collection of handsomely constructed objects highlight the intersections he stands in as gay black man raised in the American south. Inherently sexual and playful but also deeply serious, clayborn’s works taunt the rigid dichotomies of male\u002Ffemale, gay\u002Fstraight, human\u002Finhuman, and valued\u002Fundervalued.",_key:"1abe391915102",_type:a,marks:[]}],_type:c,style:d,_key:"1abe39191510"},{_key:"ec8fded09516",markDefs:[],children:[{_type:a,marks:[],text:"There are no safe spaces for a black body in America, but clayborn has explored what it might feel like to construct a home for themselves out of a multi-faceted practice that recalls cherished memories of a powerful matriarchy. This home is thoughtfully constructed by writing, sound, designed objects, sculpture, performance, power, secrecy, sensitivity, and shared community. The lived reality is a space in which clayborn has flourished by worshipping and valuing parts of their femininity that have been degraded by society and their family. Like the colonizers who disregarded how n’kinsi\u002Fn’khondi functioned, and applied their own language, Through the Wrong Tongue collapses this relationship, asking the viewer to relate to the shared insides of our body. They invite you in, to peruse, as they have assembled to share, and to experience shared vulnerability.",_key:"ec8fded095160"}],_type:c,style:d},{_key:"bf960c352574",markDefs:[],children:[{marks:[],text:"-Written by Ariel Gentalen.",_key:"bf960c3525740",_type:a}],_type:c,style:d},{markDefs:[],children:[{_key:"d6a3965559ae0",_type:a,marks:[],text:q}],_type:c,style:d,_key:"d6a3965559ae"}],_key:"aaYs1OJp"},{install:[{caption:[{markDefs:[],children:[{_key:"597191ce19cb",_type:a,marks:[],text:h},{_key:"3e4ae8d56f50",_type:a,marks:[f],text:bg},{_type:a,marks:[],text:T,_key:"0a1c3004ffac"}],_type:c,style:d,_key:"q2Qistbl"}],_key:"MHPgVPV3",asset:{_ref:"image-8de5271077d7a5043c3992f5ee3a8ff4ed46ac24-2733x2050-jpg",_type:b},_type:e},{_key:"ON6FKUYw",asset:{_type:b,_ref:aix},_type:e,caption:[{style:d,_key:"uF8wEqAp",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"bdd974e05145"},{marks:[f],text:bg,_key:"3269f911e7ef",_type:a},{_type:a,marks:[],text:T,_key:"7b18f6f6b25c"}],_type:c}]},{_type:e,caption:[{style:d,_key:"ZpItiNq5",markDefs:[],children:[{marks:[],text:h,_key:"4e367a9484c9",_type:a},{_type:a,marks:[f],text:bg,_key:"62802efd9cb7"},{marks:[],text:T,_key:"980176bbaefc",_type:a}],_type:c}],_key:"QgyFtEny",asset:{_ref:"image-79de1e76d096dbed3f75d63648358dc4ab36a6ed-2518x1888-jpg",_type:b}},{_key:"fDA1mGhh",asset:{_ref:aiA,_type:b},_type:e,caption:[{_key:"rHJcyxAk",markDefs:[],children:[{marks:[],text:h,_key:"8df5c8d06977",_type:a},{_key:"130360f2d49d",_type:a,marks:[f],text:bg},{marks:[],text:T,_key:"14eea9701297",_type:a}],_type:c,style:d}]},{asset:{_ref:"image-44b2549967ce6a95665cf25a073e60961f0b1351-2689x2017-jpg",_type:b},_type:e,caption:[{style:d,_key:"gSOCiuAi",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"dd64980f5d45"},{marks:[f],text:bg,_key:"fd8f90b467b9",_type:a},{_key:"969dbcd34859",_type:a,marks:[],text:T}],_type:c}],_key:"lvc8So5U"},{caption:[{markDefs:[],children:[{text:h,_key:"83429e26316a",_type:a,marks:[]},{text:bg,_key:"5ac423c31884",_type:a,marks:[f]},{_type:a,marks:[],text:T,_key:"5d5a23788425"}],_type:c,style:d,_key:"FUtkevUX"}],_key:"EyT4mo80",asset:{_ref:aiD,_type:b},_type:e},{_type:e,caption:[{children:[{_type:a,marks:[],text:h,_key:"569db955317e"},{marks:[f],text:bg,_key:"082d3a7d91d8",_type:a},{_key:"7938cd9d98f6",_type:a,marks:[],text:T}],_type:c,style:d,_key:"UfzZEaOE",markDefs:[]}],_key:"jYZMqq51",asset:{_ref:"image-21cef27df95afedf62e8f14ad9e3d34f1e44837c-2784x2088-jpg",_type:b}},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:h,_key:"4d506232bcca"},{text:bg,_key:"66f68f16cc0b",_type:a,marks:[f]},{_key:"2f8d6d01fbeb",_type:a,marks:[],text:T}],_type:c,style:d,_key:"N7prx2uv"}],_key:"9UZj7ykS",asset:{_ref:"image-834bdc995832f787f3e202de2b6efc60dc93dfa3-2371x1778-jpg",_type:b}},{_key:"XePtzMQN",asset:{_ref:aiC,_type:b},_type:e,caption:[{children:[{marks:[],text:h,_key:"56e968592a49",_type:a},{_type:a,marks:[f],text:bg,_key:"c0f744821b3b"},{_type:a,marks:[],text:T,_key:"b06b71646cf2"}],_type:c,style:d,_key:"XG9WgRiX",markDefs:[]}]},{_type:e,caption:[{children:[{text:q,_key:"V4xQkBtU",_type:a,marks:[]}],_type:c,style:d,_key:"QbxI3Nb8",markDefs:[]}],_key:"qoqyPuzk",asset:{_ref:aZE,_type:b}}],work:[{work:j,_type:e,caption:[{children:[{_key:"c6303ce903b3",_type:a,marks:[],text:h},{_type:a,marks:[f],text:bg,_key:"07b52d1ecaf5"},{_type:a,marks:[],text:T,_key:"09e2034b8717"}],_type:c,style:d,_key:"ipHtoUVm",markDefs:[]}],_key:"bgafDRjn",asset:{_type:b,_ref:"image-faf6b57157405c3cd59bfd1b2080e1af9ac27008-2655x1991-jpg"}},{work:j,_type:e,caption:[{_type:c,style:d,_key:"VHDFhCKm",markDefs:[],children:[{text:L_,_key:"uB9BMvDy",_type:a,marks:[g]},{text:n,_key:"965679bd6dec",_type:a,marks:[]},{marks:[f],text:gL,_key:"9ea5e10143a6",_type:a},{_type:a,marks:[],text:", 2019. 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Wood, steel, Roll-a-Tex paint, acrylic, photographs. 30 × 27 ¼ × 2 inches (76.20 × 69.22 × 5.08 cm).",_key:"b2f87819ba60",_type:a}]}],_key:"Dopx7nmD"},{_key:"j3QYcOKx",asset:{_type:b,_ref:aiz},work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:M,_key:"64a5317d3af3"},{_type:a,marks:[f],text:dK,_key:"pVs9XCVr"},{_key:"64dda14153c7",_type:a,marks:[],text:", 2019. 5 cushioncontainerbags: vinyl, zipper, steel, sand, polyfiber. 11 × 44 × 12 inches (27.94 × 111.76 × 30.48 cm)."}],_type:c,style:d,_key:"SMJ9hUNr"}]},{work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:M,_key:"ed816328e201"},{text:ih,_key:"e5o5hT4I",_type:a,marks:[f]},{marks:[],text:", 2017. glitter vinyl, steel, pink insulation. 57 ½ × 12 × 7 inches.(146.05 × 30.48 × 17.78 cm).",_key:"33d53f930ae1",_type:a}],_type:c,style:d,_key:"JYM9rZPt"}],_key:"g3Gs9kCi",asset:{_type:b,_ref:aiy}},{asset:{_ref:"image-3669a5a1a2a6bc393f148622a24e5bc656840475-2711x2033-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{marks:[g],text:M,_key:"c19005df1ca0",_type:a},{marks:[f],text:dK,_key:"dhJoc5JA",_type:a},{_type:a,marks:[],text:", 2019. 7 cushioncontainerbags: vinyl, glitter vinyl, zipper, steel, sand. 27 × 51 × 15 inches (68.58 × 129.54 × 38.10 cm).",_key:"1690d908ee36"}],_type:c,style:d,_key:"9NEENpWS"}],_key:"rri0bh7l"},{caption:[{markDefs:[],children:[{_type:a,marks:[g],text:M,_key:"5f0ed079697c"},{_key:"spz5k4f9",_type:a,marks:[f],text:dK},{_type:a,marks:[],text:", 2019. 3 cushioncontainerbags: vinyl, glitter vinyl, steel, polyfiber, pink insulation. 60 × 14 ½ × 12 inches (152.40 × 36.83 × 30.48 cm).",_key:"10e023bc2c9c"}],_type:c,style:d,_key:"ZwK0TNRe"}],_key:"LCzP8QDi",asset:{_ref:aiB,_type:b},work:j,_type:e},{_type:e,caption:[{_key:"68au9oWw",markDefs:[],children:[{text:M,_key:"d98235b027b6",_type:a,marks:[g]},{text:gL,_key:"yMzQO7Kz",_type:a,marks:[f]},{text:", 2019. Steel. 3 ¼ × 1 × 4 inches (8.26 × 2.54 × 10.16 cm).",_key:"bb86dad97a3d",_type:a,marks:[]}],_type:c,style:d}],_key:"2NKO8J5b",asset:{_ref:aiE,_type:b},work:j},{caption:[{children:[{_key:"ef5a24322eed",_type:a,marks:[g],text:M},{_key:"UHStakaQ",_type:a,marks:[f],text:dK},{_key:"941a46d391c1",_type:a,marks:[],text:", 2019. 3 cushioncontainerbags: vinyl, glitter vinyl, steel, polyfiber, bluejean, pink insulation. 26 × 20 × 21 inches (66.04 × 50.80 × 53.34 cm)."}],_type:c,style:d,_key:"IrndzA8W",markDefs:[]}],_key:"VoNcujR0",asset:{_ref:"image-b819a5d934990705dd1f1453b9b722cedb33c669-1833x2444-jpg",_type:b},work:j,_type:e},{_key:"O29FIgQQ",asset:{_ref:"image-30d2305380b4ddfde0f03e0085e054d5b44f4d91-4096x6144-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{_key:"bec4a35bd735",_type:a,marks:[g],text:M},{marks:[f],text:gL,_key:"439942Xf",_type:a},{text:", 2019. steel and vinyl. 24 ½ × 1 ½ × 3 ½ inches (62.23 × 3.81 × 8.89 cm).",_key:"1931c9060e9f",_type:a,marks:[]}],_type:c,style:d,_key:"KTwCh1HO"}]},{asset:{_ref:"image-184812417f3b4e0ec716648b8857a492b8b3fd75-1943x2587-jpg",_type:b},work:j,_type:e,caption:[{_key:"Xw4beKrM",markDefs:[],children:[{text:M,_key:"5262cfd7b134",_type:a,marks:[g]},{text:dK,_key:"L9T2b0SZ",_type:a,marks:[f]},{_key:"766945f455a2",_type:a,marks:[],text:", 2019. 2 cushioncontainerbags: vinyl, zipper, sand. 31 ½ × 14 × 11 ½ inches (80.01 × 35.56 × 29.21 cm)."}],_type:c,style:d}],_key:"TUEeck0n"},{_key:"murETPn7",asset:{_ref:"image-1279aed4f9f21b0ba7774b9479e225f3fa92cc24-1942x2590-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:M,_key:"b21fd1fd2670"},{_type:a,marks:[f],text:ih,_key:"fwO19dTh"},{_type:a,marks:[],text:", 2015. glitter vinyl, steel. 35 × 23 ½ × 12 inches (88.90 × 59.69 × 30.48 cm).",_key:"e1f59f4457a6"}],_type:c,style:d,_key:"cKcjiqyW"}]}],numbered:t,_type:L,label:V,_key:"5NZpsLmk"},{text:[{children:[{_type:a,marks:[],text:"cameron clayborn was raised in Memphis, TN and lives and works in Chicago, Illinois. In 2016, clayborn received a BFA from the School of the Art Institute of Chicago, Chicago, IL, and in 2018 attended the Skowhegan School of Painting & Sculpture, Skowhegan, ME. Recent exhibitions include Ralph Arnold Gallery at Loyola University, Chicago, IL (2019); Fat City, Chicago, IL (2019); Heaven Gallery, Chicago, IL (2019); Hyde Park Art Center, Chicago, IL (2018); Chicago Artist Coalition, Chicago, IL (2018); Zhou B Art Center, Chicago, IL (2018); Bawdy (solo), Boyfriends, Chicago, IL (2017); Rover Gallery, Chicago, IL (2017); Lawrence & Clark Gallery, Chicago, IL (2017); and Tritriangle, Chicago, IL (2016).",_key:"f15a4951eaa8"}],_type:c,style:d,_key:"39179f40a874",markDefs:[]}],_key:"b107488e0fb7",boxed:j,_type:w,label:cE}]},{opening:"Opening Sunday, February 17th from 6–8pm",content:[{_key:"Wk4NCz2j",type:[r],image:{asset:{_ref:aOe,_type:b},work:t,_type:e,caption:[{children:[{_type:a,marks:[],text:h,_key:"50c64be68510"},{text:fn,_key:"da67d2978c2a",_type:a,marks:[f]},{_key:"cddb3db5b99e",_type:a,marks:[],text:T}],_type:c,style:d,_key:"CRkC7Ny6",markDefs:[]}]},_type:K,label:X},{text:[{markDefs:[],children:[{text:aZJ,_key:"370d92175aae0",_type:a,marks:[]}],_type:c,style:d,_key:"370d92175aae"},{markDefs:[],children:[{marks:[],text:"Jen Liu’s paintings and video examine contemporary forms of “empowerment” that are invariably linked to structures of manipulation and economic control. In the paintings on view, large feminine fingers manipulate a variety of objects. The images allude to ideas of “soft power,” “charm offensives,” and even the tutorials for the multi-touch gestures on Mac computers. The images suggest that whatever power an individual might feel when using consumer-grade technology is dwarfed in comparison to the implied societal power mechanisms far greater and insidious than any individual. 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Her series, ",_key:"fb4982dc60460",_type:a},{text:"Shelter",_key:"fb4982dc60461",_type:a,marks:[f]},{marks:[],text:", shot on location in Lisbon, Rio de Janeiro, and Warsaw, depict a single person taking cover inside a tent the subject constructed out of sheets, curtains, and pieces of furniture. All the photos are taken indoors, producing a doubling. The haphazard structures are oddly sculptural and precarious. The individuals and their poses appear vulnerable and out of sync with their surroundings—a visual and poetic rendering of the greater feeling of anxiety and discontinuity plaguing our current moment.",_key:"fb4982dc60462",_type:a}],_type:c},{_key:"7a19d501caf1",markDefs:[],children:[{marks:[],text:"Jesse Wine’s latest ceramic sculptures take sleep as an ultimate state of vulnerability. Most pieces show a reclining head resting atop a surreal architectural structure. The head, though, is more of a mask, as Wine leaves the back of the head exposed. The hallowed head is made into a place of its own, in one instance, to store loose change, just as the base of a ceramic building is strewn with junk mail sent to Wine’s Brooklyn studio. Much of this work deals with the various ways consumerism and societal pressure govern all aspects of life. And yet sleep, for the moment at least, escapes these encroachments; it is a respite—quite literally—from the onslaught of everyday life. 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Recent solo and two-person exhibitions include: Singapore Biennale (2019); Upstream Gallery, Amsterdam (2018); Bogor Zoology Museum, Bogor, Indonesia (2017); LAXART, Los Angeles (2016); SomoS, Berlin (2016); and a co-commissioned performance by Triple Canopy and the Whitney Museum, New York (2015). Selected group exhibitions include: Paul Robeson Galleries at Rutgers University, New Jersey (2019); Times Museum Guangzhou, China (2019); Ullens Center for Contemporary Art, Beijing (2018); bitforms, New York (2018); Asia Art Archive, New York (2018); Akademie der Kunst, Berlin (2016); New Museum, New York (2015); and Abrons Art Center, New York (2015). In 2018, Liu was awarded the Art + Technology Lab Award by the Los Angeles County Museum of Art, California.",_key:"92ff260a5e34",_type:a}],_type:c},{children:[{_key:"8914d82b45ee",_type:a,marks:[],text:q}],_type:c,style:d,_key:"ba622a8faaec",markDefs:[]},{style:d,_key:"2ee5d552e822",markDefs:[],children:[{_key:"f965d1e408c1",_type:a,marks:[],text:"Joanna Piotrowska (Warsaw, Poland, 1985), lives and works in London. Recent solo exhibitions include: Dawid Radziszewski Gallery, Art Basel Statements (2017); Southard Reid, London (2017); Galeria Madragoa, Lisbon (2016); and Ethnographic Museum, Krakow, Poland (2015). Selected group exhibitions include: MoMA, New York (2018); 10th Berlin Biennale for Contemporary Art, Berlin, (2018); Kunstalle Wien, Vienna (2018); Museum Marres, Maastricht, (2018); Gateway, Abu Dhabi, (2018); Sadie Coles, London (2017); Fondazione Prada Osservatorio, Milan (2016); Northern Gallery of Contemporary Art, Sunderland, U.K. (2015); Hayward Gallery, London (2014); and ICA, London (2013). In 2014 MACK Books published her first project, "},{_type:a,marks:[f],text:"Frowst",_key:"e95439b00fb9"},{marks:[],text:", and in 2017 Humboldt Books published her second publication, ",_key:"4efc257a337f",_type:a},{text:"Frantic",_key:"8c8ae7507d87",_type:a,marks:[f]},{marks:[],text:". Piotrowska will have solo exhibitions at the Tate Britain in London and at Kunsthalle Basel this year.",_key:"807b177752c5",_type:a}],_type:c},{_key:"5a22e72beafb",markDefs:[],children:[{_key:"747578ce5b76",_type:a,marks:[],text:q}],_type:c,style:d},{_type:c,style:d,_key:"578c01448f7a",markDefs:[],children:[{_type:a,marks:[],text:"Jesse Wine (Chester, England, 1983), lives and works in New York. Recent solo exhibitions include: Simone Subal Gallery, New York (2017), Gemeentemuseum, Den Haag, The Netherlands (2016); Mary Mary, Glasgow, Scotland, UK (2016); and Soy Capitán, Berlin (2016). Selected group exhibitions include: Fortes D’Aloia & Gabriel, Rio de Janeiro (2017); Boca Raton Museum of Art, Florida (2017); Battersea Power Station and CASS Sculpture Foundation – Powerhouse Commission, London (2017); TATE St Ives, Cornwall (2017); Parrasch Heijnen, Los Angeles (2017); Museum of Cambridge, Cambridge (2017); Walker Art Gallery, Liverpool (2017); Andrea Rosen Gallery, New York, (2016); and Fundament Foundation, Tilburg, The Netherlands (2016). 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with great pleasure that Simone Subal Gallery announces the opening of Sonia Almeida’s "},{_type:a,marks:[f],text:cN,_key:"396bf9e6e96d1"},{marks:[],text:" on Sunday, January 6, 2019. This is Almeida’s fourth solo show at the gallery. The exhibition runs until February 10, 2019. Please join us for an opening reception on January 6th from 6 – 8 pm.",_key:"396bf9e6e96d2",_type:a}],_type:c,style:d,_key:"396bf9e6e96d"},{markDefs:[],children:[{marks:[],text:"Sonia Almeida’s ",_key:"621e709a31e00",_type:a},{text:cN,_key:"621e709a31e01",_type:a,marks:[f]},{_type:a,marks:[],text:" is a nuanced rumination on the nature of the creative act and its relation to the agency of individuals and images. At the heart of her new body of paintings is the tension between deliberate choices and those that are involuntary. Much of this, for Almeida, is the attempt to determine what of her paintings is derived from her intent and what is a product of muscle memory and intuition. Almeida does not privilege one aspect of expression over another but sees them intertwined. Thought and feeling are two sides of the same coin. But what is most revealing, and what she explores in each painting on view, is how the willed—what she wishes to include in the composition—and the involuntary—techniques and forms built out of years of practice and repetition that seemingly elide conscious thought—influence one another.",_key:"621e709a31e02"}],_type:c,style:d,_key:"621e709a31e0"},{children:[{_key:"3b5127b73a700",_type:a,marks:[],text:"Almeida couples her philosophical inquiry with her longstanding interest in Late Medieval imagery, particularly depictions of women. The Late Medieval period, in the Western tradition, marks the moment before the invention of one-point perspective, a technique that allowed images to appear rational and hierarchical. Almeida has paid special attention to illuminated manuscripts and altarpieces, and its concept of the page—something that is mutable, flexible, and dynamic, in which images and pictorial space verge on the mystical—course its way throughout her paintings. Several of Almeida’s compositions like the two-panel piece "},{_type:a,marks:[f],text:aZV,_key:"3b5127b73a701"},{marks:[],text:" (2018) can be handled and manipulated. The structure of these works alludes to the open spread of a book, in which different images collide and contrast with one another. The paintings’ sliding mechanism transforms them into a time-based operation—something not typically associated with the medium—and by opening or closing the composition the pieces alternate between formats, offering the possibility of either covering one of the panels or complicating the image in small increments. In other works, such as ",_key:"3b5127b73a702",_type:a},{_type:a,marks:[f],text:"Muscle memory\u002FLower case h",_key:"3b5127b73a703"},{_type:a,marks:[],text:" (2018), Almeida turns to the Medieval tradition of anthropomorphic alphabets, a form of inscription that contorts the human figure into the shape of the graphic sign. These images remind viewers that the body, especially the alluded female body in Almeida’s work, is a representational chain with no end in sight.",_key:"3b5127b73a704"}],_type:c,style:d,_key:"3b5127b73a70",markDefs:[]},{children:[{_type:a,marks:[],text:"Yet one of the most telling things Almeida brings forth from the Medieval is a wonderment with representations, something she makes visible in the way her paintings exist in multiple pictorial spaces, how time within each work is fluid and non-linear, and how it seems that an image can easily be a thing and vice versa. The depicted, in Almeida’s work, has a power of its own. 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Open: 47 ½ × 60 inches (120.65 × 152.40 cm) Closed: 47 ½ × 32 inches (120.65 × 81.28 cm)",_key:"7e431a75fc2a",_type:a,marks:[]}],_type:c}],_key:"ZwImDBQt",asset:{_ref:aZT,_type:b},work:j,_type:e},{asset:{_ref:"image-5b4ead5c2bf3c9812f313d204fdb98766c6c829a-1122x1500-jpg",_type:b},work:j,_type:e,caption:[{_type:c,style:d,_key:"I9zVdXbF",markDefs:[],children:[{_type:a,marks:[g],text:bY,_key:"0SmucZjA"},{_type:a,marks:[f],text:"Concrete Fence",_key:"270903d647b2"},{_type:a,marks:[],text:", 2018. Oil and permanent marker on gessoed paper. 18 × 13 inches (45.72 × 33.02 cm).",_key:"e66de1b345f4"}]}],_key:"ztqCXpLE"},{work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:bo,_key:"qkTYM87C"},{_key:"8c47b41b72a9",_type:a,marks:[],text:n},{text:"Writing with bricks",_key:"9ba0a383e339",_type:a,marks:[f]},{_type:a,marks:[],text:", 2018. 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She lives and works in Boston, MA. Solo exhibitions include: Simone Subal Gallery, New York, NY (2016), (2014), (2012); MIT List Visual Arts Center, Cambridge, MA (2014); T293, Italy (2011), (2005); Chiado 8, Lisbon, Portugal (2009); Croxhapox, Gent, Belgium (2009). Group shows include: Carpenter Center for the Visual Arts at Harvard University, Cambridge, MA (2018); ICA at Maine College of Art, Portland, MI (2018); ICA, Boston, MA (2017); Simone Subal Gallery, New York, NY (2016); Serralves Museum, Oporto, Portugal (2016), (2014); DeCordova Biennial, deCordova Sculpture Park and Museum, Boston, MA (2013); Carl Freedman Gallery, London, UK (2012); Marianne Boesky Gallery, New York, NY; Muzeul National de Arta Cluj-Napoca, Romania (2012); Prague Biennale 5, Prague, Czech Republic (2011); Centrum Sztuki Współczesnej Zamek Ujazdowski, Warsaw, Poland (2011); EDP Novos Artistas, Lisbon, Portugal (2009); Standard (OSLO), Norway (2006).",_key:"e6cfd8404fef"}]}],_key:"6daf20000c41",boxed:j}],open_date:"2019-01-06",close_date:"2019-02-10",_createdAt:"2021-02-28T11:37:22Z",description:"Sonia Almeida’s Perpetual dizziness is a nuanced rumination on the nature of the creative act and its relation to the agency of individuals and images. 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is with great pleasure that Simone Subal Gallery announces the opening of Florian Meisenberg’s “In Flames Leaving Las Vegas” on Thursday, September 13, 2018. This is Meisenberg’s third solo show at the gallery. The exhibition runs until October 28, 2018. Please join us for an opening reception on September 13 from 6 – 8 pm.",_key:"7a299fce8d560",_type:a,marks:[]}],_type:c,style:d},{children:[{text:"For the past several years, Florian Meisenberg’s practice has engaged the various permutations of mediums, whether the canvas of a painting or the screen of a digital device. In these complex projects, the oil that coalesced the pigment in oil paint and the code that powered the various software experiments were functionally and theoretically the same. Distinctions between the analogue and the digital were effectively elided, opening a number of considerations about how knowledge is both disseminated and received.",_key:"3b9bd725e46f0",_type:a,marks:[]}],_type:c,style:d,_key:"3b9bd725e46f",markDefs:[]},{style:d,_key:"5139160ed53d",markDefs:[],children:[{_key:"5139160ed53d0",_type:a,marks:[],text:"Meisenberg’s latest show “In Flames Leaving Las Vegas” initiates new creative grounds. If his previous projects exerted an external pressure, his latest paintings, sculptures, and videos delve deep inside the mind: contemplation and dreams, states of psychosis and moments of lucidity. Meisenberg has in the past transgressed the various permutations of mediums, now it’s the movement between the imagined and the real, the ideal and the material, the ways these diametrically opposed states imbricate the other."}],_type:c},{markDefs:[],children:[{_type:a,marks:[],text:"“In Flames Leaving Las Vegas” is a show of amorphous irrationalities, one in which the different states continually reference one another. The larger walls of the gallery are covered in wallpaper—the printed image is familiarly allusive, and its form suggests a kind of circuitry. Placed atop of this surface is an arrangement of paintings of various sizes. The compositions are housed in large, brushed aluminum panels of varying shapes and dimensions and are distinct objects themselves. Incised on the panels is a line that rises and falls, turning back upon itself. It resembles the moment a flame is just about to burst into something larger. A sense of movement and an unfolding landscape is also apparent; the gesture evokes physical and narrative associations. Its flow is punctuated by either the paintings, which are flush with the frames’ surface, or the engraved word “text,” which is a placeholder for thoughts, especially those of the viewer. The paintings reflect Meisenberg’s effort to embrace and follow intuitive impulses. They represent inner states: the various conflations of thoughts, the often unsettled and contradictory life of dreams. The depictions are gestural and filled with signifying chains and allusions. Certain figures and motifs appear several times like in a recurring dream or a state of compulsive thinking. What cannot be missed is the tremendous energy each composition possesses.",_key:"7c1efcfd9a4c0"}],_type:c,style:d,_key:"7c1efcfd9a4c"},{_type:c,style:d,_key:"5e3c986becf4",markDefs:[],children:[{_key:"5e3c986becf40",_type:a,marks:[],text:"The multivalent narrative evoked in the arrangement of paintings and forms is given an added degree of complexity from the two sculptures at adjacent ends of the space. Both pieces feature a sheet of Plexiglas fashioned into the shape of cat—it’s bodily image printed onto the surface. They rest a top a plinth that conjures thoughts of geologic stratification submerged in a viscous liquid. These island-like structures are like diving boards into another mental territory. The cat’s faces have been left blank, and filling the void is a projection of Nicholas Cage’s visage, which has been animated digitally to transform a found dialogue into an unsettling, murmured soliloquy. Viewers can listen to the conversation on wireless headphones, moving about the space in their own time. The disquieting sense one gets upon experiencing the films infuses the paintings and their own internal juxtapositions with an ever more nuanced understanding of how the boundaries between the mind and the world is porous and arbitrary."}]}],_key:"0ZU5dAfB"},{_type:L,label:V,_key:"xukuV3R0",install:[{caption:[{_key:"4zPvsgbP",markDefs:[],children:[{text:h,_key:"cccd47344a4a",_type:a,marks:[]},{_type:a,marks:[f],text:dP,_key:"43cd7d2941cf"},{_key:"1d27a8067623",_type:a,marks:[],text:eX}],_type:c,style:d}],_key:"EM0lk9xT",asset:{_ref:"image-f1612ec45fb72b54b886c1167faeffe0f292d204-1080x821-jpg",_type:b},_type:e},{caption:[{children:[{_type:a,marks:[],text:h,_key:"2d18990fca07"},{_key:"01581e2cf628",_type:a,marks:[f],text:dP},{text:eX,_key:"b8ef5336221b",_type:a,marks:[]}],_type:c,style:d,_key:"cCtbi4mu",markDefs:[]}],_key:"U1B2BhhJ",asset:{_ref:"image-a7bcd69abc44509964f67a997d32c4d11368c89f-1080x821-jpg",_type:b},_type:e},{caption:[{_key:"3WVhNH16",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"94f2387a4066"},{text:dP,_key:"b5fce744c523",_type:a,marks:[f]},{marks:[],text:eX,_key:"3070f3a35ea3",_type:a}],_type:c,style:d}],_key:"SMtfG45Y",asset:{_ref:"image-8a753d661e797151eae3dd908c38ce7a89906ff9-1080x821-jpg",_type:b},_type:e},{_type:e,caption:[{_key:"JLERJsQ7",markDefs:[],children:[{_key:"d3a9d762e8dc",_type:a,marks:[],text:h},{_type:a,marks:[f],text:dP,_key:"f917986ccb6b"},{_key:"8e189be2c7b4",_type:a,marks:[],text:eX}],_type:c,style:d}],_key:"PtFCbb0x",asset:{_type:b,_ref:"image-606f6a596862d541e8ddf828994b880694f0af64-1080x810-jpg"}},{asset:{_type:b,_ref:"image-7d885efc92071d21e0f4affadcc01297f27827e4-1080x810-jpg"},_type:e,caption:[{_key:"LsbXKIat",markDefs:[],children:[{_key:"6d23d6bef132",_type:a,marks:[],text:h},{marks:[f],text:dP,_key:"9c750c1f9f92",_type:a},{_type:a,marks:[],text:eX,_key:"7fb891c7c71f"}],_type:c,style:d}],_key:"x19IW3PZ"},{_type:e,caption:[{style:d,_key:"8gM6qLgD",markDefs:[],children:[{_key:"d66b0bb061cf",_type:a,marks:[],text:h},{text:dP,_key:"9de0332b3b00",_type:a,marks:[f]},{_key:"faf9cf245233",_type:a,marks:[],text:eX}],_type:c}],_key:"dMXDBrzv",asset:{_type:b,_ref:"image-7d3e2b7cc33bc1d0a3ab90bbd70e6c670991a36b-1080x810-jpg"}},{asset:{_ref:"image-8e2bdde07530493946f6f8d2056fb1006c02050d-1008x756-jpg",_type:b},_type:e,caption:[{style:d,_key:"owyW4qAt",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"3d4cd50cbcc3"},{marks:[f],text:dP,_key:"bfa5ecaf2e79",_type:a},{_key:"6f4c943d40d9",_type:a,marks:[],text:eX}],_type:c}],_key:"HpI7ASoe"},{asset:{_type:b,_ref:"image-ed85e5b20382e93119239e749b94734db4d546c1-3556x4603-jpg"},_type:e,caption:[{markDefs:[],children:[{_key:"553608c08984",_type:a,marks:[],text:h},{_type:a,marks:[f],text:dP,_key:"b60b94f323e6"},{_key:"fdb5ac71a62e",_type:a,marks:[],text:eX}],_type:c,style:d,_key:"j5vfZtPD"}],_key:"qLaeOK4d"},{caption:[{children:[{_key:"5d85a8001152",_type:a,marks:[],text:h},{text:dP,_key:"e0ac6f1f26cd",_type:a,marks:[f]},{_key:"dfce18c5f63c",_type:a,marks:[],text:eX}],_type:c,style:d,_key:"AZq4PAB7",markDefs:[]}],_key:"KdpRrfXG",asset:{_ref:"image-56e8fd5614ba584b5dc619cdf7e00c1ae7095247-1080x821-jpg",_type:b},_type:e},{caption:[{markDefs:[],children:[{_type:a,marks:[],text:h,_key:"45606b3508c6"},{marks:[f],text:dP,_key:"0b4a9bc13ab4",_type:a},{_key:"0794d27fb3a6",_type:a,marks:[],text:eX}],_type:c,style:d,_key:"kR89aWKW"}],_key:"ZR6O1I4I",asset:{_ref:"image-ce986fe23a65c334584335ea934184fc94f9102a-1080x821-jpg",_type:b},_type:e},{_type:e,caption:[{markDefs:[],children:[{_key:"5b0a240815e8",_type:a,marks:[],text:h},{_type:a,marks:[f],text:dP,_key:"509da9582126"},{_type:a,marks:[],text:eX,_key:"abb42203e2a6"}],_type:c,style:d,_key:"SCYiBXEh"}],_key:"kUso6CV6",asset:{_ref:"image-a331a029959e0b75d5df33791c94b6377facdfba-1080x821-jpg",_type:b}},{caption:[{_key:"7mYmqqGk",markDefs:[],children:[{marks:[],text:h,_key:"3e89435b20b3",_type:a},{text:dP,_key:"82878dc97f08",_type:a,marks:[f]},{_type:a,marks:[],text:eX,_key:"6251a80f6b8e"}],_type:c,style:d}],_key:"14VC1CGz",asset:{_ref:"image-5e23131bc8585f9abba10956025eca920ea8feb0-1080x820-jpg",_type:b},_type:e}],work:[{_key:"Zp9u3Xcd",asset:{_ref:"image-a1a512506a5607bb5a4e297dca4bdd92b62fdf3b-750x880-jpg",_type:b},work:j,_type:e,caption:[{style:d,_key:"k7ltYTJB",markDefs:[],children:[{marks:[g],text:ba,_key:"e3ea1mum",_type:a},{_type:a,marks:[],text:n,_key:"9238f4a4efca"},{marks:[f],text:"Day 1: Moon Struck",_key:"2a4bafea5905",_type:a},{marks:[],text:", 2018. Oil on canvas. 10 × 8 inches (25.40 × 20.32 cm).",_key:"e20c0e1fccc5",_type:a}],_type:c}]},{work:j,_type:e,caption:[{markDefs:[],children:[{_key:"b09ac003f46b",_type:a,marks:[g],text:aX},{_type:a,marks:[f],text:"Day 7: Wild at Heart",_key:"d0734744e572"},{_key:"635eb9afca15",_type:a,marks:[],text:", 2018. Oil paint on canvas. 15 × 10 inches (38.10 × 25.40 cm)."}],_type:c,style:d,_key:"TKNKrZVm"}],_key:"cbR5vrUC",asset:{_ref:"image-58cb122165eb21bc078cf65e2989383c342f9f19-1701x2268-jpg",_type:b}},{_type:e,caption:[{_key:"DoAb4eiV",markDefs:[],children:[{_key:"5c304d943f1c",_type:a,marks:[g],text:aX},{_type:a,marks:[f],text:"Day 5: 8mm and Day 6: Vampire's Kiss",_key:"7gmb9pIg"},{marks:[],text:", 2018. Oil paint on canvas, CnC routed aluminum. 46 × 75 inches (116.84 × 190.50 cm).",_key:"1568656c158e",_type:a}],_type:c,style:d}],_key:"pYNliees",asset:{_ref:"image-bac1afe3a335f6e4313d996177174206d8497b2d-1080x810-jpg",_type:b},work:j},{work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:aX,_key:"79cca89620f7"},{marks:[f],text:"Day 5: 8mm",_key:"b57a9EzS",_type:a},{marks:[],text:", 2018. Oil paint on canvas. 11 × 8 inches (27.94 × 20.32 cm).",_key:"239d3eaaa751",_type:a}],_type:c,style:d,_key:"JOHrdmg1"}],_key:"VI0d9Xjf",asset:{_type:b,_ref:"image-1963704e25dee90a6251c239846c6f074f8d6a76-1701x2268-jpg"}},{work:j,_type:e,caption:[{style:d,_key:"07olhfAG",markDefs:[],children:[{_type:a,marks:[g],text:aX,_key:"fc3b8235266d"},{_type:a,marks:[f],text:"Day 6: Vampire's Kiss",_key:"69TJKK8h"},{_key:"0e42829d994d",_type:a,marks:[],text:", 2018. Oil paint on canvas. 40 × 30 inches (101.60 × 76.20 cm)."}],_type:c}],_key:"beRwoAOn",asset:{_ref:Fl,_type:b}},{work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:aX,_key:"2333b0747e69"},{_key:"fwvZObQ4",_type:a,marks:[f],text:"Day 3: Left Behind"},{_type:a,marks:[],text:", 2018. Oil on canvas, CnC routed aluminum. 48 × 78 ¾ inches (121.92 × 200.03 cm).",_key:"15d878ade917"}],_type:c,style:d,_key:"nxFVwy1g"}],_key:"e9qmJYHo",asset:{_ref:"image-ddb52d7b34032e6a60e6486225f8c7353a6b955a-1080x810-jpg",_type:b}},{_type:e,caption:[{_type:c,style:d,_key:"S7ZcjjUU",markDefs:[],children:[{text:aX,_key:"7bfc412b9f6b",_type:a,marks:[g]},{text:aZ_,_key:"MylERlI6",_type:a,marks:[f]},{_type:a,marks:[],text:aZ$,_key:"5e341aecbfb2"}]}],_key:"NDfK1bYp",asset:{_type:b,_ref:"image-445bcb24553e86e66baf8fa6ac23b009860eff45-1080x1434-jpg"},work:j},{asset:{_type:b,_ref:"image-ec14005c077b292af94b9ccfbba0ac265f3f4104-1080x810-jpg"},work:j,_type:e,caption:[{_type:c,style:d,_key:"nJUTN3X1",markDefs:[],children:[{marks:[g],text:aX,_key:"525377a4debf",_type:a},{_key:"F1kAJNrA",_type:a,marks:[f],text:"Day 9: The Humanity Bureau and Day 10: Never on Tuesday"},{marks:[],text:", 2018. Oil paint on canvas, CnC routed aluminum. 44 ½ × 62 inches (113.03 × 157.48 cm).",_key:"d112a368a9b1",_type:a}]}],_key:"c8QWXFab"},{work:j,_type:e,caption:[{_type:c,style:d,_key:"fjCK0Oxa",markDefs:[],children:[{_type:a,marks:[g],text:aX,_key:"4f5f18564207"},{text:"Day 9: The Humanity Bureau",_key:"OoF9SaAG",_type:a,marks:[f]},{_key:"e3d0c0bf0b2f",_type:a,marks:[],text:", 2018. Oil paint and glass powder on canvas. 8 × 6 inches (20.32 × 15.24 cm)."}]}],_key:"lB5o5jbs",asset:{_ref:"image-95dd7d4e683fd91e755ee09c7035fc2251abb0f2-1701x2268-jpg",_type:b}},{asset:{_ref:"image-ee581ad16a71e80f7a5d46a12c5fc67f1e716823-1885x2535-jpg",_type:b},work:j,_type:e,caption:[{_type:c,style:d,_key:"dRTHUfTk",markDefs:[],children:[{marks:[g],text:aX,_key:"edbb4ada757d",_type:a},{marks:[f],text:"Day 10: Never on Tuesday",_key:"sntuOcXG",_type:a},{_type:a,marks:[],text:", 2018. Oil paint and airbursh on canvas. 18 × 18 inches (45.72 × 45.72 cm).",_key:"a2bff01cad8a"}]}],_key:"rg0flQoD"},{asset:{_type:b,_ref:"image-f5f03c1fd425932dfb5fa3b3d7e14e71afd3ac4d-1080x1438-jpg"},work:j,_type:e,caption:[{_type:c,style:d,_key:"a7Jl31Ma",markDefs:[],children:[{marks:[g],text:aX,_key:"1b354ef85b10",_type:a},{_type:a,marks:[f],text:"Day 4: Valley Girl",_key:"JEimXd6F"},{_type:a,marks:[],text:", 2018. Oil paint on canvas, CnC routed aluminum. 28 ½ × 29 inches (72.39 × 73.66 cm).",_key:"113322635c99"}]}],_key:"zsrG2DWj"},{asset:{_ref:"image-b3c3fdc3d381cbeb6f78f0257df751a5ef341ce8-1080x810-jpg",_type:b},work:j,_type:e,caption:[{_key:"CSUQR7Pi",markDefs:[],children:[{_key:"eb82f79d81e7",_type:a,marks:[g],text:aX},{marks:[f],text:aOl,_key:"mB7fZD6V",_type:a},{_key:"8e07e0374028",_type:a,marks:[],text:", 2018. Cat: pigment printed CnC cut plexiglas, rear projection. Topographical models: CnC cut MDF, transparent resin. 56 ½ × 33 × 26 ½ inches (143.51 × 83.82 × 67.31 cm)."}],_type:c,style:d}],_key:"T3ksMkEU"},{caption:[{children:[{marks:[g],text:aX,_key:"5829d44eb77f",_type:a},{_type:a,marks:[f],text:aOl,_key:"Y53w7We3"},{_key:"4127faf35739",_type:a,marks:[],text:a_a}],_type:c,style:d,_key:"ZN1seU9H",markDefs:[]}],_key:"PuvVxDcG",asset:{_ref:"image-d5633c1a52125ffbddf027469181b36c2dc5d66e-1080x810-jpg",_type:b},work:j,_type:e},{_key:"N8DDhg2d",asset:{_ref:"image-eeff384391bd8b82d1eb0fc6d27f88409b7da090-1080x810-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{_key:"47f7f5ea2728",_type:a,marks:[g],text:aX},{_type:a,marks:[f],text:"Day 11: Ghost Rider and Day 12: Army of One",_key:"hJeP7Spi"},{text:", 2018. Oil paint on canvas, CnC routed aluminum. 38 × 55 ¾ inches (96.52 × 141.61 cm).",_key:"a21ca0b6f34f",_type:a,marks:[]}],_type:c,style:d,_key:"Bezk4Z8q"}]},{work:j,_type:e,caption:[{_type:c,style:d,_key:"B3fy29jf",markDefs:[],children:[{_type:a,marks:[g],text:aX,_key:"65df8352497e"},{marks:[f],text:"Day 11: Ghost Rider",_key:"Dy8DBrRV",_type:a},{marks:[],text:", 2018. Oil paint and glass powder on canvas. 32 × 32 inches (81.28 × 81.28 cm).",_key:"2faebd2a43ac",_type:a}]}],_key:"oIsOekwk",asset:{_ref:"image-c1f4d1afc2e708ba9803be433590c10e523ee4c3-1967x2667-jpg",_type:b}},{_type:e,caption:[{_type:c,style:d,_key:"DHJJXWvZ",markDefs:[],children:[{_type:a,marks:[g],text:aX,_key:"3cbe8b15e2c7"},{_type:a,marks:[f],text:"Day 12: Army of One",_key:"Qtf2njSS"},{text:", 2018. Oil paint on canvas. 12 × 9 inches (30.48 × 22.86 cm).",_key:"ddc85861a44e",_type:a,marks:[]}]}],_key:"8iWbbkNq",asset:{_ref:"image-53adf8b41f726e971ee0f65ed4c3d4cfe69b6356-1702x2269-jpg",_type:b},work:j},{_type:e,caption:[{style:d,_key:"lW7LlI38",markDefs:[],children:[{_key:"b77a2781cb17",_type:a,marks:[g],text:aX},{text:aOl,_key:"jVzvRQ5H",_type:a,marks:[f]},{marks:[],text:a_a,_key:"ab2541a74b0e",_type:a}],_type:c}],_key:"mwmV9wGj",asset:{_ref:"image-990eb3f0ca36cf284db33aab6b458a0e27b806b9-1080x810-jpg",_type:b},work:j},{_key:"eH5aHLBZ",asset:{_ref:"image-cc5f6edcfe87af4df3cbaa18fc772880f6b83661-1080x810-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{_key:"9c95cae61e73",_type:a,marks:[g],text:aX},{text:"Day 13: Lord of War and Day 14: Ghost Rider",_key:"sV5x9WRt",_type:a,marks:[f]},{_key:"a87b260a1b1f",_type:a,marks:[],text:", 2018. Oil paint on canvas, CnC routed aluminum. 34 × 64 ½ inches (86.36 × 163.83 cm)."}],_type:c,style:d,_key:"W3sW9e8r"}]},{asset:{_type:b,_ref:"image-e70ea80aa6dca63399a5ab73cd0cecde2bfdd5d1-1758x2343-jpg"},work:j,_type:e,caption:[{children:[{marks:[g],text:aX,_key:"204229095c20",_type:a},{marks:[f],text:"Day 14: Ghost Rider",_key:"lrp80cdN",_type:a},{_type:a,marks:[],text:", 2018. Oil paint and glass powder on canvas. 12 × 9 inches (30.48 × 22.86 cm).",_key:"14714fc81b35"}],_type:c,style:d,_key:"GEIvmiJD",markDefs:[]}],_key:"zRsUtOb8"},{_type:e,caption:[{_key:"oLVLbCU9",markDefs:[],children:[{_type:a,marks:[g],text:aX,_key:"85d7ebdc30e3"},{text:"Day 15: Rumble Fish and 16: Fast Times at Ridgemont High",_key:"SWNk2psi",_type:a,marks:[f]},{_type:a,marks:[],text:", 2018. 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Digital print. 12 × 16 ½ inches (30.48 × 41.91 cm)."}],_type:c,style:d,_key:"ZzvVNi33",markDefs:[]}]},{caption:[{markDefs:[],children:[{text:y,_key:"vXz7rbJJ",_type:a,marks:[g]},{marks:[],text:n,_key:"ad8ba5532f77",_type:a},{text:"What Ocean Is",_key:"d7283ab31580",_type:a,marks:[f]},{_key:"64d23f5734a8",_type:a,marks:[],text:", 2018 (still). Video. 6:19 min."}],_type:c,style:d,_key:"3heitwHd"}],_key:"fmvwTOJg",asset:{_ref:"image-a786ca0c7746195b7a2e1588d0bbe39f42342ad1-500x898-png",_type:b},work:j,_type:e},{work:j,_type:e,caption:[{markDefs:[],children:[{text:q,_key:"dvkqppkA",_type:a,marks:[]}],_type:c,style:d,_key:"qWbhRy4j"}],_key:"oTsFp49b",asset:{_ref:"image-b08faa847acade86554cd4a8fb5506a232b4eb46-1809x2500-jpg",_type:b}},{_type:e,caption:[{style:d,_key:"PtNcVRgI",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"peIwVQkt"}],_type:c}],_key:"0MvQaCDD",asset:{_ref:"image-4efdaf09f419eb1132e436699ba2f22bf638054e-872x1000-png",_type:b},work:j},{_type:e,caption:[{_key:"ZEvayLQp",markDefs:[],children:[{text:I,_key:"8fd753be7cc0",_type:a,marks:[g]},{_key:"32573a861c6c",_type:a,marks:[f],text:"day of the fight"},{text:", 2009. Mixed media on paper. 11 ¾ × 15 ¾ inches (29.85 × 40.01 cm). 13 ¼ × 18 inches (33.66 × 45.72 cm) (framed).",_key:"6fc1ca985b4a",_type:a,marks:[]}],_type:c,style:d}],_key:"tSCyiJkz",asset:{_type:b,_ref:"image-900a973e323443f503e670d426a4c840f4c60129-1500x1080-jpg"},work:j},{_key:"YlKr3rhZ",asset:{_ref:"image-020b8840ca511f34d0b5cb0daedd6a49292bf510-2200x1569-jpg",_type:b},work:j,_type:e,caption:[{style:d,_key:"QoJUnAwM",markDefs:[],children:[{_key:"9cf28bee2bde",_type:a,marks:[g],text:y},{text:n,_key:"f9a468de2ce9",_type:a,marks:[]},{marks:[f],text:"forth beating laughter",_key:"45c411371e74",_type:a},{_key:"86aec6910112",_type:a,marks:[],text:", 2018. Mixed media on paper. 15 ¾ × 22 ¾ inches (40.01 × 57.79 cm). 18 ½ × 24 ¾ inches (46.99 × 62.87 cm) (framed)."}],_type:c}]},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:I,_key:"8046fb1e9799"},{marks:[f],text:"sea examples",_key:"d3ef0c34b4a0",_type:a},{text:", 2018. Mixed media on paper. 8 × 11 inches (20.32 × 27.94 cm). 10 ¼ × 13 inches (26.04 × 33.02 cm) (framed).\n",_key:"62bcb991b1c6",_type:a,marks:[]}],_type:c,style:d,_key:"rfil5xpB"}],_key:"g7TOfvCT",asset:{_ref:"image-a5ef1a551c2f2ee14039c91f6c2da6141c70f967-1360x1021-jpg",_type:b},work:j},{asset:{_ref:"image-dbcdabc2a6ffc108a7b74818fbe4016377a4c9ea-2331x1707-jpg",_type:b},work:j,_type:e,caption:[{children:[{text:y,_key:"8675175b5264",_type:a,marks:[g]},{marks:[],text:n,_key:"f6ed00653177",_type:a},{_key:"eb094bab143c",_type:a,marks:[f],text:"long search in Babylon"},{_type:a,marks:[],text:", 2012. 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Wednesday, May 23, from 6-8pm",close_date:"2018-06-24",title:gR,content:[{image:{_type:e,caption:[{style:d,_key:"I2fvyPze",markDefs:[],children:[{text:bw,_key:"23698c643ea5",_type:a,marks:[g]},{_type:a,marks:[],text:n,_key:"33ece23787e0"},{text:anu,_key:"0cbcd18b597f",_type:a,marks:[f]},{marks:[],text:a_k,_key:"de557bcc683c",_type:a}],_type:c}],asset:{_ref:R$,_type:b}},_type:K,label:X,_key:"e9ceUjNK",type:[r]},{_type:w,label:Z,text:[{_type:c,style:d,_key:"aab6bd1c6664",markDefs:[],children:[{_key:"aab6bd1c66640",_type:a,marks:[],text:a_l},{text:gR,_key:"aab6bd1c66641",_type:a,marks:[f]},{_type:a,marks:[],text:" on Wednesday, May 23, 2018. This is Heath’s third solo show at the gallery. The exhibition runs until June 24, 2018. Please join us for an opening reception on May 23 from 6 – 8 pm.",_key:"aab6bd1c66642"}]},{children:[{text:q,_key:"3d2f33f76b1e0",_type:a,marks:[]}],_type:c,style:d,_key:"3d2f33f76b1e",markDefs:[]},{_type:c,style:d,_key:"9bd155cef47f",markDefs:[],children:[{_type:a,marks:[],text:"Installed as a synchronized environment in the space of the gallery, ",_key:"9bd155cef47f0"},{_key:"9bd155cef47f1",_type:a,marks:[f],text:gR},{_type:a,marks:[],text:" premieres three new video works that continue the artist’s investigation into questions concerning the end of the world, and in particular the various ways that humans imagine and prepare for it. The exhibition takes its title from the 2018 video “Path of Totality,” which documents the events leading up to the August 21st 2017 total solar eclipse in St. Joseph, MO (one of the prime locations within the path of the shadow as well as the hometown of the artist). Featuring a colorful array of eclipse-chasers, middle-Americans, and commercial opportunists who descended upon the small town in anticipation for a moment of impending darkness, the work captures the peculiar mixture of anxiety, amusement, and reflection summoned by the cosmic event.",_key:"9bd155cef47f2"}]},{style:d,_key:"0185f3a58910",markDefs:[],children:[{text:q,_key:"0185f3a589100",_type:a,marks:[]}],_type:c},{style:d,_key:"2f77d1327a3c",markDefs:[],children:[{_key:"2f77d1327a3c0",_type:a,marks:[],text:"Two other videos focus on the possibility of man-made cataclysm, whether from nuclear annihilation or climate change. “There is Nothing Underneath the West Virginia Wing” (2018) revolves around Project Greek Island bunker, a vast and elaborate underground bomb shelter that was designed to house members of Congress in the aftermath of a nuclear attack. Now declassified and open for public tours, the bunker was covertly maintained for 30 years in a state of readiness beneath the Greenbrier Hotel in White Sulphur Springs, West Virginia. Heath’s video focuses on the eerie spaces of the vacant shelter and its remarkable blast doors which were engineered by the Mosler Vault Company whose bank vaults famously survived the atomic blast at Hiroshima."}],_type:c},{_type:c,style:d,_key:"d40988946a42",markDefs:[],children:[{_key:"d40988946a420",_type:a,marks:[],text:q}]},{_type:c,style:d,_key:"cf011bf822a1",markDefs:[],children:[{_type:a,marks:[],text:"“Midnight Sun” (the third episode of Heath’s ",_key:"cf011bf822a10"},{_type:a,marks:[f],text:ahe,_key:"cf011bf822a11"},{text:" series commissioned by ",_key:"cf011bf822a12",_type:a,marks:[]},{_type:a,marks:[f],text:ahd,_key:"cf011bf822a13"},{_type:a,marks:[],text:") was shot on location at the Svalbard Global Seed Vault in Svalbard, Norway. It is the last resort, a ‘final backup’ of the Earth’s food supply stored within the permafrost of an Arctic mountain and an effort—perhaps futile—to stave off the eradication of plants and crops because of the accelerating threat of global warming. Interspersed throughout the video is the audio of a serendipitously recorded telephone conversation in which a troubled caller (acted\u002Fvoiced\u002Fplayed by Heath’s frequent collaborator Jesse Wakeman) recounts standing in line at a grocery store and having a vision of the sun suddenly appear during total darkness.",_key:"cf011bf822a14"}]},{_key:"6aedb0514ca0",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"6aedb0514ca00"}],_type:c,style:d},{style:d,_key:"d43dfd828c16",markDefs:[],children:[{text:q,_key:"d43dfd828c160",_type:a,marks:[]}],_type:c}],_key:"7obqAFdc"},{install:[{_key:"iv3KOMdV",asset:{_type:b,_ref:"image-3851e65c31191b39997ceeb02e1e4b2e0e03210b-1080x720-jpg"},_type:e,caption:[{style:d,_key:"CMVjkyid",markDefs:[],children:[{text:h,_key:"ZSMnfWTm",_type:a,marks:[]},{_type:a,marks:[f],text:gR,_key:"17446dfe8d40"},{text:ad,_key:"04180fcddf54",_type:a,marks:[]}],_type:c}]},{caption:[{_key:"azht3rw4",markDefs:[],children:[{_key:"ce2b1020e096",_type:a,marks:[],text:h},{_type:a,marks:[f],text:gR,_key:"e7009bc986f5"},{_type:a,marks:[],text:ad,_key:"c0aea8aedb3a"}],_type:c,style:d}],_key:"V5zY6y8j",asset:{_ref:"image-b6c4ebe853ae16c6242b4b33a790e632fc56b290-1080x720-jpg",_type:b},_type:e},{asset:{_type:b,_ref:agZ},_type:e,caption:[{_type:c,style:d,_key:"oVxEcaWD",markDefs:[],children:[{text:h,_key:"073bab2d6420",_type:a,marks:[]},{_type:a,marks:[f],text:gR,_key:"689aa9949760"},{_key:"d92b0d0e363d",_type:a,marks:[],text:ad}]}],_key:"pW4XzBKW"}],work:[{caption:[{_type:c,style:d,_key:"8LHUw4r7",markDefs:[],children:[{_key:"b580e5531318",_type:a,marks:[g],text:bw},{_type:a,marks:[],text:n,_key:"f0afc7286c5f"},{_key:"1996214713c7",_type:a,marks:[f],text:a_m},{_type:a,marks:[],text:a_n,_key:"374be0a4e335"}]}],_key:"JnX2LRQk",asset:{_type:b,_ref:"image-e1146b0a8bfbf10278353623a55492c012659c31-1080x720-jpg"},work:j,_type:e},{_key:"gSnXhQPp",asset:{_ref:"image-d3964aec5603ee29c8b9bfd5df90878729f4353a-1080x720-jpg",_type:b},work:j,_type:e,caption:[{_type:c,style:d,_key:"yKPGeY4P",markDefs:[],children:[{_key:"da481029a52b",_type:a,marks:[g],text:bw},{text:n,_key:"63394263c760",_type:a,marks:[]},{_type:a,marks:[f],text:a_m,_key:"e29bf0beb348"},{_type:a,marks:[],text:a_n,_key:"e6b5c5d0c346"}]}]},{work:j,_type:e,caption:[{style:d,_key:"i2lPyqga",markDefs:[],children:[{_type:a,marks:[g],text:bM,_key:"542e049a9238"},{marks:[f],text:gR,_key:"5065c0b1bfce",_type:a},{_type:a,marks:[],text:a_o,_key:"e5b6a1e60126"}],_type:c}],_key:"daSyXOn5",asset:{_ref:"image-bcc6a33b3cfb0af0923bfd46d4af812fde2196aa-1080x720-jpg",_type:b}},{work:j,_type:e,caption:[{_type:c,style:d,_key:"ccRlKVCz",markDefs:[],children:[{text:bM,_key:"791eefbb50b1",_type:a,marks:[g]},{_key:"fbdccc313f8f",_type:a,marks:[f],text:gR},{_type:a,marks:[],text:a_o,_key:"eb365ccb6952"}]}],_key:"qNGJZq0U",asset:{_ref:"image-6493127428f7c42b04572c3b5e6a8de23146b93f-1080x720-jpg",_type:b}},{_key:"UL43TamQ",asset:{_ref:"image-38b886027e1c1342d115e0740a814890b46e376f-1080x720-jpg",_type:b},work:j,_type:e,caption:[{children:[{marks:[g],text:bw,_key:"fb1707a663cd",_type:a},{_type:a,marks:[],text:n,_key:"c3b424fc4cc9"},{text:anu,_key:"d15e51c96168",_type:a,marks:[f]},{_key:"d7d5c15768df",_type:a,marks:[],text:a_p}],_type:c,style:d,_key:"vKacCcVr",markDefs:[]}]},{caption:[{markDefs:[],children:[{_type:a,marks:[g],text:bw,_key:"61ccfc446a2f"},{_key:"1d87cf93e26a",_type:a,marks:[],text:n},{marks:[f],text:anu,_key:"622fa2241ecc",_type:a},{marks:[],text:a_p,_key:"646c9f9f9f94",_type:a}],_type:c,style:d,_key:"DdjfdoY0"}],_key:"vcXWPM1G",asset:{_type:b,_ref:"image-eb3e03a5365facd9efae9ca13849ca0298c56941-1080x719-jpg"},work:j,_type:e},{_key:"Nr2Z3fOl",asset:{_ref:R$,_type:b},work:j,_type:e,caption:[{_type:c,style:d,_key:"CyRn4Ff3",markDefs:[],children:[{text:bw,_key:"40023d0f5ce5",_type:a,marks:[g]},{_key:"30e38acb57f3",_type:a,marks:[],text:n},{_type:a,marks:[f],text:anu,_key:"384733f50c33"},{_key:"0a22c3ee74dc",_type:a,marks:[],text:a_k}]}]}],numbered:t,_type:L,label:V,_key:"tz4T9vuJ"},{_type:w,label:cE,text:[{children:[{_key:"f7ccf9c5d6a8",_type:a,marks:[],text:"Frank Heath was born in 1982 in St. Joseph, MO. He lives and works in New York. Solo exhibitions, and two-person shows include: Blue Room, Swiss Institute, New York, NY (2017); Red Room, Young World, Detroit, MI (2017); The Hollow Coin, presentation with Simone Subal Gallery at Art Basel Statements, Basel (2016); Backup, (solo), Simone Subal Gallery, NY, NY (2014); Asymptomatic Carrier, (solo) Frieze Frame with Simone Subal Gallery, NY, NY (2013); Post Holes (solo), Simone Subal Gallery, NY, NY (2012); and Econoline 1, (with JJ PEET) Videotage Gallery, Hong Kong, China (2007). Past group shows and screenings include: 46th International Film Festival Rotterdam, Rotterdam (screening) (2017); True\u002FFalse Film Festival, Columbia, Missouri (screening) (2017); Rêve du Pierre, curated by Alexandra Fau, Centre Pompidou, Paris (screening) (2016); Night Walk, with Erin Shirreff, deCordova Sculpture Park and Museum, Lincoln, MA (2015); A Night of Philosophy, Ukrainian Institute of America, New York, NY (Screening) (2015); The Daily Show, Bureau, New York NY (2015); A Tale of Two Islands: Beatrice Gibson with Alex Waterman, and Frank Heath, High Line Art, NY, NY (2014); Two Hours Two Minutes, The Power Plant, Toronto, Canada (2014); Matter Out of Place, Kitchen, NY, NY (2012); Somebody has stolen our tent, Simon Preston Gallery, NY, NY (2012)."}],_type:c,style:d,_key:"52605e28b3ff",markDefs:[]}],_key:"14fa2f26f766",boxed:j}],_type:J,description:"Installed as a synchronized environment in the space of the gallery, Path of Totality premieres three new video works that continue the artist’s investigation into questions concerning the end of the world, and in particular the various ways that humans imagine and prepare for it. The exhibition takes its title from the 2018 video “Path of Totality,” which documents the events leading up to the August 21st 2017 total solar eclipse in St. Joseph, MO (one of the prime locations within the path of the shadow as well as the hometown of the artist).  Featuring a colorful array of eclipse-chasers, middle-Americans, and commercial opportunists who descended upon the small town in anticipation for a moment of impending darkness, the work captures the peculiar mixture of anxiety, amusement, and reflection summoned by the cosmic event."},{opening:"Opening Sunday, April 14, from 6-8pm",title:gh,artists:[{_key:"Lvc3DgIb",title:Se,slug:{current:aOp,_type:p},sortName:a_q,_type:v}],_id:"c4dfe470-d37a-49c5-8efc-e7a48cb236cc",close_date:"2018-05-13",slug:{_type:p,current:"b-ingrid-olson-kiss-the-architect-on-the-mouth"},thumbnail:{asset:{_id:"image-f75c1b7d67292e68db01759266122bcf1a34de02-2800x2958-jpg",_type:B,path:"images\u002Fub94fyvm\u002Fproduction\u002Ff75c1b7d67292e68db01759266122bcf1a34de02-2800x2958.jpg",_createdAt:a_r,metadata:{palette:{muted:{background:a_s,_type:l,foreground:i,title:i,population:a_t},lightVibrant:{title:i,population:u,background:Sd,_type:l,foreground:o},darkVibrant:{background:a_u,_type:l,foreground:i,title:i,population:u},lightMuted:{title:i,population:aNS,background:Sd,_type:l,foreground:o},vibrant:{foreground:i,title:i,population:u,background:a_v,_type:l},dominant:{population:a_t,background:a_s,_type:l,foreground:i,title:i},_type:D,darkMuted:{background:a_w,_type:l,foreground:i,title:i,population:aUd}},hasAlpha:t,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAVABQDASIAAhEBAxEB\u002F8QAGQABAQADAQAAAAAAAAAAAAAAAAUCAwQH\u002F8QAJRAAAgEEAQMEAwAAAAAAAAAAAQMCAAQFEQYSIUETFDFxQlFh\u002F8QAFAEBAAAAAAAAAAAAAAAAAAAAAP\u002FEABQRAQAAAAAAAAAAAAAAAAAAAAD\u002F2gAMAwEAAhEDEQA\u002FAOfkXLHMyzrdLAhCZdE2CPUd\u002FVcmZ5B7BS3IzqLkiOxBcCSfv9VhyHDrRlDfBp9GUx6yyOx35qa\u002FD2dzdPtbCAUWfnrYEaD0ziWfllcGi6MQDLYOv5SpHF7aOIwybNcuoQ33PmlBMt3e9aUXMBNcxog1rtLReKs7pkdtbEkRlLtqI+BSlBPs8i+4QGSloknsPFKUoP\u002FZ",dimensions:{width:aYx,aspectRatio:.9465855307640297,height:2958,_type:E},isOpaque:j,_type:C},assetId:a_x,extension:F,_updatedAt:a_r,uploadId:"UIsLEvVBeagGIPrkT0eEHbq10eQZ4lNy",_rev:"tWtX6gfoiZmGoKKFVfeiTJ",size:960463,sha1hash:a_x,mimeType:G,url:"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fub94fyvm\u002Fproduction\u002Ff75c1b7d67292e68db01759266122bcf1a34de02-2800x2958.jpg",originalFilename:"1fe0d19dc3eda9d3decd6051cea3310952258121-550x581.jpeg"}},description:"It is with great pleasure that Simone Subal Gallery announces the opening of B. Ingrid Olson’s Kiss the architect on the mouth on Sunday, April 15, 2018. This is Olson’s second solo show at the gallery. The exhibition runs until May 13, 2018. Please join us for an opening reception on April 15 from 6 – 8 pm.",bg_color:"#9fc59f",open_date:"2018-04-14",_rev:bQ,content:[{image:{_type:e,caption:[{_type:c,style:d,_key:"jLrcN7qh",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"mZskYSFW"}]}],asset:{_ref:"image-1fe0d19dc3eda9d3decd6051cea3310952258121-550x581-jpg",_type:b}},_type:K,label:X,_key:"vYWD89tQ",type:[r]},{_key:"XFtaADFL",_type:w,label:Z,text:[{markDefs:[],children:[{_type:a,marks:[],text:"It is with great pleasure that Simone Subal Gallery announces the opening of B. Ingrid Olson’s ",_key:"fef24bb017510"},{_type:a,marks:[f],text:gh,_key:"fef24bb017511"},{_type:a,marks:[],text:" on Sunday, April 15, 2018. This is Olson’s second solo show at the gallery. The exhibition runs until May 13, 2018. Please join us for an opening reception on April 15 from 6 – 8 pm.",_key:"fef24bb017512"}],_type:c,style:d,_key:"fef24bb01751"},{children:[{_type:a,marks:[],text:aOq,_key:"09fb901c31840"},{marks:[f],text:gh,_key:"09fb901c31841",_type:a},{text:", B. Ingrid Olson examines the way both literal and metaphorical senses of compression impact one’s subjectivity. The photographic and sculptural works on view intimately address the relationship between the body and the contours and effects of architectural space. Many of the situations Olson investigates are implied, even conceptual. Her art creates what can be called an expansive claustrophobia, one that sees identity formation as constantly negotiated not only in the built environment but also within the space of social constructions.",_key:"09fb901c31842",_type:a,marks:[]}],_type:c,style:d,_key:"09fb901c3184",markDefs:[]},{_key:"ce05bc8604a0",markDefs:[],children:[{marks:[],text:"Six new photographic pieces with Plexiglas perimeters are installed throughout the gallery and, as with her sculptures, each function as a translation of an impression. Olson takes her photographs within mirrored, flattened environments she constructs in her studio. These pictorial spaces become a room within a room, and are not factual, but an altered, captured version of reality. For this iteration of the works, Olson removed the Plexiglas frames’ facing in order to create spatial hollows that stress the fact that Olson’s images reveal a world that folds back upon itself in multiple ways. Perspective is confused in part because of the bright, flashed whites and flattened colors that hover around a body one presumes is Olson’s. At times, the pictorial field absorbs the figure within the surrounding space; at other times, it severs the body from figural ground. In each picture, the fragmented individual is in a state of becoming, nothing is static and fixed, suspended in a still to be determined fluidity.",_key:"ce05bc8604a00",_type:a}],_type:c,style:d},{children:[{text:"The photographic work, as well as the sculptures, further develop Olson’s gendered reading of Minimalism. She sees the sculptures as a reorientation of Minimalism’s intent, where instead of the hyper masculinist forms associated with the works of Donald Judd and Richard Serra, for example, Olson has rendered her objects to the scale of her body—a very conscious reclaiming of space. Several of the sculptures are reliefs. They imply a mold, or suggest that a body has been impressed. However, these spaces are an abstraction of a bodily image. They are approximations that invite closeness but in actuality create distance between the object and the viewer. Much of the work is about this shifting, liminal barrier—something akin to the way skin, or the flesh, mediates one’s subjective experiences with the objective world. These themes continue in other pieces that hint at the hollowed shells of bodily forms: a torso, a breast, a head, and two crotches. Olson refers to these works as “mental impressions.” They suggest a physical directness, as a contact print or a cast object, but they are distanced diversions from reality: separated from a source, impressions of a bodily replica.",_key:"71a30a03d5160",_type:a,marks:[]}],_type:c,style:d,_key:"71a30a03d516",markDefs:[]},{children:[{text:"B. Ingrid Olson was born in 1987 in Denver. She lives and works in Chicago. 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PVA size, latex paint, vinyl paint, polyurethane foam. 14 × 11 × 11 inches (35.56 × 27.94 × 27.94 cm).",_key:"de46701d1bb4"}],_type:c}],_key:"8EIOvvv6",asset:{_type:b,_ref:"image-366634b11b05238fcc9340da6418f9ac0af71f13-900x1200-jpg"},work:j},{caption:[{_type:c,style:d,_key:"q6OgvTd5",markDefs:[],children:[{_key:"38f05520b668",_type:a,marks:[g],text:aU},{text:aOr,_key:"69dc6ccec610",_type:a,marks:[f]},{_key:"1fa5e6f74c6d",_type:a,marks:[],text:a_z}]}],_key:"16IhA8mC",asset:{_ref:"image-b61f672601536872039fac6cb4fb320fe6240770-900x1200-jpg",_type:b},work:j,_type:e},{caption:[{markDefs:[],children:[{_type:a,marks:[g],text:aU,_key:"31f959c1be1e"},{text:aOr,_key:"1a4e734314bd",_type:a,marks:[f]},{text:a_z,_key:"2e869a73612a",_type:a,marks:[]}],_type:c,style:d,_key:"fDJOvyMC"}],_key:"plRPEeKV",asset:{_ref:"image-6d4478b276d84a156af8178ea99809e4012d71c3-900x1213-jpg",_type:b},work:j,_type:e},{caption:[{style:d,_key:"kqGlLNPZ",markDefs:[],children:[{marks:[g],text:dQ,_key:"jsueQO8s",_type:a},{_key:"91a8a3a7696a",_type:a,marks:[],text:n},{text:"Pillar Strut Stem Slit",_key:"23daec79dc92",_type:a,marks:[f]},{text:", 2018. UV printed MDF, PVA size, gesso, Plexiglas, screws. 26 × 18 × 6 1\u002F2 inches (66.04 × 45.72 × 16.51 cm).",_key:"07af2e406a5b",_type:a,marks:[]}],_type:c}],_key:"1QiVRozx",asset:{_type:b,_ref:"image-b73ef550ac3b04427a1f4fc9d1d836679aa8ded2-870x1088-jpg"},work:j,_type:e},{work:j,_type:e,caption:[{markDefs:[],children:[{marks:[g],text:dQ,_key:"oWHH0ayU",_type:a},{_type:a,marks:[f],text:a_A,_key:"5da583a5bea1"},{_key:"fa435efbe126",_type:a,marks:[],text:a_B}],_type:c,style:d,_key:"wKXzOVmT"}],_key:"fi7lFZlJ",asset:{_ref:"image-599193b743668313458ed40fb058b8500b3a5190-1200x876-jpg",_type:b}},{asset:{_ref:"image-79aa3c6766d56ee01084b1e3713b1a9b2e044db7-1200x931-jpg",_type:b},work:j,_type:e,caption:[{children:[{marks:[g],text:dQ,_key:"99c9ebc541c5",_type:a},{marks:[f],text:a_A,_key:"48907600510c",_type:a},{_type:a,marks:[],text:a_B,_key:"35792e8b7cde"}],_type:c,style:d,_key:"p2qnMNtV",markDefs:[]}],_key:"sHu1Bno3"},{asset:{_type:b,_ref:"image-b69592b8b12425f0c06cf9bde2356206f8a83e95-870x1188-jpg"},work:j,_type:e,caption:[{markDefs:[],children:[{text:aU,_key:"xVPQwSq8",_type:a,marks:[g]},{text:"Felt Angle, jointed truss",_key:"caa8d6405386",_type:a,marks:[f]},{text:", 2018. UV printed MDF, PVA size, gesso, Plexiglas, screws. 31 × 19 × 7 inches (78.74 × 48.26 × 17.78 cm).",_key:"ca8deb9a8cd5",_type:a,marks:[]}],_type:c,style:d,_key:"ylkNXOVV"}],_key:"7NG6xVjf"},{work:j,_type:e,caption:[{_key:"aCTH6vQ7",markDefs:[],children:[{_key:"GnUskWF5",_type:a,marks:[g],text:aU},{_type:a,marks:[f],text:a_C,_key:"b2c16b39e97a"},{text:", 2018. UV printed MDF, PVA size, gesso, Plexiglas, screws. 31 × 21 × 7 inches (78.74 × 53.34 × 17.78 cm).",_key:"bc2fe6379012",_type:a,marks:[]}],_type:c,style:d}],_key:"OJWZDjwE",asset:{_ref:"image-d60347e095dbf82c6ca2e353ee0066a3097458f0-870x1121-jpg",_type:b}},{work:j,_type:e,caption:[{_type:c,style:d,_key:"qnlaxr8Y",markDefs:[],children:[{text:aU,_key:"6b8cecef02b1",_type:a,marks:[g]},{marks:[f],text:a_C,_key:"dd5de80455ca",_type:a},{_type:a,marks:[],text:", 2018 (side view). UV printed MDF, PVA size, gesso, Plexiglas, screws. 31 × 21 × 7 inches (78.74 × 53.34 × 17.78 cm).",_key:"22f5cc3f6fce"}]}],_key:"pMWbx1up",asset:{_ref:"image-3dfd5b9d51c0c3d06afd1be8541afea343bf4a75-870x1121-jpg",_type:b}},{work:j,_type:e,caption:[{_key:"sHA8lxGA",markDefs:[],children:[{_key:"0KH2w8wX",_type:a,marks:[g],text:dQ},{text:n,_key:"66031ff3fb6f",_type:a,marks:[]},{marks:[f],text:"Mutter, Brest",_key:"a360eecbdc76",_type:a},{text:", 2018. Egg, epoxy putty, acrylic, MDF, PVA. 6 3\u002F4 × 5 × 5 inches (17.15 × 12.70 × 12.70 cm).",_key:"20a23ad584f3",_type:a,marks:[]}],_type:c,style:d}],_key:"uDGesaQ6",asset:{_type:b,_ref:"image-5bb12f616a983b5b3b6c4b37117714cf108d05ed-900x1200-jpg"}},{work:j,_type:e,caption:[{style:d,_key:"nnZQwmar",markDefs:[],children:[{_key:"JuBrZ57k",_type:a,marks:[g],text:dQ},{_key:"36d9e7368787",_type:a,marks:[],text:n},{_type:a,marks:[f],text:"Rafters Satin, Stone Roof",_key:"94dcc94b5dcc"},{_key:"e402c42f8ca8",_type:a,marks:[],text:", 2018. UV printed MDF, PVA size, gesso, Plexiglas, screws. 24 1\u002F2 × 16 1\u002F2 × 6 1\u002F2 inches (62.23 × 41.91 × 16.51 cm)."}],_type:c}],_key:"zoF5FRYH",asset:{_ref:"image-57b32b34c28ec820231ebee4653b60aa80d6989a-1740x2176-jpg",_type:b}},{_key:"VfhPxefi",asset:{_ref:"image-28883c01208c24895e64a9c976ecb3dc5302eda2-870x1182-jpg",_type:b},work:j,_type:e,caption:[{_type:c,style:d,_key:"JPgPbqG1",markDefs:[],children:[{_key:"Xkp9gIH1",_type:a,marks:[g],text:aU},{_type:a,marks:[f],text:"Fountain, rill and dam",_key:"e3163c1b3732"},{text:", 2018. UV printed MDF, PVA size, gesso, Plexiglas, screws. 27 1\u002F2 × 17 × 7 inches (69.85 × 43.18 × 17.78 cm).",_key:"2dcb528fc283",_type:a,marks:[]}]}]},{caption:[{children:[{_key:"eBsYGGH1",_type:a,marks:[g],text:dQ},{marks:[],text:n,_key:"5033540d6bc8",_type:a},{_type:a,marks:[f],text:a_D,_key:"cf80570e444a"},{text:", 2018. PVA size, latex paint, MDF, velvet, polyurethane foam. 12 × 6 1\u002F2 × 3 3\u002F4 inches (30.48 × 16.51 × 9.53 cm).",_key:"be22064d01fc",_type:a,marks:[]}],_type:c,style:d,_key:"A4oNqlUg",markDefs:[]}],_key:"BwTR7LGn",asset:{_ref:"image-195e03fe3dcecd5c53a0879e07108d078eed80bc-900x1200-jpg",_type:b},work:j,_type:e},{_type:e,caption:[{_key:"9vKoaB5E",markDefs:[],children:[{_key:"edcd0160c2c0",_type:a,marks:[g],text:dQ},{text:n,_key:"c2d5f42ddca1",_type:a,marks:[]},{_type:a,marks:[f],text:a_D,_key:"7631c54134c4"},{text:", 2018 (side view). PVA size, latex paint, MDF, velvet, polyurethane foam. 12 × 6 1\u002F2 × 3 3\u002F4 inches (30.48 × 16.51 × 9.53 cm).",_key:"b9a3c416b34c",_type:a,marks:[]}],_type:c,style:d}],_key:"GiN7Hq4M",asset:{_ref:"image-f4bbc1847aff3c16b9a20914a681c294a77db623-900x1200-jpg",_type:b},work:j},{caption:[{_type:c,style:d,_key:"2gzgUN3Z",markDefs:[],children:[{_key:"NoFTxV0Y",_type:a,marks:[g],text:dQ},{_key:"a456a6476423",_type:a,marks:[],text:n},{text:"Forehead, amphitheater",_key:"379c8ff197d9",_type:a,marks:[f]},{text:", 2018. PVA size, enamel paint, vinyl paint, polyurethane foam. 3 3\u002F4 × 9 1\u002F2 × 3 inches (9.53 × 24.13 × 7.62 cm).",_key:"7eaea6892917",_type:a,marks:[]}]}],_key:"3TH3F2c0",asset:{_ref:"image-bc68333f3a24b69107ea50f7b5b3c557d3c8624d-1170x877-jpg",_type:b},work:j,_type:e}],numbered:t,_type:L}],_updatedAt:bP,_createdAt:cM,_type:J},{_createdAt:cM,_updatedAt:"2023-04-27T19:09:09Z",artists:[{_type:v,_key:"315cf8934467",title:aOs}],description:"It is with great pleasure that Simone Subal Gallery announces the opening of Fragments and Masks: Works from the 70s and 80s on Sunday, March 4, 2018. The show runs until April 8, 2018. This is the gallery’s third presentation of Kogelnik’s work. Please join us for the opening on Sunday, March 4 from 5p -7pm.",content:[{label:X,_key:"u7XCfnd5",type:[r],image:{_type:e,caption:[{children:[{text:a_E,_key:"c9241440b031",_type:a,marks:[]}],_type:c,style:d,_key:"YB9W9etc",markDefs:[]}],asset:{_ref:a_F,_type:b}},_type:K},{_key:"OaAGUrAJ",_type:w,label:Z,text:[{_type:c,style:d,_key:"d261165a4a93",markDefs:[],children:[{_key:"d261165a4a930",_type:a,marks:[],text:anv},{_key:"d261165a4a931",_type:a,marks:[f],text:gV},{marks:[],text:" on Sunday, March 4, 2018. The show runs until April 8, 2018. This is the gallery’s third presentation of Kogelnik’s work. Please join us for the opening on Sunday, March 4 from 5p -7pm.",_key:"d261165a4a932",_type:a}]},{_key:"3585219b049d",markDefs:[],children:[{_key:"3585219b049d0",_type:a,marks:[],text:"The Austrian born Kiki Kogelnik (1935 – 1997) spent much of her career in New York. Her earliest works show an affinity for School of Paris style painting, but upon moving to New York in the early 1960s she developed a unique form of Pop Art that rethought the gendered subject through the intersection of science and technology. As her work progressed, a kind of detached-figuration—often created through vinyl cutouts of actual people—grew in complexity, both formally and content wise. Increasingly affected by the power of the Women’s Liberation Movement as well as a growing skepticism about the depiction of women in mass media, Kogelnik’s paintings, drawings, and graphic works of the 1970s have an uncannily familiar yet absent look to them. The women depicted at first seem all surface, but upon closer inspection they emote a whole range of feelings and sentiments. It is this tension between a precise, isolated form and a fomenting subjectivity that informs the selected works on view. Almost all depict a woman whose visage appears more often than not as a mask or a type of screen. An air of defiance is often present in these pieces, especially in "},{_key:"3585219b049d1",_type:a,marks:[f],text:a_G},{_type:a,marks:[],text:" from 1974, whose world-weariness portrays the utter rejection of normative social values.",_key:"3585219b049d2"}],_type:c,style:d},{markDefs:[],children:[{marks:[],text:"Since the mid 1960s cut outs have been a central aspect of Kogelnik’s practice. She has used flattened human forms as either stencils for her paintings, or as sculptural elements that evoke thoughts of flayed skin and the anonymity of fashion. In the late 1970s and 1980s Kogelnik distilled this working method in a group of paintings, drawings, and ceramic wall pieces. Her attention trained mostly to the faces of women—but also to geometric forms— and her use of cutting and fragmentation generated compositions that are both disorienting and oddly liberating. Kogelnik was engaged with the Downtown New York art scene in the late 1970s and 1980s. Her gaze was capacious, and she incorporated in her works a variety of styles and elements she encountered. Yet things like appropriation, as it came to be understood in the 1980s, or a direct involvement with mass media are not immediately present. Instead, she maintains a critical distance, one that allows poignant themes from her past to permeate these vibrant compositions. The use of stencils and repeated patterns, as with ",_key:"d097536c32730",_type:a},{marks:[f],text:aOt,_key:"d097536c32731",_type:a},{_type:a,marks:[],text:" [1981] and ",_key:"d097536c32732"},{_key:"d097536c32733",_type:a,marks:[f],text:R},{_type:a,marks:[],text:" [1981], hint at ideas of automation and the dehumanization of the subject. The objects and figures seem to float aimlessly in what appears to be a virtual world, like a scene from the 1982 movie ",_key:"d097536c32734"},{_key:"d097536c32735",_type:a,marks:[f],text:"Tron"},{_type:a,marks:[],text:". The ceramic sculptures like ",_key:"d097536c32736"},{_type:a,marks:[f],text:a_H,_key:"d097536c32737"},{_key:"d097536c32738",_type:a,marks:[],text:" [1986] only intensifies this feeling; it is like a wisp, fixed to the wall yet disembodied."}],_type:c,style:d,_key:"d097536c3273"}]},{_type:L,label:V,_key:"1z2n2FmS",install:[{_key:"BLirPgjN",asset:{_type:b,_ref:"image-eb4ef7a91bc8df085a8f9474181453be3074f1a1-1224x816-jpg"},_type:e,caption:[{_key:"WTg9thOm",markDefs:[],children:[{_key:"5c092aab0a97",_type:a,marks:[],text:h},{_key:"78a1028210bc",_type:a,marks:[f],text:gV},{marks:[],text:ad,_key:"cdf40f2818e5",_type:a}],_type:c,style:d}]},{caption:[{markDefs:[],children:[{marks:[],text:h,_key:"73fb27f78c32",_type:a},{_key:"7fdc333a38c3",_type:a,marks:[f],text:gV},{marks:[],text:ad,_key:"8fa9020074bb",_type:a}],_type:c,style:d,_key:"cJvhkmvN"}],_key:"oIQSBJoT",asset:{_ref:"image-4f0d7d5b66daabb88337ff4cb311c739302ac71d-1224x816-jpg",_type:b},_type:e},{_type:e,caption:[{style:d,_key:"EFZg18Ke",markDefs:[],children:[{text:h,_key:"6886365ae3d2",_type:a,marks:[]},{marks:[f],text:gV,_key:"c35fb83f6679",_type:a},{_key:"21c2d2aa557e",_type:a,marks:[],text:ad}],_type:c}],_key:"v7k4BwNv",asset:{_ref:"image-f8f4c3c7313889169ba38d464298a37c434f3fd4-1224x816-jpg",_type:b}},{asset:{_ref:"image-1f393196f5c6d27d1fe30d6099961b6891149b50-1224x816-jpg",_type:b},_type:e,caption:[{children:[{text:h,_key:"06adb2c2571d",_type:a,marks:[]},{_type:a,marks:[f],text:gV,_key:"824f19d221f0"},{_type:a,marks:[],text:ad,_key:"1600d2923308"}],_type:c,style:d,_key:"UEyDREJ9",markDefs:[]}],_key:"sCofkSTk"},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:h,_key:"69c6aa41391e"},{_key:"ad86f2c54e8e",_type:a,marks:[f],text:gV},{text:ad,_key:"d11e8cd2b966",_type:a,marks:[]}],_type:c,style:d,_key:"AuFGWCtA"}],_key:"49urCOWk",asset:{_type:b,_ref:"image-676f3607c2aa82f990bc90f87fbff477bdc54746-1224x816-jpg"}},{_key:"rLGDrOzs",asset:{_ref:"image-56f020790bc2c392562aefae5b9f0a70e04837b1-1224x816-jpg",_type:b},_type:e,caption:[{children:[{_type:a,marks:[],text:h,_key:"24edc6d89f74"},{marks:[f],text:gV,_key:"882c5e91b11e",_type:a},{_type:a,marks:[],text:ad,_key:"9c6a3cbd79ea"}],_type:c,style:d,_key:"AR0VyqWF",markDefs:[]}]},{_type:e,caption:[{style:d,_key:"F1uobv8c",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"de54c87c7f3e"},{text:gV,_key:"b282b4b36a13",_type:a,marks:[f]},{_type:a,marks:[],text:ad,_key:"5791b896a437"}],_type:c}],_key:"Vuud7V5t",asset:{_ref:"image-676a146322e05a62e15b4308c5b2802e9180092d-1224x816-jpg",_type:b}}],work:[{work:j,_type:e,caption:[{_type:c,style:d,_key:"gbYUGb1N",markDefs:[],children:[{_type:a,marks:[g],text:cY,_key:"hfCk0CYd"},{_key:"60f9c6d211de",_type:a,marks:[],text:n},{_key:"cf89ebea8bc8",_type:a,marks:[f],text:"Untitled (Woman)"},{_type:a,marks:[],text:", c. 1975. Acrylic on paper 20 3\u002F4 × 5 1\u002F4 inches (52.71 × 13.34 cm) 24 × 18 1\u002F4 inches (60.96 × 46.36 cm) (framed). Courtesy of the Kiki Kogelnik Foundation. © 1975 Kogelnik Foundation. All rights reserved.",_key:"42d7e12b3a6b"}]}],_key:"UmLNf6PO",asset:{_type:b,_ref:"image-7fab724dcd0a7f20026558ffe2ba593f218f69c4-2480x3261-jpg"}},{_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:cY,_key:"L5KpZ3mO"},{marks:[],text:n,_key:"5eb7c4a31610",_type:a},{text:"Lady with Triangle",_key:"9a105e8d99e5",_type:a,marks:[f]},{_type:a,marks:[],text:", 1979. Silkscreen on paper 31 3\u002F8 × 26 1\u002F8 inches (79.69 × 66.36 cm) 34 3\u002F8 × 29 1\u002F8 inches (87.31 × 73.98 cm) (framed). AP X\u002FXXX of an edition of 200 + XXX AP. Courtesy of the Kiki Kogelnik Foundation. © 1979 Kogelnik Foundation. All rights reserved.",_key:"a43438fc0e05"}],_type:c,style:d,_key:"uIrQjDSv"}],_key:"CdVglx5K",asset:{_ref:"image-64bc87abaf189e2433d218418a299288d003b5a6-2279x2701-jpg",_type:b},work:j},{work:j,_type:e,caption:[{_key:"Pv5c1oAL",markDefs:[],children:[{_key:"LqsHR6fu",_type:a,marks:[g],text:cY},{text:n,_key:"6a55df7f06b3",_type:a,marks:[]},{text:"Untitled (Face)",_key:"73f4adaca90b",_type:a,marks:[f]},{_key:"526e20fdcfe6",_type:a,marks:[],text:", c. 1976. Acrylic and pencil on paper 14 × 11 inches (35.56 × 27.94 cm) 17 × 14 inches (43.18 × 35.56 cm) (framed). Courtesy of the Kiki Kogelnik Foundation. © 1976 Kogelnik Foundation. All rights reserved."}],_type:c,style:d}],_key:"ySpk7atW",asset:{_type:b,_ref:"image-42dda16f43a757f461fe34ebf07c49bd5c0ae168-2480x3261-jpg"}},{caption:[{style:d,_key:"L9hTZVpl",markDefs:[],children:[{_type:a,marks:[g],text:bx,_key:"foJvVHiQ"},{_type:a,marks:[f],text:aOt,_key:"75fa3873fb52"},{_key:"ad50c10cd946",_type:a,marks:[],text:", 1981. Oil and acrylic on canvas. 48 × 50 inches (121.92 × 127.00 cm) Frame: 54 3\u002F8 × 56 1\u002F4 inches (138.11 × 142.88 cm). Courtesy of the Kiki Kogelnik Foundation. © 1981 Kogelnik Foundation. All rights reserved."}],_type:c}],_key:"uFlEdFWJ",asset:{_ref:"image-89c179cf04b3be0ce0a6d6abefc251501033232a-2556x2480-jpg",_type:b},work:j,_type:e},{asset:{_ref:"image-46d7a22e27cbd4e9239aa28cc9a61862d1ab35ba-2480x3261-jpg",_type:b},work:j,_type:e,caption:[{_key:"pMtDB8Uq",markDefs:[],children:[{_type:a,marks:[g],text:cY,_key:"fc8FSH89"},{_type:a,marks:[],text:n,_key:"65064e759234"},{_type:a,marks:[f],text:"Flowers",_key:"a0fbad39c573"},{text:", 1978. Pencil and ballpoint pen on paper. 29 5\u002F8 × 25 1\u002F4 inches (75.25 × 64.14 cm) 32 5\u002F8 × 28 1\u002F4 inches (82.87 × 71.76 cm) (framed). Courtesy of the Kiki Kogelnik Foundation. © 1978 Kogelnik Foundation. All rights reserved.",_key:"a4700bbfd26c",_type:a,marks:[]}],_type:c,style:d}],_key:"OK8QvLnk"},{work:j,_type:e,caption:[{_key:"aPkrAD2v",markDefs:[],children:[{_key:"oBSFTXym",_type:a,marks:[g],text:bx},{_type:a,marks:[f],text:a_H,_key:"90aa1c203c30"},{text:", 1986. Glazed ceramic. 16 1\u002F8 × 8 inches (40.96 × 20.32 cm). Courtesy of the Kiki Kogelnik Foundation. © 1986 Kogelnik Foundation. All rights reserved.",_key:"8122a6e57fcc",_type:a,marks:[]}],_type:c,style:d}],_key:"ivA0e2V6",asset:{_type:b,_ref:"image-74b75eda6a487df073f2ab7e0659b73fd228974c-2480x3301-jpg"}},{caption:[{markDefs:[],children:[{_type:a,marks:[g],text:cY,_key:"gYKILLMp"},{_type:a,marks:[],text:n,_key:"18ea2348deb6"},{_key:"890f65ed1dbd",_type:a,marks:[f],text:aOt},{marks:[],text:", 1980. Paper, acrylic and pencil on paper. 29 3\u002F4 × 41 1\u002F2 inches (75.57 × 105.41 cm) 32 3\u002F4 × 44 1\u002F2 inches (83.19 × 113.03 cm) (framed). Courtesy of the Kiki Kogelnik Foundation. © 1980 Kogelnik Foundation. All rights reserved.",_key:"f9cf2b52a049",_type:a}],_type:c,style:d,_key:"LzopSf5E"}],_key:"shtph2KA",asset:{_ref:"image-0fb31766c31ab6b9f592e21995ae6bfb0ddef373-3261x2480-jpg",_type:b},work:j,_type:e},{caption:[{style:d,_key:"axyguUjl",markDefs:[],children:[{_key:"XlaiFWoT",_type:a,marks:[g],text:cY},{_key:"62837868adb6",_type:a,marks:[],text:n},{_type:a,marks:[f],text:R,_key:"b42f5e32aff6"},{_type:a,marks:[],text:", 1981. Acrylic on canvas 23 7\u002F8 × 24 inches (60.64 × 60.96 cm) Frame: 24 3\u002F4 × 24 3\u002F4 × 1 3\u002F4 inches (62.87 × 62.87 × 4.45 cm). Courtesy of the Kiki Kogelnik Foundation. © 1981 Kogelnik Foundation. All rights reserved.",_key:"697e51946c37"}],_type:c}],_key:"yPgKeNsj",asset:{_type:b,_ref:"image-e6d04a1352a760c7dcb852e41140b335a1ff9b0f-2480x2489-jpg"},work:j,_type:e},{asset:{_ref:"image-fdc6e25c563379a52b470201c7a07bda25824140-2363x2841-jpg",_type:b},work:j,_type:e,caption:[{_type:c,style:d,_key:"yvnrv2HE",markDefs:[],children:[{_type:a,marks:[g],text:bx,_key:"yHzDQCB7"},{text:"Pink Swim",_key:"92057be81fce",_type:a,marks:[f]},{_type:a,marks:[],text:", 1979. Silkscreen on paper 32 3\u002F8 × 26 inches (82.23 × 66.04 cm) 35 3\u002F8 × 19.0625 inches (89.85 × 48.42 cm) (framed). AP IV\u002FXXX of an edition of 200 + XXX AP. Courtesy of the Kiki Kogelnik Foundation. © 1979 Kogelnik Foundation. All rights reserved.",_key:"83f77052663f"}]}],_key:"kRXy2574"},{work:j,_type:e,caption:[{_key:"NRFk481F",markDefs:[],children:[{text:cY,_key:"7246db0caa56",_type:a,marks:[g]},{_type:a,marks:[],text:n,_key:"772561db7070"},{_key:"9e09b3778876",_type:a,marks:[f],text:"Untitled (Faces)"},{_type:a,marks:[],text:", c. 1980. Acrylic on paper. 15 ¼ × 22 ¼ inches (38.74 × 56.52 cm) 25 ¼ × 19 ½ inches (64.14 × 49.53 cm) (framed). Courtesy of the Kiki Kogelnik Foundation. © 1980 Kogelnik Foundation. All rights reserved.",_key:"2e6e65c90628"}],_type:c,style:d}],_key:"vwqjfqwe",asset:{_ref:"image-ae790e652b6d983af47f2119893e22d2adafc429-3261x2480-jpg",_type:b}},{_type:e,caption:[{_type:c,style:d,_key:"M1f9KEES",markDefs:[],children:[{_type:a,marks:[g],text:cY,_key:"uhqCeJFB"},{_key:"38f6a4d45518",_type:a,marks:[],text:n},{_type:a,marks:[f],text:"Untitled (Still Life with Face)",_key:"0aaf6d859024"},{_type:a,marks:[],text:", c. 1987. Acrylic and glitter on paper. 30 × 22 3\u002F8 inches (76.20 × 56.83 cm) 33 × 25 3\u002F8 inches (83.82 × 64.45 cm) (framed). Courtesy of the Kiki Kogelnik Foundation. © 1987 Kogelnik Foundation. All rights reserved.",_key:"882e16a9c78c"}]}],_key:"OUIYcp5n",asset:{_ref:"image-a4068b6a8e7fdbccb63185a19e8762c9bcb28b4f-2480x3261-jpg",_type:b},work:j},{asset:{_ref:"image-baa9a8c6749f32dc2e7bbd13c33511d626926f79-2480x3261-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:cY,_key:"rKo8uKNb"},{marks:[],text:n,_key:"c806b07d99b5",_type:a},{_type:a,marks:[f],text:a_G,_key:"cb827de6c057"},{_type:a,marks:[],text:", c. 1974. Acrylic on paper. 23 7\u002F8 × 17 7\u002F8 inches (60.64 × 45.40 cm) Framed: 26 7\u002F8 × 20 7\u002F8 inches (68.26 × 53.02 cm). Courtesy of the Kiki Kogelnik Foundation. © 1974 Kogelnik Foundation. All rights reserved.",_key:"b7884f695bdb"}],_type:c,style:d,_key:"vNT6lXkQ"}],_key:"e6NcIP9g"},{caption:[{children:[{_key:"7IkaH0yG",_type:a,marks:[g],text:cY},{marks:[],text:n,_key:"f3522c9992c6",_type:a},{_type:a,marks:[f],text:"Untitled (Face with Glasses)",_key:"bd9dfadeea7d"},{_type:a,marks:[],text:", 1987. Glazed ceramic. 11 × 6 1\u002F2 × 2 inches (27.94 × 16.51 × 5.08 cm). Courtesy of the Kiki Kogelnik Foundation. © 1987 Kogelnik Foundation. All rights reserved.",_key:"d2cc4dae3051"}],_type:c,style:d,_key:"2Yxq08Ve",markDefs:[]}],_key:"5Y0UrpWk",asset:{_ref:"image-853981a5833492058a7c85c5856aa3b50309a159-2480x3301-jpg",_type:b},work:j,_type:e}],numbered:t}],open_date:"2018-03-04",opening:"Opening Sunday, March 4, from 5-7pm",_rev:"AtbYSataZMsrrzIRLvbq5s",_type:J,slug:{_type:p,current:"kiki-kogelnik-fragments-and-masks"},title:gV,thumbnail:{asset:{assetId:a_I,path:"images\u002Fub94fyvm\u002Fproduction\u002Facf14ca18f122bb49699a0dec1598a0857074fae-1280x869.jpg",_updatedAt:a_J,uploadId:"btaxO7hf2NfGJp0f7GTvlevimilWQ5AJ",originalFilename:"KiKi-punk-announcement-image.jpg",_id:a_F,_rev:"RH6Eo7wIdNpmUYgsCS8GN7",_type:B,_createdAt:a_J,size:179348,url:"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fub94fyvm\u002Fproduction\u002Facf14ca18f122bb49699a0dec1598a0857074fae-1280x869.jpg",extension:F,sha1hash:a_I,metadata:{dimensions:{_type:E,width:1280,aspectRatio:1.472957422324511,height:869},isOpaque:j,_type:C,palette:{darkMuted:{population:a_K,background:a_w,_type:l,foreground:i,title:i},muted:{_type:l,foreground:i,title:i,population:3.27,background:"#7c7c7c"},lightVibrant:{population:u,background:Sd,_type:l,foreground:o,title:i},darkVibrant:{foreground:i,title:i,population:u,background:a_u,_type:l},lightMuted:{background:Sd,_type:l,foreground:o,title:i,population:anw},vibrant:{population:u,background:a_v,_type:l,foreground:i,title:i},dominant:{population:anw,background:Sd,_type:l,foreground:o,title:i},_type:D},hasAlpha:t,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAOABQDASIAAhEBAxEB\u002F8QAFwAAAwEAAAAAAAAAAAAAAAAAAAQFBv\u002FEACMQAAICAQMEAwEAAAAAAAAAAAECAwQABSFRBhETYRIUMTL\u002FxAAUAQEAAAAAAAAAAAAAAAAAAAAA\u002F8QAFBEBAAAAAAAAAAAAAAAAAAAAAP\u002FaAAwDAQACEQMRAD8A31+SXeMTj7GxJA\u002FQeMlaLPZuSuxmZPHIVZJBuCPeIJ1HS1exHYapPFMQACsmw42yrbSvB5DYSRxGVfujfEk++cBu\u002FqaGySFkHPZtsMwnUPXVcah2jouAEA\u002Foe8MD\u002F9k="},mimeType:G},caption:[{_type:c,style:d,_key:"8RsZXVQG",markDefs:[],children:[{_type:a,marks:[],text:a_E,_key:"UiuYwHuL"}]}]},close_date:"2018-04-08",_id:"6276eb9a-52fa-4fa1-b8ad-95bd5e443d92",bg_color:"#159b22"},{description:a_L,_createdAt:cM,bg_color:"#c9ff00",opening:"Opening Friday, January 12, from 6-8pm",_id:br,title:er,slug:{current:"anna-k-e-crossing-gibraltar-at-midday",_type:p},_type:J,open_date:"2018-01-12",content:[{label:X,_key:"A9ZGZ0BY",type:[r],image:{asset:{_ref:"image-13fac25cbc5b3edb6ac49d28a45fec0c3f595121-5913x3942-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{_key:"FpW7W3OU",_type:a,marks:[],text:h},{_type:a,marks:[f],text:er,_key:"178f731dcbd8"},{_key:"8fc5aa8c3811",_type:a,marks:[],text:ad}],_type:c,style:d,_key:"nfZEzF7k"}]},_type:K},{label:Z,text:[{_type:c,style:d,_key:"8a59d976caa5",markDefs:[],children:[{text:a_L,_key:"8a59d976caa50",_type:a,marks:[]}]},{_key:"a89f1c4408a9",markDefs:[],children:[{_type:a,marks:[],text:"Hung on the walls are several new pieces from the series Intangible Economies of Desire, which K.E. began in 2016. Each work contains an isolated and decontextualized image of a hand, or elbow, or foot—points of bodily conjunction—formed in a 3D animation program, and rendered at ultra-high resolution. The results are unsettlingly familiar, and have also been subtly augmented by K.E., as she inserts and blends drawn elements into the composition. The otherworldly quality of the representations is enhanced by the depiction of a beam of light shooting out of the body part, which only intensifies the cyborg associations. K.E. has situated the images within a sculpture-frame — a construction partially made of wood that also incorporates a transparent jalousie. The translucent barrier emphasizes porousness and luminosity, especially because of the embedded LED strips that create a dissociative glow. In these works, the body has become a detached technology, perfectly functional yet fetishized. Subjectivity, in this instance, rapidly approaches the inhuman.",_key:"a89f1c4408a90"}],_type:c,style:d},{markDefs:[],children:[{text:"Interspersed throughout the space are several formidable but elegantly restrained sculptures that play with the shape of three dimensional coordinate systems. The objects are oddly anthropomorphic, while also invoking thoughts of abstracted street lamps. Each piece confronts the viewer corporeally, and the intimacy of the encounter is furthered by the works’ alluring audio component: K.E. whispering Dada-like mantras that came to her from past engagements with the built environment. These delightfully absurd expressions have also found form in small engraved wall pieces that function as visual punctuations and transitions between the sculptures and the large wall pieces. K.E. has filled the impressed letters with a thin layer of marzipan, a sweet buffer loaded with sensual associations that alter how the words are seen. Hidden from these works, in a specially built corridor, is a video from 2012 entitled God Created the World and I did the Rest. In many ways, the video sets the mood for the show. It focuses on K.E. and her body, in her studio and amongst her art. The piece is mordant, even, to a degree, abject. It touches upon issues regarding the representation of the body, one’s subjectivity, and the looming responsibility of the creative act. The energy of the work is strange, but it is nonetheless weirdly appropriate for the current moment.",_key:"f8d3758609970",_type:a,marks:[]}],_type:c,style:d,_key:"f8d375860997"},{markDefs:[],children:[{_type:a,marks:[],text:"We would like to thank Tafco for their generous support.",_key:"33d17a10fc600"}],_type:c,style:d,_key:"33d17a10fc60"}],_key:"EZzpQFkl",_type:w},{install:[{_key:"gsMPGFYX",asset:{_ref:"image-5b5ef5064b9ac118f61aed928c8821623bae4bdb-2800x1867-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[],text:h,_key:"17d8bd020c28"},{marks:[f],text:er,_key:"0fce39cdddb5",_type:a},{marks:[],text:ad,_key:"facc6c83511d",_type:a}],_type:c,style:d,_key:"lPzpUPOX"}]},{asset:{_type:b,_ref:"image-85e7fd359fca2ec234a4c28363743a877763ca6e-1867x2800-jpg"},_type:e,caption:[{style:d,_key:"SRcG5ard",markDefs:[],children:[{_key:"74dffc130c00",_type:a,marks:[],text:h},{_type:a,marks:[f],text:er,_key:"aa61b0fc1798"},{_key:"4932a23ee257",_type:a,marks:[],text:ad}],_type:c}],_key:"VbyVxdQD"},{_type:e,caption:[{_type:c,style:d,_key:"8JJre8yV",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"49bbcc374067"},{_type:a,marks:[f],text:er,_key:"ccbfc93b1c46"},{text:ad,_key:"718ad613732a",_type:a,marks:[]}]}],_key:"SRPQEb9e",asset:{_ref:"image-4c6ebcabb2122300311ae32d4f88423a16449c29-2800x1867-jpg",_type:b}},{_key:"i5IINtn3",asset:{_type:b,_ref:hv},_type:e,caption:[{_type:c,style:d,_key:"EDfL5x4w",markDefs:[],children:[{text:h,_key:"a9492f3a631e",_type:a,marks:[]},{_type:a,marks:[f],text:er,_key:"52809982cbf0"},{text:ad,_key:"90289652cb60",_type:a,marks:[]}]}]},{asset:{_type:b,_ref:"image-d911a79ab1bdba74b9e40df9ecbf36ead6660292-2800x1867-jpg"},_type:e,caption:[{_type:c,style:d,_key:"a0ilqxRt",markDefs:[],children:[{text:h,_key:"b61e6a88744f",_type:a,marks:[]},{text:er,_key:"5a46b1c59e1e",_type:a,marks:[f]},{marks:[],text:ad,_key:"41cdba43f80f",_type:a}]}],_key:"PLwWVTj9"},{_type:e,caption:[{_type:c,style:d,_key:"ngXkBhdC",markDefs:[],children:[{_key:"42ea22feef5f",_type:a,marks:[],text:h},{marks:[f],text:er,_key:"6b5b6ce4b522",_type:a},{_key:"5106dd10a6e2",_type:a,marks:[],text:ad}]}],_key:"eljI7q0d",asset:{_ref:"image-58ed3924457dbfd7e73736b8df0ce6d7dc6ab064-2800x1867-jpg",_type:b}},{_type:e,caption:[{markDefs:[],children:[{marks:[],text:h,_key:"187969ad8bda",_type:a},{_key:"7c2b7d064136",_type:a,marks:[f],text:er},{_type:a,marks:[],text:ad,_key:"a39111320156"}],_type:c,style:d,_key:"5mV3Vpza"}],_key:"PfkW7spG",asset:{_type:b,_ref:hs}},{_key:"7DvcJZu8",asset:{_ref:"image-3c7d34d79aa2fb5bc39f7769cdf9abfe987b8b98-2800x1867-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{_key:"56363d50de98",_type:a,marks:[],text:h},{_type:a,marks:[f],text:er,_key:"ae4df5726a26"},{_type:a,marks:[],text:ad,_key:"3f9924d82821"}],_type:c,style:d,_key:"RDWMJIOA"}]},{caption:[{_key:"wuVcawJB",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"994405bf8f6b"},{_key:"04c712d8a8ef",_type:a,marks:[f],text:er},{text:ad,_key:"a078f608a8d2",_type:a,marks:[]}],_type:c,style:d}],_key:"MP0KEb7f",asset:{_type:b,_ref:"image-3f19045baddd2a23a4668748439d80fd537f2caa-2800x1867-jpg"},_type:e},{asset:{_type:b,_ref:"image-1618099287c7ac4dfa7a9fd84137864527d2ef92-1867x2800-jpg"},_type:e,caption:[{children:[{_key:"9c59fc529fdb",_type:a,marks:[],text:h},{_key:"ee81c232e8ec",_type:a,marks:[f],text:er},{text:ad,_key:"b995c9acc6f7",_type:a,marks:[]}],_type:c,style:d,_key:"XIgRnB0x",markDefs:[]}],_key:"emuMmkK9"},{_key:"8RyAmI7Z",asset:{_ref:"image-03c836140ebe0de4777df0bfad0eaa9783fae0f8-1867x2800-jpg",_type:b},_type:e,caption:[{style:d,_key:"Kcp3k2nm",markDefs:[],children:[{marks:[],text:h,_key:"c4a253b1de69",_type:a},{marks:[f],text:er,_key:"5768c4cca833",_type:a},{marks:[],text:ad,_key:"28261e62ae64",_type:a}],_type:c}]},{asset:{_ref:hw,_type:b},_type:e,caption:[{_type:c,style:d,_key:"DsDbThng",markDefs:[],children:[{marks:[g],text:y,_key:"865ffe714b6b",_type:a},{text:a_M,_key:"57ddef459f3c",_type:a,marks:[f]},{marks:[],text:", 2018 (detail). 3D rendering, inkjet photo print, color pencil drawing, LED light, aluminum jalousie, glass, plexiglas, rubber, wood frame. 24 × 43 1\u002F2 × 4 1\u002F2 inches (60.96 × 110.49 × 11.43 cm).",_key:"d4f5e0ea84a7",_type:a}]}],_key:"ghxQU5VZ"}],work:[{_key:"SpZAvmYR",asset:{_type:b,_ref:"image-6260bf1f0c8abe4683d0995d9348bf77064f1d23-2800x1867-jpg"},work:j,_type:e,caption:[{_type:c,style:d,_key:"MlK0ytR7",markDefs:[],children:[{text:y,_key:"6Gzt7rwr",_type:a,marks:[g]},{text:n,_key:"42ddc1d513bf",_type:a,marks:[]},{marks:[f],text:"The Highest Peak",_key:"e928c1d10b26",_type:a},{_key:"afe436ca7052",_type:a,marks:[],text:", 2018. CNC routed anodized aluminum and spackled layer of marzipan. 4 × 10 1\u002F2 × 1\u002F4 inches (10.16 cm × 26.67 cm × 6.35 mm)."}]}]},{work:j,_type:e,caption:[{_type:c,style:d,_key:"sVDwdPkg",markDefs:[],children:[{_type:a,marks:[g],text:y,_key:"hJ70Q3lw"},{_type:a,marks:[],text:n,_key:"a41237d37560"},{_type:a,marks:[f],text:"Intangible Economies of Desires (Hand #2)",_key:"bc77e0bf5296"},{text:", 2016. 3D rendering, inkjet photo print, color pencil drawing, LED light, aluminum jalousie, glass, rubber, wood frame. 59 × 51 1\u002F8 × 4 inches (149.86 × 129.86 × 10.16 cm)",_key:"84e18111b60f",_type:a,marks:[]}]}],_key:"bnFjw9uW",asset:{_type:b,_ref:"image-313a49fbcd8ad5e30547c3f8ed7d80dacfa7fdab-750x998-jpg"}},{_key:"q6CbEdWd",asset:{_type:b,_ref:"image-ae6d846ec1ce8261a337c78b5f978c03df893677-1868x2800-jpg"},work:j,_type:e,caption:[{_type:c,style:d,_key:"b4NvA9q1",markDefs:[],children:[{text:y,_key:"3iOnWGid",_type:a,marks:[g]},{marks:[],text:n,_key:"267124b8e0d5",_type:a},{_type:a,marks:[f],text:a_N,_key:"22326266ea9d"},{_key:"3a993ac07eca",_type:a,marks:[],text:", 2018. 3D rendering, inkjet photo print, color pencil drawing, LED light, aluminum jalousie, glass, plexiglas, rubber, wood frame. 48 × 41 3\u002F4 × 4 1\u002F2 inches (121.92 × 106.05 × 11.43 cm)."}]}]},{caption:[{style:d,_key:"QdHEN7If",markDefs:[],children:[{_key:"8871aeb9ef6b",_type:a,marks:[g],text:y},{marks:[],text:n,_key:"139861b0c3c1",_type:a},{_type:a,marks:[f],text:a_N,_key:"c9cd3b9a01dd"},{_key:"05d5905cca71",_type:a,marks:[],text:", 2018 (side view). 3D rendering, inkjet photo print, color pencil drawing, LED light, aluminum jalousie, glass, plexiglas, rubber, wood frame. 48 × 41 3\u002F4 × 4 1\u002F2 inches (121.92 × 106.05 × 11.43 cm)."}],_type:c}],_key:"fJkUeVSk",asset:{_type:b,_ref:"image-f88786c30332d962f2a6b71c2cf6b9a2ea3f7537-1867x2800-jpg"},work:j,_type:e},{caption:[{_type:c,style:d,_key:"EK3CzUKW",markDefs:[],children:[{_type:a,marks:[g],text:y,_key:"1ee95f369921"},{text:a_M,_key:"21991d2fa740",_type:a,marks:[f]},{marks:[],text:", 2018. 3D rendering, inkjet photo print, color pencil drawing, LED light, aluminum jalousie, glass, plexiglas, rubber, wood frame. 24 × 43 1\u002F2 × 4 1\u002F2 inches (60.96 × 110.49 × 11.43 cm).",_key:"4d597103dcea",_type:a}]}],_key:"2yIoT2Ie",asset:{_ref:"image-7c82998ca7ab5ec861994a1473db8660a1364849-2800x1866-jpg",_type:b},work:j,_type:e},{caption:[{_type:c,style:d,_key:"OZu11Odz",markDefs:[],children:[{_key:"eSHhddhd",_type:a,marks:[g],text:y},{_type:a,marks:[],text:n,_key:"1fdb678038f2"},{text:"Odorless Fictions",_key:"3bfa3ce8598d",_type:a,marks:[f]},{_type:a,marks:[],text:", 2018. CNC routed anodized aluminum and spackled layer of marzipan. 6 1\u002F2 × 3 1\u002F2 × 1\u002F4 inches (16.51 cm × 8.89 cm × 6.35 mm).",_key:"3c2ed20e611b"}]}],_key:"BiXNpcg9",asset:{_ref:"image-44b2c6a034b44b6104cc3209320767afc070e0d5-1867x2800-jpg",_type:b},work:j,_type:e},{_key:"HrkQ57yT",asset:{_ref:"image-fd1ac049117657e2ab96738d9a21dbac5354ede2-1867x2800-jpg",_type:b},work:j,_type:e,caption:[{_key:"u6yRqK8O",markDefs:[],children:[{text:y,_key:"qbma9yMe",_type:a,marks:[g]},{text:n,_key:"b02ca1da7eee",_type:a,marks:[]},{marks:[f],text:a_O,_key:"d6492cf40890",_type:a},{_type:a,marks:[],text:", 2018. 3D rendering, inkjet photo print, color pencil drawing, LED light, aluminum jalousie, glass, plexiglas, rubber, wood frame. 69 5\u002F8 × 60 1\u002F4 × 4 1\u002F2 inches (176.85 × 153.04 × 11.43 cm).",_key:"99be97e9cadc"}],_type:c,style:d}]},{asset:{_ref:"image-30a0b81f96fd08aed99f980c76f7b1216c5ad93e-1867x2800-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{text:y,_key:"aa7cbf868446",_type:a,marks:[g]},{_key:"fc014d5f1bcb",_type:a,marks:[],text:n},{_type:a,marks:[f],text:a_O,_key:"038c565526e8"},{_key:"54e8489ac0de",_type:a,marks:[],text:", 2018 (side view). 3D rendering, inkjet photo print, color pencil drawing, LED light, aluminum jalousie, glass, plexiglas, rubber, wood frame. 69 5\u002F8 × 60 1\u002F4 × 4 1\u002F2 inches (176.85 × 153.04 × 11.43 cm)."}],_type:c,style:d,_key:"Y939em9O"}],_key:"7qjPdemq"},{_key:"JBT2z9rG",asset:{_type:b,_ref:"image-f64e396e2a1fb44c024702a2e25ce605bc8d5110-1867x2800-jpg"},work:j,_type:e,caption:[{_type:c,style:d,_key:"hke1MeFh",markDefs:[],children:[{_type:a,marks:[g],text:y,_key:"YDLM21GN"},{_type:a,marks:[],text:n,_key:"6c54301a4b99"},{text:"Eye-less Warriors",_key:"99ee55120cd5",_type:a,marks:[f]},{_type:a,marks:[],text:", 2018. CNC routed anodized aluminum and spackled layer of marzipan. 8 × 5 1\u002F2 × 1\u002F2 inches (20.32 × 13.97 × 1.27 cm).",_key:"886c9580819f"}]}]},{work:j,_type:e,caption:[{_type:c,style:d,_key:"Lxxwp3Ai",markDefs:[],children:[{_type:a,marks:[g],text:y,_key:"EOcGXdja"},{_type:a,marks:[],text:n,_key:"2030d8c72a66"},{_type:a,marks:[f],text:"Intangible Economies of Desires (Elbow #2)",_key:"e801afb7858d"},{_key:"5098906b6c60",_type:a,marks:[],text:", 2018. 3D rendering, inkjet photo print, color pencil drawing, LED light, aluminum jalousie, glass, plexiglas, rubber, wood frame. 34 5\u002F8 × 54 3\u002F4 × 4 inches (87.95 × 139.07 × 10.16 cm)."}]}],_key:"WlgtnA12",asset:{_ref:"image-497d0035393c92042e2d689f1d84924f26a1ced1-2800x1867-jpg",_type:b}},{caption:[{_key:"DsMI9uCL",markDefs:[],children:[{text:y,_key:"dOoPfsvj",_type:a,marks:[g]},{_type:a,marks:[],text:n,_key:"616e3224d9d2"},{marks:[f],text:a_P,_key:"54ac116db894",_type:a},{_type:a,marks:[],text:", 2018. CNC routed anodized aluminum and spackled layer of marzipan. 7 × 4 × 1 inches (17.78 × 10.16 × 2.54 cm).",_key:"4bb1cf18a0e2"}],_type:c,style:d}],_key:"mnfgyF0A",asset:{_ref:"image-54e4aad115898e4ab0c2a275168678fab1e594d5-1867x2497-jpg",_type:b},work:j,_type:e},{work:j,_type:e,caption:[{_key:"NXg8Pbjk",markDefs:[],children:[{_type:a,marks:[g],text:y,_key:"d8edebfbeb2e"},{text:n,_key:"bbe210287cc6",_type:a,marks:[]},{_key:"33c7c4e01795",_type:a,marks:[f],text:a_P},{marks:[],text:", 2018 (side view). 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Much of the work on view begins with Wine’s father, a trained hypnotherapist who has in recent years worked as a debt collector and a car auctioneer. During this period, he made stacked arrangements of dried citrus fruits that look like petrified megaliths in miniature. They are oddly compelling objects that often take years to create because of how long it takes for the whole fruit—skin and all—to dry. Wine’s father does not consider them art, but it is hard, Wine believes, not to see them otherwise. At the least, they are artistic, but most importantly is the commitment and faith Wine’s father places in the pieces. He invests tremendous creative energy without the demand for reward or even praise from viewers. 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Instead, there is a sense that Wine has found how the shapes and gestures of the past resonate today, how the objects of Henry Moore, for instance, made in the anxious filled years of interwar Britain mirror the uncertainty and despair felt by many presently. Other historical allusions abound but they are less easy to suss out. They arise in a kind of trembling one feels in the vibrations from the past, and become more present the longer one spends with Wine’s work.",_key:"73d07a7dba572"}]},{_type:c,style:d,_key:"4c34c076377b",markDefs:[],children:[{_type:a,marks:[],text:"The movement in time created in Wine’s sculpture also align with his reflections on not only his own peripatetic life but also a more general sense of rootlessness and wandering. Some of this is quite positive and inspiring, as when one is in an unfamiliar locale and become hypersensitive to nuances and differences. 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Select group exhibitions include Lynda Benglis, Erika Verzutti, Jesse Wine, Fortes D’Aloia & Gabriel, Rio de Janeiro (2017); Regarding George Ohr: Contemporary Ceramics in the Spirit of the Potter, Boca Raton Museum of Art, Florida (2017); Battersea Power Station and CASS Sculpture Foundation – Powerhouse Commission, London (2017); That Continuous Thing: Artists and the Ceramics Studio, 1920 – Today, TATE St Ives, Cornwall (2017); Jesse Wine | Peter Voulkos, Parrasch Heijnen, Los Angeles (2017); Sludgy Portrait of Himself, Museum of Cambridge, Cambridge (2017); Looking North, Walker Art Gallery, Liverpool (2017); Paul Heyer, Jeanette Mundt, Jesse Wine, Andrea Rosen Gallery, New York, (2016); Luster – Clay in Sculpture Today, Fundament Foundation, Tilburg, The Netherlands (2016).",_key:"8d917b5e7a55",_type:a,marks:[]}],_type:c,style:d,_key:"5896b995517e",markDefs:[]}]}],slug:{_type:p,current:"jesse-wine-prosper-phantom-limb"},opening:"Opening Sunday, November 12, from 6-8pm",_updatedAt:"2023-03-16T14:15:26Z",_createdAt:cM,bg_color:"#68deff",thumbnail:{caption:[{_key:"EJm9OTzL",markDefs:[],children:[{_type:a,marks:[],text:q,_key:"qCWUMsGa"}],_type:c,style:d}],asset:{_createdAt:ahC,uploadId:"q99TCMBpIbNc3eTdlUiYgzaCcObwcXtV",extension:F,size:373126,_id:aOu,assetId:a_X,_rev:"7tk5lkST4yXptt1hH7neoH",sha1hash:a_X,originalFilename:"JW-Looking-at-my-own-eyes-2.jpg",metadata:{palette:{_type:D,darkMuted:{foreground:i,title:i,population:aOv,background:a_Y,_type:l},muted:{foreground:i,title:i,population:u,background:"#9c8474",_type:l},lightVibrant:{background:"#fcfcec",_type:l,foreground:o,title:o,population:hc},darkVibrant:{background:"#2c1c0c",_type:l,foreground:i,title:i,population:u},lightMuted:{foreground:o,title:i,population:a_Z,background:"#d0bcac",_type:l},vibrant:{_type:l,foreground:i,title:i,population:u,background:"#c87f36"},dominant:{background:a_Y,_type:l,foreground:i,title:i,population:aOv}},hasAlpha:t,lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAANABQDASIAAhEBAxEB\u002F8QAGQAAAgMBAAAAAAAAAAAAAAAAAAMFBgcI\u002F8QAIxAAAgEEAQMFAAAAAAAAAAAAAQIDAAQFEQYHEjETQVFx4f\u002FEABYBAQEBAAAAAAAAAAAAAAAAAAABAv\u002FEABQRAQAAAAAAAAAAAAAAAAAAAAD\u002F2gAMAwEAAhEDEQA\u002FAOjc5kVxsSM7BQWALN4Ap2PnM9pby9yt6o2CPGqp\u002FVHisnK40tJMpPaW66bsiX3+91F4zil5j7K3toc9dmOFe1dr+1lWphT8UUnELJHjYEmlM0iqAXI0WooP\u002F9k=",dimensions:{_type:E,width:aOk,aspectRatio:fo,height:a__},isOpaque:j,_type:C},_type:B,url:"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fub94fyvm\u002Fproduction\u002Fea0a63503765529351c468afe12b02d2b3a165a3-1200x800.jpg",mimeType:G,_updatedAt:ahC,path:"images\u002Fub94fyvm\u002Fproduction\u002Fea0a63503765529351c468afe12b02d2b3a165a3-1200x800.jpg"}},_id:"dfbb2eba-3f4a-4b8a-aee1-5963863f8731",_rev:"JgR0ee6Ny6MczFhzKbSEtm",artists:[{title:aZL,sortName:aOh,_type:v,_key:"f1df0f109e56"}],description:"Prosper, Phantom Limb presents intimate, self-contained ceramic sculptures that offer a meditation on the nature of the creative act and the ways both physical and metaphorical displacements compress historical time.",close_date:"2017-12-17",title:cw,open_date:"2017-11-12"},{artists:[{slug:{_type:p,current:a_$},sortName:"Mae Smith",_type:v,_key:"UmsSUdmA",title:anm}],close_date:"2017-10-29",_rev:"MWmNCqYHykGVsUkC58klCe",content:[{type:[r],image:{caption:[{_key:"iDKSC4Ch",markDefs:[],children:[{text:"Emily Mae Smith, Bathers, 2017 (detail). Oil on linen. 51 × 67 inches (129.54 × 170.18 cm).",_key:"3d1edc0cb937",_type:a,marks:[]}],_type:c,style:d}],asset:{_type:b,_ref:"image-a559bd2917a8558912990cdf7ced496973fe1003-2982x1816-jpg"},_type:e},_type:K,label:X,_key:"bFFg8moR"},{_key:"7TfuWnQt",_type:w,label:Z,text:[{markDefs:[],children:[{_type:a,marks:[],text:"Simone Subal Gallery is very excited to announce the opening of Emily Mae Smith’s ",_key:"878f380d6afa0"},{_type:a,marks:[f],text:fp,_key:"878f380d6afa1"},{_type:a,marks:[],text:" on Sunday, September 10, 2017. This is Smith’s first solo show at the gallery. The exhibition runs until October 29, 2017. Please join us for an opening reception on September 10 from 6 – 8 pm.",_key:"878f380d6afa2"}],_type:c,style:d,_key:"878f380d6afa"},{children:[{_type:a,marks:[],text:a$a,_key:"c8687706ffee0"}],_type:c,style:d,_key:"c8687706ffee",markDefs:[]},{style:d,_key:"cc0869b8fc5d",markDefs:[],children:[{_key:"cc0869b8fc5d0",_type:a,marks:[],text:"Paintings such as "},{marks:[f],text:a$b,_key:"cc0869b8fc5d1",_type:a},{text:" playfully manipulate a bookplate from the fin-de-siècle journal The Studio into a gendered portal addressing the frame of painting itself. Another work ",_key:"cc0869b8fc5d2",_type:a,marks:[]},{_key:"cc0869b8fc5d3",_type:a,marks:[f],text:aOw},{_key:"cc0869b8fc5d4",_type:a,marks:[],text:" brings together imagery drawn from M.C. Escher, a popular video game, and medieval icon painting. A larger painting, "},{text:a$c,_key:"cc0869b8fc5d5",_type:a,marks:[f]},{_key:"cc0869b8fc5d6",_type:a,marks:[],text:", riffs on Jean-Auguste-Dominique Ingres’ famous work Oedipus and the Sphinx from 1808. Smith maintains many of Ingres’ distinctive elements. She has, however, made a crucial alteration: Oedipus has been replaced by Smith’s recurring “broom lady” character, a clear reference to the bewitched broom in the film Fantasia and also a vehicle for Smith to explore the anxiety surrounding the creative act as well as the formation of subjectivity."}],_type:c},{children:[{_key:"ce7384d0ec9f0",_type:a,marks:[],text:"A central aspect of Smith’s imagery is a re-working of art history’s exclusion of the inner lives of women. This critique is bound up in her own assessment of the present day—a moment in which misogyny is rampant yet deeply buried in our shared myths—and the ways in which works of art have traditionally represented women as either a muse or as a femme fatale. She is particularly interested in how identity is inscribed on a body, and her surreal, anthropomorphic figures become sites to construct complex narratives and internal dialogues. Nowhere is this more apparent than in her "},{marks:[f],text:a$d,_key:"ce7384d0ec9f1",_type:a},{_key:"ce7384d0ec9f2",_type:a,marks:[],text:", which transforms the Mobius strip-like vessel—it has no discernable inside or outsides and thus cannot contain anything—into a metaphor for the self and the constant mutability of subjectivity."}],_type:c,style:d,_key:"ce7384d0ec9f",markDefs:[]},{_key:"8e9a4a1c66a8",markDefs:[],children:[{_type:a,marks:[],text:"A subtle, dry humor lurks on the surface of the works on view. However, Smith does not look for cheap laughs. Instead, she uses humor to reveal a sense of pain and truth, a means to express inequities and disparities. 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Oil on linen. 38 × 30 inches (96.52 × 76.20 cm).",_key:"13e9a21a1a3a"}],_type:c,style:d}],_key:"4kMpYeMj",asset:{_ref:"image-3968dab4d28a8e6e2a7b34b98847a741494b7450-750x943-jpg",_type:b},work:j,_type:e},{_key:"NNrFNgun",asset:{_ref:"image-b693685d5068a5706caff2609ad1ad46908d9eea-750x606-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{marks:[g],text:gg,_key:"kQEcU1Ls",_type:a},{_type:a,marks:[f],text:aOw,_key:"816e91f24a32"},{marks:[],text:", 2017. Oil on linen. 47 × 58 inches (119.38 × 147.32 cm).",_key:"457f27f40e2a",_type:a}],_type:c,style:d,_key:"pNg0H8O0"}]}],numbered:t,_type:L,label:V,_key:"ShGs9xl5"},{boxed:j,_type:w,label:cE,text:[{style:d,_key:"53aed85096dc",markDefs:[],children:[{text:"Emily Mae Smith was born in 1979 in Austin Texas. She currently lives and works in Brooklyn, New York. Recent solo exhibitions include: Tesla Girls, Rodolphe Janssen, Brussels, Belgium (2016); Honest Espionage, Mary Mary. Glasgow, Scotland, UK (2016); Medusa, Laurel Gitlen. New York, NY (2015). Select group exhibitions include Scarlet Street, Lucien Terras. New York, NY (2016); Me, Myself, I, China Art Objects Galleries. Los Angeles, CA (2016); Surrreal, König Galerie (St. Agnes). Berlin, Germany (2016); Untitled Body Parts, Simone Subal Gallery. New York, NY (2016); Six Advertisements, Marlborough Chelsea. New York, NY (2015); Unrealism, organized by Jeffrey Deitch and Larry Gagosian, The Moore Building. Miami, FL (2015); Mrs. Benway, Fourteen30 Contemporary. Portland, OR (2015); I Dropped the Lemon Tart, Lisa Cooley. New York, NY (2015); Parallax Futured: Transtemporal Subjectivities, Skirball Museum. Cincinnati, OH (2014). 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For the past several years, Bismuth has explored the limits of both linguistic and visual systems of communications, and has become increasingly interested in the space between a referent and its depiction. In streams, this has meant a self-conscious reflection on hesitation—the moment of pause before one expresses oneself—considering how to give experience a form, especially a form recognizable as art.",content:[{_type:K,label:X,_key:"rznTuvph",type:[r],image:{asset:{_ref:aOy,_type:b},_type:e,caption:[{children:[{_type:a,marks:[g],text:bb,_key:"83f4e1db53b3"},{_type:a,marks:[],text:gE,_key:"2d25a20b5e1a"},{_type:a,marks:[f],text:aOz,_key:"49a42d1b1e84"},{_type:a,marks:[],text:aOA,_key:"7ccfea6c4180"}],_type:c,style:d,_key:"rzfkU6NP",markDefs:[]}]}},{label:Z,text:[{_type:c,style:d,_key:"0f06637066d8",markDefs:[],children:[{marks:[],text:"It’s with great pleasure that Simone Subal Gallery announces the opening of Julien Bismuth’s ",_key:"0f06637066d80",_type:a},{_type:a,marks:[f],text:bL,_key:"0f06637066d81"},{_key:"0f06637066d82",_type:a,marks:[],text:" on Saturday, April 29, 2017. This is Bismuth’s third solo show at the gallery. The exhibition runs until June 11, 2017. Please join us for an opening reception on April 29 from 6 – 8 pm."}]},{markDefs:[],children:[{_type:a,marks:[],text:"Julien Bismuth’s latest exhibition revolves around the unsolvable problem of how to fully represent an experience. For the past several years, Bismuth has explored the limits of both linguistic and visual systems of communications, and has become increasingly interested in the space between a referent and its depiction. In ",_key:"c70581a936e10"},{_type:a,marks:[f],text:bL,_key:"c70581a936e11"},{_type:a,marks:[],text:", this has meant a self-conscious reflection on hesitation—the moment of pause before one expresses oneself—considering how to give experience a form, especially a form recognizable as art.",_key:"c70581a936e12"}],_type:c,style:d,_key:"c70581a936e1"},{children:[{marks:[],text:"Last year, Bismuth, along with the anthropologist Marco Antonio Gonçalves, spent twelve days with the Pirahã, an indigenous people from the Brazilian Amazon. Bismuth first read about the Pirahã and met with Gonçalves in 2012. This initial visit marks the concrete start of an ongoing project on the Pirahã that he is developing in close dialogue with the anthropologist. Both intend to return to the Pirahã this summer for a longer stay. Pirahã has no system of writing; their culture has no tradition of image making. Pirahã is also a tonal language, and it can be hummed and whistled. This project reflects Bismuth’s interest in how language shapes and reflects one’s understanding of the world, as well as in the subtle and complex nature of the dialogue between anthropologists and indigenous groups.",_key:"b00a63f2098e0",_type:a}],_type:c,style:d,_key:"b00a63f2098e",markDefs:[]},{children:[{_key:"1e1a16ac0aec0",_type:a,marks:[],text:"The works on view are Bismuth’s attempt to articulate the gap between different representational systems, as well as between different cultural contexts. They are also meditations on all that is lost or misunderstood when communicating. "},{_key:"1e1a16ac0aec1",_type:a,marks:[f],text:"bank shot"},{text:" is a clip of unedited video footage that presents two views of Bismuth’s camera floating down the Maici River, first filming with sound the opposite bank from where the Pirahã live, then cutting the sound when the camera flips around to record the Pirahã living on the opposite bank. The video’s dissociation of image and sound creates a distanciation between Bismuth and what is around him, akin to the disconnect between observer and observer, as well as between an experience and its translation into a written or visual form.",_key:"1e1a16ac0aec2",_type:a,marks:[]}],_type:c,style:d,_key:"1e1a16ac0aec",markDefs:[]},{_type:c,style:d,_key:"02ba659ba02f",markDefs:[],children:[{_type:a,marks:[],text:"The series of digital photographs are another attempt to express the fundamental struggle to communicate. Each image contains a steganographic message—a hidden, coded writing—encrypted in the data of the image. The encryption alters the file’s data and changes the colors of the individual pixels of the image. In each picture, the same file transmits two things simultaneously: the hidden text, which is revealed in the title of the work, and the altered colors of the image. At every instant, the works in the show manifest doubt in the efficacy of representational systems; they hesitate and stutter visually. One could even say that they communicate by means of such stuttering. But they also acknowledge representation’s ubiquity, its centrality for expressing thought and experiences. 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Cast iron drainage pipe, wye fitting. 107 × 8 ½ × 3 inches (271.78 × 21.59 × 7.62 cm).",_key:"cd5ff48adf92",_type:a,marks:[]}],_type:c}]},description:"Sam Ekwurtzel’s exhibition refers to an 8 minute period occurring on the morning of March 30, 2016. 10:35 am – 10:42 am to be exact. This is the period for which Ekwurtzel was able to acquire a small group of building materials manufactured by United States Gypsum Corporation and National Gypsum Company, Charlotte Pipe Foundry and Tyler Pipe Foundry. The materials were not generated specifically for the exhibition; rather they were synchronously pulled from the four independent production lines or purchased from distributors.",_updatedAt:"2021-05-19T17:01:45Z",content:[{image:{_type:e,caption:[{_key:"66zQdL62",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"RfHVZlXV"},{_type:a,marks:[f],text:iy,_key:"711a7340031d"},{marks:[],text:Y,_key:"c69dd138c793",_type:a}],_type:c,style:d}],asset:{_type:b,_ref:"image-e0da61f8d15f0568e884907069731244811d98f6-3256x2605-jpg"}},_type:K,label:X,_key:"Bn3GvzTy",type:[r]},{text:[{style:d,_key:"979790fa74e8",markDefs:[],children:[{text:"Sam Ekwurtzel’s exhibition refers to an 8 minute period occurring on the morning of March 30, 2016. 10:35 am – 10:42 am to be exact. This is the period for which Ekwurtzel was able to acquire a small group of building materials manufactured by United States Gypsum Corporation and National Gypsum Company, Charlotte Pipe Foundry and Tyler Pipe Foundry. The materials were not generated specifically for the exhibition; rather they were synchronously pulled from the four independent production lines or purchased from distributors. There is a melancholic sentiment looming over the show as it explores three aspects of time: systematized time demarcated by the logic of industrial production; the incomprehensibility of geologic deep time; and the feeling of biological time, the changes that occur to one’s body as it ages.",_key:"979790fa74e80",_type:a,marks:[]}],_type:c},{markDefs:[],children:[{_type:a,marks:[],text:"These materials can be found in every building in New York City, hidden and enmeshed beneath and within a building’s surfaces and utilities. Cast iron drainage pipe is used to quietly convey wastewater from innumerable tributaries toward sewer mains. Cement board is used as a planar substrate for tile in moisture prone areas such as washrooms and showers. Although different companies produce cement board and cast iron pipe, the final products are essentially the same because they must satisfy common building code regulations and third party testing requirements. To facilitate quality control, each company time stamps each manufactured piece with its specific moment of creation. Ekwurtzel has synchronized, in the pieces on view, cement board and pipes made at the same time but by competing manufacturers; twins that meet for the first time and become inextricably linked once reclassified as art. The rarity of this meeting cannot be overstated, as well as the humor and absurdity of the gesture. 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In both large and small-scale works, there is a battle between imagery that is planned and those that are unconscious: images that creep to the surface during the act of painting, creating a tension between the rational and the irrational.",open_date:aOU,_createdAt:cZ,_rev:"URjfm6wF5VMDpvBGn2btga",title:fs,content:[{image:{asset:{_type:b,_ref:bfR},_type:e,caption:[{markDefs:[],children:[{_key:"9738e828429a",_type:a,marks:[g],text:bo},{text:n,_key:"c76a9e349ace",_type:a,marks:[]},{_type:a,marks:[f],text:aOT,_key:"9ca87648919e"},{text:", 2016 (detail)\u2028. oil on marine plywood\u2028. 48 x 32 inches (81.3 x 61 cm).",_key:"d626a96e95c2",_type:a,marks:[]}],_type:c,style:d,_key:"RKQGtWYi"}]},_type:K,label:X,_key:"G264JI0B",type:[r]},{text:[{markDefs:[],children:[{_type:a,marks:[],text:"Sonia Almeida’s recent paintings are in a constant state of pictorial oscillation. In both large and small-scale works, there is a battle between imagery that is planned and those that are unconscious: images that creep to the surface during the act of painting, creating a tension between the rational and the irrational. As with much of her work there is a strong engagement with the mechanics of communication, how, for instance, linguistic and visual sign systems imbricate one another. She takes as her starting point face-to-face interaction, which is also akin to how a viewer relates to a painting. In particular, Almeida is interested in how gestures predicate speech, just as other kinds of gestures define a painting. One is found in the face or in the body, the other in hand, the instance of a brush being dragged across the surface. These gestures code one’s response: the twirl of hair, the wave of a hand, smooth pulls of paint, or violent scratching in the canvas. Much of this is apparent in the triptych ",_key:"b557f3399a270"},{_key:"b557f3399a271",_type:a,marks:[f],text:fs},{text:" (2016), in which each panel at once obscures as well as bleeds into the other. The panel’s communicate with each other, and even suggest a kind of sound emanating from the largest one. Almeida likes how cupping one’s hand behind an ear is at once an attempt to better hear, as well as an exhortation to make more noise. The duality of meaning is at the core of the triptych: communication on the verge of breakdown, resuscitated through context and the continual effort of interpretation.",_key:"b557f3399a272",_type:a,marks:[]}],_type:c,style:d,_key:"b557f3399a27"},{markDefs:[],children:[{_type:a,marks:[],text:"The act of making and the structuring of a painting—what goes where, what takes precedent—is a self-reflexive motif that courses through all of the works. Almeida is not merely thinking about the indexicality of an artist’s touch, but more about cognitive and phenomenological concerns: the core relationship between thought and feeling. This is nowhere more evident then in ",_key:"806fc84d50760"},{_key:"806fc84d50761",_type:a,marks:[f],text:bfT},{_key:"806fc84d50762",_type:a,marks:[],text:" (2016), and how the outlines of two entangled and curious hands rest atop the floating outlines of a grid and the hazy backdrop of a pictorial ground. Almeida also engages the past, especially late gothic reliefs and the curious way they are fundamentally sculptures but also function like paintings. Almeida is struck about their emphasis on resolution and how things meant to be seen are carved in detail and placed in the foreground, while those deemed less important are rendered less precisely and pushed to the margins. In different ways this theme shows up in "},{_type:a,marks:[f],text:bfU,_key:"806fc84d50763"},{marks:[],text:" (2016), ",_key:"806fc84d50764",_type:a},{_type:a,marks:[f],text:bfV,_key:"806fc84d50765"},{marks:[],text:" (2016), and ",_key:"806fc84d50766",_type:a},{text:bfW,_key:"806fc84d50767",_type:a,marks:[f]},{text:" (2016). In all of the works there are multiple dialogues taking place, awaiting a viewer to come and take up the 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Most of the pieces play with a particular surface tension, as if the layers of paint, concrete or metal hold back a welling intensity of sensation. Each work complexly presents the inner lives of individuals and things; it is never one sentiment but rather many, all of equal value, all scratching to break through the visceral plane of the painting or sculpture. ",_key:"29222264bdc22"},{_type:a,marks:[g],text:"Gavin Kenyon’s",_key:"29222264bdc23"},{_key:"29222264bdc24",_type:a,marks:[],text:" sculptural and wall-based works are deeply physical gestures that balance moments of chance and control. They present a sense of containment: either in the way the quilted fabric on the wall has been solidified, or how the specific form of the sculptures envelops a particular object. In all of his pieces there is the palpable sense of torqued energy waiting to explode. 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She achieves her strangely evocative sentiments by both the bold juxtaposition of color and through a critique of such socially pervasive ideas as “cuteness” and “girliness.” Weaver’s elusive narratives is a quality found in the paintings of ",_key:"29222264bdc28",_type:a,marks:[]},{_type:a,marks:[g],text:bf$,_key:"29222264bdc29"},{marks:[],text:", whose compositions seem steeped in Modernist art history: de Chirico, Matisse, and others who depicted interior worlds both mental and physical. In Glantz’s paintings figuration collides with abstraction to form images and associations that hint at a hard to express alienation. ",_key:"29222264bdc210",_type:a},{_type:a,marks:[g],text:"Philip Hanson’s",_key:"29222264bdc211"},{_key:"29222264bdc212",_type:a,marks:[],text:" hallucinatory paintings generate similar other worldly vibes as Glantz’s. Often associated with the Chicago Imagists, Hanson unites the verbal and the visual in a tense harmony. In paintings that look like they were made by William Blake—assuming he came of age in psychedelic 1960s America—Hanson combines lines from poems with densely layered abstract forms. 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Charcoal on paper. 24 x 18 inches (61 x 45.7 cm).",_key:"f261d3582c91"}],_type:c}],_key:"SZX2s26x"},{caption:[{children:[{marks:[g],text:bga,_key:"kwdLhAPv",_type:a},{_key:"6edddf4da2ef",_type:a,marks:[],text:n},{_type:a,marks:[f],text:"Jewel",_key:"b8f29d23b59b"},{_type:a,marks:[],text:", 2011. Acrylic on found canvas. 20 x 16 inches (50.8 x 40.6 cm).",_key:"a73f6a4249b8"}],_type:c,style:d,_key:"YvtPBOQm",markDefs:[]}],_key:"klQFJYv6",asset:{_ref:"image-9306477802b1c7ec6a852fa550f2e23bfd5b53af-633x792-jpg",_type:b},work:j,_type:e},{asset:{_type:b,_ref:"image-5dc61350871c7b3a550fea93ff18ca6e344517ea-600x909-jpg"},work:j,_type:e,caption:[{children:[{marks:[g],text:"Gavin Kenyon. 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Each work complexly presents the inner lives of individuals and things; it is never one sentiment but rather many, all of equal value, all scratching to break through the visceral plane of the painting or sculpture.",_rev:"MmXcrzXQHAsfBqC4aZwF7t",_updatedAt:"2021-05-22T20:30:51Z",_createdAt:cZ,open_date:"2016-03-30",artists:[{sortName:"Bergman",_type:v,_key:"EZtqu0Ob",title:bf_,slug:{current:"margot-bergman",_type:p}},{_key:"6M7Ks7fE",title:bf$,slug:{_type:p,current:"anna-glantz"},sortName:"Glantz",_type:v},{_type:v,_key:"6XyGQqIg",title:"Philip Hanson",slug:{current:"philip-hanson",_type:p},sortName:"Hanson"},{_type:v,_key:"ZI20fctW",title:"Gavin Kenyon",slug:{current:"gavin-kenyon",_type:p},sortName:"Kenyon"},{slug:{current:"grace-weaver",_type:p},sortName:"Weaver",_type:v,_key:"6XW6H6ap",title:"Grace Weaver"}],close_date:"2016-04-24"},{content:[{image:{caption:[{_type:c,style:d,_key:"SA3c6ARF",markDefs:[],children:[{_type:a,marks:[],text:cy,_key:"fa9c23f40792"},{_type:a,marks:[f],text:Sl,_key:"b5221eb6aad9"},{_type:a,marks:[],text:bgg,_key:"5edd5171dd95"}]}],asset:{_ref:anJ,_type:b},_type:e},_type:K,label:X,_key:"kVutHzZu",type:[r]},{label:Z,text:[{children:[{_type:a,marks:[f],text:cz,_key:"b3c9efdba9d50"},{text:" brings together a body of new work that plays with the never resolved relationship between an original and its copy. 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Dancy’s nude female portraits depict irrepressible bodies that radiate an exuberant light; in mirrors and a pallette of bright fuschia and purple, they create spaces for their own realization. Almeida’s sleight-of-hand riffs on flatness and form; abstraction is organic, bawdy, ripe, whereas the more rational illustration of a balance beam borrows from the xerox, an image flattened by its reproduction. Paint possesses its own gravity, it is dead, alive, paused, actuated, and conjured, according a plane for its own material theater. And Kantarovsky’s portrait, in which the wry expression of his upended subject is the site for a punning pictography—paint’s pleasure touched with disgust."}],_type:c,style:d,_key:"a8ccf101b2b1",markDefs:[]},{_type:c,style:d,_key:"75925de284cb",markDefs:[],children:[{marks:[],text:"Challenging the history of industry and its relationship to the body is Emily Mae Smith’s reversal of Picabia’s sparkplug eroticism. 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The figure is central to this exhibition. In Bismuth’s absurdist videos, a spectrum of makeup is applied to an actress; and two clowns play with each other’s traditional maquillage. With each variation in appearance, the rules of representation are reset; the figure devolves into a system, which is continually improvised. Kowalski’s characters – bent into an ampersand, poised to be bisected by a clapperboard, or filled with ecstatic psychedelia and blood-and-guts – are similarly threatened by dreamlike distortions, hilariously beleaguered by instruments of language, film, or the ink and gouache with which they were made. Ramsey’s work, which often depicts anthropomorphic creatures, plays with logic and nonsense. Seemingly innocuous, sometimes ridiculous, her work belongs to the carnal. Her images, by turns erotic and cerebral, are supported and subverted by a playfulness of form.",_key:"019534232ac31"}]},{markDefs:[],children:[{_key:"83c081d5db880",_type:a,marks:[],text:"The figure fluctuates in "},{text:bR,_key:"83c081d5db881",_type:a,marks:[f]},{_type:a,marks:[],text:". It appears in all three artists’ work, like it has appeared and appeared again, as the subject of its epoch, an actor in its slapstick, the site of its politics, and ever malleable to the demands and wishes of its handler. History has registered doubt, humor, and uncertainty, pathos, politics, and tragedy through the figure – it never disappeared from sight. It is perhaps for this reason, however, that the figure belongs more to folklore than to history: in the moment when our pictures are most clear, we admit of the irresolvable mystery built into our dominant systems of representation. 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Selected group exhibitions and perfomances: Palais de Tokyo, Paris, France; Musée du Jeu de Paume, Paris, France; Kunsthalle Wien, Vienna, Austria; ICA Philadelphia; 12e Prix Fondation d’entreprise Ricard, Paris, France; Schirn Kunsthalle, Frankfurt, Germany; Villa Arson, Nice, France; Orange County Museum, Newport Beach, CA; MUSAC, Leon, Spain; Tate Modern London, England; and Museo Marino Marini, Florence, Italy.",_key:"2ab716fb2bcc",_type:a}]},{markDefs:[],children:[{text:q,_key:"46e3e3b2ff0b",_type:a,marks:[]}],_type:c,style:d,_key:"d90e9bc291d6"},{children:[{_type:a,marks:[g],text:"Tomasz Kowalski ",_key:"3eddac477f94"},{marks:[],text:"(b. 1984) lives and works in Warsaw, Poland. Selected solo exhibitions include: CAM, Contemporary Art Museum St. Louis, MO; Galeria Dawid Radziszewski, Warsaw, Poland; Carlier | Gebauer, Berlin; Tim van Laere Gallery, Antwerp, Belgium; Gabriele Senn Galerie, Wien, Austria; and Kuenstlerhaus Bethanien, Berlin. Selected group exhibitions include: Kunsthalle Bratislava, Slovakia; La Kunsthalle Mulhouse, Moulhouse, France; Museum of Modern Art Warsaw, Warsaw, Poland; Kunsthalle Wien, Vienna, Austria; De Appel, Amsterdam, Netherlands; MUMOK – Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria; Sammlung Olbricht, Germany; Raster, Warsaw, Poland; Ursula Blickle Foundation, Germany.",_key:"bec3cacad210",_type:a}],_type:c,style:d,_key:"8ef39b5491d8",markDefs:[]},{_type:c,style:d,_key:"5c67382521c0",markDefs:[],children:[{marks:[],text:q,_key:"030a73fdd386",_type:a}]},{style:d,_key:"77be9f3168d2",markDefs:[],children:[{marks:[g],text:bmd,_key:"013a79339515",_type:a},{_key:"43b1b119223d",_type:a,marks:[],text:" (b. 1976) lives and works in Chicago, Illinois. Solo and group exhibitions include: Night Club, Chicago, IL; Bodega, New York, NY; What Pipeline, Detroit, MI; Autumn Space, Chicago, IL; Actual Size, Los Angeles, CA; Julius Caesar, Chicago, IL; The Green Gallery, Milwaukee, WI; Southfirst Gallery, Brooklyn, NY; and Rowley Kennerk Gallery, Chicago, IL."}],_type:c}],_key:"596005b776e6",boxed:j}],slug:{current:"very-long-fingers",_type:p},bg_color:"#a381c9",description:"Very Long Fingers is a three-person exhibition that features Julien Bismuth, Tomasz Kowalski, and Autumn Ramsey. The figure is central to this exhibition. In Bismuth’s absurdist videos, a spectrum of makeup is applied to an actress; and two clowns play with each other’s traditional maquillage. With each variation in appearance, the rules of representation are reset; the figure devolves into a system, which is continually improvised. Kowalski’s characters – bent into an ampersand, poised to be bisected by a clapperboard, or filled with ecstatic psychedelia and blood-and-guts – are similarly threatened by dreamlike distortions, hilariously beleaguered by instruments of language, film, or the ink and gouache with which they were made. Ramsey’s work, which often depicts anthropomorphic creatures, plays with logic and nonsense. Seemingly innocuous, sometimes ridiculous, her work belongs to the carnal. Her images, by turns erotic and cerebral, are supported and subverted by a playfulness of form.",_updatedAt:"2021-05-22T20:51:37Z",_rev:"URjfm6wF5VMDpvBGn2j6ui",opening:"Opening Sunday, November 1, 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dooms must do, standing still and walking in New York",_key:"bb25f5b2ef530"},{marks:[],text:"\n-Frank O’Hara, “Ode on Causality”, 1958",_key:"bb25f5b2ef531",_type:a}],_type:c,style:d},{markDefs:[],children:[{marks:[],text:"Simone Subal Gallery and Barbara Thumm Gallery are pleased to present ",_key:"c0fefd39f2350",_type:a},{_type:a,marks:[f],text:aw,_key:"c0fefd39f2351"},{_type:a,marks:[],text:", a solo exhibition by Anna K.E presented simultaneously in two galleries in New York and Berlin. K.E.’s two-part exhibition is an ode to life in these two places, and to a state of continual arrival.",_key:"c0fefd39f2352"}],_type:c,style:d,_key:"c0fefd39f235"},{style:d,_key:"e7e6d19fb075",markDefs:[],children:[{_type:a,marks:[],text:"K.E.’s work is highly attentive to the legacies of modernist architecture, and fragments from this history frequently appear in her work. Whether in the intimacy of a lap-bound sketchbook or scaled to her wide-open studio, K.E. embraces the architectural model as a simulation for thought – these utopic attitudes underlie drawings, sculptures, videos, varied works that translate space, both real and imaginary, through the body. For ",_key:"e7e6d19fb0750"},{_key:"e7e6d19fb0751",_type:a,marks:[f],text:aw},{marks:[],text:", a project which K.E. began more than two years ago, she has expanded her focus, allowing her attention to move beyond the immediate situation of studio sanctuary. Through simultaneous exhibitions in two cultural centers, K.E. has created environments that mirror one another, registering, through her personal and inscrutable constellations, that desire manifests without.",_key:"e7e6d19fb0752",_type:a}],_type:c},{children:[{marks:[],text:"Each exhibition comprises a platform, a synthetic setting staged with a patch of grass, an abstract swath of dirt, and a small pool of water. Around these elements, K.E. has arranged a series of free-standing sculptures that any city-dweller will recognize as sandwich boards. They dot the built environment, line pedestrian walkways, direct passers-by to businesses adjacent, in front of, or around the corner from their station. Isn’t it a little sad and funny when a sandwich board has fallen over? For K.E., they are almost denizens of her community, expectant as any to be noticed, the minor choreographers of attention. Here is one of her sculptures in New York: contrappasto in raw plywood like a dancer, sewn together with bright rainbow-colored string, a plastic bird poised at the peak of its joinery. Here is one in Berlin: just over head height, stripes careen down its interior slope, odd-sized apertures sliced through the opposite board, the word “Anna” skillfully cut by hand, black lacquered, dangling in the dimension between its leaning uprights. Elsewhere: an inverted sandwich board, a cracked-open egg nested in its flat joint of a craw. Or another: Mickey-Mouse-racecar-cock leveled to the ground.",_key:"dfe309b4636f0",_type:a}],_type:c,style:d,_key:"dfe309b4636f",markDefs:[]},{_type:c,style:d,_key:"a2eb0feb0e7b",markDefs:[],children:[{_type:a,marks:[],text:"Scaled to the body, they cohere a chaotic, energetic hand with the high-craft of artistic industry – a juxtaposition of binary forces, the palpable tension of equilibriums. With a wooden base jig-sawed with ideograms – !, ?, *, etc. – one sandwich board, having sat for 2 years in the studio, was only completed when these symbols of agitated doubt and failure became its actual foundation. Is New York, or Berlin, or any other urban center, not gilded by youthful energy and perennially renewed by it? They are fed by this exuberance, and comfort by their ability to contain opposing ideas. In this way, K.E.’s sculptures perform; literally balanced at a point, they hold together the contradictory impulses of youthful desire and idealism. They crystalize and refract individual worlds, the joys and tragedies of collaged, geometrically multiplied selves.",_key:"a2eb0feb0e7b0"}]},{children:[{marks:[],text:"The spectre of community haunts these exhibitions, however. CCTV systems installed in both galleries broadcast the installations live online, with footage from Berlin projected in New York and vice versa. If the sandwich boards were not already performing on their stages, the added element of surveillance finds them performing for each other, for the audiences in the galleries, or any interested party online. Like the sculptures themselves, the intrusion of the cameras’ stare harkens on the paranoia of urban space; but if this footage is at all invasive, it also shows the sculptures, like the foreign art communities, as distant, mirrored, conjoined halves of the same self. After dark is perhaps when the sculptures have their most poignant effect: why do we keep the lights on all night? For a surrogate community or a sense of foreboding. Perhaps, as the title invokes the teen, the experience vibrates with expectation, the pleasure and insecurity of completing the scene.",_key:"851131d80be50",_type:a}],_type:c,style:d,_key:"851131d80be5",markDefs:[]},{_key:"86ae63a13b53",markDefs:[],children:[{text:"K.E. originally envisioned hedgehogs roaming through the exhibitions. 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Selected solo shows include: Simone Subal Gallery, New York, USA (2014) (2013); Galerie Barbara Thumm, Berlin, Germany (2014) (2013); Mannheimer Kunstverein, Mannheim, Germany (2012); Gallery Figge von Rosen, Cologne (2013) (2011); Kunstverein Leverkusen, Leverkusen, Germany (2011); Pilot Projekt, Düsseldorf (with Tamara K.E.) (2008); Schaufenster des Kunstvereins für die Rheinlande und Westphalen, Düsseldorf (2007). Selected group shows: The Kitchen, New York, USA (2015); Museum of Contemporary Art, Santa Barbara, CA, USA (2015); ",_key:"323c8d025753",_type:a},{_key:"af81a7725bba",_type:a,marks:[f],text:"KAI10"},{marks:[],text:", Quadriennale Düsseldorf, Germany (2014); Petach Tikva Museum of Art, Israel (2014); The Renaissance Society, Chicago, IL, USA (2014); ",_key:"91a9d37ce615",_type:a},{_key:"d3fafbd85c7e",_type:a,marks:[f],text:"Queens International"},{_key:"5592667ac229",_type:a,marks:[],text:", Queens Museum of Art, New York, USA (2013); "},{text:"The III Moscow International Biennale for Young Art",_key:"121b831f01a5",_type:a,marks:[f]},{text:", Moscow, Russia (2012); Kunsthalle Recklinghausen, Germany (2011); Gallery Barbara Thumm, Berlin, Germany (2010); Museum K21, Düsseldorf (2010); Young Biennale Köln 2010, Cologne (2010); Cobra Museum, Amsterdam, The Netherlands (2009); Kunstverein Ludwigshafen, Germany (2009); Neues Kunstforum Köln, Cologne, Germany (2009); Stadtgalerie Saarbrücken, Germany (2008); Gloriahalle, Düsseldorf, Germany (2008); Museum am Ostwall, Dortmund, Germany (2005); Museum Kunst Palast, Düsseldorf , Germany (2005); Kunstverein Mönchengladbach, Germany (2005); and Museum Bochum, Germany (2004). 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This exhibition, which comprises work from Gina Beavers, Gene Beery, Win McCarthy, John Seal, and Lily van der Stokker, opens at the very end of its eponymous month. There’s a theater enacted by this season. Love is easier, perhaps because it’s also easier not to sleep. We feed off the senses and the sun is more than food enough. Narratives distill from blossoming and flourish – waking dreams of tan bodies in the midst of short ocean waves, pickled. But as already this warming month closes, the comedies of sight and taste lose their petals, and, like the first round of flowers, go to seed. It’s a story we metabolize with ease, time passing more quickly, already June is a light recollection, almost immediately composted into memory. Quickly July and August will pass with a feeling that you can never leave the party; there’s no clean exit – all’s wet, melted, humid, perspiring – when one wears white. 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Its central critique arrives by adherence; the works’ in the exhibition reflect states of anger, violence, depression, humor, exhaustion, escape, and intimacy with confinement. Hermaphroditic snails hibernate on gallery filing cabinets in Bastis’ work; Benedetto’s conglomerate images of half-inspired graphic mundanities flip with the celebration of the erotic benefits of artworks and other types of art work; Henkel and Pitegoff project a Berlin community that could be anywhere, were it not for the transient friends moving out of frame; Huebler’s cynical art world mantra, “The Peaceable Kingdom”; and Magid’s two uni-directional neons, which, seamlessly protruding from the gallery’s walls, illustrate exercises by which killing has been conditioned by means of physical distance. Politics derives of an admixture of necessity and proximity, a friction that circumscribes varieties of community, and propels these cities that never cease. However, as our urban centers grow, concepts of self-selection monopolize space, resources, and attention, they quickly become policy, then rigid fact. And so, to look at Bastis’ molluscan torpor, Benedetto’s erotic corporate self, Henkel and Pitegoff’s demystified labors, Huebler’s lacerating grievances, and Magid’s desensitized combat, is to read a poetics of political embeddedness. Let us be monopolized for the sake of our friends. 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I opened the door and immediately encountered a line of clothes racks that acted as both frames and support structures to a series of sculptures. Initially read as a single image — a dense tangle of material — they expanded to become an assemblage of objects as I moved into and around the room. I experienced "},{text:bi,_key:"cf26ac7506a13",_type:a,marks:[f]},{_key:"cf26ac7506a14",_type:a,marks:[],text:" first as a nod to the theatrical, given that the last project we worked on together, "},{text:"The Artist Theater Program",_key:"cf26ac7506a15",_type:a,marks:[f]},{marks:[],text:", involved not only similar racks to move the props on stage but also a presentation of artworks sequentially in the progressive time of a play’s scenes. In addition, that project had required the scaling-up of her sculptures from the ",_key:"cf26ac7506a16",_type:a},{marks:[f],text:"somewhat hand-scaled to full-bodied",_key:"cf26ac7506a17",_type:a},{_type:a,marks:[],text:", a quality that ",_key:"cf26ac7506a18"},{_key:"cf26ac7506a19",_type:a,marks:[f],text:bi},{_type:a,marks:[],text:" seemed to turn on. In that regard, I was struck by how the theatrical had transposed itself into these actor-less works, from the literal use of the clothes racks to its logic of staging and sequence. Now was the time for them to move into the spotlight, racks, ropes, and all.",_key:"cf26ac7506a110"}],_type:c,style:d,_key:"cf26ac7506a1",markDefs:[]},{_key:"9b32cf1bad9a",markDefs:[],children:[{_key:"9b32cf1bad9a0",_type:a,marks:[],text:"On reflection since that viewing, it has become clearer just how much "},{marks:[f],text:bi,_key:"9b32cf1bad9a1",_type:a},{_type:a,marks:[],text:" simultaneously invites opposing readings. Initially we read them in series, dramaturgically in the successive sense, but only up to a point. The density and relation of the “sculpture-racks” to each other certainly points towards a unified object, one to be read as a single multi-layered sculpture, as with the flurries of superimpositions in her moving image works. However, in resistance to this narrative there is certainly no obvious sense, progression or advance. The unifying motif is all we have: the slug. The slug who not only provides the title of the exhibition and this particular series of works but whose quite literal image is presented as a real photographic likeness inching across the monitor and as a hand-drawn image in print. It is this emblem with its polyvalent meanings and reproductive doubling that takes our hand and provides the key.",_key:"9b32cf1bad9a2"}],_type:c,style:d},{style:d,_key:"edb97660ff95",markDefs:[],children:[{_type:a,marks:[],text:"Just what are those meanings? There is the oblique reference to the interval, the black space you add in video editing programs between frames, but a slug also engenders a form of resistance: a heavy blow, a bullet, a defiant ",_key:"edb97660ff950"},{_type:a,marks:[f],text:"sluggishness",_key:"edb97660ff951"},{_key:"edb97660ff952",_type:a,marks:[],text:". Yet, this challenge is paradoxical. Take a turn around the sculptures and behind the highly finished, confidently boisterous facades (be it shiny rubberized blue or a dense Tàpies-esque ground). Each has a verso that betrays its material production, the other Janus face marking its past, the artist’s hand and means of production inscribed in its material. The racks and sculptures enclose the slug. They care for it, even monumentalize it. We encounter the slug as if behind a gate, the frame and surrounding objects acting as a barrier to a malevolent salt-wielding child."}],_type:c},{markDefs:[],children:[{_key:"f41055ff0fbd0",_type:a,marks:[],text:"After our first meeting a few years ago, Erika sent me a copy of Anne Carson’s "},{marks:[f],text:"Economy of the Unlost",_key:"f41055ff0fbd1",_type:a},{_key:"f41055ff0fbd2",_type:a,marks:[],text:", the last of the author’s books I was yet to read and which signaled a comforting common sensibility. Like most good gifts, the book seemed to be not only a gesture of thanks from my guest, but equally a lens through which to understand her thought and her work. The book tracks the transition of the ancient Greek gift economy to the rise of currency-usage through the Marxist perspective of alienation, one that transforms the object from non-objective and reciprocal to a capitalist commodity. Through the gesture of the gift, Erika communicated this fundamental connection, one that prefigures commodification or resists the underlying social structure that colors artist-curator interactions, closer to what (as Carson explains) the Greeks called a “symbolon” or “a sign of mutual obligation between friends.”[1]"}],_type:c,style:d,_key:"f41055ff0fbd"},{markDefs:[],children:[{_type:a,marks:[],text:"To read ",_key:"0ce2898fbc620"},{_type:a,marks:[f],text:bi,_key:"0ce2898fbc621"},{text:" through this gift of words (albeit someone else’s) as “an extension of the interior life of the giver, both in space and time, into the interior life of the receiver”[2] allows us to perceive the slug in its dialectical sense: as a $50 gold coin, for sure, but also its opposite, a counterfeit, a token used to subvert a slot machine’s understanding of exchange value. We experience ",_key:"0ce2898fbc622",_type:a,marks:[]},{text:bi,_key:"0ce2898fbc623",_type:a,marks:[f]},{text:" as the implicit trace of productive activity, but it also transforms us (the viewer) into the slug, the interval between things, the breath or gap. “But blank lines do not say nothing,” as Carson writes.[3]",_key:"0ce2898fbc624",_type:a,marks:[]}],_type:c,style:d,_key:"0ce2898fbc62"},{children:[{_type:a,marks:[],text:"Through her work, Vogt attempts to gesture towards community. Not in the educational sense or what we conflate with “social practice” as an institutional turn, but in the old way, the way it used to mean friendship, comradeship, living and working together. The sculptures shade, point, protect and interact with each other, creating new perspectives on and for one another. Bringing to mind Shelly Silver’s ",_key:"821f00124b080"},{_key:"821f00124b081",_type:a,marks:[f],text:"Things I forgot to tell myself"},{_type:a,marks:[],text:", in which the filmmaker’s scrunched up hand forms an aperture through which we see the city, we should read ",_key:"821f00124b082"},{_key:"821f00124b083",_type:a,marks:[f],text:bi},{_type:a,marks:[],text:" together. It is through their implied social relation that these objects reveal sincerity. Vogt refuses to take the stance of either cynical embrace or pseudo-rebellious anti-art, meaning there is instead an untypical openness to the work. It yearns to protect, to support.",_key:"821f00124b084"}],_type:c,style:d,_key:"821f00124b08",markDefs:[]},{_key:"a4f506dbe932",markDefs:[],children:[{text:"Vogt’s artworks resist metaphor, and they certainly resist categorization. They demand us to move around and through them, to curiously encounter them as if passing through ornate metal gates. They demand bodies. They manage to present process, production and transformation within a single space and in one viewing. We must activate in time the ambiguity of value in the sculpture and\u002For prop dilemma.",_key:"a4f506dbe9320",_type:a,marks:[]}],_type:c,style:d},{_key:"abaf01b75dd6",markDefs:[],children:[{text:"At the time of our first meeting, Erika was making ",_key:"abaf01b75dd60",_type:a,marks:[]},{text:"Darker Imposter",_key:"abaf01b75dd61",_type:a,marks:[f]},{_key:"abaf01b75dd62",_type:a,marks:[],text:", a tightly layered and rhythmic video that combined animated and hand-drawn images with footage of hand-manipulated objects. Although impossible to divorce from the structuralism of her moving image works, one experiences "},{marks:[f],text:bi,_key:"abaf01b75dd63",_type:a},{_type:a,marks:[],text:" not as flattened and fast but rather in real time and in ever-expanding space. ",_key:"abaf01b75dd64"},{marks:[f],text:bi,_key:"abaf01b75dd65",_type:a},{_key:"abaf01b75dd66",_type:a,marks:[],text:" is opposed to the proscenium stage and its captive audience with its props and illusions, as it turns our value-experience on its head. You “see” them differently here. Together."}],_type:c,style:d},{markDefs:[],children:[{_type:a,marks:[],text:"— Victoria Brooks, 2015",_key:"1bfc0e12e5150"}],_type:c,style:d,_key:"1bfc0e12e515"},{_type:c,style:d,_key:"44cf0b58c231",markDefs:[],children:[{_type:a,marks:[],text:"Victoria Brooks is curator of time-based visual art at Experimental Media and Performing Arts Centre (EMPAC) at Rensselaer Polytechnic Institute in Troy, NY.",_key:"44cf0b58c2310"}]},{_key:"fca1e58e764d",markDefs:[],children:[{_key:"fca1e58e764d0",_type:a,marks:[],text:"Vogt was born in 1973 in East Newark, NJ and lives and works in Los Angeles. Solo exhibitions include: EMPAC, Troy (2014); Hepworth Wakefield, West Yorkshire, UK (2014); Triangle France, Marseilles, France (2014); New Museum, New York, NY (2013); Simone Subal Gallery, New York, NY (2012); Overduin & Kite, Los Angeles (2010); Room Gallery, University of California at Irvine, Irvine, CA (2010); and Daniel Hug, Los Angeles, CA (2008). Selected group shows and screenings include: The Drawing Room, London (2015); University of California, San Diego, CA (2014); Los Angeles County Museum of Art, Los Angeles, CA (2013); Simone Subal Gallery, New York, NY (2013); Portland Institute of Contemporary Art, Portland, OR (2012); MFC – Michèle Didier, Paris, France (2012); Foam, Amsterdam, Netherlands (2011); San Francisco Museum of Modern Art, San Francisco, CA (2011); Henry Art Gallery, Seattle, WA (2010); Wallspace, New York, NY (2010); Whitney Biennial, Whitney Museum of American Art, New York, NY (2010); Anthology Film Archives, New York, NY (2009); California Biennial, Orange County Museum of Art, Newport Beach, CA (2008); Aspen Art Museum, Aspen, CO (2008); Hammer Museum, Los Angeles, CA (2007); Centre d’art contemporain, Bignan, France (2007); Contemporary Arts Center, Cincinnati, OH (2006); Museum of Modern Art, New York, NY (2006); Centre Pompidou, Paris, France (2006)."}],_type:c,style:d},{markDefs:[],children:[{_key:"10d6be98404f0",_type:a,marks:[],text:q}],_type:c,style:"h2",_key:"10d6be98404f"},{style:d,_key:"ec2e06851453",markDefs:[],children:[{marks:[],text:"[1] Carson, Anne. Economy of the Unlost (Princeton University Press: 1999), 18\n[2] ibid, 18\n[3] Carson, Anne. “The Glass Essay,” in Glass, Irony and God (New Directions:\n1992), 20",_key:"ec2e068514530",_type:a}],_type:c}]},{work:[{work:j,_type:e,caption:[{_type:c,style:d,_key:"jdLvYczo",markDefs:[],children:[{_key:"mDjivEjb",_type:a,marks:[g],text:bp},{_key:"58d4f975622d",_type:a,marks:[],text:n},{text:bnh,_key:"490a574f41c8",_type:a,marks:[f]},{_type:a,marks:[],text:", 2015 (front). 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Tonight, April 19th, there is an exhibition of Planck’s paintings, sculptures, photographs, and posters, though these works are embedded with information (times, dates, abbreviations of names, scribbles, detritus, etc.) from other paintings, drawings, sculptures, performances, and exhibitions. Throughout his work, Planck riffs on convention to deliver a joke from the shared misery of life’s long, continual, and undifferentiated looking. Making fun that renders hierarchies moot between media; a temptation to interpretation to deliver a punch-line in its descriptive rhetoric. This melodrama is but one part of it; there is also the boredom, uncertainty, and nearly obsessive anxiety that is attached to such fluidity of time and information. It frames all the works as a continual live event and suggests that meaning is a never-ending viewing party.",_key:"2374c5d8db3b2"}]},{children:[{text:"For these reasons, Planck has been invited to employ the gallery as an atelier for the exhibition’s two-week duration. Other works will be constructed, performances choreographed and rehearsed, large scale works made possible, and collaboration on Planck’s upcoming exhibition at Violet’s Cafe facilitated. It is not a performance of labor – these things will take place privately outside of viewing hours, except for the public performance that will likely close the show on May 3rd. Nonetheless, the exhibition will be re-interpreted by multiple people and works throughout its course – it’s two weeks are only a loose register of the other temporalities, past, present, and future, that Planck’s practice will inhabit. Humor steps through convention; for a moment, the imagination is more intimate and comfortable within the anarchic darkness of uncertainty. ",_key:"ef65aaebe55d0",_type:a,marks:[]},{text:bnv,_key:"ef65aaebe55d1",_type:a,marks:[f]},{text:" proposes to bypass looking through Planck’s ethics of experience.",_key:"ef65aaebe55d2",_type:a,marks:[]}],_type:c,style:d,_key:"ef65aaebe55d",markDefs:[]},{markDefs:[],children:[{_type:a,marks:[],text:"– Sam Korman, 2015",_key:"02637583282a0"}],_type:c,style:d,_key:"02637583282a"},{children:[{marks:[],text:"Planck was born in 1987 in Arlington, VA. He lives and works in New York. Planck has held solo and two-person exhibitions with KARMA, New York; sohpiajacob, Baltimore; and the Contemporary Museum, Baltimore. His work was recently included in ",_key:"37e2aeb4a6730",_type:a},{_key:"37e2aeb4a6731",_type:a,marks:[f],text:"The Painter of Modern Life"},{_type:a,marks:[],text:", organized by Bob Nickas, Anton Kern Gallery, New York; ",_key:"37e2aeb4a6732"},{_type:a,marks:[f],text:"24\u002F7",_key:"37e2aeb4a6733"},{_type:a,marks:[],text:", organized by Alex Bacon, Monte Carlo, Miami; and ",_key:"37e2aeb4a6734"},{text:"Grand Prix",_key:"37e2aeb4a6735",_type:a,marks:[f]},{_type:a,marks:[],text:", organized by Gresham’s Ghost, New York\u002FBaltimore. 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Meisenberg sees the material and virtual as part of the same mimetic continuum that is interrupted by various kinds of screens: from the surface of a canvas, for example, to that of a computer. These different interfaces create space for meaning to take shape, and for this show, Meisenberg’s idealistic-materialistic mash-up is also the foundation for an investigation into the tension between systems and randomness.",_id:cJ,_rev:"6QpSQ1LKij6fvuYEHPJF6F",_createdAt:cZ,_updatedAt:"2021-05-04T01:26:59Z",content:[{image:{_type:e,caption:[{children:[{_key:"zHaCRJkg",_type:a,marks:[],text:anY}],_type:c,style:d,_key:"YMAj4tGr",markDefs:[]}],asset:{_ref:aPp,_type:b}},_type:K,label:X,_key:"j5apCgMG",type:[r]},{_key:"WAshpefa",_type:w,label:Z,text:[{markDefs:[],children:[{_key:"95145441a88d0",_type:a,marks:[],text:"Meisenberg’s "},{marks:[f],text:"Delivery to the following recipient failed permanently",_key:"95145441a88d1",_type:a},{_type:a,marks:[],text:" further develops his interest in the back and forth flow of images between the realms of the digital and the analog. Meisenberg sees the material and virtual as part of the same mimetic continuum that is interrupted by various kinds of screens: from the surface of a canvas, for example, to that of a computer. These different interfaces create space for meaning to take shape, and for this show, Meisenberg’s idealistic-materialistic mash-up is also the foundation for an investigation into the tension between systems and randomness.",_key:"95145441a88d2"}],_type:c,style:d,_key:"95145441a88d"},{_key:"4a237a93169e",markDefs:[],children:[{marks:[],text:"Each piece on view has a particular condition that enables chance situations to occur. The large painting, a triptych, recedes almost anamorphically, making the physical object itself an exercise in perspectival space. Meisenberg judiciously marks the surface with vertical columns of paint squeezed directly from the tube. He then allows the medium—the oil—to separate from the pigment, which leaves unpredictable halo-like stains around the colorful bands. Extending from the chunky stripes are subtle dotted lines that create triangles; some of which allude to pictorial depth, while others remain flat. Meisenberg sees the triangles as sites of potential, representations of the energy that comes out of the oil-pigment split. Forming a link between the largest and second largest panels and occupying the bottom right hand corner of the third, are improvised screen prints made by pushing white paint through store-bought lace. The fabric’s mesh compresses the paint into impressions on the canvases. They are analogical depictions of the digital fabrication of images.",_key:"4a237a93169e0",_type:a}],_type:c,style:d},{markDefs:[],children:[{_type:a,marks:[],text:"Two large, thin screens are placed at either end of the gallery. They show live renderings that never stay the same. Meisenberg, in collaboration with software developers, devised a program that continually downloads three-dimensional shapes from open source content. The screens are the framework for a dialog between amorphous blobs that constantly change in form because of the absorption of new updated information as well as in response to the transformations taking place in the corresponding globule. These compositions pulse, turn, and spread across stock backgrounds that reference the classical tradition, visually containing indefinable configurations. For Meisenberg, the piece captures the contemporary moment: the way images and ideas coalesce and disperse, move from one site to another. The work is also a way for him to turn the structural logic of the Internet into a site for collaboration, in which data becomes the basis for a choreographic arrangement.",_key:"095f101cbb880"}],_type:c,style:d,_key:"095f101cbb88"},{style:d,_key:"19c506764f96",markDefs:[],children:[{_type:a,marks:[],text:"The ever-developing shapes that dance before the viewer’s eyes are akin to the viscous verticals of color in the paintings and to the arrangements of deformed plastic chairs whose standardized construction has been individualized by intense heat and physical manipulation. The mutant seats—once innocuous in their generic invisibility—congregate in clusters around the spaces in an effort to find a new sense of collective identity. Delivery to the following recipient failed permanently is an environment that folds, expands, and contracts around the viewer. The slippages between the virtual and the material have become increasingly irrelevant.",_key:"19c506764f960"}],_type:c},{style:d,_key:"54ddd69ffce9",markDefs:[],children:[{marks:[],text:"Meisenberg was born in 1980 in Berlin and he works and lives in New York. He graduated from the Kunstakademie Düsseldorf in 2010. Selected solo shows: Kasseler Kunstverein, Kassel, Germany (2014); Mendes Wood, São Paulo (2014); Wentrup Gallery, Berlin (2014); Avlskarl Gallery, Copenhagen (2014); Provinz Editionen, Bochum, Germany (2013); Kate MacGarry, London (2013); Kunst aus NRW \u002F Förderpreis für Bildende Kunst, Ehemalige Reichsabtei, Aachen, Germany (2012); Tanja Pol, Munich, Germany (2012); Wilhelm-Hack-Museum, Ludwigshafen, Germany (2011); Ludwig Forum für Internationale Kunst, Aachen, Germany (2009). Recent selected group exhibitions: Galerie Václava Špály, Prag (2014); Queens International, Queens Museum of Art, New York (2013); KW Kunstwerke, Berlin (2013): Kunsthalle Recklinghausen, Germany (2013); Boros Collection II, Berlin, Germany (2012); Avlskarl Projects, Copenhagen, Denmark (2012); Solinger Kunstmuseum, Solingen, Germany (2011); New Talents Biennale 2010, Cologne, Germany (2010); Wilhelm-Hack-Museum, Ludwigshafen, Germany (2010); Kunstverein Langenhagen, Germany (2010). The monograph If you stare on this painting for 72 hours you will loose 4.5 pounds was published in 2009 in conjunction with Meisenberg’s show at the Ludwig Forum. 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Ingrid Olson’s double-ended arrow on Sunday, January 11, 2015. This is Olson’s first solo show at the gallery. The exhibition runs until ",_key:"5f72b666ce760",_type:a,marks:[]},{text:"February 22nd",_key:"5f72b666ce761",_type:a,marks:[g]},{_key:"5f72b666ce762",_type:a,marks:[],text:". Please join us for an opening reception on January 11 from 6 – 8 pm."}]},{children:[{_type:a,marks:[],text:bnA,_key:"5ff092692f850"}],_type:c,style:d,_key:"5ff092692f85",markDefs:[]},{_key:"7fd0de8ae322",markDefs:[],children:[{marks:[],text:"Olson approaches photography as a medium for thinking. Within her quick, gestural photographs, she positions her body as a vehicle for the first-person perspective suggested by the camera’s lens. Looking directly upon herself or through the assistance of mirrors, Olson contorts her body into the picture plane, often against a backdrop of studio detritus and collaged printed matter. In the final photographic constructions, one always recognizes the physicality of the printed images, which further complicates the perspective and focus. Olson treats the photograph as both object and illusion whether she prints an image directly onto a matboard—thus becoming a bracket for another picture—or assembles images within the boundary of a Plexiglas box.",_key:"7fd0de8ae3220",_type:a}],_type:c,style:d},{children:[{text:"The wall-reliefs and freestanding sculptures are similar in concern to the photographic works and allude to problems of perception and the structural mechanisms of vision. The reliefs are a series of casts taken from a small wooden object. Viewed from the front, the object appears to be two lines converging in a rectangular field, similar to the crosshairs of a viewfinder. When seen from other perspectives, the form gives way to two concave verticals that curve into the surface, encompassing the face of the relief, dipping in from edge to center and back again. These dark, absorbent structures offer pauses within the continuum of vision and mirrored reflections seen in the rest of the exhibition. In the totemic floor sculptures, Olson situates roughly hewn, hand built ceramic forms of generalized human features upon two tiered steel stands. The stacked sculptures show a fragmented figure looking upwards at itself. The constitutive elements suggest a stuttering representation and a makeshift studio aggregate.",_key:"9d44d8e8367b0",_type:a,marks:[]}],_type:c,style:d,_key:"9d44d8e8367b",markDefs:[]},{_type:c,style:d,_key:"172d7c0670cd",markDefs:[],children:[{marks:[],text:"B. Ingrid Olson was born in 1987 in Denver, Colorado. She currently lives and works in Chicago, Illinois. Recent solo exhibitions include: The vases my monitors their frames (cura.basement, Rome, 2014) and From her come a gang and a run (Document, Chicago, 2014). Select group exhibitions include The Independent: Dreams that Money Can’t Buy (MAXXI Museo, Rome, 2014) and We seem to still be moving (Simone Subal Gallery, 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Everything she did began from the premise that “art comes from artificial.” The nuanced sense of representation contained in her mantra grounds the assertive and increasingly political works on view here from the mid-to-late 1960s and early 1970s. As with her earlier pieces in which she engaged with the space age and the mechanization of the human body, Kogelnik continues to construct images out of modular and repeated forms, depictions often made with stencils or cutouts, the possibility of chance limited by her cerebral process.",_key:"cf00df7d4ba70"}],_type:c,style:d,_key:"cf00df7d4ba7",markDefs:[]},{children:[{_type:a,marks:[],text:"Of growing importance to Kogelnik was the Women’s Liberation Movement. It led her to make art about the gendered construction of subjectivity and the ways in which women were objectified both in the art world and society at large. This is most noticeable in Hanging (1970), in which she presents before a dreamy, airbrushed background two vinyl cutouts—one black the other orange—of a body draped on coat hangers like flayed skin. The containment of the female form expressed here is a theme that recurs in several drawings such as Life Hangs on a String! (1970) and Tongue Operation (1970). Latent in these pieces, as well as many others, is a kind of defiance that ambiguously foregrounds Kogelnik’s identity. Womans Lib (1971), for instance, shows Kogelnik (dressed in a cinched trench coat and wearing giant, opaque sunglasses) aggressively holding a pair of over-sized scissors. A swath of body cutouts lay scattered at her feet. There is a mask-like quality to Kogelnik’s self-representation, as if she has occluded her true identity behind a series of skillfully manipulated representations. This trope continues in the psychedelic memento mori, Skull (1970). Like much of Kogelnik’s art, Skull is at once humorous and tragic, an underlying melancholy buoyed by what is perversely an optimistic image. What makes Kogelnik work from this time so radical and relevant for today is that her trenchant social critique is also a means for her to obtain a sense of liberation and autonomy.",_key:"2da92b9c74930"}],_type:c,style:d,_key:"2da92b9c7493",markDefs:[]},{markDefs:[],children:[{marks:[],text:"Kiki Kogelnik was born in 1935 in Graz, Austria and died in 1997. She lived and worked in New York, NY; Vienna, Austria; and Bleiburg, Austria. Selected one-person exhibitions include Galerie nächst St. Stephan, Vienna, Austria (1961); the Austrian Institute, New York, NY (1965); Galerie Kornfeld, Zürich, Switzerland (1978); the BAWAG Foundation, Vienna, Austria (1983); the Kärtner Landesgalerie, Klagenfurt, Austria (retrospective), (1989); MAK – Museum of Applied Arts, Vienna, Austria (1996); and Österreichische Galerie Belvedere, Vienna, Austria (retrospective), (1998); Hamburger Kunstverein, Hamburg, Germany (2012); Johann Koenig Gallery, Berlin, Germany; Kunsthalle Krems, Austria (2013). Selected group exhibitions include the Corcoran Gallery, Washington D.C. (1965), the Fischbach Gallery, New York, NY (1965); the Kunsthaus Hamburg, Hamburg, Germany (1972); the Hirshhorn Museum and Sculpture Garden, Washington D.C. (1976), the Kunsthaus Zürich, Zürich, Switzerland (1978); the Los Angeles Institute of Contemporary Art, Los Angeles, CA (1978); the Secession, Vienna, Austria (1983); the Museum Het Paleis, The Hague, The Netherlands (1997); The Israel Museum, Jerusalem, Israel (1999); the Museum of Fine Arts, Budapest, Hungary (2001); Kunsthalle Krems, Krems, Austria (2003); Kunsthalle Wien, Vienna, Austria (2010); Brooklyn Museum, Brooklyn, NY (2010), Louisiana Museum, Denmark (2012); Barbican Center, London, UK (2013), Stephen Friedman Gallery, London, UK (2014). Kiki Kogelnik’s work will be featured in the upcoming exhibition The World Goes Pop at the Tate Modern, London, UK 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Signals and loops, missives to the future, and existential questions combined with serendipitous encounters are at the heart of the six laser-cut plaques and the two-channel video on view.",open_date:"2014-09-07",_updatedAt:"2021-05-27T15:36:07Z",title:eU,_id:bO,bg_color:"#7cac7c",content:[{_key:"W7ann8T0",type:[r],image:{asset:{_ref:Sa,_type:b},_type:e,caption:[{style:d,_key:"iCEq5uPv",markDefs:[],children:[{marks:[],text:h,_key:"29644104c029",_type:a},{text:eU,_key:"5ab132ea26d9",_type:a,marks:[f]},{_type:a,marks:[],text:aa,_key:"0249880fb42b"}],_type:c}]},_type:K,label:X},{text:[{children:[{marks:[],text:"Frank Heath’s ",_key:"cff405bfe3840",_type:a},{_key:"cff405bfe3841",_type:a,marks:[f],text:eU},{marks:[],text:" continues his interventions into systems of communication and the intended and unintended ways in which they short circuit. Signals and loops, missives to the future, and existential questions combined with serendipitous encounters are at the heart of the six laser-cut plaques and the two-channel video on view. These humorous, at times melancholic, works are highly self-referential and often include the correspondence from the process of making the plaque itself (live-help online chats\u002Fproduction drawings). As with Heath’s previous projects, he incorporates the voices of unsuspecting individuals into the work in a compassionate but subversive way. By co-opting mundane social exchanges and infusing them with an unexpected narrative, Heath’s impositions exist simultaneously in both private and public spheres.",_key:"cff405bfe3842",_type:a}],_type:c,style:d,_key:"cff405bfe384",markDefs:[]},{children:[{_type:a,marks:[f],text:"Live Help Backup Plaque (Pioneer TX-9100 Schematic JPEG)",_key:"4d5d93064f080"},{_key:"4d5d93064f081",_type:a,marks:[],text:" (2014) shows in one of two engraved copper plates the code for a jpeg of the schematic from a 1973 Pioneer TX-9100 audio receiver. The corresponding panel records Heath’s live chat conversation with the company who produced the piece. The dialogue verges on the absurd, and yet ideas such as the tension between the analog and the digital emerge. The back and forth between Heath and “David” mirrors the depicted code, creating a loop that connects metonymically to other works on view, like "},{_key:"4d5d93064f082",_type:a,marks:[f],text:"Letter From Future Self"},{_type:a,marks:[],text:" (2014). This letter-sized brass plaque was made in duplicate, with one version in the gallery and the other mailed to the junior high school he attended. The plaque’s text revolves around a “letter to his future self” Heath and his classmates were instructed to write, and were to receive upon graduating from high school. Heath never received his letter and seeks to close the unrealized loop.",_key:"4d5d93064f083"}],_type:c,style:d,_key:"4d5d93064f08",markDefs:[]},{markDefs:[],children:[{marks:[],text:"Questions of permanence of information, immateriality of technology, and extreme projections of the future—underlining currents in the plaques—provide the starting point for the video ",_key:"e3cccbb0479c0",_type:a},{_key:"e3cccbb0479c1",_type:a,marks:[f],text:"On The Beach"},{text:"(2014). This is the first of a seven episode series to be published throughout the following year in the online magazine Triple Canopy. The series, loosely adapted from the post-apocalyptic novel by Nevil Shute, depicts the construction of an urgent last-minute historical film project where interviews with specialists in a variety of fields provide prompts for a film crew who attempt to realize this suggested footage. The first episode (on view in the gallery) focuses on an interview with two physicists from CERN, home to the Large Hadron Collider. The scenes in which the scientists discuss their desire to learn about the origins of matter as well as possible transmissions to the future are blended together with scenes of the film crew attempting to assemble material for a kind of time capsule or ark that will record for a post-human future aspect of our civilization.",_key:"e3cccbb0479c2",_type:a,marks:[]}],_type:c,style:d,_key:"e3cccbb0479c"},{children:[{marks:[],text:"Frank Heath was born in 1982 in St. Joseph, MO. He lives and works in New York. Solo exhibitions, and two-person shows include: Asymptomatic Carrier, (solo) Frieze Frame with Simone Subal Gallery, NY, NY (2013); Post Holes (solo), Simone Subal Gallery, NY, NY (2012); Bcc: (with Brendan Meara), Roots and Culture, Chicago, IL, USA (2011); and Econoline 1, (with JJ PEET) Videotage Gallery, Hong Kong, China (2007). Past and upcoming group shows and screenings include: The Built Environment: Lower Side in Istanbul, Mixer, Istanbul, Turkey (2014); It Narratives: The Movement of Objects as Information, Franklin Street Works, Stamford, CT, USA (2014); A Tale of Two Islands: Beatrice Gibson with Alex Waterman, and Frank Heath, High Line Art, NY, NY (2014); Two Hours Two Minutes, The Power Plant, Toronto, Canada (2014); Kool-Aid Wino, Franklin Street Works, Stamford, CT, USA (2013); Matter Out of Place, Kitchen, NY, NY (2012); Somebody has stolen our tent, Simon Preston Gallery, NY, NY (2012); The Way Things Go (Part 3), Frutta, Rome, Italy (2012); Single Channel, Soho House, Miami, FL, USA (2011); Forcemeat, Wallspace, NY, NY (2011), and Suddenly: Where We Live Now, Cooley Gallery – Reed College, Portland, OR and Pomona College Museum of Art (2008, 2009).",_key:"2c634c3b71e00",_type:a}],_type:c,style:d,_key:"2c634c3b71e0",markDefs:[]}],_key:"kSsNYmgE",_type:w,label:Z},{install:[{_type:e,caption:[{style:d,_key:"8SZo6HR2",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"946518f38dec"},{_type:a,marks:[f],text:eU,_key:"230913fb001a"},{marks:[],text:aa,_key:"790e4624f098",_type:a}],_type:c}],_key:"uPdglwrg",asset:{_ref:Sa,_type:b}},{_type:e,caption:[{children:[{_key:"f54699464e03",_type:a,marks:[],text:h},{marks:[f],text:eU,_key:"128ef765ebd5",_type:a},{_type:a,marks:[],text:aa,_key:"68d67b122c4a"}],_type:c,style:d,_key:"7bY52Lkm",markDefs:[]}],_key:"ukc9Guhm",asset:{_ref:"image-038e6b3f7571c384e65e4f37244d665a93768c82-1350x900-jpg",_type:b}},{_type:e,caption:[{markDefs:[],children:[{text:h,_key:"0e6de59058ef",_type:a,marks:[]},{_key:"5e6f8be69b6b",_type:a,marks:[f],text:eU},{_key:"db578639ce85",_type:a,marks:[],text:aa}],_type:c,style:d,_key:"d6BqXPBY"}],_key:"7Co8hCtj",asset:{_ref:"image-2287b5d96588097596e5ab88ffdad6e56f0cc9d6-1350x900-jpg",_type:b}},{caption:[{style:d,_key:"TLb7UBFj",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"a14cec0eed35"},{_key:"66ab90d91289",_type:a,marks:[f],text:eU},{_key:"3af7c1e28714",_type:a,marks:[],text:aa}],_type:c}],_key:"4wzLd1qd",asset:{_ref:"image-bc0061445321d51c332062cfce459c18378a49c8-1350x900-jpg",_type:b},_type:e},{caption:[{_type:c,style:d,_key:"CsXCkqJ1",markDefs:[],children:[{text:h,_key:"3ee7bd7cd612",_type:a,marks:[]},{text:eU,_key:"8ebcbea97075",_type:a,marks:[f]},{text:aa,_key:"2db73c1ff6a9",_type:a,marks:[]}]}],_key:"wwdNIEhC",asset:{_type:b,_ref:"image-6605a274d46637e82e9a75ce4892bf92936810d7-1350x900-jpg"},_type:e},{_key:"uDGS2LaY",asset:{_ref:"image-9efe2a9e8189398655cba02f64659fd5d7dafdf7-1350x900-jpg",_type:b},_type:e,caption:[{_key:"R1DaVYgX",markDefs:[],children:[{text:h,_key:"810f1475d23e",_type:a,marks:[]},{marks:[f],text:eU,_key:"f36401d26534",_type:a},{text:aa,_key:"d7b3e4446ed6",_type:a,marks:[]}],_type:c,style:d}]},{_type:e,caption:[{markDefs:[],children:[{_key:"0ee10c770ffb",_type:a,marks:[],text:h},{_key:"650dee794b9c",_type:a,marks:[f],text:eU},{_key:"73476b230e6d",_type:a,marks:[],text:aa}],_type:c,style:d,_key:"qIgFTNGX"}],_key:"R5FtVp55",asset:{_ref:"image-8000af9678d50ac956e376f48616a1c70b2e46dd-1350x900-jpg",_type:b}},{_key:"oSWYYs0M",asset:{_type:b,_ref:"image-18068c3e57d5312ef9721ec70241738094424ade-1350x900-jpg"},_type:e,caption:[{_key:"N6GsyFVH",markDefs:[],children:[{_key:"1584a69154f9",_type:a,marks:[],text:h},{text:eU,_key:"13de53a12466",_type:a,marks:[f]},{_type:a,marks:[],text:aa,_key:"73f9623f58d4"}],_type:c,style:d}]}],work:[{_key:"T0mmpIcv",asset:{_ref:"image-669e7b3c17f5bc531c18c3cffcfb38c06dcfbdcc-1200x907-jpg",_type:b},work:j,_type:e,caption:[{_type:c,style:d,_key:"bwRFsSqN",markDefs:[],children:[{text:bM,_key:"vPWgsU7X",_type:a,marks:[g]},{_key:"2723df746429",_type:a,marks:[f],text:aoa},{text:bnT,_key:"467a7dbd4f6d",_type:a,marks:[]}]}]},{_key:"3YrsxwLE",asset:{_ref:"image-fe7e03e4adcbe374cb4b94694ccc1578617394c6-1500x1000-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{text:bM,_key:"98d111e63dc4",_type:a,marks:[g]},{_type:a,marks:[f],text:aoa,_key:"YlkjoZtM"},{_key:"6d03ea414783",_type:a,marks:[],text:bnT}],_type:c,style:d,_key:"K6LJbXUE"}]},{_type:e,caption:[{markDefs:[],children:[{_key:"54a9b71ee602",_type:a,marks:[g],text:bM},{_type:a,marks:[f],text:"Backup Plaque (Letter From Future Self)",_key:"OoZ32e4k"},{_key:"96315f4a35b2",_type:a,marks:[],text:", 2014. 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is with great pleasure that Simone Subal Gallery announces the opening of Sam Ekwurtzel’s The machine in the ghost on Sunday, April 27, 2014. This is Ekwurtzel’s first solo show at the gallery. The exhibition runs until June 8, 2014. Please join us for an opening reception on April 27 from 6 – 8 pm.",_key:"99f99c8eca540",_type:a,marks:[]}]},{style:d,_key:"b4aed82bc622",markDefs:[],children:[{marks:[],text:"Preoccupied with anomalous, if aberrant raw materials, Ekwurtzel applies a Cartesian rationale to minor\nreorganizations of time, space, and matter. His incomplete open cubes (2014), for example, are composed entirely of castings of mole tunnels forced into approximations of Sol Lewitt’s mathematically determined open cube works of the early 1970s. Sourced from a mole-infested suburban lawn, these blindly formed meanderings evoke the expressiveness of projective images used in psychological tests. Their optimization into direct, platonically shaped routes is an embodiment, drawn in space, of conscious and unconscious structures of control.",_key:"b4aed82bc6220",_type:a}],_type:c},{markDefs:[],children:[{_type:a,marks:[],text:"Live and dead knots (2014) presents a similarly nonsensical reorganization, in which two 4 x 8 composite wood panels are modified with the addition of several thousand eastern white pine knots. By introducing a material flaw, or rather thousands of them, to an otherwise rigorously engineered panel, Ekwurtzel creates a visually stable grid whose matter-of-factness occludes the technical obsessiveness of its production. This obscuring of intense material processing is true of Optotypes 1-5 (2014) as well, in which the structural rules of a vision test are applied to the forming of a representational sculpture. Using stone blocks salvaged from the foundation of an eighteenth century New England church, Ekwurtzel sculpted the blocks en plein air, using an eye chart as a hypothetical “live model,” shaping the blocks by observing an icon whose sole purpose is in measuring one’s visual acuity.",_key:"0538a77d10f50"}],_type:c,style:d,_key:"0538a77d10f5"},{style:d,_key:"b6353a5d4921",markDefs:[],children:[{marks:[],text:"Two of Ekwurtzel’s photographic-based projects use the mechanical apparatus in counterintuitive ways. In two\nprojectors (2014), the characteristics of a slide carousel are used to inscribe two opposing rotational gestures on a landscape. One projector depicts a horizontal space in which a tree is felled, while the other projector reveals an open pit being dug—the pan or tilt of the camera corresponding to the cutting of a sawyer or digging of an excavator. In attempt to navigate a state forest using a still camera as a tool for illumination (2014) a digital SLR camera and guide cane facilitate seeing via momentary retinal burn. Ekwurtzel’s flash photographs are the residue of a “dead reckoning” informed only by the persistence of afterimages. Here, Ekwurtzel becomes the blind tunneler, navigating a virtual landscape through the translation of autonomous real-time systems.",_key:"b6353a5d49210",_type:a}],_type:c},{_type:c,style:d,_key:"53d93113f00e",markDefs:[],children:[{text:"Ekwurtzel’s activities, invested in the creation of peculiarly offset reproductions of “universal standards”, evoke the interaction of representation and control known as “feedback”. Also known as circular causality, feedback interpenetrates cause and effect in one neverending loop. In removing wood for wood, as in the case of live and dead knots, the purpose is not to branch off into a new category but to reorganize the original characteristics of a standard unit. This act of rereading, integral to Ekwurtzel’s work, is tied to the outsourcing of perception and expression to interim media — sites that, external to the body, become stand-ins for the eye or hand thus producing a new context and means for contemplation and analysis.",_key:"53d93113f00e0",_type:a,marks:[]}]},{_key:"27e37302255b",markDefs:[],children:[{marks:[],text:"Sam Ekwurtzel (born 1983) works and lives in New York. Solo exhibitions include: On the beach, Real Art Ways Gallery,Hartford, CT (2013), Kinds of Light, Second Guest Projects, New York, NY (2012), The Passenger Position, Reference Gallery, Richmond, VA (2011), and Homo duplex, Reynolds Gallery, Richmond, VA (2011). Past group exhibitions include: Sunny in the Furnace (with Aki Sasamoto) The Kitchen, NY (2014), Cats vs. Dogs, Soloway Gallery, New York, NY (2013), Centripetal March (with Aki Sasamoto) Chocolate Factory Theater, New York, NY (2012), It’s When It’s Gone That You Really Notice It, Simone Subal Gallery (2012), A Failed Entertainment, Virginia Commonwealth University Fine Arts Gallery, Richmond, VA (2011), and A Failed Entertainment, Land of Tomorrow, Louisville, KY (2011). In 2013-2014 Ekwurtzel received generous support from the Connecticut Sea Grant. Ekwurtzel is currently an Alice C. Cole Fellow at Wellesley College, Wellesley, MA. He will present a solo exhibition at Wellesley College in fall 2014. 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and Simone Subal Gallery are pleased to present a two-venue solo exhibition by Brian O’Doherty (also known as Patrick Ireland). Featuring a range of historical and contemporary work—from early text pieces, semantic sculptures, figurative and conceptual portraits, a new \"rope drawing\" installation, chess works, and a site-specific, live-streamed performance piece—the exhibition probes the dualisms, linguistic games, and relational approaches that have characterized O’Doherty’s work since the late 1950s. Connecting the … explores the tension between the visceral, the sensual, and the bodily in relation to their ongoing transformation into abstract form.",slug:{_type:p,current:"brian-odoherty-connecting-the"},content:[{_key:"q2vIpfkY",type:[r],image:{caption:[{_key:"RDUo7BY1",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"704879a92edc"},{_type:a,marks:[f],text:gZ,_key:"84cfdb6c3eb3"},{_type:a,marks:[],text:aa,_key:"9cd66edc8e2a"}],_type:c,style:d}],asset:{_ref:ahj,_type:b},_type:e},_type:K,label:X},{_type:w,label:Z,text:[{_type:c,style:d,_key:"9451f89d9843",markDefs:[],children:[{_type:a,marks:[],text:"March 2 – April 20, 2014\nTwo venues: P! (334 Broome St) and Simone Subal Gallery (131 Bowery)\nOpening reception: Sunday, March 2, 6–8pm\nSPECIAL EVENTS: MARCH 15, 4PM; APRIL 3, 7PM; APRIL 19, 4PM\n[slideshow]",_key:"9451f89d98430"}]},{style:d,_key:"452a2b7d6e0b",markDefs:[{href:"https:\u002F\u002Fwww.youtube.com\u002Fchannel\u002FUCGPW_GnWs32p14-zpFumOzA",_key:boq,_type:av}],children:[{_key:"452a2b7d6e0b0",_type:a,marks:[boq],text:"Watch Brian speak candidly about his life as an art critic, artist,and writer, with Phong Bui of the Brooklyn Rail"}],_type:c},{_type:c,style:d,_key:"d620cf2d7d95",markDefs:[],children:[{_type:a,marks:[],text:"P! and Simone Subal Gallery are pleased to present a two-venue solo exhibition by Brian O’Doherty (also known as Patrick Ireland). Featuring a range of historical and contemporary work—from early text pieces, semantic sculptures, figurative and conceptual portraits, a new “rope drawing” installation, chess works, and a site-specific, live-streamed performance piece—the exhibition probes the dualisms, linguistic games, and relational approaches that have characterized O’Doherty’s work since the late 1950s. Connecting the … explores the tension between the visceral, the sensual, and the bodily in relation to their ongoing transformation into abstract form.",_key:"d620cf2d7d950"}]},{_type:c,style:d,_key:"136bcac66b38",markDefs:[],children:[{_key:"136bcac66b380",_type:a,marks:[],text:"O’Doherty’s "},{_type:a,marks:[f],text:"Structural Plays",_key:"136bcac66b381"},{text:", composed between 1967 and 1970, comprise the conceptual core of the show. These serial works combine inflected language, mathematical notation, and choreographed movement upon a uniform playing grid; a selection of them will be performed in both spaces. Other pieces in the exhibition, such as ",_key:"136bcac66b382",_type:a,marks:[]},{_type:a,marks:[f],text:"Chess Board",_key:"136bcac66b383"},{marks:[],text:" (1966) and Scenario for ",_key:"136bcac66b384",_type:a},{_type:a,marks:[f],text:"Black: A Structural Film",_key:"136bcac66b385"},{marks:[],text:" (1967) extend the metaphor of the grid as a space of lived activity. A contrasting group of sculptural works raise questions of portraiture and representation. The sentinel-like ",_key:"136bcac66b386",_type:a},{_type:a,marks:[f],text:"Narcissus",_key:"136bcac66b387"},{_type:a,marks:[],text:" (1966), exhibited only once since its first presentation in 1966, functions here as a kinetic, illusionistic game: a look inside its twofaced aperture reveals doubled sculptural busts that slowly meld into each other. ",_key:"136bcac66b388"},{_type:a,marks:[f],text:bor,_key:"136bcac66b389"},{text:" (1970), an incised wall-mounted, mirrored Ogham sculpture that employs archaic Celtic script, becomes both an experiential and encoded instantiation of self-representation. A new “rope drawing,” the most recent in an ongoing body of work begun in the 1970s, connects the two spaces through a perceptual corridor. Complemented by a selection of early drawings and works-on-paper, the exhibition probes O’Doherty’s\nroots in empirical observation.",_key:"136bcac66b3810",_type:a,marks:[]}]},{style:d,_key:"3de196aec23a",markDefs:[],children:[{text:"The juxtaposition of pieces in the two galleries functions as a system of mutual echoes, mirroring ideas, methods, and approaches in an open-ended manner. The exhibition grounds O’Doherty’s conceptual and spatial experiments in an ongoing search for new mode of representation within the unstable and ever-moving position of the viewer.",_key:"3de196aec23a0",_type:a,marks:[]}],_type:c},{markDefs:[],children:[{_key:"ec96d73919730",_type:a,marks:[],text:"For more information, please contact info@simonesubal.com or +1 917 334 1147"}],_type:c,style:d,_key:"ec96d7391973"},{markDefs:[],children:[{_key:"2945036f9b2a0",_type:a,marks:[],text:"Brian O’Doherty (b. 1928, Ireland) has led a remarkable and multifaceted career. After working and researching as a medical doctor, he relocated to the USA, where he hosted two television shows on art and culture. O’Doherty served as art critic for the New York Times and as editor of Art in America magazine. He edited and designed the groundbreaking “conceptual issue” of the multimedia magazine-in-a-box Aspen, as well as authored the seminal essay series Inside the White Cube. While part-time director of the NEA’s visual arts and media program, he helped make Soho a magnet for artists, coined the term “alternative space,” and championed early video art. From 1972 to 2008, he worked as an artist under the pseudonym Patrick Ireland. He has mounted over forty solo exhibitions, and was the subject of several retrospectives, most recently in 2007 at NYU’s Grey Art Gallery. O’Doherty is the author of several novels, including The Deposition of Father McGreevy (2000), which was nominated for the Booker Prize. His most recent novel, The Crossdresser’s Secret, was published by Sternberg Press in February 2014."}],_type:c,style:d,_key:"2945036f9b2a"},{markDefs:[{_key:bos,_type:av,href:"http:\u002F\u002Fapi.simonesubal.com\u002Fwp-content\u002Fuploads\u002F2014\u002F02\u002FBrian-ODoherty_press-release_final-2.pdf"}],children:[{text:"Download press release",_key:"9e84b3c557bf0",_type:a,marks:[bos]}],_type:c,style:d,_key:"9e84b3c557bf"}],_key:"qG5FPIf2"},{numbered:t,_type:L,label:V,_key:"YQcQZ90N",install:[{caption:[{style:d,_key:"u1VqW55i",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"9834e7843f69"},{marks:[f],text:gZ,_key:"0923bd4ed4d9",_type:a},{_type:a,marks:[],text:aa,_key:"0d6bf7233ce8"}],_type:c}],_key:"0YE0ozZt",asset:{_ref:ahj,_type:b},_type:e},{_type:e,caption:[{style:d,_key:"T5dsItOP",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"789e2613ffac"},{marks:[f],text:gZ,_key:"82db6b5e3225",_type:a},{text:aa,_key:"c6d3fa0c191f",_type:a,marks:[]}],_type:c}],_key:"ThfBTxne",asset:{_ref:"image-341f48e2233a3d93517056672e047f9a64b44901-5587x3724-jpg",_type:b}},{asset:{_ref:"image-4f046348932ea0eb98463ec239e4e12f2c72c00f-5477x3651-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"CkC59KIC",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"281b4e286382"},{_key:"4305568210d5",_type:a,marks:[f],text:gZ},{text:aa,_key:"45dc778fcd8f",_type:a,marks:[]}]}],_key:"xLg9DGV6"},{_key:"WsSPpP6y",asset:{_ref:"image-20ec9199133866235fa5a6549a3b69a263a2cb20-5616x3744-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"R9mpHzZe",markDefs:[],children:[{text:h,_key:"18bbe64160e3",_type:a,marks:[]},{_key:"bfda60a3e1fc",_type:a,marks:[f],text:gZ},{marks:[],text:aa,_key:"d2fd9a44715c",_type:a}]}]},{caption:[{children:[{text:h,_key:"2131f7d45d2f",_type:a,marks:[]},{marks:[f],text:gZ,_key:"aef3031a4174",_type:a},{text:aa,_key:"0edeff2480e2",_type:a,marks:[]}],_type:c,style:d,_key:"wIdChGz1",markDefs:[]}],_key:"wYmjadYS",asset:{_ref:"image-91aa1dfc4c0b0582889bdd81ec311401e0f8adce-5616x3701-jpg",_type:b},_type:e},{_type:e,caption:[{style:d,_key:"Q9PVO5WN",markDefs:[],children:[{_type:a,marks:[],text:h,_key:"61be31e4ea3d"},{_key:"6893cda6c97b",_type:a,marks:[f],text:gZ},{marks:[],text:aa,_key:"2d7a6a871536",_type:a}],_type:c}],_key:"jflHadtC",asset:{_type:b,_ref:"image-eaed9c86d03587c057b7ea8b3fe6adb68fc60998-5616x3744-jpg"}}],work:[{work:j,_type:e,caption:[{_key:"hegIUn7c",markDefs:[],children:[{_type:a,marks:[g],text:iw,_key:"4elBIYAb"},{_type:a,marks:[f],text:bot,_key:"7d527685e35d"},{_type:a,marks:[],text:bou,_key:"2b1d44e54226"}],_type:c,style:d}],_key:"hCxIyv06",asset:{_ref:"image-ab2e5b99ea9953a5630953f6c555d4aec5a858ab-5616x3744-jpg",_type:b}},{work:j,_type:e,caption:[{style:d,_key:"a7khtefF",markDefs:[],children:[{_type:a,marks:[g],text:iw,_key:"08716a2c80a8"},{text:bot,_key:"028856463b3c",_type:a,marks:[f]},{_key:"9ef7d6e21d45",_type:a,marks:[],text:bou}],_type:c}],_key:"2YsvJk9O",asset:{_ref:"image-cfbaed2969911b5322007fd8badf6ab49484bcc7-3744x5616-jpg",_type:b}},{caption:[{_key:"HlTo3av2",markDefs:[],children:[{_key:"zQq46gl8",_type:a,marks:[g],text:iw},{_type:a,marks:[f],text:"Wittgenstein 7H to 7B",_key:"8d4d7ec24a74"},{_key:"8bfdd8e8810d",_type:a,marks:[],text:", 1967. 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Bismuth’s latest body of work ranges from video to silkscreens to audio pieces, and continues his inquiry into the mechanisms of communication. His practice reflects on the complex manner in which ideas are transmitted in artworks and subsequently in spoken or written language. For Bismuth, a work of art does not contain ideas. It does not even state them, at least not in the way of a sentence. What an artwork makes possible is the articulation an idea in language: it makes the viewer speak.",slug:{current:"julien-bismuth-an-image-as-the-_____-of-a-surface",_type:p},_id:aF,close_date:"2014-02-21",content:[{_key:"3dmL3pAB",type:[r],image:{caption:[{style:d,_key:"EC7jkFBk",markDefs:[],children:[{text:bb,_key:"1d91dc0e9cbf",_type:a,marks:[g]},{_type:a,marks:[],text:n,_key:"6f840248276f"},{text:aod,_key:"40c7aadc5b23",_type:a,marks:[f]},{_type:a,marks:[],text:aPx,_key:"4467df366715"}],_type:c}],asset:{_ref:gM,_type:b},_type:e},_type:K,label:X},{_type:w,label:Z,text:[{_key:"e87ad4dd2735",markDefs:[],children:[{text:"Julien Bismuth’s",_key:"e87ad4dd27350",_type:a,marks:[g]},{_key:"e87ad4dd27351",_type:a,marks:[],text:" latest body of work ranges from video to silkscreens to audio pieces, and continues his inquiry into the mechanisms of communication. His practice reflects on the complex manner in which ideas are transmitted in artworks and subsequently in spoken or written language. For Bismuth, a work of art does not contain ideas. It does not even state them, at least not in the way of a sentence. What an artwork makes possible is the articulation an idea in language: it makes the viewer speak."}],_type:c,style:d},{style:d,_key:"1be264c5b3f9",markDefs:[],children:[{marks:[f],text:"An image as the ______ of a surface",_key:"1be264c5b3f90",_type:a},{_type:a,marks:[],text:" is built upon a series of oppositions that show how the irreconcilability of two things is a source of profound meaning. This productive tension is at the heart of Bismuth’s Monologue for the lowest and highest points in the room, an audio piece based upon the perceived dichotomy between appropriation and originality. Read by an actress instructed to inflect her voice with apposite feeling, the work weaves together statements of intention from Bismuth as well as other artists, curators, CEO’s, pop stars, real estate developers, amongst others. This amalgamation of ambitions reflects upon what people strive for today, and the similarities between those in disparate fields is at once striking, humorous, and somewhat disquieting.",_key:"1be264c5b3f91"}],_type:c},{style:d,_key:"2c8a873e66f5",markDefs:[],children:[{_type:a,marks:[],text:"The play between poles in Monologue for the lowest and the highest points in the room is also apparent in two films on view: Reader and Perroquet (Parakeet). Reader shows Bismuth, back turned from the screen, absorbed in a book. Shot during sunset, varying light conditions suffuse the piece . Perroquet (Parakeet) is a close-up of a woman’s face as she watches the Wizard of Oz, a film saturated in color that projects ambient light on her countenance. Both pieces are about private experiences and the difficulty of sharing them. The wash of gentle colors in the films, shifting from one to the other like the alterations in a rainbow, are metaphors for the translation of private experiences to the world at large: a chance to offer semblances and approximations but never the thing itself.",_key:"2c8a873e66f50"}],_type:c},{_type:c,style:d,_key:"d4acb4465f69",markDefs:[],children:[{marks:[],text:"The associative power of metaphors is a compelling feature of Bismuth’s work. Throughout the space are a series of silkscreens that reflect upon what it means to make an image. The silkscreens depict the manipulation of a sheet of white paper. The titles of the works—An image as the extension of a surface, An image as the insinuation of a surface, An image as the obstruction of a surface, for example—are metaphors that get tagged to the piece, some of which link directly, others less so. In the moving, folding, crumpling, casting a shadow on, or tearing a sheet of paper, Bismuth goes through a kind of shorthand of the sprawling vocabulary of gestures used for image making today. The visual is printed directly onto the gallery’s walls, the screens shown either alongside or in different parts of the space. It is the screens that are the works of art, not the prints, which are merely a byproduct of the representational act. Bismuth inverts traditional expectations for the medium as a way to allow for reproductions to occur with all their flaws and inconsistencies and, most importantly, without the fetishization of the authorial imprint.",_key:"d4acb4465f690",_type:a}]},{_type:c,style:d,_key:"4211401cec1c",markDefs:[],children:[{_key:"4211401cec1c0",_type:a,marks:[],text:"Julien Bismuth (born 1973 in Paris) works and lives in New York. Solo exhibitions include shows at La Ferme Du Buisson, Marne-la-Vallée, France; the Gesellschaft für aktuelle Kunst Bremen, Germany; Emanuel Layr Galerie, Vienna, Austria; The Box, Los Angeles, CA; Crac Alsace, Altkirch, France; Bloomberg Space, London, England; Parisa Kind Galerie, Frankfurt, Germany and Galerie Georges-Philippe & Nathalie Vallois, Paris, France. Bismuth took part in numerous group shows, for example at the Palais de Tokyo, Paris, France; La Nuit Blanche, Paris, France; Musée du Jeu de Paume, Paris, France; Kunsthalle Wien, Vienna, Austria; ICA Philadelphia; 12e Prix Fondation d’entreprise Ricard, Paris, France; Schirn Kunsthalle, Frankfurt, Germany; Villa Arson, Nice, France; Musée du Jeu de Paume, Paris, France; Orange County Museum, Newport Beach, CA. His performances (often in collaboration) could be seen at such places as MUSAC, Leon, Spain; Tate Modern London, England; and Parasol Unit, London, England. 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is with great pleasure that Simone Subal announces the opening of ",_key:"3bac1d17b94b0",_type:a,marks:[]},{_type:a,marks:[g],text:boE,_key:"3bac1d17b94b1"},{_type:a,marks:[],text:n,_key:"3bac1d17b94b2"},{text:ew,_key:"3bac1d17b94b3",_type:a,marks:[f]},{_type:a,marks:[],text:" on Sunday, November 3, 2013. This is Almeida’s second solo show at the gallery. The exhibition runs until December 21, 2013. Please join us for an opening reception on November 3 from 6 – 8 pm.",_key:"3bac1d17b94b4"}],_type:c,style:d},{_type:c,style:d,_key:"61d938e5d701",markDefs:[],children:[{text:boE,_key:"61d938e5d7010",_type:a,marks:[g]},{marks:[],text:" latest body of work continues her investigation into ways one sees in a world saturated with visual information. In both large and small scale paintings, as well as several compositions mounted to a support and installed like sculpture, Almeida creates nuanced reflections on the contingent nature of vision.",_key:"61d938e5d7011",_type:a}]},{style:d,_key:"ba0030c28008",markDefs:[],children:[{_type:a,marks:[],text:"The works on view play with a dual, interrelated problem: understanding how the creation of an image—its birth, to use Almeida’s phrasing—encodes one’s intentions with a wide range of socially constructed symbols, and how a painting can only become complete through the multi-dimensional interactions of the viewer. Almeida’s recent works possess some of the temporal aspects of film. Paintings such as ",_key:"ba0030c280080"},{text:aPy,_key:"ba0030c280081",_type:a,marks:[f]},{text:" or ",_key:"ba0030c280082",_type:a,marks:[]},{text:"Blue Filter",_key:"ba0030c280083",_type:a,marks:[f]},{_type:a,marks:[],text:" (both 2013) reveal themselves slowly, and make it impossible to see them all at once. Some information always remains concealed, only to make apparent something else, and viewers must physically engage the pieces—moving backwards or forwards, around or besides—to take in all of the aspects. To make sense of her new pieces, as with ",_key:"ba0030c280084"},{_key:"ba0030c280085",_type:a,marks:[f],text:aPz},{text:" (2013), which is backlit with affixed LED lights, requires viewers to often hold a mental image of a particular aspect of the work, while examining the rest of the composition. This combination of one’s memory and the material reality of the painting means the composition is constantly in flux, generating new interpretations whether because of the viewer’s shifting perspective or the changing physical conditions of the space.",_key:"ba0030c280086",_type:a,marks:[]}],_type:c},{style:d,_key:"3fa9e3afefbd",markDefs:[],children:[{_key:"3fa9e3afefbd0",_type:a,marks:[],text:"In an era mediated by screens, where internet searches algorithmically generate odd combinations of images, Almeida’s paintings also take on the phenomenon of sifting though a wide swath of visual information: how different kinds of depictions get prioritized, how images can not only cancel one another out but also, through unexpected associations, form entirely new kinds of representations. In the painting "},{_type:a,marks:[f],text:boF,_key:"3fa9e3afefbd1"},{_key:"3fa9e3afefbd2",_type:a,marks:[],text:" (2013), for example, a whole range of colorful forms and patterns are almost completely obscured by a large grid applied delicately in white wash. Atop the grid, the device that traditionally facilitated the creation of pictorial space, is an incomplete helix that pulses from one end of the canvas to another. The density of visual information in Almeida’s work is compelling, and often creates forms that float spectrally as with the “sunspot” in "},{marks:[f],text:"Black and White Rays",_key:"3fa9e3afefbd3",_type:a},{marks:[],text:" (2013) or the three shapes ensconced in Forward ",_key:"3fa9e3afefbd4",_type:a},{marks:[f],text:"Play Pause",_key:"3fa9e3afefbd5",_type:a},{_type:a,marks:[],text:" (2013). To get at the core of Almeida’s paintings demands the viewer to sift through her pictorial layers patiently, letting seemingly innocuous details reveal their complexity. Yet at other instances, almost paradoxically, certain works presents viewers with a rush of information. These different temporal conditions of Almeida’s paintings, like shifting verb tenses, are always experienced in the present and often simultaneously, moments in time in which each painting is a world in a constant state of unfolding.",_key:"3fa9e3afefbd6"}],_type:c},{children:[{text:"In 2014, Sonia Almeida will have a solo show at the MIT List Visual Arts Center, Cambridge, MA.",_key:"b2e9a5f61e1f0",_type:a,marks:[]}],_type:c,style:d,_key:"b2e9a5f61e1f",markDefs:[]},{children:[{_key:"74166869095b0",_type:a,marks:[],text:"Sonia Almeida was born in 1978 in Lisbon, Portugal. She lives and works in Boston, MA. Solo exhibitions include: Simone Subal Gallery, New York (2012); T293, Rome, Italy (2011); Chiado 8, Culturgest, Lisbon, Portugal (2009); Croxhapox, Gent, Belgium (2009); Art Positions (with T293), Art Basel Miami Beach, FL (2009). Group shows include: DeCordova Biennial, deCordova Sculpture Park and Museum, Boston, MA (2013); Plentitude, Carl Freedman Gallery, London, UK (2012); a project by Lucie Fontaine, Marianne Boesky Gallery, New York, NY; Modern Talking, Muzeul National de Arta Cluj-Napoca, Romania (2012); Painting Overall, Prague Biennale 5, Prague, Czech Republic (2011); Four Rooms, Centrum Sztuki Współczesnej Zamek Ujazdowski, Warsaw, Poland (2011); Personal Freedom, Portugal Arte 10, Lisbon (2010); Acts Are For Actors, Southfirst Gallery, Brooklyn, New York (2010); EDP Novos Artistas, Lisbon, Portugal (2009); The Elementary Particles (Paperback Edition), Standard (OSLO), Norway 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In both large and small scale paintings, as well as several compositions mounted to a support and installed like sculpture, Almeida creates nuanced reflections on the contingent nature of vision."},{_type:J,content:[{image:{caption:[{style:d,_key:"ujEohBRo",markDefs:[],children:[{_key:"30835be8695f",_type:a,marks:[g],text:eY},{_type:a,marks:[f],text:aPA,_key:"28067d8a56cd"},{text:aPB,_key:"b360d74598d3",_type:a,marks:[]}],_type:c}],asset:{_ref:aPC,_type:b},_type:e},_type:K,label:X,_key:"1gEkGlqG",type:[r]},{_type:w,label:Z,text:[{children:[{_type:a,marks:[],text:anv,_key:"fde637fb0f870"},{marks:[g,f],text:"Everything and All of That: Charles Mayton, Kathrin Sonntag, and Erika Vogt",_key:"fde637fb0f871",_type:a},{text:" on Sunday, September 8, 2013. The show runs until October 27, 2013. 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As points of origins and conclusions in their art circle back upon themselves, an intellectual fluidity emerges in which time, medium, and narrative structures constellate into profound ways of picturing an ever-shifting world.",_key:"e6adf25390360",_type:a,marks:[]}],_type:c},{style:d,_key:"f774371f0fce",markDefs:[],children:[{_key:"f774371f0fce0",_type:a,marks:[g],text:boI},{marks:[],text:"’s conceptual paintings take as their starting point both the process of making and the conditions and conventions of seeing. Uncomfortable with the ease with which painting can be assimilated in the current context of contemporary art, Mayton often foregrounds the anxieties of the studio, the difficulties, for example, one faces when confronted by the blank canvas. The palpable energy of the creative act made somewhat ironic, but not cynical, by his occasional gestural brush strokes is complicated by his clever plays with image-text relations as well as almost innocuous trompe l’oeil effects that revel in the pictorial possibilities of painting.",_key:"f774371f0fce1",_type:a}],_type:c},{children:[{_key:"ee667994e84a0",_type:a,marks:[g],text:boJ},{text:" works in photography, film, and installation. Her poetic pieces invoke the instability of images. She has been of late interested in problems of mirroring and doubling. This has resulted in projects in which a subtle kind of simultaneity comes forward, in which similar, almost identical, things appear at once. This temporal conflation is enhanced by her interest in the idea of the studio as well as archival research into private collections, making her work a Mobius strip of references and illusions.",_key:"ee667994e84a1",_type:a,marks:[]}],_type:c,style:d,_key:"ee667994e84a",markDefs:[]},{_type:c,style:d,_key:"54f24a094eb0",markDefs:[],children:[{marks:[],text:"The current work by ",_key:"54f24a094eb00",_type:a},{_key:"54f24a094eb01",_type:a,marks:[g],text:anW},{_key:"54f24a094eb02",_type:a,marks:[],text:" builds upon her inter-media projects of the past few years. She continues to explore the expanded field of video, sculpture, and drawing, and sees these mediums as sharing similar properties such that distinctions between them dissolve. Her recent videos pulsate with energy, focusing on particular objects and motifs through a recurrence of hypnotic and densely layered imagery. 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This exhibition was co-curated by Rachel LaBine and Simone Subal. It will run through August 2, 2013, and there will be an opening reception held Tuesday, July 9, from 6-8pm."}],_type:c},{_type:c,style:d,_key:"d5a161f3e6b7",markDefs:[],children:[{_type:a,marks:[],text:boR,_key:"d5a161f3e6b70"}]},{children:[{marks:[g],text:aog,_key:"6a017cdea2e40",_type:a},{_type:a,marks:[],text:" assembles fabricated and found objects with disparate uses, connotations and connections. The separate parts attempt not to make a ‘whole’ or singular declaration, but evoke various possibilities for narrative amongst themselves. This sense of story is both emphasized and withheld from definition by video that is imposed over the sculptural elements of the piece. Cetera and others are shown moving about the same space in which the video is projected, causing a temporal shift to occur between documentation and firsthand experience. By presenting objects as varied as a fake boulder, a hologram, and a gravel-filled wire figure, Cetera covertly alludes to the inherent elasticity within the act of storytelling. Seemingly incompatible interests and values become related, their selection guided by a fascination with the emotional potency able to be carried by objects.",_key:"6a017cdea2e41"}],_type:c,style:d,_key:"6a017cdea2e4",markDefs:[]},{_type:c,style:d,_key:"a9363bd665d0",markDefs:[],children:[{marks:[g],text:aoh,_key:"a9363bd665d00",_type:a},{marks:[],text:" creates installations of foam sculptures, fragmented stage sets, photographs and paintings. In these arrangements the spatial and pictoral relations between the objects are emphasized, rather than their presentation as discrete works. A prevalent concern in much of Franklin’s work is the notion of translation between object, image, and document, and the replacement of older meanings through these translations, whether by chance or intentional presentation in a new context. Drawing from photographic documentation of sculpture that is scanned and distorted, he quickly creates three-dimensional “sketches” out of foam. The surfaces of these forms display varying degrees of finish, and are placed on the floor or incorporated loosely into the architectural pieces. This pointedly unfinished presentation speaks to Franklin’s concern with temporariness and instability, both figuratively and physically.",_key:"a9363bd665d01",_type:a}]},{_key:"29984a512754",markDefs:[],children:[{_type:a,marks:[],text:"The photographic image becomes a malleable screen between maker and viewer in the layered photo-based work of ",_key:"29984a5127540"},{_key:"29984a5127541",_type:a,marks:[g],text:Se},{_key:"29984a5127542",_type:a,marks:[],text:". Undefined spaces, gestures, line drawings, fragments of images and obscured figures are condensed in images that are often both descriptive and indeterminate at once: Olson, often pictured, shifts between a seen subject and a viewer herself. Intimate realities and exposed fantasies routinely coexist in unexpected ways. Her works document a kinetic, performative exploration of placing the self amongst representations and visual influences."}],_type:c,style:d},{_type:c,style:d,_key:"92a3ac3c9f08",markDefs:[],children:[{marks:[g],text:aog,_key:"92a3ac3c9f080",_type:a},{_type:a,marks:[],text:" has performed and shown work in New York at John Connelly Presents, Guild and Greyshkul Gallery, Poetry Project at St. Marks Church, Anthology Film Archives and participated in Portugal Arte 2010. Recent group shows include Coded Conduct at Pilar Corrias Gallery, London, UK, Double Lifeat Sculpture Center, LIC, NY, and the New Wight Biennial, UCLA, Los Angeles, CA. She holds a MFA from Columbia University, 2012 and a BFA from the Cooper Union School of Art, 2005. She lives and works in New York City.",_key:"92a3ac3c9f081"}]},{_type:c,style:d,_key:"96c6aefff675",markDefs:[],children:[{text:aoh,_key:"96c6aefff6750",_type:a,marks:[g]},{_type:a,marks:[],text:", born 1981 in St. Helens, Oregon, has exhibited work at Rawson Projects and First Street Gallery in New York, and is a co-director of Soloway Gallery in Brooklyn. He holds a MFA from Mason Gross School of the Arts at Rutgers University, 2012, and a BFA from Pacific Northwest College of Art, 2009. He is currently based in Newark, New Jersey.",_key:"96c6aefff6751"}]},{_type:c,style:d,_key:"53f9de10c2ff",markDefs:[],children:[{marks:[g],text:Se,_key:"53f9de10c2ff0",_type:a},{marks:[],text:", born 1987, has exhibited at Andrew Rafacz Gallery, The Hyde Park Art Center, Chicago Cultural Center, and Heaven Gallery, Chicago, with an upcoming solo show at Document. She holds a BFA from The School of the Art Institute Chicago, 2010, and attended the Ox-bow School of Art in Saugatuk, MI. 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This is Meisenberg’s first solo exhibition in New York. It runs until June 23, 2013.",_key:"76c90c0f6ab64",_type:a,marks:[]}],_type:c},{_type:c,style:d,_key:"3040cb879d30",markDefs:[],children:[{_type:a,marks:[],text:"Florian Meisenberg experiments greatly with the possibilities of the depicted image. Much of his work reflects self-consciously upon both the process of painting and the specific boundaries of the medium. His investigations have led him to paint both figuratively as well as abstractly, play with issues of scale, create complex installations (or environments), and explore the permutations of different materials (whether those used for support or types of paint or digital media), all in the service of expanding the potential of non-verbal communication. These are works that in their constant awareness of the constructed nature of visual experience nevertheless present to viewers images containing the expressive power of an unmediated here and now.",_key:"3040cb879d300"}]},{markDefs:[],children:[{_key:"66b4d8f88fc60",_type:a,marks:[],text:aUH},{marks:[f],text:e_,_key:"66b4d8f88fc61",_type:a},{text:", Meisenberg creates a conversation between his six, large-scale paintings—some hung on exposed drywall studs making both the back and front of the work visible—and a series of videos presented on several flat screens arranged casually throughout the space. Meisenberg began using video in 2009 in an attempt to epitomize the artistic process. Meisenberg’s latest videos are recordings from his computer desktop, in which multiple images compete for the viewer’s attention. These carefully haphazard compositions are performances in the digital realm, and each idiosyncratic yet prescient piece addresses the onslaught of information and the way screens mediate daily life. They also capture Meisenberg’s process of painting: a decidedly analog activity.",_key:"66b4d8f88fc62",_type:a,marks:[]}],_type:c,style:d,_key:"66b4d8f88fc6"},{markDefs:[],children:[{text:"The paintings, like the videos, are another surface upon which to make images. They operate in the same space, as if one was the continuation of the other and vice versa. The poetically restrained paintings contain an internal tension between medium and pigment, one that represents the conflict between the transcendental and the material as well as between the digital and analog. For Meisenberg, the exploration into this fundamental opposition is an effort to create a universal language not bound to material experience but nevertheless aware of the physical world. This is made possible, in part, by his frequent use of linseed oil, what he considers “paintless paint,” on partially primed canvas. Because the linseed oil is unstable, actively soaking into the canvas, Meisenberg must rest the painting on the ground for several days. As the oil dries, a chance-derived shape develops, which not only signals the unique agency of the paint, as if it has a will of its own, but also informs Meisenberg’s subsequent moves, including the application of paint—sometimes applied directly from the tube, others modeled delicately by brush. In their creation, the paintings, as with the videos, are stages for intricate and complex performances.",_key:"f0ed0939ac460",_type:a,marks:[]}],_type:c,style:d,_key:"f0ed0939ac46"},{_type:c,style:d,_key:"24b9987a2599",markDefs:[],children:[{marks:[],text:"Meisenberg’s videos and paintings are sites in which constellations of energies coalesce to make vibrant wholes, inviting the viewer to bask in their continual, generous afterglow. It is within this spectral field that Meisenberg’s work opens the possibility for profound, visual thinking: a mode of communication composed equally of bodily and optical experiences. His art exists in the moment of affect: the liminal space between vision and language, vision and feeling.",_key:"24b9987a25990",_type:a}]},{markDefs:[],children:[{_key:"0e85b7a0f7390",_type:a,marks:[],text:"Meisenberg was born in 1980 in Berlin and he works and lives in New York. He graduated from the Kunstakademie Düsseldorf in 2010. Selected solo shows: Kunst aus NRW \u002F Förderpreis für Bildende Kunst, Ehemalige Reichsabtei, Aachen, Germany (2012); Wentrup Gallery, Berlin (2012); Tanja Pol, Munich, Germany (2012); Wilhelm-Hack-Museum, Ludwigshafen, Germany (2011); Kate MacGarry Gallery, London (2011); Ludwig Forum für Internationale Kunst, Aachen, Germany (2009). Recent selected group exhibitions: Grieder Contemporary, Zurich, Switzerland (2013); Galerie Parrotta Contemporary Art, Stuttgart, Germany (2013); Boros Collection II, Berlin, Germany (2012); Avlskarl Projects, Copenhagen, Denmark (2012); Solinger Kunstmuseum, Solingen, Germany (2011); New Talents Biennale 2010, Cologne, Germany (2010); Wilhelm-Hack-Museum, Ludwigshafen, Germany (2010); Kunstverein Langenhagen, Germany (2010). The monograph If you stare on this painting for 72 hours you will loose 4.5 pounds was published in 2009 in conjunction with Meisenberg’s show at the Ludwig Forum. 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Bamburg’s latest body of work examines the arbitrariness of existence through a broad understanding of sculptural form and a nuanced reflection on artistic process. Bamburg sees the world as a collection of formal systems on the verge of failure, and his work is unified by several interconnected questions: what happens when chance is allowed to run its course; what is the relationship between artistic intention and the internal logic of each object; and what are the limits and possibilities of each material?",_key:"23e743a737f70"}],_type:c},{_key:"6ee1cce99e3b",markDefs:[],children:[{text:"The work on view continues Bamburg’s interest in exploring the essence of sculpture: the animation of the inanimate. This is evident in the large brass and bone arches that elegantly demarcate the space. The bones, taken from a variety of fowl and arranged in ascending size, provide just enough weight to hold taut the gently cascading arch. Bamburg pushes the themes found in the arches in his work with living organisms. In three terrariums spaced throughout the room a wooden log is displayed in specifically designed vitrines. The logs are both dead and alive, a representation of life and actual life transforming before the viewer’s eyes. Bamburg carefully stripped the bark from the logs, replacing the original wood with a porcelain cast. He wrapped the stripped bark around the smooth surrogate, and then created an environment—a contained ecosystem where the humidity is nearly one hundred percent—in which mushrooms grow on the grafted bark.",_key:"6ee1cce99e3b0",_type:a,marks:[]}],_type:c,style:d},{_type:c,style:d,_key:"7fd7082ac253",markDefs:[],children:[{_type:a,marks:[],text:"The existential concerns of Bamburg’s art are shaped by his dual interest in formal systems and artistic agency. All of the works respond to an initial material condition and\u002For rule-based situation Bamburg establishes at the outset. He forces himself to follow the self-proscribed materialist dictate to its conclusion under the proviso that he extends himself to his physical, conceptual, monetary, and even moral limits. Hence, the greenish-blue color of a porcelain cast log leads Bamburg to seek out another material of the same color, which necessitates that he finds something else to compliment the previous choice. In these works there is no turning back, no place for revisions, once a system is in place Bamburg must follow it—at all costs—to the end.",_key:"7fd7082ac2530"}]},{_key:"55b7948f5620",markDefs:[],children:[{_type:a,marks:[],text:"This is especially true with the several wood, shell, and animal hooves stacks. Bamburg uses a variety of burls taken from redwood, maple, oak, and other kinds of trees. They visually define the stacks on view, which use balance, gravity, and at times mounts or leaning plinths to maintain their construction. Bamburg predetermines the height and subsequently devises a system that allows him to achieve his goal. The pieces require constant problem solving and ad-hoc thinking in order to make them come to fruition. They push a formal logic, however absurd in constitution, to its extreme, and search for a new understanding about what a certain shape or structure can do in a given situation. Every work in ",_key:"55b7948f56200"},{_type:a,marks:[f],text:by,_key:"55b7948f56201"},{marks:[],text:" exists on a knife-edge. The gap between failure and success, as with life, is determined by the eternal battle between one’s will and chance.",_key:"55b7948f56202",_type:a}],_type:c,style:d},{style:d,_key:"eba92351689d",markDefs:[],children:[{_key:"eba92351689d0",_type:a,marks:[],text:"Larry Bamburg was born in 1974 in Houston, Texas. He lives and works in Brooklyn, New York. Selected exhibition include: "},{marks:[f],text:"UR,",_key:"eba92351689d1",_type:a},{_key:"eba92351689d2",_type:a,marks:[],text:" Room East, New York, NY (2012); "},{_type:a,marks:[f],text:"It’s Endless Undoing,",_key:"eba92351689d3"},{_key:"eba92351689d4",_type:a,marks:[],text:" Thierry Goldberg Gallery, New York, NY (2012);"},{_type:a,marks:[f],text:"Science on the back end",_key:"eba92351689d5"},{_type:a,marks:[],text:", Hauser & Wirth, New York, NY (2012); ",_key:"eba92351689d6"},{marks:[f],text:"Heel gezellig,",_key:"eba92351689d7",_type:a},{_type:a,marks:[],text:" GRIMM, Amsterdam, NL (2011); ",_key:"eba92351689d8"},{text:"Bamberg (sic.),",_key:"eba92351689d9",_type:a,marks:[f]},{text:" GRIMM, Amsterdam, NL (solo) (2011); ",_key:"eba92351689d10",_type:a,marks:[]},{marks:[f],text:aPf,_key:"eba92351689d11",_type:a},{text:", Boston Center for the Arts, Boston, MA (2009); ",_key:"eba92351689d12",_type:a,marks:[]},{_key:"eba92351689d13",_type:a,marks:[f],text:"Hi, Low, and In Between"},{marks:[],text:", GRIMM, Amsterdam, NL (2009), Fruit Farm Film Festival 2008, McMinnville, OR (2008);",_key:"eba92351689d14",_type:a},{marks:[f],text:"Only Connect,",_key:"eba92351689d15",_type:a},{_type:a,marks:[],text:" Art in General at Bloomberg LP., New York, NY (2008). 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C-print on glass and acrylic over window tint over Astroturf over plywood with screws acrylic. 40.5 x 55 inches, 103 x 140 cm.",_key:"a2f2e2c57bf2",_type:a,marks:[]}],_type:c,style:d}]},{work:j,_type:e,caption:[{children:[{text:al,_key:"oW0WJLLW",_type:a,marks:[g]},{_key:"9b1887af3076",_type:a,marks:[],text:n},{text:aoj,_key:"7496462eee1a",_type:a,marks:[f]},{text:bpg,_key:"2f5602594c1e",_type:a,marks:[]}],_type:c,style:d,_key:"tnT0PEUs",markDefs:[]}],_key:"vejZFObF",asset:{_type:b,_ref:"image-22bf0dac728c87b1986d002a425b2227c71440fd-592x800-jpg"}},{work:j,_type:e,caption:[{_type:c,style:d,_key:"kmpNGewv",markDefs:[],children:[{_type:a,marks:[g],text:al,_key:"182bf11fd0b9"},{_type:a,marks:[],text:n,_key:"df6b83803906"},{_key:"86ceab8d6fac",_type:a,marks:[f],text:aoj},{text:bpg,_key:"6e174b527fb5",_type:a,marks:[]}]}],_key:"OdwasJ0W",asset:{_ref:"image-62d0e7ffae4e3c3fad9dc739951599f63047336a-540x800-jpg",_type:b}},{_key:"jq4faKRo",asset:{_ref:"image-2d89bc6809028895345b07f58480681c96fd117f-524x800-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:al,_key:"fe30ba04e189"},{_key:"8bfc968ab18f",_type:a,marks:[],text:n},{_key:"e222cc4de706",_type:a,marks:[f],text:aoj},{_type:a,marks:[],text:bph,_key:"810f400ab2fb"}],_type:c,style:d,_key:"kznJMh6A"}]},{work:j,_type:e,caption:[{style:d,_key:"Tqs7rFT0",markDefs:[],children:[{_type:a,marks:[g],text:al,_key:"f0392f8c1962"},{_key:"50cd56895220",_type:a,marks:[],text:n},{_key:"8eaf54337ee4",_type:a,marks:[f],text:aoj},{_key:"f6e4a3be8ec9",_type:a,marks:[],text:bph}],_type:c}],_key:"ZO4VBCyE",asset:{_ref:"image-5470b9631bd88c029ab33cf832a73fb978822cbb-449x800-jpg",_type:b}},{caption:[{style:d,_key:"zlHw1Jqu",markDefs:[],children:[{_type:a,marks:[g],text:al,_key:"FmVq1MSw"},{_key:"c22f8bb86ce8",_type:a,marks:[],text:n},{_key:"75f461cb9de7",_type:a,marks:[f],text:ahk},{text:aPL,_key:"14363885f7d0",_type:a,marks:[]},{_type:a,marks:[f],text:n,_key:"7135393fe45f"},{marks:[],text:"2013. Fine silver, wood bark, mushroom spores and wax over porcelain under glass with a porcelain deck on a pedestal of safety glass over acrylic sheet over plastic shopping bags over pink foam with electric aerator equipment and hydroton. 67.5 x 38.75 x 22.5 inches, 171 x 98 x 57 cm.",_key:"5efc7e43b86b",_type:a}],_type:c}],_key:"crNFbAg2",asset:{_ref:"image-a0c27287699461f295261a66ead07c2c643a66f1-574x800-jpg",_type:b},work:j,_type:e},{asset:{_type:b,_ref:aPd},work:j,_type:e,caption:[{_key:"IKRf13pZ",markDefs:[],children:[{text:al,_key:"71565e7d5888",_type:a,marks:[g]},{marks:[],text:n,_key:"085aab34ead4",_type:a},{text:ahk,_key:"d271c6e5dc73",_type:a,marks:[f]},{marks:[],text:aPL,_key:"2bb1d283f46e",_type:a},{text:n,_key:"5f62dc64ebcc",_type:a,marks:[f]},{_type:a,marks:[],text:bpi,_key:"ae9d6601a512"}],_type:c,style:d}],_key:"T5qPNNL2"},{_type:e,caption:[{_key:"PZMpMr8l",markDefs:[],children:[{marks:[g],text:al,_key:"8b2120546b4d",_type:a},{_type:a,marks:[],text:n,_key:"6462fe48ea79"},{marks:[f],text:ahk,_key:"a4b8a2e59fd7",_type:a},{marks:[],text:aPL,_key:"5c73af087663",_type:a},{marks:[f],text:n,_key:"62a4dc756c14",_type:a},{_type:a,marks:[],text:bpi,_key:"847456b0e0c7"}],_type:c,style:d}],_key:"499mBM0h",asset:{_type:b,_ref:"image-b0834187db12cdf5b9a6be24f48a21b81d8907c8-512x800-jpg"},work:j},{work:j,_type:e,caption:[{_type:c,style:d,_key:"tCnuJXCn",markDefs:[],children:[{text:al,_key:"30580ecdaf86",_type:a,marks:[g]},{_type:a,marks:[],text:n,_key:"77659faad606"},{_type:a,marks:[f],text:"As Per This Course of Action: Willow Branch, Fish Tank",_key:"c47ac3f4a0c1"},{_key:"e663be31be9a",_type:a,marks:[],text:", 2013. Fine silver, wood bark, mushroom spores and wax over porcelain under glass with a salvaged acrylic deck on a pedestal of polypropylene over acrylic sheeting holding water with electric aerator, filtration and heating equipment and tilapia. 71 x 35 x 29 inches, 180 x 89 x 73.5 cm."}]}],_key:"dmT1nwuX",asset:{_type:b,_ref:"image-4fa9a4e962ec29a90c854d6a1da2c12e65f2985b-525x800-jpg"}},{_type:e,caption:[{style:d,_key:"Hgk4Jfvz",markDefs:[],children:[{_type:a,marks:[g],text:cy,_key:"qmCHC22r"},{_key:"88743de1700a",_type:a,marks:[f],text:bpj},{_type:a,marks:[],text:", 2013. 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C-print on glass, acrylic, granite, marble, plastic laminate, wood and wood veneer with plastic caps, magnets and push pins. 72 x 68 inches, 183 x 172 cm."}]}],_key:"n9uiTwCz"},{caption:[{_key:"i7SFBad6",markDefs:[],children:[{_type:a,marks:[g],text:cy,_key:"aYBnuWte"},{_type:a,marks:[],text:n,_key:"8e87e6ac1759"},{_type:a,marks:[f],text:bpk,_key:"91c2ce508fec"},{_type:a,marks:[],text:", 2013 (detail). Quail bones, brass, push pin. 118 x 20 x 85 inches, 300 x 51 x 216 cm.",_key:"ec918bbfa2d2"}],_type:c,style:d}],_key:"j2aB7O2J",asset:{_type:b,_ref:"image-c409e77831345f5495ec626ddcedc306fa6c505e-1200x1800-jpg"},work:j,_type:e},{caption:[{_type:c,style:d,_key:"dgI6kDg0",markDefs:[],children:[{_type:a,marks:[g],text:cy,_key:"725AS5Eh"},{_type:a,marks:[f],text:aPM,_key:"e48721954971"},{_type:a,marks:[],text:bpl,_key:"7052e6ea8f87"}]}],_key:"SzwkoIqc",asset:{_ref:"image-f856be01c967ca2d7166bf147740317c757fe102-1102x1654-jpg",_type:b},work:j,_type:e},{work:j,_type:e,caption:[{_type:c,style:d,_key:"YFaIDSTy",markDefs:[],children:[{marks:[g],text:al,_key:"x9g2sHt6",_type:a},{_key:"2f54d7278698",_type:a,marks:[],text:n},{_type:a,marks:[f],text:aPM,_key:"0eeabedde759"},{_type:a,marks:[],text:", 2013. Chicken bones, brass, wood. 111 x 32 x 99 inches, 282 x 81 x 251.5 cm.",_key:"890ce5cb91a7"}]}],_key:"LA66rPya",asset:{_type:b,_ref:"image-de9c0878d9e9b0e168fa011f9bd90c47144272b0-845x1890-jpg"}},{caption:[{_type:c,style:d,_key:"iCAHamrJ",markDefs:[],children:[{text:al,_key:"GLMSLtKP",_type:a,marks:[g]},{text:n,_key:"9a41cf69a978",_type:a,marks:[]},{_type:a,marks:[f],text:bpk,_key:"d1ab17fd44c6"},{marks:[],text:", 2013. Quail bones, brass, push pin. 118 x 20 x 85 inches, 300 x 51 x 216 cm.",_key:"f41d8e241976",_type:a}]}],_key:"bOodruQ4",asset:{_type:b,_ref:"image-1325a133757e49db59a0120e9b3db10b6e66720c-614x1890-jpg"},work:j,_type:e},{asset:{_ref:"image-b028900dff6eb831b133379e1e0c5852ec259e2f-1200x1800-jpg",_type:b},work:j,_type:e,caption:[{_type:c,style:d,_key:"XWZIac9V",markDefs:[],children:[{text:al,_key:"tXOv4TXV",_type:a,marks:[g]},{marks:[],text:n,_key:"1f716aa94b8b",_type:a},{_key:"6e8771b6cf63",_type:a,marks:[f],text:aPM},{marks:[],text:bpl,_key:"a1e8bbc1b3c4",_type:a}]}],_key:"iHgEOpL1"},{work:j,_type:e,caption:[{children:[{text:cy,_key:"noGRF1XT",_type:a,marks:[g]},{marks:[f],text:"Bone Stack # 43: All Birds are Dinosaurs, Not All Dinosaurs Are Birds, Turkey",_key:"a7f00ade2bc2",_type:a},{_type:a,marks:[],text:", 2013 (detail). 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The car was his and story mine, her Lucky Weekend is a sculptural gesture meant to redefine one’s sense of the gallery’s space.  The work plays with the gallery’s relation to the neo-classical pediment of the Bowery Savings Bank seen clearly from the gallery’s front windows.  Roughly eight feet by twenty-five feet, Lucky Weekend consists of five interconnected panels covered with small bathroom tiles.  Embedded within these glossy forms that allude in a low tech manner to the digital pixels that determine the contemporary representational world, are a series of abstract, ceramic shapes arranged to form a triangle—a nod to the looming pediment 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K.E., who trained as a classical ballerina in her native Georgia, has an acute sense of space, of how a body or a thing interacts with an environment and the various permutations that ensue. For ",_key:"d6bcc8f54f180"},{_key:"d6bcc8f54f181",_type:a,marks:[f],text:gv},{_type:a,marks:[],text:", her ",_key:"d6bcc8f54f182"},{marks:[f],text:DW,_key:"d6bcc8f54f183",_type:a},{_type:a,marks:[],text:" is a sculptural gesture meant to redefine one’s sense of the gallery’s space. The work plays with the gallery’s relation to the neo-classical pediment of the Bowery Savings Bank seen clearly from the gallery’s front windows. Roughly eight feet by twenty-five feet, ",_key:"d6bcc8f54f184"},{_type:a,marks:[f],text:DW,_key:"d6bcc8f54f185"},{text:" consists of five interconnected panels covered with small bathroom tiles. Embedded within these glossy forms that allude in a low tech manner to the digital pixels that determine the contemporary representational world, are a series of abstract, ceramic shapes arranged to form a triangle—a nod to the looming pediment outside.",_key:"d6bcc8f54f186",_type:a,marks:[]}],_type:c,style:d},{style:d,_key:"058c1cef66bf",markDefs:[],children:[{_key:"058c1cef66bf0",_type:a,marks:[],text:"The formal elegance of "},{_key:"058c1cef66bf1",_type:a,marks:[f],text:DW},{text:" develops a major theme in K.E.’s practice: the tension between potential and containment. K.E.’s composed ceramic shapes create a pictorial hierarchy in which colorful bursts of energy rush toward the structure’s top only to be constrained by the triangular outline. The palpable feeling of give and take is mirrored by another aspect of the piece: on the far right hand side, isolated on an expanse of tile, are unique posters made by artists of different generations. The individual posters — twenty-three in all — are on view for no more than a day or two. They are subsequently covered up with the next poster, creating a situation in which, much like the restricted crescendoing shapes to the left, the posters grow in size at the expense of the previous image.",_key:"058c1cef66bf2",_type:a,marks:[]}],_type:c},{children:[{marks:[],text:"Latent in all of K.E.’s art is a dark sense of humor that both ironizes the role of the artist and demystifies the auratic qualities of a work of art. In the video, ",_key:"2dc3a7eeb3140",_type:a},{_key:"2dc3a7eeb3141",_type:a,marks:[f],text:hB},{_type:a,marks:[],text:" (2012), K.E.—bent over with her pants dropped halfway, her naked posterior exposed—shuffles around her studio in a wonderfully poetic, Chaplin-esque dance. The decidedly strange video is an absurd send-up of the creative process, a sentiment matched by perhaps the most touching feature of ",_key:"2dc3a7eeb3142"},{_type:a,marks:[f],text:DW,_key:"2dc3a7eeb3143"},{_type:a,marks:[],text:". Behind the piece, attached to the supports of the large sheets of tile, are hooks for visitors to hang their jackets and umbrellas while viewing the show: the work of art as a mundane and useful object.",_key:"2dc3a7eeb3144"}],_type:c,style:d,_key:"2dc3a7eeb314",markDefs:[]},{children:[{text:"Anna K.E. was born in 1986 in Tbilisi, Georgia and lives and works in New York City and Germany. Selected solo shows include: Mannheimer Kunstverein, Mannheim, Germany (2012); Gallery Figge von Rosen, Cologne (2011); Kunstverein Leverkusen, Leverkusen, Germany (2011); Pilot Projekt, Düsseldorf (with Tamara K.E.) (2008); Schaufenster des Kunstvereins für die Rheinlande und Westphalen, Düsseldorf (2007). Selected group shows: The III Moscow International Biennale for Young Art, Moscow (2012); Kunsthalle Recklinghausen, Germany (2011); Gallery Barbara Thumm, Berlin (2010); Museum K21, Düsseldorf (2010); Young Biennale Köln 2010, Cologne (2010); Cobra Museum, Amsterdam, The Netherlands (2009); Kunstverein Ludwigshafen, Germany (2009); Neues Kunstforum Köln, Cologne (2009); Stadtgalerie Saarbrücken, Germany (2008); Gloriahalle, Düsseldorf (2008); Museum am Ostwall, Dortmund, Germany (2005); Museum Kunst Palast, Düsseldorf (2005); Kunstverein Mönchengladbach, Germany (2005); and Museum Bochum, Germany (2004). 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From photographs to sculptures to film, the pieces on view function as kinds of props or stimuli, posing questions about the performativity of objects and the complex relation between a thing and its representation.",_id:"5a452c92-f397-4f47-8ba6-ff4e818d7edf",title:fv,content:[{_type:K,label:X,_key:"1WuasYhV",type:[r],image:{caption:[{markDefs:[],children:[{_type:a,marks:[g],text:aho,_key:"6075dbad4901"},{_key:"4423f95ba876",_type:a,marks:[],text:n},{_key:"be493c639da6",_type:a,marks:[f],text:ahp},{_key:"6c2a10a63b35",_type:a,marks:[],text:aok}],_type:c,style:d,_key:"o7NR5Bsp"}],asset:{_ref:aPS,_type:b},_type:e}},{_type:w,label:Z,text:[{style:d,_key:"186b93a8e6dc",markDefs:[],children:[{text:"It is with great pleasure that Simone Subal Gallery presents ",_key:"186b93a8e6dc0",_type:a,marks:[]},{_key:"186b93a8e6dc1",_type:a,marks:[f],text:fv},{_type:a,marks:[],text:", co-curated by Rachel LaBine, and featuring ",_key:"186b93a8e6dc2"},{_type:a,marks:[g],text:aPT,_key:"186b93a8e6dc3"},{_type:a,marks:[],text:db,_key:"186b93a8e6dc4"},{_type:a,marks:[g],text:aPU,_key:"186b93a8e6dc5"},{_type:a,marks:[],text:db,_key:"186b93a8e6dc6"},{marks:[g],text:aPV,_key:"186b93a8e6dc7",_type:a},{marks:[],text:db,_key:"186b93a8e6dc8",_type:a},{marks:[g],text:aPW,_key:"186b93a8e6dc9",_type:a},{text:db,_key:"186b93a8e6dc10",_type:a,marks:[]},{_key:"186b93a8e6dc11",_type:a,marks:[g],text:aPX},{_type:a,marks:[],text:anX,_key:"186b93a8e6dc12"},{text:aPY,_key:"186b93a8e6dc13",_type:a,marks:[g]},{_key:"186b93a8e6dc14",_type:a,marks:[],text:". 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The show will run through December 22, 2012. There will be an opening on November 9, from 6-8pm.",_key:"37be6cde98bb12",_type:a}],_type:c,style:d,_key:"37be6cde98bb"},{_key:"0227987fa3b6",markDefs:[],children:[{text:bpL,_key:"0227987fa3b60",_type:a,marks:[]}],_type:c,style:d},{children:[{_type:a,marks:[g],text:bv,_key:"a7811d7e53f20"},{marks:[],text:" (born 1973 in Paris) works and lives in New York. Solo exhibitions: Gesellschaft für aktuelle Kunst Bremen, Germany; Emanuel Layr Galerie, Vienna, Austria; The Box, Los Angeles, CA; Crac Alsace, Altkirch, France; Bloomberg Space, London, England; Parisa Kind Galerie, Frankfurt, Germany. Group shows: ICA Philadelphia; 12e Prix Fondation d’entreprise Ricard, Paris, France; Schirn Kunsthalle, Frankfurt, Germany; Villa Arson, Nice, France; Musée du Jeu de Paume, Paris, France; Orange County Museum, Newport Beach, CA. His performances (often collaborations) could be seen at MUSAC, Leon, Spain; Kunsthalle Wien, Vienna, Austria; Tate Modern London, England; and Parasol Unit, London, England.",_key:"a7811d7e53f21",_type:a}],_type:c,style:d,_key:"a7811d7e53f2",markDefs:[]},{_key:"a55117c34784",markDefs:[],children:[{marks:[g],text:aQc,_key:"a55117c347840",_type:a},{text:" (born 1978 in Asheville, NC) lives and works in Los Angeles, CA. Recent selected exhibitions: New Pictures of Common Objects, MoMA PS1, New York (2012; Coquilles mécaniques, Crac Alsace, Alsac, France (2012); second nature: abstract photography then and now: deCordova Sculpture Park and Museum (2012); Mexico City Blues, Shanaynay, Paris, France (2012); Ramiken Crucible, New York (solo, 2011); Talent, Foam, Amsterdam, The Netherlands (2011); Chinese Take-Out, Art in Ganeral, New York, NY (2011).",_key:"a55117c347841",_type:a,marks:[]}],_type:c,style:d},{style:d,_key:"91a04d38a07f",markDefs:[],children:[{marks:[g],text:aQd,_key:"91a04d38a07f0",_type:a},{_type:a,marks:[],text:" (Paris, France 1922 –Norfolk , England 2008) was an avant-garde artist, poet and musician and is widely considered to be a pioneer in the recognition and distribution of sound- poetry. Most recent exhibitions: NOVEL, Dependence, Brussels, Belgium (2010), Henri Chopin, Supportico Lopez, Berlin, Germany (2010); Poor. Old. Tired. Horse., ICA London, England; Henri Chopin, Cubitt Gallery, London, England (2008); and Henri Chopin, Fondazione Morra, Naples, Italy (2005).",_key:"91a04d38a07f1"}],_type:c},{_type:c,style:d,_key:"3245b9da8a75",markDefs:[],children:[{_key:"3245b9da8a750",_type:a,marks:[g],text:aQe},{text:" (born 1961 in Valenciennes, France and 1964, Ostra, Italy). Live in Paris, France and Pergola, Italy. Solo exhibitions: Le Consortium, Dijon, France (2013); Marcelle Alix, Paris, France (2013); Frieze New York, Frame with Marcelle Alix (2013); Synagogue de Delme, France (2012); FRAC Lorraine, Metz, France (2012); CAC Brétigny, France (2010); South London Gallery, London; England (2009); Mudam Musee d’Art Moderne Grand Duc Jean, Luxembourg (2007); Baltic Centre for Contemporary Art, Newcastle, England (2005). Group shows: The Living Currency\u002FLa Monnaie vivante Berlin Biennial, Berlin, Germnay (2010); On Line: Drawing Through the Twentieth Century, MoMA, New York (2010); Where water comes together with other water, gb agency, Paris, France (2009), Performa07\u002FPS1 Moma, New York (2007).",_key:"3245b9da8a751",_type:a,marks:[]}]},{children:[{_type:a,marks:[g],text:cu,_key:"83673b2a07d10"},{_key:"83673b2a07d11",_type:a,marks:[],text:" (born 1983 in Hartford, CT) lives and works in Hartford, CT. Selected exhibitions: Dark Logics (solo, forthcoming), Real Art Ways Gallery, Hartford, CT (2012); Kinds of Light (solo), Second Guest Projects, New York, NY, The Passenger Position (solo), Reference Gallery, Richmond, VA (2011); Homo duplex (solo), Reynolds Gallery, Richmond, VA (2011); A Failed Entertainment, Virginia Commonwealth University Fine Arts Gallery, Richmond, VA (2011); MFA Thesis Exhibition, Curated by Anthony Huberman, Fisher Landau Center for Art, New York, NY (2010); There Is No Synonym For Hope, Smack Mellon, New York, NY (2008); Solid Gold, Vox Populi Gallery, Philadelphia, PA (2008)."}],_type:c,style:d,_key:"83673b2a07d1",markDefs:[]}],_key:"VxENcCPz"},{numbered:t,_type:L,label:V,_key:"sHjH7Tn6",install:[{caption:[{_key:"bVkPKpDF",markDefs:[],children:[{marks:[],text:aD,_key:"tkD4NBOP",_type:a},{_type:a,marks:[f],text:g_,_key:"42bd226d7946"},{_type:a,marks:[],text:ag,_key:"093a13190e5f"}],_type:c,style:d}],_key:"TYC9c9x1",asset:{_type:b,_ref:"image-419a69954bb64b09d80582ad8fc3aea32958b8a8-1400x933-jpg"},_type:e},{_type:e,caption:[{style:d,_key:"0wOzCbKT",markDefs:[],children:[{_key:"82c711a8a1be",_type:a,marks:[],text:aD},{_type:a,marks:[f],text:g_,_key:"034bb9ffce79"},{text:ag,_key:"8abe2c5a222a",_type:a,marks:[]}],_type:c}],_key:"EKMtUS8l",asset:{_type:b,_ref:"image-8d7ee398d592200e47c3907a416f0523e251679c-1500x994-jpg"}},{asset:{_ref:"image-6452c9869bcac44ce220504424ec342d18298412-1500x1001-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{marks:[],text:aD,_key:"c14ded861528",_type:a},{text:g_,_key:"cdc84586b509",_type:a,marks:[f]},{_key:"445e21a8e0a3",_type:a,marks:[],text:ag}],_type:c,style:d,_key:"S30JQDiN"}],_key:"DCiCITUv"},{_type:e,caption:[{style:d,_key:"BKYPIeb7",markDefs:[],children:[{marks:[],text:aD,_key:"8278af9a2fcd",_type:a},{marks:[f],text:g_,_key:"8fc4dfdad874",_type:a},{_type:a,marks:[],text:ag,_key:"addeb3e864d1"}],_type:c}],_key:"0ObyYMLk",asset:{_ref:"image-013c11cbe97f839ba4c466656ef3795d8d4efec0-1500x1079-jpg",_type:b}},{_type:e,caption:[{children:[{text:aD,_key:"8e35378a0fc8",_type:a,marks:[]},{marks:[f],text:g_,_key:"d052d8894a7a",_type:a},{text:ag,_key:"e36b7eff5c1d",_type:a,marks:[]}],_type:c,style:d,_key:"ShTtYicg",markDefs:[]}],_key:"bw1x2DAV",asset:{_type:b,_ref:"image-e375fe0309506ab13ab3392a8ff8205e274c45bf-1500x1000-jpg"}},{_key:"HCfBwhXw",asset:{_type:b,_ref:"image-ee5131f6340cd00a902f578ec42fa84abc8a01d9-1500x1063-jpg"},_type:e,caption:[{_type:c,style:d,_key:"pY5QSmc7",markDefs:[],children:[{_type:a,marks:[],text:aD,_key:"9daeb216c3fa"},{marks:[f],text:g_,_key:"a5f6e51703c1",_type:a},{_type:a,marks:[],text:ag,_key:"a2e7c227ffc4"}]}]},{_key:"L5Z7Uqsl",asset:{_ref:"image-9992cf30fa9e364f27dd108419e876e1beb9b2c3-1500x1000-jpg",_type:b},_type:e,caption:[{children:[{_key:"3dbe712f29cb",_type:a,marks:[],text:aD},{_key:"c3a122be9b2d",_type:a,marks:[f],text:g_},{marks:[],text:ag,_key:"c1b395550487",_type:a}],_type:c,style:d,_key:"0GcGyZhI",markDefs:[]}]},{_key:"mWRdFfAw",asset:{_ref:"image-ef734e9180f91363ac87d2e76eb80b262af4e45b-1500x1184-jpg",_type:b},_type:e,caption:[{_type:c,style:d,_key:"PDGi0mNG",markDefs:[],children:[{text:aD,_key:"0818d6da66dd",_type:a,marks:[]},{text:g_,_key:"e265d99dfa0a",_type:a,marks:[f]},{text:ag,_key:"fe1d4a6c1b69",_type:a,marks:[]}]}]},{asset:{_ref:"image-c414727346a123b9fcdca8ac2893a7b1fb7f9c42-1500x963-jpg",_type:b},_type:e,caption:[{markDefs:[],children:[{marks:[],text:aD,_key:"8ee9527df4f6",_type:a},{text:g_,_key:"30943ab3c423",_type:a,marks:[f]},{text:ag,_key:"c213028d2eca",_type:a,marks:[]}],_type:c,style:d,_key:"eNktUpBE"}],_key:"x5eJOsyB"},{_type:e,caption:[{style:d,_key:"5v5jvYvJ",markDefs:[],children:[{_key:"0e71435c9ee2",_type:a,marks:[g],text:aP$},{marks:[],text:n,_key:"98bdd64afd61",_type:a},{_type:a,marks:[f],text:R,_key:"782071aa8b9c"},{_type:a,marks:[],text:aQa,_key:"cbcf791e2e44"}],_type:c}],_key:"kZISjheD",asset:{_type:b,_ref:aQb}}],work:[{asset:{_type:b,_ref:"image-3ea205b59af963ac0c4485dfc0f602389a42da20-1068x1500-jpg"},work:j,_type:e,caption:[{_type:c,style:d,_key:"0ZoQojPy",markDefs:[],children:[{text:bb,_key:"QNy59egj",_type:a,marks:[g]},{_type:a,marks:[],text:n,_key:"a97b7910210c"},{_type:a,marks:[f],text:"Oops color paint #8 (Home Depot, 40 W. 23rd st. NY, Nov. 8th, 2012)",_key:"c5fe05756fdb"},{marks:[],text:", 2012. Rejected can of house paint, canvas, wall. Dimensions variable.",_key:"b7036a6b3adf",_type:a}]}],_key:"T8t3zkcT"},{_key:"NlAOhzV6",asset:{_ref:"image-300b118ccea192f051f00856537e0e7b27cd408a-1000x1500-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{text:"Julien BIsmuth. ",_key:"mIVl8vog",_type:a,marks:[g]},{_key:"5ad136a97c84",_type:a,marks:[f],text:"Untitled (cloaks 2)"},{_key:"e1bcd2fb52f6",_type:a,marks:[],text:", 2012. Collage, acrylic paint. 9 1\u002F2 x 7\", 24 x 18 cm, 14 1\u002F8 x 11 1\u002F4\", (framed) 35. 8 x 28.5 cm."}],_type:c,style:d,_key:"net9VexH"}]},{_type:e,caption:[{_key:"AkQchmM6",markDefs:[],children:[{_key:"i4Ih7KfN",_type:a,marks:[g],text:aG},{marks:[f],text:"Untitled (cloaks 3)",_key:"3eebd7ae1653",_type:a},{_type:a,marks:[],text:", 2012. Collage, acrylic paint. 8 x 7 1\u002F2\", 20 x 19 cm, (framed) 12 3\u002F4 x 12 , 32 x 30.5 cm.",_key:"4a1b046c9c6c"}],_type:c,style:d}],_key:"in9LMRDN",asset:{_ref:"image-4dd91686749cf8cde859da62a062570b43a9e975-1000x1500-jpg",_type:b},work:j},{work:j,_type:e,caption:[{style:d,_key:"x5y43ZyM",markDefs:[],children:[{_type:a,marks:[g],text:bb,_key:"qucHJtho"},{marks:[],text:n,_key:"a582820f6487",_type:a},{marks:[f],text:"Untitled (cloaks 1)",_key:"06dff375d86a",_type:a},{marks:[],text:", 2012. 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The paintings are generally large in composition and present flattened human figures in an atmospheric field of vibrant colors and dots.  There is a quality of weightlessness to the androgynous persons, as if they experience the loss of gravity.",open_date:"2012-09-09",title:fw,_rev:"AtbYSataZMsrrzIRLvdXe7",_updatedAt:"2023-04-27T19:11:05Z",content:[{image:{asset:{_ref:bpP,_type:b},_type:e,caption:[{markDefs:[],children:[{_key:"Gne3vozd",_type:a,marks:[],text:"Kiki Kogelnik, Early Works, 1964 - 1970"}],_type:c,style:d,_key:"8bEZ5Puw"}]},_type:K,label:X,_key:"X6glFhvA",type:[r]},{_type:w,label:Z,text:[{_type:c,style:d,_key:"41269d78c3fd",markDefs:[],children:[{_key:"41269d78c3fd0",_type:a,marks:[],text:anv},{marks:[f],text:"Kiki Kogelnik: Early Works, 1964 – 1970",_key:"41269d78c3fd1",_type:a},{text:" on Sunday, September 9, 2012. The show runs until October 28, 2012. This is the first time many of the works on view have been exhibited. Please join us for the opening on Sunday, September 9, 2012 from 6 – 8 pm.",_key:"41269d78c3fd2",_type:a,marks:[]}]},{_key:"75b67ca8aa09",markDefs:[],children:[{_type:a,marks:[],text:"Kiki Kogelnik (1935 – 1997) studied in Vienna in the late 1950s, where her paintings were influenced by such artists as Serge Poliakoff and Karel Appel. After befriending Sam Francis during a trip to Venice, Kogelnik moved to New York in 1961. Soon after her arrival, Kogelnik made a decisive change in her practice: she gave up gestural abstraction for figurative compositions akin to Pop art.",_key:"75b67ca8aa090"}],_type:c,style:d},{_type:c,style:d,_key:"c3902730af11",markDefs:[],children:[{text:"Kogelnik ran in New York’s Pop art circles. She was friends with Claes Oldenburg and Roy Lichtenstein, and was a visitor to Andy Warhol’s Factory. Like many women of her generation she found it difficult to gain respect and attention in the male-dominated art world. Adding to this challenge was the fact that her work resisted easy classification. She produced an array of paintings and drawing built upon her belief that “art comes from artificial.” This led to her exploring the formal and conceptual possibilities of painting, drawing, sculpture, and printmaking. She also experimented with synthetic and appropriated materials to startling effect.",_key:"c3902730af110",_type:a,marks:[]}]},{children:[{_type:a,marks:[],text:"Kogelnik’s work from the mid to late 1960s is invested in science, technology, and the potential of the space age. Her paintings and drawings are complex meditations on pictorial surfaces, the multivalent layering of images, and societal constructions of gender. At the core of her practice is a subtle understanding of how representations shape the identity of the individual self. This recognition of the spectacular nature of contemporary culture and its impact on one’s subjectivity found correspondence in the way Kogelnik played with her self-image in a public context. She occasionally filmed herself in her studio or on the streets of New York with her 8mm camera, and attended openings and parties in a wide variety of elaborate outfits and costumes.",_key:"60b03de4fa950"}],_type:c,style:d,_key:"60b03de4fa95",markDefs:[]},{style:d,_key:"e1b7ffc15476",markDefs:[],children:[{_type:a,marks:[],text:"The three paintings and eleven drawings on view emphasize Kogelnik’s heightened sense of the complexities of representation. The paintings are generally large in composition and present flattened human figures in an atmospheric field of vibrant colors and dots. There is a quality of weightlessness to the androgynous persons, as if they experience the loss of gravity. Kogelnik derived her human forms from paper or vinyl cutouts of friends and fellow artists. In both ",_key:"e1b7ffc154760"},{marks:[f],text:aQf,_key:"e1b7ffc154761",_type:a},{_key:"e1b7ffc154762",_type:a,marks:[],text:" (1964) and "},{text:aQg,_key:"e1b7ffc154763",_type:a,marks:[f]},{_key:"e1b7ffc154764",_type:a,marks:[],text:" (1965) the cutouts provide a simple and effective translation of a three-dimensional individual into a two-dimensional image."}],_type:c},{markDefs:[],children:[{_key:"2a2a1d9ae98c0",_type:a,marks:[],text:aOq},{marks:[f],text:aQf,_key:"2a2a1d9ae98c1",_type:a},{marks:[],text:Sy,_key:"2a2a1d9ae98c2",_type:a},{_type:a,marks:[f],text:aQg,_key:"2a2a1d9ae98c3"},{_type:a,marks:[],text:" as well as in drawings like ",_key:"2a2a1d9ae98c4"},{marks:[f],text:bpQ,_key:"2a2a1d9ae98c5",_type:a},{_key:"2a2a1d9ae98c6",_type:a,marks:[],text:" (1964), "},{_key:"2a2a1d9ae98c7",_type:a,marks:[f],text:"Untitled (robot)"},{_type:a,marks:[],text:" (1967), and ",_key:"2a2a1d9ae98c8"},{_key:"2a2a1d9ae98c9",_type:a,marks:[f],text:aNB},{marks:[],text:" (1967), Kogelnik celebrates the potential of technology, especially the optimism of space travel, but also critiques the way technology mechanizes the actions and emotions of men and women. In the late 1960s Kogelnik began to work with medical stamps of the human body. She played with the lifeless vitality of these imprints, making slight modifications to their composition in order to create an unsettling image that seems at once familiar yet foreign. Haunting these drawings, and particularly in erotic works like ",_key:"2a2a1d9ae98c10",_type:a},{_key:"2a2a1d9ae98c11",_type:a,marks:[f],text:bnJ},{_type:a,marks:[],text:" (1969) and ",_key:"2a2a1d9ae98c12"},{marks:[f],text:"Untitled (erotic drawing)",_key:"2a2a1d9ae98c13",_type:a},{_key:"2a2a1d9ae98c14",_type:a,marks:[],text:" (1970), is the specter of death. Yet Kogelnik’s engagement with the finitude of existence is not a pessimistic affair, but instead, through her own distinct visual vocabulary, a profound celebration of life."}],_type:c,style:d,_key:"2a2a1d9ae98c"},{_type:c,style:d,_key:"928f6a7e5c39",markDefs:[],children:[{_type:a,marks:[],text:"From September 15 to December 30, 2012, a comprehensive exhibition of Kiki Kogelnik’s work entitled ",_key:"928f6a7e5c390"},{_key:"928f6a7e5c391",_type:a,marks:[f],text:"I Have Seen The Future"},{text:" will be on view at the Hamburger Kunstverein, Hamburg, Germany.",_key:"928f6a7e5c392",_type:a,marks:[]}]},{markDefs:[],children:[{_type:a,marks:[],text:"Kiki Kogelnik was born in 1935 in Graz, Austria and died in 1997. She lived and worked in New York, NY; Vienna, Austria; and Bleiburg, Austria. Selected one-person exhibitions include Galerie nächst St. Stephan, Vienna, Austria (1961); the Austrian Institute, New York, NY (1965); Galerie Kornfeld, Zürich, Switzerland (1978); the BAWAG Foundation, Vienna, Austria (1983); the Kärtner Landesgalerie, Klagenfurt, Austria (retrospective), (1989); MAK – Museum of Applied Arts, Vienna, Austria (1996); and Österreichische Galerie Belvedere, Vienna, Austria (retrospective), (1998). Selected group exhibitions include the Corcoran Gallery, Washington D.C. (1965), the Fischbach Gallery, New York, NY (1965); the Kunsthaus Hamburg, Hamburg, Germany (1972); the Hirshhorn Museum and Sculpture Garden, Washington D.C. (1976), the Kunsthaus Zürich, Zürich, Switzerland (1978); the Los Angeles Institute of Contemporary Art, Los Angeles, CA (1978); the Secession, Vienna, Austria (1983); the Museum Het Paleis, The Hague, The Netherlands (1997); The Israel Museum, Jerusalem, Israel (1999); the Museum of Fine Arts, Budapest, Hungary (2001); Kunsthalle Krems, Krems, Austria (2003). Most recently, Kiki Kogelnik was featured in ",_key:"c7c0fe6824e00"},{marks:[f],text:"POWER UP – Female Pop Art",_key:"c7c0fe6824e01",_type:a},{marks:[],text:" at the Kunsthalle Wien, Vienna, Austria (2010) and ",_key:"c7c0fe6824e02",_type:a},{text:"Seductive Subversion: Woman Pop Artists 1958–1968",_key:"c7c0fe6824e03",_type:a,marks:[f]},{_type:a,marks:[],text:" at the Brooklyn Museum, Brooklyn, NY (2010). 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The show runs until August 3, 2012. There is an opening on Thursday, July 5 from 6 – 8 pm. Please note the gallery’s summer hours: Tuesday – Friday, 12 – 6 pm.",_key:"23effe8a6d040"}],_type:c,style:d},{markDefs:[],children:[{marks:[],text:"This intergenerational exhibition examines the way people and objects relate to their immediate environment. It presents work that explores human physicality both conceptually as well as literally. Central to the exhibition is the potential of specific gestures. These acts, whether poetic or corporeal, reveal the manner in which simple interventions alter one’s sense of his or her surroundings.",_key:"61f9abacc8e00",_type:a}],_type:c,style:d,_key:"61f9abacc8e0"},{style:d,_key:"099646b8b498",markDefs:[],children:[{_type:a,marks:[g],text:aQi,_key:"099646b8b4980"},{marks:[],text:" brings these issues to the fore in two works: ",_key:"099646b8b4981",_type:a},{_key:"099646b8b4982",_type:a,marks:[f],text:"Just about the right size"},{marks:[],text:" (1970\u002F2008), a series of nine photographs showing the artist holding a variety of ordinary goods, and ",_key:"099646b8b4983",_type:a},{text:aol,_key:"099646b8b4984",_type:a,marks:[f]},{marks:[],text:" (2010), a seventy-five pound chunk of granite entrapped within a birch plywood box. ",_key:"099646b8b4985",_type:a},{_type:a,marks:[g],text:aQj,_key:"099646b8b4986"},{text:"’s beeswax coated sheets of paper are an arena for the appearance and disappearance of lines and shapes. Her drawings create a complex inquiry into both pictorial scale and the way forms (or their absence) impinge upon one another.",_key:"099646b8b4987",_type:a,marks:[]}],_type:c},{markDefs:[],children:[{text:"Two photographic pieces by ",_key:"9ac4de3e7e2b0",_type:a,marks:[]},{_type:a,marks:[g],text:aQk,_key:"9ac4de3e7e2b1"},{_key:"9ac4de3e7e2b2",_type:a,marks:[],text:" demonstrate how a subtle gesture changes the perception of space. In The Discovery of Geometry (1978\u002F2008) a hand holds aloft a piece of cotton that at once becomes a “cloud” as well as a means to collapse perspectival order. "},{text:"The Invention of Rain",_key:"9ac4de3e7e2b3",_type:a,marks:[f]},{marks:[],text:" (1978\u002F2008) employs a similar conceit, albeit with a slightly more sinister tone. ",_key:"9ac4de3e7e2b4",_type:a},{_type:a,marks:[g],text:aQl,_key:"9ac4de3e7e2b5"},{text:"’s new work destroys and rebuilds the conception of painting. In the two pieces on view obdurate gestures define her compositions. These tears in the canvas, or sawdust impressed upon the surface, enables the peripheral to define the entire pictorial space.",_key:"9ac4de3e7e2b6",_type:a,marks:[]}],_type:c,style:d,_key:"9ac4de3e7e2b"},{style:d,_key:"ff93a8b92969",markDefs:[],children:[{text:aQk,_key:"ff93a8b929690",_type:a,marks:[g]},{_type:a,marks:[],text:" (b. 1937) is a German-born Uruguayan conceptual artist and academic who works in the media of printmaking and sculpture. Solo exhibitions include: Museo Nacional de Artes Visuales, Montevideo, Uruguay (traveling); the Morris and Helen Belkin Art Gallery, University of British Columbia, Vancouver, Canada; Museum Wiesbaden, Wiesbaden, Germany; the Kemper Art Museum, St. Louis, MO; MUSAC, Museo de Arte Contemporáneo, León, Spain; and Alexander Gray Associates, New York, NY.",_key:"ff93a8b929691"}],_type:c},{style:d,_key:"d544926eb6d0",markDefs:[],children:[{_type:a,marks:[g],text:aQl,_key:"d544926eb6d00"},{_key:"d544926eb6d01",_type:a,marks:[],text:" was born in 1974 in Baltimore, MD, and lives and works in Brooklyn and Medusa, NY. Keyser has had multiple solo exhibitions at Peter Blum Gallery, New York, NY, and she has been included in group shows at the Louisiana Museum of Modern Art, Humlebaek, Denmark; Hauser and Wirth, New York, NY; Oakland University Art Gallery, Rochester, MI; Freymond Guth Fine Art, Zurich, Switzerland; and Ballroom Marfa, Marfa, Texas."}],_type:c},{markDefs:[],children:[{_type:a,marks:[g],text:aQi,_key:"e63934cb54a00"},{text:" was born in 1937 in Los Angeles, CA, and lives and works in Sonoma, CA. He has been exhibited at the San Francisco Museum of Art; the de Young Museum, San Francisco, CA; the Smithsonian Institution, Washington, D.C.; the Whitney Museum, New York, NY; Alexander and Bonin, New York, NY; and the Fundación\u002FColección Jumex, Mexico City, Mexico.",_key:"e63934cb54a01",_type:a,marks:[]}],_type:c,style:d,_key:"e63934cb54a0"},{_key:"a40167bb258c",markDefs:[],children:[{marks:[g],text:aQj,_key:"a40167bb258c0",_type:a},{marks:[],text:" was born in 1958 in Brooklyn, NY, and lives and works in Brooklyn, NY. Solo exhibitions include: Jaffe-Friede Gallery, Dartmouth College, Hanover, NH; Cohan Leslie and Browne, New York, NY; Yoshii Gallery, New York, NY and Paris, France. Her work has also been included in group shows at Ballroom Marfa, Marfa, Texas; the New Museum, New York, NY, and the University Art Museum, Berkeley, CA. 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It presents work that explores human physicality both conceptually as well as literally.  Central to the exhibition is the potential of specific gestures.  These acts, whether poetic or corporeal, reveal the manner in which simple interventions alter one’s sense of his or her surroundings.",artists:[{_key:"PAA4l2se",title:aQk,slug:{current:"luis-camnitzer",_type:p},sortName:"Camnitzer",_type:v},{_key:"JMVPNbfS",title:aQi,slug:{current:"robert-kinmont",_type:p},sortName:"Kinmont",_type:v},{sortName:"Keyser",_type:v,_key:"eCfnHez9",title:aQl,slug:{_type:p,current:"rosy-keyser"}},{title:aQj,slug:{current:"linda-matalon",_type:p},sortName:"Matalon",_type:v,_key:"lFk0S5P0"}],title:gk,_id:"384bab35-23ec-4a78-9834-56f3f1967d46",_updatedAt:"2021-05-27T20:37:48Z",open_date:"2012-07-05",hide_title:j,slug:{_type:p,current:"camnitzer-kinmont-keyser-matalon"},bg_color:"#e862a6",close_date:"2012-08-03"},{artists:[{_key:"x59dUgoS",title:anW,slug:{current:aPl,_type:p},sortName:aPm,_type:v}],open_date:"2012-05-02",_type:J,_createdAt:cd,_id:"05697b98-1962-44df-9c84-e94687a535f7",content:[{label:X,_key:"xjxvdLDc",type:[r],image:{_type:e,asset:{_ref:aQn,_type:b}},_type:K},{label:Z,text:[{children:[{text:"It is with great excitement that Simone Subal Gallery announces the opening of Erika Vogt’s ",_key:"82f937006d210",_type:a,marks:[]},{_key:"82f937006d211",_type:a,marks:[g,f],text:c$},{_type:a,marks:[],text:" on Wednesday, May 2, 2012. This is Vogt’s first solo show in New York, which runs ",_key:"82f937006d212"},{_type:a,marks:[g],text:"until June 10, 2012.",_key:"82f937006d213"}],_type:c,style:d,_key:"82f937006d21",markDefs:[]},{_key:"c108dc07cc28",markDefs:[],children:[{marks:[],text:aOq,_key:"c108dc07cc280",_type:a},{_key:"c108dc07cc281",_type:a,marks:[f],text:c$},{text:", Vogt works in video, sculpture, and drawing to create a floating iconography that is as much about entering a physical plane as an imaginary one. This quality of moving and mutable signs forms the basis of her conceptually complex work. Vogt strives to create an environment in which the viewer is able to move freely, creating an experience predicated upon associations, layers, and contingencies. As with her previous exhibitions, Vogt conjoins the literary and philosophical in order to create phenomenological investigation into things, their use, and our complicated and contradictory relationship to them.",_key:"c108dc07cc282",_type:a,marks:[]}],_type:c,style:d},{style:d,_key:"44acad6cc5b6",markDefs:[],children:[{_type:a,marks:[],text:"Vogt’s videos are visually dense with alternating objects, drawings, performers, and grounds. Employing both analog and digital image-making techniques, she often positions her subjects in between these complex layers. She combines live-action film shots with digital animations of drawings or elements and forms from drawings in the exhibition. One sees individuals engaged with various objects: a man reading a book or a hand carrying a peculiar form. The manipulation of these objects gives a sense that they were recently discovered. They also suggest an attempt to discover the limits of a form and any sort of latent potential within the thing. These gestures are superimposed with layers that take the drawings as a starting point, involving flickering colors, non-Euclidian geometric forms, and optical disorientation. The actions become filled with meaning, and lend both a scientific as well as a mystical air to the films. It is as if Vogt uses science to discover the transcendental, and, conversely, the spiritual to establish material facts.",_key:"44acad6cc5b60"}],_type:c},{_type:c,style:d,_key:"47460b3917ce",markDefs:[],children:[{_type:a,marks:[],text:"Vogt’s drawings are similar in constitution and subject matter to the videos. Some, like the series ",_key:"47460b3917ce0"},{_key:"47460b3917ce1",_type:a,marks:[f],text:"Notes on Currency"},{_type:a,marks:[],text:", use a “spirit duplicator” mimeograph machine to create images that have a hallucinatory effect, making the depicted object seem untethered to any pictorial ground. These drawings engage abstractly with systems of exchanges: the value of a certain tool, its reciprocity with another form, its function in relation to something else, etc. These themes continue in the other drawings, several of them quite large in scale. Such works are fictional, depicting contested worlds in which images of queens, sea monsters, and architectural remnants interact in many different ways. For Vogt, these pieces are explorations into narrative structure; narrative not as a linear progression from beginning to end, but narrative as a total experience that even includes moments of miscomprehension.",_key:"47460b3917ce2"}]},{markDefs:[],children:[{_key:"48ec9dd3bb130",_type:a,marks:[],text:"Vogt arranges groups of sculptures throughout the space, reiterating the vocabulary present in the videos and drawings. These sculptures invite tactile engagement, and derive their form both from found objects as well as invented ones. There are, for example, knobs, a jig, a window sash, wood scraps, a guide, and some musical instruments. The gestures implied by the handling of these objects—the turning of the knobs, the measuring with the jig—become important component of the works. The "},{_key:"48ec9dd3bb131",_type:a,marks:[f],text:"Guide"},{text:", for instance, a roughly 100 inches by 1 inch structure with handles on each end, is meant to be handled by two people. 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Solo exhibitions include: Overduin and Kite, Los Angeles, CA (2010); Room Gallery, University of California at Irvine, Irvine, CA (2010); and Daniel Hug, Los Angeles, CA (2008). Selected group shows and screenings include: Foam, Amsterdam, Netherlands (2011); San Francisco Museum of Modern Art, San Francisco, CA (2011); Henry Art Gallery, Seattle, WA (2010); Wallspace, New York, NY (2010); Whitney Biennial, Whitney Museum of American Art, New York, NY (2010); Anthology Film Archives, New York, NY (2009); California Biennial, Orange County Museum of Art, Newport Beach, CA (2008); Aspen Art Museum, Aspen, CO (2008); Hammer Museum, Los Angeles, CA (2007); Centre d’art contemporain, Bignan, France (2007); Contemporary Arts Center, Cincinnati, OH (2006); Museum of Modern Art, New York, NY (2006); Centre Pompidou, Paris, France 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File tab, printed paper, wax crayon, pencil, charcoal, and marker on paper. 24 x 18 in, 61 x 45.7 cm.",_key:"83ef258d8c76"}],_type:c,style:d}],_key:"38bRZXTd"},{caption:[{children:[{_key:"nv8LyypR",_type:a,marks:[g],text:bp},{marks:[],text:n,_key:"3b6c959cf2df",_type:a},{_type:a,marks:[f],text:"Engraved Plane (Queen)",_key:"7a9241020511"},{marks:[],text:", 2012. Charcoal on paper. 25 x 38 in, 63.5 x 96.5 cm.",_key:"e0ed22ca0f62",_type:a}],_type:c,style:d,_key:"QVONwbrb",markDefs:[]}],_key:"9mAxhMIY",asset:{_type:b,_ref:"image-21f0c427147663edabfb6dec3b9d79b09b6fc35a-757x1063-jpg"},work:j,_type:e},{work:j,_type:e,caption:[{_key:"JEZEzbFZ",markDefs:[],children:[{_key:"6roCSM7Z",_type:a,marks:[g],text:eY},{_type:a,marks:[f],text:"Engraved Plane (Orbit)",_key:"d770d30e75b6"},{_type:a,marks:[],text:", 2011. Marker, ink, crayon, pencil, and pastel on paper. 11 x 14 inches, 27.9 x 35.5 cm.",_key:"1796b3a1fbd4"}],_type:c,style:d}],_key:"pSvdTW7d",asset:{_type:b,_ref:"image-1369546dd2498267fd9518922de3b2a1f88fe395-924x1063-jpg"}},{work:j,_type:e,caption:[{markDefs:[],children:[{_key:"qPz24Loj",_type:a,marks:[g],text:bp},{_key:"cae41b788b72",_type:a,marks:[],text:n},{marks:[f],text:"Engraved Plane (iron curve)",_key:"c6a6adef112a",_type:a},{_key:"c2348a648d07",_type:a,marks:[],text:", 2012. Iron. 29 1\u002F2 x 15 x 3\u002F4 inches."}],_type:c,style:d,_key:"x9tzLzER"}],_key:"KhqwqJM7",asset:{_ref:"image-6a691ebb7df18be6caf28cb03f8590a88d0376c1-758x1181-jpg",_type:b}},{work:j,_type:e,caption:[{_key:"8aLZwzzt",markDefs:[],children:[{_type:a,marks:[g],text:bp,_key:"iBCsrbMv"},{_key:"91c878cf880a",_type:a,marks:[],text:n},{_type:a,marks:[f],text:"Engraved Plane (orange wooden instrument)",_key:"b3d82d7db38b"},{_key:"18fcecc5fa00",_type:a,marks:[],text:bqc}],_type:c,style:d}],_key:"vEHQik8N",asset:{_type:b,_ref:"image-c4c5ed9792dd1bd538c2f85e9e8602b54a33ba42-787x1181-jpg"}},{work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:bp,_key:"oXsUHgqa"},{marks:[],text:n,_key:"9feed7394c19",_type:a},{marks:[f],text:"Engraved Plane (iron sash)",_key:"dfd3b54ebc07",_type:a},{text:", 2012. Iron. 13 1\u002F2 x 3 x 2 3\u002F4 inches.",_key:"b6163bf99002",_type:a,marks:[]}],_type:c,style:d,_key:"PY8qgVUN"}],_key:"vcJ5uiKQ",asset:{_ref:"image-69dd4b840a1ebc37d633866f3c71f5a6198b80b9-1181x787-jpg",_type:b}},{_key:"TqHaGTe3",asset:{_ref:"image-a75d8bb0400cdabd41a76661479868fbf46c0380-1181x787-jpg",_type:b},work:j,_type:e,caption:[{_key:"VAMYYblJ",markDefs:[],children:[{_type:a,marks:[g],text:bp,_key:"cDwlBON9"},{marks:[],text:n,_key:"7f9e13d81ce4",_type:a},{_type:a,marks:[f],text:"Engraved Plane (iron valve impression)",_key:"7557246bafe8"},{_type:a,marks:[],text:", 2012. Iron. 6 1\u002F2 x 5 1\u002F2 x 1 1\u002F2 inches.",_key:"5aa25b84972b"}],_type:c,style:d}]},{work:j,_type:e,caption:[{markDefs:[],children:[{marks:[g],text:bp,_key:"MsSGSGCx",_type:a},{_type:a,marks:[],text:n,_key:"308bd4f277db"},{_type:a,marks:[f],text:"Engraved Plane (iron handles for valves)",_key:"5b0e80d29792"},{_type:a,marks:[],text:", 2012. 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Vogt strives to create an environment in which the viewer is able to move freely, creating an experience predicated upon associations, layers, and contingencies.  As with her previous exhibitions, Vogt conjoins the literary and philosophical in order to create phenomenological investigation into things, their use, and our complicated and contradictory relationship to them.",thumbnail:{asset:{_updatedAt:bqe,metadata:{lqip:"data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAQABQDASIAAhEBAxEB\u002F8QAFwAAAwEAAAAAAAAAAAAAAAAAAAYHCP\u002FEACIQAAICAQMEAwAAAAAAAAAAAAECAwQABQYREiIxURMVQf\u002FEABYBAQEBAAAAAAAAAAAAAAAAAAMABP\u002FEAB4RAAICAgIDAAAAAAAAAAAAAAECAAMFEgQRIjFB\u002F9oADAMBAAIRAxEAPwC2WK0TaRNFYUGJ0IYH1me5JIfsrkFRBHAWIIXxxzlv3JqkL7asH5WjJQgMPfGZ1M0tRzJyD1E+cz5QkDVfZlj0Z62jlR1W5WrJDRrMa8favYThjjtHVIZNu0mKoG6ODwP3DFqofQefyI3KCno1if\u002FZ",dimensions:{_type:E,width:352,aspectRatio:1.2394366197183098,height:284},isOpaque:j,_type:C,palette:{darkMuted:{_type:l,foreground:i,title:i,population:aSS,background:"#5c4732"},muted:{title:i,population:aSR,background:"#a36658",_type:l,foreground:i},lightVibrant:{background:"#bee3fc",_type:l,foreground:o,title:o,population:hc},darkVibrant:{foreground:i,title:i,population:u,background:"#547c0c",_type:l},lightMuted:{_type:l,foreground:o,title:i,population:bqf,background:"#acc2d6"},vibrant:{foreground:i,title:i,population:bqg,background:bqh,_type:l},dominant:{population:bqg,background:bqh,_type:l,foreground:i,title:i},_type:D},hasAlpha:t},_type:B,sha1hash:bqi,_rev:"btIujVUaQMY6qaWz2AnmsG",uploadId:"SLfma2SrmuWCjyQO2W3slDb5AAHxa06m",mimeType:G,assetId:bqi,originalFilename:"EV-1.jpg",extension:F,_id:aQn,url:"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fub94fyvm\u002Fproduction\u002F2e4c965cf23cbb5711f5a7718c632d4642fc7e87-352x284.jpg",path:"images\u002Fub94fyvm\u002Fproduction\u002F2e4c965cf23cbb5711f5a7718c632d4642fc7e87-352x284.jpg",size:77081,_createdAt:bqe}}},{_rev:"6dTIFBydK0C6dL2sJ0IeQt",_id:gT,close_date:"2012-04-26",title:ep,content:[{_type:K,label:X,_key:"NZXk8EF1",type:[r],image:{caption:[{markDefs:[],children:[{_key:"a75754e5398f",_type:a,marks:[],text:h},{text:ep,_key:"9cef7a211ec2",_type:a,marks:[f]},{_type:a,marks:[],text:ag,_key:"ca5255262267"}],_type:c,style:d,_key:"wSJEXfgF"}],asset:{_ref:bqj,_type:b},_type:e}},{label:Z,text:[{_key:"57e1427336a7",markDefs:[],children:[{marks:[],text:a_l,_key:"57e1427336a70",_type:a},{_key:"57e1427336a71",_type:a,marks:[f],text:ep},{marks:[],text:" on Friday, March 30, 2012. This is his first solo show in New York and runs until April 26, 2012. Please join us for the opening on Friday, February 30 from 6:00 – 8:00 pm. The screening of ",_key:"57e1427336a72",_type:a},{_type:a,marks:[f],text:aon,_key:"57e1427336a73"},{_key:"57e1427336a74",_type:a,marks:[],text:" (2012) begins at 7:00 pm."}],_type:c,style:d},{_type:c,style:d,_key:"918c8f03214e",markDefs:[],children:[{_type:a,marks:[],text:"Heath’s poetic, itinerant work examines and intervenes in the unexceptional spaces of quotidian life. At the core of his art is a practice of taking quiet, private acts—some verging on the absurd, others the melancholic—into public situations. Leaving a sense of ambiguity for viewers to puzzle over, these gestures keep in tension several contradictory positions, such as being both intrusive as well as redemptive. For Post Holes, Heath presents three projects that use the recursive circuitry of established modes of communication (the postal system, classified advertisements, and an online governmental report form) to displace transmissions they serve.",_key:"918c8f03214e0"}]},{markDefs:[],children:[{_type:a,marks:[],text:"The exhibition centers on Heath’s formally complex video ",_key:"cfedbeb01bb80"},{marks:[f],text:aon,_key:"cfedbeb01bb81",_type:a},{_type:a,marks:[],text:", which as the title suggests was actually submitted to the New York City Department of Parks and Recreation. What begins as a first person account of a concerned citizen wishing to report an instance of graffiti in Morningside Park becomes a film within a film and a subtle meditation on history, place, and narrative structure. Shot over a period of five years, this expanse of time is both compressed and extended through a confluence of interventionist gesture, historical anecdote, and fictional narrative. Dystopian survival story in the guise of an urgent militaristic transmission, the film elicits issues of public and private space, the arbitrary nature of anniversary, and the peculiar history of this specific park as the starting place for the infamous 1968 student revolt at nearby Columbia University. ",_key:"cfedbeb01bb82"},{_type:a,marks:[f],text:aon,_key:"cfedbeb01bb83"},{_key:"cfedbeb01bb84",_type:a,marks:[],text:" circles upon itself with these layered themes, aspects of which make connections to the other two groups of work in the show: "},{_type:a,marks:[f],text:aoo,_key:"cfedbeb01bb85"},{marks:[],text:" (2012) and ",_key:"cfedbeb01bb86",_type:a},{_type:a,marks:[f],text:"Former Structure",_key:"cfedbeb01bb87"},{_key:"cfedbeb01bb88",_type:a,marks:[],text:"s (2012)."}],_type:c,style:d,_key:"cfedbeb01bb8"},{markDefs:[],children:[{marks:[f],text:aoo,_key:"91eb4a17668c0",_type:a},{text:" is a series of five diptychs, each displaying a classified advertisement from a past issue of a local newspaper that has been reposted verbatim in the same publication, on the same date, this year. For example, the exact text of a Lost and Found ad from The New York Times March 1, 1932 edition was placed again in the New York Times, March 1, 2012. The five ",_key:"91eb4a17668c1",_type:a,marks:[]},{_type:a,marks:[f],text:aoo,_key:"91eb4a17668c2"},{marks:[],text:" ran Monday through Friday in a single week with the sources of the original ads moving progressively older in twenty-year increments to span a century. The economy of language and use of first person tense in these classifieds is suggestive of present day forms of concise communication, which also function as personal messages broadcast into a public sphere.",_key:"91eb4a17668c3",_type:a}],_type:c,style:d,_key:"91eb4a17668c"},{_key:"54be14092823",markDefs:[],children:[{_type:a,marks:[f],text:"Former Structures",_key:"54be140928230"},{_type:a,marks:[],text:" works on a similar principle as ",_key:"54be140928231"},{_type:a,marks:[f],text:aoo,_key:"54be140928232"},{text:". Three sculptures have been split in half. One section of each object is on display in the gallery. Their severed counterparts were mailed to addresses in Manhattan that no longer exist. The forms appear abstract but relate directly to their intended destinations (i.e. a sculpture modeled after a distribution case has been sent to the now defunct City Hall Post Office). The return address of these seemingly undeliverable parcels is that of the gallery itself, leaving the exhibition suspended in a state of potential delivery.",_key:"54be140928233",_type:a,marks:[]}],_type:c,style:d},{markDefs:[],children:[{marks:[],text:"During the run of the exhibition, the video ",_key:"e5f884845db30",_type:a},{_type:a,marks:[f],text:aon,_key:"e5f884845db31"},{_type:a,marks:[],text:" will be screened on the hour.",_key:"e5f884845db32"}],_type:c,style:d,_key:"e5f884845db3"},{children:[{marks:[],text:"Frank Heath was born in 1982 in St. Joseph, MO. He lives and works in New York. Two-person shows include Bcc: (with Brendan Meara), Roots and Culture, Chicago IL (2011) and Econoline 1, (with JJ PEET) Videotage Gallery, Hong Kong (2007). Past group shows and screenings include Single Channel, Soho House, Miami FL (2011), Forcemeat, Wallspace, New York, NY (2011), and Suddenly: Where We Live Now, Cooley Gallery – Reed College, Portland, OR and Pomona College Museum of Art (2008, 2009). 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Subal is pleased to announce the opening of Sonia Almeida’s ",_key:"5d42027a24010"},{_type:a,marks:[f],text:dY,_key:"5d42027a24011"},{text:" on Friday, February 17, 2012. This is her first solo show in New York and runs until March 25, 2012. Please join us for the opening on Friday, February 17 from 6 – 8pm.",_key:"5d42027a24012",_type:a,marks:[]}],_type:c,style:d,_key:"5d42027a2401",markDefs:[]},{children:[{text:bqz,_key:"3f14db91f0a10",_type:a,marks:[]}],_type:c,style:d,_key:"3f14db91f0a1",markDefs:[]},{style:d,_key:"2811018bcde7",markDefs:[],children:[{_type:a,marks:[],text:"Almeida looks closely at the artificiality of the CMYK color system and the un-reproducibility of several colors. For example, a color like violet becomes visible naturally in very specific situations, as when a rainbow appears before a darkly hued sky. In other instances, violet is a fabrication: a man made approximation that in its repetitive use throughout culture becomes normalized. Almeida plays with this strangeness, and creates work that addresses the translation of color, as with her ",_key:"2811018bcde70"},{_type:a,marks:[f],text:bqA,_key:"2811018bcde71"},{marks:[],text:", with its swatches of blue and red, which would be read as they same shade of grey when printed in black and white. Almeida’s work speaks to the way information is lost in any translation, something that is assumed to be the case in language but often ignored when applied to the visual.",_key:"2811018bcde72",_type:a}],_type:c},{children:[{text:"Almeida is deeply invested in the way paintings reveal fundamental aspects about the perception of the world. Central to the works on display is how sunlight—fundamental for sight—is essentially impossible to see as such. We only see its effects. In works like ",_key:"86253cc3960d0",_type:a,marks:[]},{_type:a,marks:[f],text:bqB,_key:"86253cc3960d1"},{_key:"86253cc3960d2",_type:a,marks:[],text:" broad iterations of readily known subjects are recognizable. The inclusion of figurative aspects allows Almeida to explore the fact that to portray a shadow, a pictorial technique that suggests shape, depth, and illusionistic space, an angle of light is presumed. She tries to physically respond to the changing conditions of light, since for Almeida, no two situations are the same. Her compositions show that the experience of sight is always contingent."}],_type:c,style:d,_key:"86253cc3960d",markDefs:[]},{_key:"6d8a5a61c72e",markDefs:[],children:[{_key:"6d8a5a61c72e0",_type:a,marks:[],text:"Sonia Almeida was born in 1978 in Lisbon, Portugal. She lives and works in Boston, MA. Solo exhibitions include: T293, Rome, Italy (2011); Chiado 8, Culturgest, Lisbon, Portugal (2009); Croxhapox, Gent, Belgium (2009); Art Positions (with T293), Art Basel Miami Beach, FL (2009). 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Oil on plywood. 19 7\u002F8 x 15 15\u002F16 inches, 50.5 x 40.4 cm.",_key:"7a7191e5775b",_type:a,marks:[]}],_type:c}],_key:"vJRHmgbj",asset:{_ref:"image-83498e0b6cf652e0fed9d6001521b80ea9c5b793-674x850-jpg",_type:b},work:j},{_key:"NiBkxDlp",asset:{_type:b,_ref:"image-86b3fbffa67d0f6d97f299785fcdddaa20784fe7-772x1063-jpg"},work:j,_type:e,caption:[{_type:c,style:d,_key:"Eeha76ZE",markDefs:[],children:[{_type:a,marks:[g],text:bo,_key:"1ePiKFoj"},{_type:a,marks:[],text:n,_key:"878a6a1ef084"},{text:"Black White Green Blue",_key:"bb2d0af867b8",_type:a,marks:[f]},{text:", 2011. Oil on canvas. 75 x 56 inches, 190 x 142.2 cm.",_key:"b206e45e6e7e",_type:a,marks:[]}]}]},{asset:{_ref:"image-76ac8029ddbfe65046ba8a48eeadae9ae252ce32-850x690-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{_type:a,marks:[g],text:bo,_key:"aVw3kttW"},{_type:a,marks:[],text:n,_key:"0ffed97cd912"},{marks:[f],text:"Landscape and stripes",_key:"56be750d8fff",_type:a},{_type:a,marks:[],text:", 2011. Oil on plywood. 23 15\u002F16 x 27 7\u002F8 inches, 60.8 x 70.8 cm.",_key:"044b19e6af9a"}],_type:c,style:d,_key:"sEzglgd2"}],_key:"dGALbGAa"},{caption:[{_type:c,style:d,_key:"ybuSKYLR",markDefs:[],children:[{_type:a,marks:[g],text:bY,_key:"UceCCiEx"},{_type:a,marks:[f],text:"I am the sun",_key:"af786e2120e0"},{_type:a,marks:[],text:", 2011. Oil on plywood. 13 7\u002F8 x 11 3\u002F4 inches, 35.2 x 29.9 cm.",_key:"50d3d49fab05"}]}],_key:"FRU5fPfy",asset:{_ref:"image-03a2b79a7c2009b50e9cd8fec934002f424c3733-808x951-jpg",_type:b},work:j,_type:e},{asset:{_ref:"image-3a12c523c89d8a08b74210cd2befcde7193ee456-698x945-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{_key:"yRGlWs51",_type:a,marks:[g],text:bY},{_key:"c2ffca5a60a5",_type:a,marks:[f],text:"Xerox Weave"},{_type:a,marks:[],text:", 2011. Textile. 51 x 37 1\u002F4 inches, 129.5 x 94.6 cm.",_key:"9e8ef737cd99"}],_type:c,style:d,_key:"dTYBmIeh"}],_key:"kjgbosPB"},{_type:e,caption:[{_type:c,style:d,_key:"CRL37vzO",markDefs:[],children:[{_type:a,marks:[g],text:bY,_key:"IMF22pgE"},{_key:"b0a97861b26e",_type:a,marks:[],text:"Yellow Red Magenta Blue, 2011. Oil on plywood. 15 15\u002F16 x 19 7\u002F8 inches, 40.4 x 50.4 cm."}]}],_key:"P4J9JJQF",asset:{_ref:"image-fb09224eee782a3f792b7b9f26dc6bcedd2192ed-1039x824-jpg",_type:b},work:j},{_key:"ojVuW8HO",asset:{_ref:"image-3178381e4a6287b4b87ffd25b02152bb5400dcc1-680x907-jpg",_type:b},work:j,_type:e,caption:[{markDefs:[],children:[{_key:"EskBShTo",_type:a,marks:[g],text:bo},{text:n,_key:"44df7d90ab37",_type:a,marks:[]},{_type:a,marks:[f],text:"Diagonal Pathway,",_key:"c4833b4c74c7"},{_key:"6c485b714113",_type:a,marks:[],text:" 2011. Oil on canvas. 78 x 58 inches, 198 x 147.3 cm."}],_type:c,style:d,_key:"NFLtTOya"}]},{work:j,_type:e,caption:[{_type:c,style:d,_key:"kNtcgFFO",markDefs:[],children:[{text:bY,_key:"q0i8DubO",_type:a,marks:[g]},{text:"Arrow",_key:"c72e508c0922",_type:a,marks:[f]},{marks:[],text:", 2011. Oil on plywood. 15 15\u002F16 x 19 7\u002F8 inches, 40.5 x 50.5 cm.",_key:"cfe82c5470a1",_type:a}]}],_key:"YvtpeAER",asset:{_type:b,_ref:"image-a77f7db8fc57105127bfe5d61ae3dd266a5ecf21-1039x824-jpg"}}],numbered:t,_type:L,label:V}]},{_updatedAt:bP,slug:{current:"yorgos-sapountzis-head-zest-new-walls",_type:p},_id:"4212bca5-9829-42e5-b2ab-aaa707fe9ff0",content:[{label:X,_key:"Vqi0qmJm",type:[r],image:{caption:[{markDefs:[],children:[{_type:a,marks:[],text:"Yorgos Sapountzis, Head Zest, New Walls",_key:"bSq3JNAN"}],_type:c,style:d,_key:"9WLl3bUI"}],asset:{_ref:bqC,_type:b},_type:e},_type:K},{_type:w,label:Z,text:[{_type:c,style:d,_key:"00c6265d61b3",markDefs:[],children:[{_type:a,marks:[],text:"It is with great pleasure that Simone Subal Gallery announces the opening of Yorgos Sapountzis’s Head Zest, New Walls on December 11, 2011.",_key:"00c6265d61b30"}]},{markDefs:[],children:[{_type:a,marks:[],text:"The exhibition will be on view through February 12, 2012. This is the first New York solo show for the Berlin-based artist. There will be an opening reception from 6-8 pm on Sunday, December 11. Sapountzis’s multi-media works engage both public and private spaces. Many of his projects take as their starting points public monuments, objects that represent some aspect of social, collective memory. A native of Athens, Greece, Sapountzis is intimately aware of how such structures effect both the topography of a city as well as the way individuals construct their identity. He is, though, less interested in what a specific monument depicts, but the fact that the form means something particular for a group of people. For Sapountzis these monuments are conceived as a relational space. It is in the symbolic energy contained in these public works of art that Sapountzis links his own practice, especially when he at times literally builds pieces atop of, or along side of a monument. He refers to this act as “parasitic sculptures,” which enables his work to function as conduits between the context of public commemorations and the essentially private, or withdrawn institutional spaces, of contemporary art. His projects test the parameters of public behavior, collapsing the distinction between public and private space.",_key:"5431ba47f19a0"}],_type:c,style:d,_key:"5431ba47f19a"},{style:d,_key:"7ee611110121",markDefs:[],children:[{text:"Sapountzis’s installations and performances combine elements of theatre, poetry and ritualistic practices, using the specific qualities of a medium to illicit greater interpretive possibilities. At the core of most of his projects are sculptural works that employ such flexible and transportable materials as aluminum sheets and rods, brightly colored fabric, adhesive tape, string, and newspaper. The sculptures, in their carefully haphazard appearance, evoke a number of associations from banners carried at a protest to classic works of Modernism. They often provide an environment in which Sapountzis’s films can be seen. The films show the materials and forms in action and tend to present the sculptures on view in another context, most likely as a critical component of a performance that may or may not refer to the current exhibition. The tension between order and disorder is an important aspect in his work. He is interested in “creating chaos to create order.” Sapountzis’s work is often suspended between moments of disarray and the formalization of a new structure, playing with the temporal distinctions between the creation and reception of a piece. In the end, his art is in a constant state of becoming, things deeply engrained in a particular context but never rooted to such an extent as to be spatially or temporally fixed.",_key:"7ee6111101210",_type:a,marks:[]}],_type:c},{_type:c,style:d,_key:"e267b6e30dc6",markDefs:[],children:[{text:"A performance will take place on Sunday, December 18, 2011 at 6:30 pm\n(exact details to follow).",_key:"e267b6e30dc60",_type:a,marks:[]}]},{markDefs:[],children:[{text:"Yorgos Sapountzis (born 1976 in Athens, Greece) works and lives in Berlin, Germany. Solo exhibitions include: Galerie Isabella Bortolozzi, Berlin, Germany (2011), Fondazione Morra Greco, Napoli, Italy (2011), Freymond-Guth Fine Arts, Zürich, Switzerland (2011); Loraini Alimantiri Gazonrouge, Athens, Greece (2010), Museo de Arte Contemporáneo de Castilla y León, Spain (2010) and Hermes und der Pfau, Stuttgart, Germany (2009). Recent group exhibitions include: Based in Berlin, Atelierhaus Monbijoupark, Berlin, Germany (2011), Louisiana Museum, Copenhagen, Denmark (2011); Kunstraum Innsbruck (2011); Fondo Mole Vanvitelliana, Ancona, Italy (2010); Westfälischer Kunstverein, Muenster, Germany (2010); Kunstverein Arnsberg, Germany (2009); Temporäre Kunsthalle Berlin, Germany (2009); Sammlung Hoffmann, Berlin, Germany (2009); DESTE Foundation at the Museum of Cycladic Art, Athens, Greece (2009); Kuenstlerhaus Stuttgart, Germany (2008); National Museum of Contemporary Art, Athens, Greece (2007) and the 1st Athens Biennale, Greece (2007). Upcoming shows and residencies: include: Ursula Blickle Stiftung; Westfälischer Kunstverein, Muenster, Germany; and Villa Romana, Florence, Italy. 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Many of his projects take as their starting points public monuments, objects that represent some aspect of social, collective memory.",title:hb,_rev:bQ},{title:dZ,_rev:bQ,slug:{_type:p,current:"zoom-shift-abstract"},content:[{_type:K,label:X,_key:"Agl8Wk2a",type:[r],image:{_type:e,caption:[{children:[{text:h,_key:"cf4f8be470b9",_type:a,marks:[]},{text:dZ,_key:"ba066b4a3eab",_type:a,marks:[f]},{_key:"8565acf1bdcd",_type:a,marks:[],text:aJ}],_type:c,style:d,_key:"9pBd9On0",markDefs:[]}],asset:{_type:b,_ref:aQu}}},{_type:w,label:Z,text:[{_key:"bd200d03593b",markDefs:[],children:[{_type:a,marks:[],text:"It is with great pleasure that Simone Subal Gallery announces the opening of zoom, shift, abstract on November 11, 2011. The exhibition features the work of Rey Akdogan, Nancy Arlen, Ana Cardoso, Robert Grosvenor, and Martin Parr and runs through December 4, 2011. 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Arlen, who was active in the No Wave music scene and played drums for the band Mars translated her punk aesthetic into peculiar forms that grow from the wall. Martin Parr’s deeply color saturated photographs from the late 1990s focus on a specific detail in such an intense manner that the captured subject matter — a foot, a doughnut, the back of a chair — seems strange, even unfamiliar. Parr’s unusual photographic perspective of consumption, leisure, and communication plays with the viewer’s subconscious and enables one to see things that have seemed familiar in a completely new way. It is this sense of awkwardness, of being caught slightly off balance, that fills Ana Cardoso’s abstract paintings. Composed from sewn together fabric that create a canvas of sorts, Cardoso paints atop these irregular surfaces two triangles that indicate the painting’s center, an observation that belies the internal logic of the conjoined cloths. 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This is the gallery’s inaugural exhibition, and Bismuth’s first one-person show in New York. The show runs through November 6, 2011. Please join us for the opening reception on October 6, from 6 – 9 pm.",_key:"ab508aafc8562",_type:a}],_type:c,style:d,_key:"ab508aafc856",markDefs:[]},{markDefs:[],children:[{_type:a,marks:[f],text:fx,_key:"556e0ec291d00"},{_key:"556e0ec291d01",_type:a,marks:[],text:" continues Bismuth’s examination into the interaction between language and non-language, whether images, objects, or mere things. Bismuth does not think of these oppositions as incommensurable. Instead, he recognizes a mutual exchange between different systems of representation, in which language helps shape the way one looks at a thing, and conversely, how the image or object effects the words employed to account for what one sees. Bismuth thinks of the works in the show as modified allegories, or a kind of “extended metaphors” — an attempt to explain something (a form, an entity, an action, a sensation) by its translation or transposition. He addresses this situation from the point of view of his own thought process, and is concerned, in particular, with the differences in experience between making an object or image and writing an expository or fictional text."}],_type:c,style:d,_key:"556e0ec291d0"},{children:[{_type:a,marks:[],text:"The core of the show is formed by a set of pieces (a cardboard box puppet, a suspended ball, a video, and more) titled “Notes Towards a Theory of Distraction.” This grouping is at once an entire ensemble as well as a collection of individual works. In both instances they function as scripted objects, and to that end a text written in a series of notes is a central part of the project. For Bismuth, ideas unfold through a string of associations enabled by being distracted, a state he sees as the opposite of contemplation. It is in this interstitial space of the life of the mind that his thoughts make links to seemingly disparate elements. All the works on view have a specific origin: a text by Heinrich von Kleist, a dream Bismuth had, a found image, a quote from Ludwig Wittgenstein’s notebooks, etc. However, the relationship between the work and its referent is tenuous. Bismuth leaves out any direct connection to the source, and instead only obliquely indicates its presence in the title or the “Notes.” The viewer is free to trace the back-story, or, if one wishes, make a variety of different connections. It is in the viewer’s engagement with the pieces, their own distracted thoughts taking shape over time, that poetic associations emerge.",_key:"fc4fb6b1fe550"}],_type:c,style:d,_key:"fc4fb6b1fe55",markDefs:[]},{_key:"6c1d65cacdde",markDefs:[],children:[{marks:[],text:"Julien Bismuth (born 1973 in Paris) works and lives in New York. Solo exhibitions include shows at the Gesellschaft für aktuelle Kunst Bremen, Germany; Emanuel Layr Galerie, Vienna, Austria; The Box, Los Angeles, CA; Crac Alsace, Altkirch, France; Bloomberg Space, London, England; Parisa Kind Galerie, Frankfurt, Germany and Galerie Georges-Philippe & Nathalie Vallois, Paris, France. Bismuth took part in numerous group shows, for example at the ICA Philadelphia; 12e Prix Fondation d’entreprise Ricard, Paris, France; Schirn Kunsthalle, Frankfurt, Germany; Villa Arson, Nice, France; Musée du Jeu de Paume, Paris, France; Orange County Museum, Newport Beach, CA. His performances (often collaborations) could be seen at MUSAC, Leon, Spain; Kunsthalle Wien, Vienna, Austria; Tate Modern London, England; and Parasol Unit, London, England. 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","Anna K.E.","logItem","2021-04-30T22:44:33.042Z","sanity.imageAsset","sanity.imageMetadata","sanity.imagePalette","sanity.imageDimensions","jpg","image\u002Fjpeg","2021-04-30T23:07:37.597Z","Anna K.E. ","exhibition","banner","galleryBlock","cameron clayborn. ","Baseera Khan. ",", Simone Subal Gallery, New York, 2015.","Artforum","2021-04-30T01:52:20.068Z","Untitled",", Simone Subal Gallery, New York, 2017.",", Simone Subal Gallery, New York, 2019. Photo: Dario Lasagni.",", Simone Subal Gallery, New York, 2013.","Gallery","\n","Cover image",", Simone Subal Gallery, New York, 2016.","Description","Veronika Pausova",". ",", Simone Subal Gallery, New York, 2014.","pdf","artist",", Simone Subal Gallery, New York, 2018.","exhibition_offsite","Installation view, Ó (ó agudo), Culturgest, Lisbon, Portugal. Image courtesy of the artist, Culturgest, Lisbon and Simone Subal Gallery, New York. Photo: António Jorge Silva",", Simone Subal Gallery, New York, 2012.","Art in America","Veronika Pausova, ","Installation view: ","Installation view, Beat the Matrix, Simone Subal Gallery, New York, 2022. Photo: Greg Carideo. ","Larry Bamburg.","2021-04-30T02:15:14.091Z",", Simone Subal Gallery, New York, 2022. Photo: Greg Carideo.","Installation view, Anna K.E., Dolorem Ipsum, Kestner Gesellschaft, Hanover, Germany. Photo: Volker Crone","REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation…","Simone Subal Gallery, New York. Photo: Marc Tatti","Baseera Khan","Florian Meisenberg",", Simone Subal Gallery, New York, 2021. Photo: Dario Lasagni.","Frieze","link","Teen Factory","Brooklyn Rail",", 2019. Mixed media. 307 ¼ × 173 ¾ × 8 ¼ inches (780.42 × 441.33 × 20.96 cm). Installation view of the Georgian Pavilion at 2019 Venice Biennale. Photo: Dario Lasagni.","awards","2021-04-30T22:54:14.902Z",.01,"Brian O'Doherty","Installation view,","2012-01-01","1b7b1289-7b95-4c4f-b77e-f07a813df358","Julien Bismuth. ",", Simone Subal Gallery, New York. Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo","6d890f65-1be4-49f5-aa34-bc1840125399",", Simone Subal Gallery, New York, 2011.","Baseera Khan, ","Julien Bismuth, ","Profound Approach and Easy Outcome",", Queens Museum of Art, Queens, New York, 2017. ","Installation view, half step, Simone Subal Gallery, New York, 2021. Photo: Daniel Terna.","Installation view of Perpetual dizziness, Simone Subal Gallery, New York, 2019. Photo: Dario Lasagni.","Fertile Cloth","sticky_col","cameron clayborn","Sam Ekwurtzel.","B. Ingrid Olson. ","The Devil You Know","New York Times","Florian Meisenberg. 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Photo: kunst-dokumentation.com \u002F Manuel Carreon Lopez","A story is always told into two ears","Sonia Almeida.","Erika Vogt.","Blowing From the East Fallen Leaves Gather in the West","16a39f0a-b682-4040-bbab-659eebf1d0ee","3127c20c-e77d-4dce-b02b-44e8bb79ca0c","museum_shows","84b34ae2-bc85-4654-8be3-470e2644e764","Julien Bismuth","Frank Heath.","Kiki Kogelnik. ","BurlsHoovesandShells","REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation…, ","curated by Margot Norton, Georgian Museum of Fine Arts, Tbilisi. ","Dolorem Ipsum",", Galerie Barbara Thumm, Berlin, Germany, 2020.",", Simone Subal Gallery, New York, NY, 2015.","publications","New Yorker","tenterhooks, ","L Shape, ","Installation view of James and Audrey Foster Prize Exhibition, ICA, Boston, 2017.","Installation View, cupping the hand behind the ear, Simone Subal Gallery, 2016",", Simone Subal Gallery, New York, NY, 2023. Photo: Greg Carideo","streams","Frank Heath. ","Frank Heath","5ac70b87-0d8d-49d6-b822-695eee9c0448","2021-05-04T01:16:56Z","EN7zYfnqIlnfGd7xBQ8ErR","Very Long Fingers","Installation view of ","Flash Art","Nova Jiang. ","Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Paul Litherland","Installation view, A to C, Simone Subal Gallery, New York, 2019. Photo: Dario Lasagni.","Installation view, Ora et lege, curated by Monika Čejková, Broumov Monastery, Broumov, Czech Republic, 2021. Image courtesy of the artist and the Educational and Cultural Center Broumov, Czech Republic. Photo: Tomáš Souček.","Sonia Almeida. ",", Simone Subal Gallery, New York, 2020. Photo: Dario Lasagni.","CTRL V, ","2021-04-22T08:16:37.441Z","gallery_shows","Two Lines Forming a Circle","Last Will and Testament","2021-04-28T23:48:23Z","Not for everybody","No Body Yet","Thomas Lerooy, ","Installation view, Uncertain Codes organized by Julien Bismuth, University of Florida Gainesville, 2023. Photo: McKinna Anderson","Installation view, Scene, The Box, Los Angeles, CA, 2021. ","An Image as the _____ of a surface, Simone Subal Gallery, 2014","VISCERA",", Simone Subal Gallery, New York, 2022. Image courtesy of the artists, and Simone Subal Gallery, New York. Photo by Marc Tatti. ","mothership in Malvern","2021-04-30T23:12:22.891Z","Installation view, Renderings, Simone Subal Gallery, New York, 2019. Photo: Dario Lasagni.",1.3333333333333333,"2020-10-01","Lesson","Floral Fix","Meet Me Upstairs","Sam Ekwurtzel","Renderings","Prosper, Phantom Limb",", Simone Subal Gallery, New York, 2017. ","Larry Bamburg. ","TalctoTile, PL’d to MDO","Fremdkörper","Installation view, Simone Subal Gallery booth featuring works by Nova Jiang, Baseera Khan, Florian Meisenberg, Brian O'Doherty, Veronika Pausova, Jesse Wine, and Mie Yim, Art Basel Miami Beach, 2022. Photo by Greg Carideo.","The New Yorker","Press Release","Bio","Reposoir","2015-01-01",", Simone Subal Gallery, New York, NY. Photo: Marc Tatti ","9c021bd2-f7ea-484a-8302-127d7e8736a3","029de0c8-206f-4ef7-9083-01efabe8c899","c984b56c-98cd-44fb-a10a-6a760fa832cc","Kin","2021-04-23T10:23:32Z","Perpetual dizziness",.03,"Installation view, iamuslima, Participant Inc., New York, 2017. Photo by: Maxim Ryazansky.","ArtNews",", Simone Subal Gallery, New York. Photo: Marc Tatti","66941492-fcd9-46e2-b37b-8f1a883e0433","97e83977-5e04-400e-890e-c0168848170c","Installation view, If I Have a Body, Remai Modern, Saskatoon, Canada, 2019.","Veronika Pausova.","Jesse Wine.","Hybrids","Kiki Kogelnik.","2021-04-23T12:42:11Z","Untitled Body Parts","The Engraved Plane","Installation view, Booth B25 Simone Subal Gallery, Art Basel Miami Beach, 2023.",", ","The Brooklyn Rail",", Simone Subal Gallery, New York. ",", Simone Subal Gallery, New York. Photo: Greg Carideo ","Sam Ekwurtzel, ","In Order of Appearance",", Galerie Barbara Thumm, Berlin, Germany. Image courtesy of the artist and Galerie Barbara Thumm, Berlin. Photo: Jens Ziehe","In Order",", Gallery Artbeat, Tbilisi, Georgia. ","Installation view, Blowing From the East Fallen Leaves Gather in the West, Simone Subal Gallery, New York, 2021-2022. Photo by: Dario Lasagni.","image-ce8de3023421e70279c9ccccdd5c0cfecc748aaf-3867x2900-jpg","Crossing Gibaltar at Midday"," Intangible Economies of Desire",", Sommer Contemporary, Tel Aviv, Israel, 2016.","I suppose my doctor is dead",", Interstate Projects, Brooklyn, New York, 2013.","2011-01-01","2016-01-01","2017-01-12","No Entrance, No Exit","2015-02-01","Cultured","2019-05-08","Hyperballads",", curated by Jesse James, GATHER at Ignition Space, Fabric Festival, Fall River, MA. Photo: Scott Alario","image-352159a5224095af104006eac9f409b054dbe8cd-8261x5163-jpg","Installation view, l'entre-deux, Pina, Vienna, 2021.","Pockets and Lies (detail), 2020. Fabric piece (cotton, wool, polyester, paper) with drawings oil on paper and woodcut prints. 88 × 103 inches (223.52 × 261.62 cm). Dimensions variable.","Forward, Pause, Play, MIT List Visual Arts Center, Cambridge, MA 2014","The Event We Call Seeing, Simone Subal Gallery, New York, NY 2013","The Angle of the Sun's Rays, Simone Subal Gallery, New York, NY 2012","The Reader, T293, Rome, Italy 2011",". Untitled","cameron clayborn, ",", 2023. Photo: Lazar Bozic.","coagulate","Common Nocturnes: Ten Izu, Sean Mullins, Penny Slinger, and Joanna Woś",", Simone Subal Gallery, New York, 2021. Image courtesy of Simone Subal Gallery, New York. Photo: Dario Lasagni.","The Players","A to C","In Flames Leaving Las Vegas","B. Ingrid Olson.","Eighteen Hundred Showers","Brian O'Doherty.","Installation view of Connecting the…, Simone Subal Gallery, 2014.","Surface Tension","June","double-ended arrow","Everything and All of That","The Angle of the Sun’s Rays","zoom, shift, abstract",", Simone Subal Gallery, New York, 2018. Photo: Dario Lasagni. ",2088,2784,"Images","Mie Yim, ","2021-04-22T08:20:53.332Z","King Kong","file-8a8866f1474b610a8b5f902ac90a25ab50e3a8b7-pdf","L Shape","2017-04-01","Off Script","Installation view, For your eyes only, Simone Subal Gallery, New York. Photo: Greg Carideo ","Electrical Flower","d2297939-e91c-4e97-9706-7283ad38f3d4","1ce25713-ebef-49a9-a7ce-095de1ab0429","0d4bb57a-34eb-454f-a1db-fce672444f0f","half step","Post Holes","Condo New York","Crossing Gibraltar at Midday","redirecting","324c59f0-1c89-4e0f-b7f5-03a8f3d351d6","66b7412f-e19a-423b-bf1e-ba913af83c58","Seagulls","The Event We Call Seeing","Weight on History","2010-01-01","ArtInfo","ArtReview","image-aaca1552e59c2ab6949865f2783c8a6e31954521-1500x1000-jpg","Private Property",", Moran Moran, Los Angeles. Image courtesy of the artist, Moran Moran, Los Angeles, and Simone Subal Gallery, New York. ","Lacan, The Exhibition",", Centre Pompidou Metz, Metz, FR. Courtesy of the artists, and the Centre Pompidou Metz, Metz, FR. ","Installation view, Hiaitsiihi, Nomas Foundation, Rome, 2019.","An image as a surface ____ , 2014, Solomon R. Guggenheim Museum, New York","Smoke Screen, Galarie Emanuel Layr, Vienna 2013","Julien Bismuth, Galerie Georges-Philippe & Nathalie Vallois, Paris, France 2013","2014-01-29","Negotiating Chaos: It’s the way it shatters that matters…, ","Simone Subal Gallery, New York, 2022. Image courtesy of the artists, First Floor Gallery Harare, Zimbabwe, and Simone Subal Gallery, New York. Photo by Marc Tatti.","Shifting, Glances","Gesture Play","image-0bce053f4ace4a8889486cc9bd14bd5df1fb3338-2784x2088-jpg","70% copper, 30% nickel","Installation view of The machine in the ghost, Simone Subal Gallery, New York, 2014.","Installation view of On the beach , Real Art Ways Gallery, Hartford, CT, 2013.",", Simone Subal Gallery, New York, 2021. Photo: Daniel Terna.","Backup","Frank Heath: Blue Room, Swiss Institute, New York, NY, 2017.",", Simone Subal Gallery, New York, 2020. Image courtesy of the artists and Simone Subal Gallery, New York. Photo: Dario Lasagni.",", Simone Subal Gallery, New York, 2018. Photo: Dario Lasagni.","Erika Vogt. ","We seem to still be moving","Faith so certain shall never be shaken by heaviest sorrow","Robert Kinmont.","2021-04-22T08:07:30.140Z","events","2021-04-22T08:18:37.272Z","Critic’s Guide: New York","0f07aaa7-54fb-4d88-8b62-54b557d75d4d","2015-03-01",", Simone Subal Gallery, New York, NY, 2023. ","Photo: Marc Tatti","Mie Yim.",", Simone Subal Gallery, New York, 2022. Photo by Marc Tatti.","Veronika Pausova. ","Visions and Nightmares","Installation view, Complimentary Blue, Kunstpalais Erlangen, 2019.","Jen Liu, Joanna Piotrowska, Jesse Wine",1.5,"The Sphinx or The Caress","ea9bbd81-0b5e-4564-888a-bb6b5499bd49","Speaking in Lines","cupping the hand behind the ear","Cuts, Fissures and Identity: Works from the 1960s and 1970s","Glass Puzzle","It’s Over There","Early Works, 1964-1970","Notes Towards a Theory of Distraction","Privacy Control","Painful Arc II (Shoulder-High)","2019-06-01","Installation view. ","No more, not yet, ",", Am Schwarzenbergplatz, Vienna, 2024. Courtesy  of the artists and KOW\u002FBerlin, LambdaLambdaLambda\u002FPrishtina, Simone Subal\u002FNew York. Photo: kunst-dokumentation.com \u002F Manuel Carreon Lopez","Teen Factory – Berlin NYC (bird)","2019-01-01","d81834b8-ead8-4646-9e45-1e5be0eba00c","image-987031407d8cc37baa881e69559d67dffa09a988-1350x918-jpg",".",", Simone Subal Gallery, New York. Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo ","6efc75ed-835d-40ac-a193-6a47f0a015a9","Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo",", 2022. Oil on canvas. 49 × 41 inches (124.46 × 104.14 cm). Photo by Greg Carideo.","Installation view, Electrical Flower, Simone Subal Gallery, New York, 2022. Photo by Greg Carideo.","Reversible Lining",", Bradley Ertaskiran, Montreal, Canada, 2021. Photo: Paul Litherland.","image-44e625549d77bf63971941c6c004080a39074618-3063x3600-jpg","Installation view of Veronika Pausova & Frances Adair Mckenzie, Busy Bodies, 2019, Parisian Laundry, Montreal. Image courtesy of the artist, Parisian Laundry, Montreal, and Simone Subal Gallery, New York. Photo: Maxime Brouillet.","Installation view, drawing the curtain, Hunt Kastner, Prague, Czech Republic, 2018.","Installation view, Be frictionless latecomer, Simone Subal Gallery New York, NY, 2017.","Installation view, Chests in the Current, Motel, Brooklyn, NY, 2016.","What does the smoke know of the fire?",", Kate MacGarry, London, UK. Image courtesy of the artist and Kate MacGarry, London. ","Installation view, Electric Forest (Bowery), with Anna K.E., Simone Subal Gallery, 2020. Photo: Dario Lasagni.","Installation view, Deep Tissue, Berlinskej Model, Prague, 2019.","Installation view, Complimentary Blue (with Anna K.E.), Kunstpalais Erlangen, Germany, 2019.","Installation view, In Flames Leaving Las Vegas, Simone Subal Gallery, New York, 2018. Photo: Dario Lasagni.","Florian Meisenberg, In Flames Leaving Las Vegas, Simone Subal Gallery, 2018. Photo: Dario Lasagni.","Florian Meisenberg, The Taste of Metal in Water, Ghebaly Gallery, 2018","Florian Meisenberg & Anna K.E., Countdown Belladonna, Salon Kennedy, Frankfurt, Germany, 2016.","Florian Meisenberg, Kunstpalais Erlangen, Germany, 2015.","Florian Meisenberg, The New World Hotel, Kasseler Kunstverein, 2014.","2011-06-01","Artnet","Emily Mae Smith. ","Kiss the architect on the mouth","Josef Bauer, Kristen Jensen, Philip Wiehagen","Yorgos Sapountzis.","Luis Camnitzer, Robert Kinmont, Rosy Keyser, and Linda Matalon",.02,"image-cd195585d1d62004a6edac651ed3535ae16fa3b1-8688x5792-jpg",", Moody Center for the Arts, Houston TX. Courtesy of the artist, Moody Center for the Arts, Houston TX, and Simone Subal Gallery, New York, 2022. Photo by Geoff Winningham.","Installation view, I Am an Archive, Brooklyn Museum, New York, 2021-2022. Photo by: Jonathan Dorado.",", 2018. Acrylic sheets, two-way mirror film, steel poles, vinyl. 98 × 96 × 18 inches (248.92 × 243.84 × 45.72 cm).","Braidrage: 99 Holds","Hyperallergic","2019-09-01","2019-01-25","Teen Factory – Berlin NYC (egg)","The car was his and story mine","e0b58fdd-963e-42f9-b87a-cea178d31dba","2009-01-01","2021-04-22T08:06:46.943Z","2021-04-22T08:05:26.402Z","Lecture at NY Studio Residency Program (Association of Independent Colleges of Art and Design), New York, NY","2021-04-22T08:08:11.310Z","2021-04-22T08:03:42.726Z","2016-03-15"," ","2014-05-01","Sonia Almeida","Art Review","2013-09-01","Mie Yim ","roompiercer (with tool)","roompiercer with tool","image-5a63f2ead593d75dce1424abe742fe9fc1c27a37-959x749-jpg","image-689222a00bf72428bacfa63debcfe1731b28f42f-1350x900-jpg","It’s When It’s Gone That You Really Notice It",", curated by Baseera Khan, Simone Subal Gallery, New York, 2021. Photo: Dario Lasagni.","Crypts of Civilization","Path of Totality","72433a5d-8b6c-4154-a1d6-4058390aafda","788017d5-3077-4c5c-9f30-dfa280f6c79f","Emily Mae Smith.","Fragments and Masks: Works from the 70s and 80s",", Simone Subal Gallery, 2016.","5604c26d-09d1-4151-ba9f-0ad5eca5a9ba","The machine in the ghost","Connecting the…"," It’s When It’s Gone That You Really Notice It","Just About the Right Size",", 1970\u002F2008 (detail). 9 silver gelatin prints. 13 7\u002F8 x 10 7\u002F8 inches (each sheet), 12 7\u002F8 x 10 inches (each image).","Head Zest, New Walls",.07,"image-89972e074c67eb2110183f92cfcbaa8d5df521b7-7952x5304-jpg","Installation view, Simone Subal Gallery at Frieze New York, featuring works by cameron clayborn, Nova Jiang, Baseera Khan and Thomas Lerooy, Booth C8, 2023. Photo: Daniel Terna ",1,"2024-06-20","Am Schwarzenbergplatz","7c0e1685-7e26-44ae-819a-c96c6aa239d0","Ocula","2024-03-23","4b8c35a7-528e-4de7-9f3c-aa634b65979f","image-3caa2fd031a9262da68e4988a0bd4429b76e6fda-1084x628-png","image-caf78ac2cd1572167d89431a5f184868981d8f1b-3000x2210-jpg","image-59778435c935a0f24ddb300a324b4fbce1363a4a-3000x2210-jpg","image-0eea14aecc606b7b54604279a5d91571728d26b9-3000x2250-jpg","I Ask No More (ASANA: the fabric of real life, illuminations)","I Ask No More (MASTER: nothing that alone makes the something useful)","image-a4b44ff8ac8585a09ed8b0744dd62798f70a2f99-2800x1867-jpg","image-c1d4800acc2160da016b27519255848db4a97b91-2800x1867-jpg","Intangible Economies of Desires (Foot #1)","image-7ca1c8bfdff127504989c9b9a61a4c3430e1dda6-2800x1867-jpg","image-ac4a93642e5aa54832bcd3196315375bbcfb27bf-2800x1867-jpg","image-653c47cbd75de883a6e81d6629facad8c0172fcd-1560x1040-jpg","image-673047096f7557c1c82ac7d05bc534dc6b3cd937-1560x1040-jpg","image-378c5974a6b1eb8935d3f255da99cd2b4a040431-1040x1560-jpg","image-1475101dd003da1db8ff8eb36fd40896b70950de-5616x3744-jpg","Gloss of a Forehead","aacbce58-2aa6-4c1e-8825-ec214a289265","REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation, ","2019.\n\nThe Kunstpalais Erlangen published a catalog of Anna K.E. and Florian Meisenberg’s collaborative practice titled ","Complimentary Blue",", on the occasion of their collaborative solo exhibition at the museum in 2019. In 2012, Hatje Cantz published Anna K.E.’s first monograph entitled ","A well-to-do man is cruising in his fancy car when a small hen runs out on the road in front",".\n\nK.E’s work is in the public collections of the Stadtsparkasse Düsseldorf im Museum Kunstpalast, Düsseldorf, Germany; the Muzeum Współczesne Wrocław, Wrocław, Poland; the Cologne Staatskanzlei NRW, Cologne, Germany; the Philara Collection, Düsseldorf, Germany; and the Vanhaerents Art Collection, Brussels, Belgium.","d4014d21-0005-4770-bb5b-4e40bbe24626","Time Out","f7996b54-e7fd-45a0-88b0-39ea48e96ae8","Sónia Almeida","image-03bc10bdf74bf2ea48ef1342d0e165844e3d1355-2250x1484-jpg","image-1b681c7695f45549344b021e22b98a8fcc081632-2250x1500-jpg","image-9b2a83bdaa0cb3a52f8d83b872f011edb2281f02-3264x2309-jpg","image-9f610dd9752ab1c43cf0b1cea35574c4228a3c29-3000x2000-jpg","image-fd30da8d3954c954b7e1d1f7b6bb0ed82269f750-3000x2000-jpg","image-66d3dfbdbfef7c61abb02a0ec19811962be72a0c-2000x3000-jpg","image-2b9776a0cbee57bd8354c572e16ca9ef369790a5-1947x2500-jpg","image-95715a432551fe73604f0050442a26bc36fdbb5f-1947x2500-jpg","image-57dc526abf2dd91d32224c591a553e831193a093-3000x2000-jpg","image-69b9974ead8ac3b6eb862477cb9d9ca4ec158f91-1947x2500-jpg","image-0363f0a36d5dcb24d083b6d233cbe0b68696c8f4-1947x2500-jpg","image-fc31cfc334a050cb326d9a9ba6aa2cb23cd287cc-1200x800-jpg","image-cfe0d334583d2471b89e14a2d4665ef272973f03-600x850-jpg","image-20791753f8d73623280b3f0eef582257ac7a87bd-1200x929-jpg","d8657102-4a7e-4416-abac-146b8ae806a6","33ba6424-1b11-4d5f-9dc7-d68217f92e82","b6d21a90-6555-4c6f-9d53-1b15977dea3f","4508ddd0-f7bd-4bc0-87d8-ae008e378f1c",2000,"image-2ddb5235fa4f0a174bf905041bb52962696c8e91-1417x969-jpg","image-718d0310afd154a82405e637616462158d6da9c3-2784x2088-jpg","Mie Yim","toolholder","Thomas Lerooy","Installation view, For your eyes only, Simone Subal Gallery, New York, 2023. Photo: Greg Carideo ","Cupric nitrate patina \u002F surgical glove","Stormwater pipe, 8” offcut, partially drained",", 2017. Aluminum culvert pipe, fused silica. 16 ½ × 17 × 11 inches (41.91 × 43.18 × 27.94 cm).",", 2014. Engineered wood panel, maple, eastern white pine knots. 48 x 96 x 7\u002F8 inches.","Late Morning Early Spring","image-f6aa8412e1b88ebb9159afd616fcf02651df545c-2000x1125-jpg","Installation view",", Last Will and Testament",", Simone Subal Gallery, New York, 2021. Photo by: Dario Lasagni.","image-f795eb875f853b0b905a29b3d41dcd741cfb180f-1500x1000-jpg","Installation view, Backup, Simone Subal Gallery, 2014.","Installation view. Condo New York, 2019. Simone Subal Gallery hosting Instituto de Visión (Bogota, Colombia) and Ivan Gallery (Bucharest, Romania). Featuring works by Otto Berchem, Frank Heath, and Lia Perjovschi. Photo: Dario Lasagni.","Brian O'Doherty. ","Installation view of Connecting the…, P!, 2014.","late morning early spring","f1ce0765-2b6e-426e-875d-09c9b37c1c3d","Baseera Khan.","Art In America","sanity.imageCrop","sanity.imageHotspot","d0232f1c-1fb0-4428-a7f1-8c00d60e7a01","K.E.","900e6dbe4340","4e853346c48e0","3c746549e4370",", 2024. Mixed media on canvas. 40 ⅞ × 29 ½ inches (103.82 × 74.93 cm); 42 ¾ × 31 ¼ inches (108.59 × 79.38 cm) (framed). Photo: Marc Tatti","3c746549e4371","546028b2696f","image-1cd553af96d33621f005cf48953cbd416b7fd47a-1815x2250-jpg","c1ecd973fbdb","636768947997","72527775c2d0","image-a62ee1da9fdc37b21d6c9a57790ebc035cb44af2-3000x2000-jpg","b9dad4e782ca","image-0302c129aadadc299eb66e7a9fd0c5c993c79c2c-3000x2000-jpg","adb69cddd3ea","628341ef57b3","66f80dc804ec","image-a73e5a7b8cb6556c60f6975b58cd37ee7ba5b79b-2143x3000-jpg","752f016e5b6c","a6dd70ca257c","9d19700fc4a7","e70bd388b41c","a7abd893932a","image-6d3c170f7eda16d1f898107609dbcf0073dfa905-3000x2143-jpg","08cbd4b93bed","image-b570e8266fff30cf535dc1b23bf678a05c2980d0-3000x2143-jpg","d35776ca3467","5185282a28b1","61e2eeb472e90","88639aef7fd1","a60116eb0942","image-00306ac80c0c5cb1fbbe846be4e2c6ec9f5c9741-3000x2000-jpg","818c412dac30","76ced44b05ea0","3df7863bb5e10","3df7863bb5e11",", 2024. Mixed media on canvas. 29 ½ × 40 ⅞ inches (74.93 × 103.82 cm); 31 ¼ × 42 ¾ inches (79.38 × 108.59 cm) (framed). Photo: Marc Tatti","eab908a31faa","image-8afd09344e7fda898fd2a8bcecb7e7fc7ed9021c-2250x1744-jpg","203d3a0df741","5b7f8bf6a7ad0","carving the gates","a37eac526f890",", 2023. Mixed media on canvas. 21 ½ × 16 ½ inches (54.61 × 41.91 cm), 22 ¾ × 17 ¾ inches (57.79 × 45.09 cm) (framed). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: GC Photography ","a37eac526f891","eeca37b2125d","image-64751b796c474d28322cbce137facb6c01624e7d-1400x1960-jpg","888e7ee774d30","2203c84f3304","9ed08df4ba30","2f755d4bd2c2","c372c546d654","04c46b8d4d46","4dfb860c44e3","1e52b7aab2ab","image-99bd614d9b40086a1c6977caa83b31e0cf5eb0e2-2730x3102-jpg","fe2ecc89e7d5","image-9e3f7bf244a51e340490abfd3993abf51164c15e-4001x2965-jpg","cc2849367c4c","6d76392dcb2a","0a1715ff1600","fe26cd3a604a","5ec8adb34b09","image-d55e616388bae7119f449ed9a421b01e7cce2035-5384x3589-jpg","585b03a1e774","8224e644d7e7","f5795963c7c7","400737bf380e","28def8cedf37","image-475edce895af23a9792807ae1d0555920ae37228-3648x5472-jpg","5db22697b12d","95dce9a99ae5","5bd1cbf72b76","7f07afcfc7e6","debca3783c0a","48092846413a","ac38ac1e34d3","29f5b95bc7a2","66aa35ade416","image-dedd5faac1c53363a7777d3709240dae412fbc7c-5450x3633-jpg","97ac57704e97","image-dda7a3f87e26e3ca961fe32053e6b2905655efb3-3612x5419-jpg","9d4bbe1ec6d8","8f78ae1b8443","c5c17714d711","f6dcf3e6f439","2be66b24acf2","image-4c39efde7ccc22d95c120cc8569cb4f1c43a3dc0-5472x3648-jpg","c6259cbfba7e","8d9a7adf9e34","bc10323ea3f2","86d37facf20b","aeb2d22d8840","1a844679bfb2","81390f5a6013","ae001c50416a","72f6d2322df2","c17ecec7ca840",", 2021. Zinc metal sheets, magnets, metal rods, and wood. 13.77 × 354.33 inches (34.98 × 900.00 cm). Photo by: Dario Lasagni.","c17ecec7ca841","76d01d2955f5","04d6fcc61415","da6c367f0441","920e35d4780c","41f364929750","f9acb00a716f","266be6bc2b270",", 2016-2017. pencil, spray paint, oil stick, oil, and acrylic on paper. 150 × 200 cm (59 × 78 ¾ inches). Photo by: Dario Lasagni.","266be6bc2b271","aabf4a7b7d5c","image-750067514b4b2a9b35c725b96a3f1b21881ded2b-3000x3000-jpg","39d02886c10e","33c96f3a9564","8838eed310e6","Untitled (elbow)","d5968eac0fba",", 2021. 3D rendering, inkjet photo print, color pencil drawing. 67 × 50.5 cm (26 ⅜ × 19 ⅞ inches). Photo: Dario Lasagni.","a75de891b2eb","a3cbc0821876","image-46f84ea018ae6900bc95515e4896739821eb98fe-1514x2000-jpg","53c793a5f900","Anna K.E","e405988adc0e","fbe053480646","b5a0e5b8aef8",", 2018-2019. Pencil, spray paint, acrylic, and oil stick on paper. 150 × 200 cm (59 × 78 ¾ inches). Photo: Dario Lasagni.","c8befbc4d7c7","3e0585d51f31","image-d578e239ec4d74cf2d634f3359ad446a4fd6610a-2533x1960-jpg","O2aFD7lz","image-fab0dc9064942c3b646581b43a0007cbfe3e01d5-1800x1200-jpg","M5gTo4Qd","7czhGVtx","39db95f2e571","Intangible Economies of Desire",", The Delaware Contemporary, Wilmington, Delaware, 2020 - 2021.","b8750e3327a0","image-ee929b1e67ee6840229fedab6e0d8a2bef721095-2000x1468-jpg","4mj7PSth","3aBeLeAZ","cc8422719a89","5ed20abfc83f","13N9zDgL","PfSXEp7I","l39xFXcV","e38216466c08","c65dee22e8f9","I52QIllV","image-fc0e9a2e0bdf42fb23a22c3aa6344b06717f6fb2-1504x2000-jpg","image-842bdccf997b4cfbec11c87dd16319a4d32fd4b9-2000x1499-jpg","NH3lgL29","02133650ae2f","5a8bd05c83b1","g3aCpyPU","GY9aLO6b","05b7910d37c9","image-8f7de50b667b36bb3c09f2ab78721585796855a7-2784x2088-jpg","bbbc7c454c3e","71cf93063b8a","a2f141351b5b","image-726d12da384eeccb7c09cf406f732ff6f832b2eb-2784x2088-jpg","214a36ccd82b","17054399f6ce","image-a713994cc067091fbd580fee2c3ed06f41a0ebcd-2784x2088-jpg","eb02c9c7187c","46db446e881f","efd2023831ea","115b1305507c","f04467c16dfb","Internet 1986","a41328e44312",", 2019. Mixed media. 6 × 8 ½ inches (15.24 × 21.59 cm). Photo: Dario Lasagni.","bb37577ec91a","b2e921c863a1","690d8c8bf221","image-f882d20a0c9b39e9f38d0a3eb6f50d33173af3ad-1288x966-jpg","2Km0qZaY","image-38972e16aaa2b3215f2a98f4f0a02bea828aa9b2-3898x2599-jpg","gtuSJYTG","355afcc267cd",", curated by Noemi Smolik, Stone Projects, Prague, 2019.","3267c6415207","Ye7aGscK","EoUmGfpJ","31f211f61fe9","7ab71c29369f","c2HeSDSs","SuhpXX0W","image-78b21bd172a44b5a4575ebba300d1b3c8509b773-3885x2933-jpg","7OYee6ZB","e2e5e749f5e9","d7885bbb4c1b","fb0cb763225b","vYxIFc3m","image-9a04b766c5f2f1b9e8a72d495fe6dd566e2e384d-11600x8700-jpg","image-2209efd5b9a2789ed77904a678cfacdb29018c98-2900x3867-jpg","9b29sbdi","7261aa8d20f2","b26cbfef0494","6ed78a2f2b72","Kp5VCjud","vMckgimR","56f66314755f","d2951479f791","78a7062fbc95","8jYoEa42","u6ofXwK9","image-559b68d0c3e5370c8759124b048b14d6ad3eb270-2900x3867-jpg","e7ece9f24679","85c9465112c8","0e4148553747","M8Rrh8TW","99986d39c4c7","6830aafed5be","Archival Memory","a1ac420c0e2c",", 2018. Mixed media. 8 ½ × 11 inches (21.59 × 27.94 cm). Photo: Dario Lasagni.","495eb54d538a","6c5c4f2bb80b","ab692887252c","image-d0fd865127fcceda2c4e3ffc6b0cfa8ac431d49a-2721x2041-jpg","apj5eKhK","CO3cu7WC","9ed90f647ece","allegories of reading","9994aead0adf",", 2018 Mixed media on paper 15 ¾ × 22 ¾ inches (40.01 × 57.79 cm). Photo: Dario Lasagni.","edf6ff28f5d4","KRdWAeSJ","image-c32de2c4f92b742ade8095220240dfd7f30fb936-2741x2055-jpg","LVJZFKYC","9UKuP0qX","65c6b8a490a9","2b8ea71ab1b8","5Lkbm4hz","image-109739347f20bfe7a2a0250542b327588c0d5a1d-1200x800-jpg","c40ba79a6579","8d040e1f60ea","d4e83f5e78b6","On Display_III",", Sammlung Philara, Düsseldorf, Germany. Images courtesy of the artist and Sammlung Philara, Düsseldorf. Photo: Paul Schöpfer","52586fc3c844","3995d868815a","image-a23f6430549c820d784ebe8ee0697661b324e579-4000x3000-jpg","image-d0d91c5c67e3b4046c704d415a1387e50e63c8ae-840x1273-jpg","2IdTAnFy","61f097baf28a","2376b6594098","b37789e180c3","kArJPqm4","964e4917f49c","49fade54151b","3746de067327","9hMll3ar","1xaFzOJA","image-94a711a723c2c82db54884a2e5c446c2ac27a938-1200x800-jpg","PuxeZir8","image-527cc75530680746596f3d023ff0bf6661bbb566-840x1260-jpg","c837f524b248","6eea9cb62b10","6b22e3be5151","NvV50BS3","L7ZV0Fdm","uu9WF1V0","63a6ebb8a733","70fe94dd5fc7","pe74zfcC","JXopkwa2","a4975e48bc99","c6c1366b8aa9","293222082521",", 2018. 3D rendering, inkjet photo print, color pencil drawing, LED light, aluminum jalousie, glass, plexiglas, rubber, wood frame. 24 ⅝ × 49 ½ × 4 ¾ inches (62.55 × 125.73 × 12.07 cm).","g3JPlLgS","49284dc924fb","bb5baa54ee9d","a32eb5e982b0","Bj8dfoup","D3kauW4x","3IHWjlvz","wuU0ukRJ","d456eede1d75","80f500caf1f9","Intangible Economies of Desires (Knee #2)","ff5bbedf68f1",", 2018. 3D rendering, inkjet photo print, color pencil drawing, LED light, aluminum jalousie, glass, plexiglas, rubber, wood frame. 24 × 43 ½ × 4 ½ inches (60.96 × 110.49 × 11.43 cm).","6d764ff8453a","EpWUtC1V","93c9d1a4a1ce","fed99f1d8815","LvmENqXq","UaQBjj11","image-76cb87b39be9356205b87c9069dc42abf3ee16d4-2582x1772-jpg","GZJ8bpQz","4ddcf23fc1db","a4d18eba96f3","4500e0582f0c","DTWXQVTq","image-1e65ec71fd8be3d5cc716698682858cef981434f-4792x7346-jpg","aHR9FPqY","Eht2lT5Y","caa89958dc95","No entrance, no exit",", The Kitchen, New York, 2015.","363c57250d29","4vIGO4Ul","image-0d99e295ecf4793c2bdeab0ea23f7b0c66e3c139-1350x900-jpg","d4fcf736ccf8","c460e906ba75","On Dithering","ca05a8eb7ca6",", Württembergischer Kunstverein, Stuttgart, 2015. ","ca6828c19e58","71c0a133c91b","image-599b3568b80429ae800f3425a918acbaba8f6d4a-2730x1793-jpg","1UR6EjVC","gD6DFDaU","fa0fd75a8769","ec875aff61f7","WEwZSkHR","fnWOFxeA","4SK0Y6lL","f6458e0484cb","7528b91ac19f","d373473005ec","389e749d564c","image-b45a1b72cd5d1b508bc6fb765e3bf2ad51683bd0-2000x3000-jpg","b6a6f38d6458","9eef5650f48a","09682638736b","6d77665e32cc",", 2015. MDF, wood, metal, magnate sheet, spray paint, lacquer, acrylic, cast resin, and egg shell. 41 ¾ × 17 ⅛ × 22 ⅞ inches (106.05 × 43.50 × 58.10 cm).","638fce2d0356","VGWnk09K","286076f66b67","cc07414b5672","2b6892c548a2","ZQobjfYJ","344554db18fe","9977f41d6e10","a677bfbb7e86","589654b63ea2",", 2013 – 2015. Wood, self-dyed rope, varnished MDF, lacquer, spray paint, acrylic, metal, found object (bird). 41 ¼ × 30 × 25 ⅛ inches (104.78 × 76.20 × 63.82 cm).","4ec253379781","97c7aac54ac2","image-23301acc81a11752f6edf8d26a675c3382ab8343-2000x3000-jpg","lBVBUQzm","u0guSuCV","Teen Paranormal Romance","e87f80ad476a",", Renaissance Society, Chicago, IL, 2014.","d12c275fd175","3vdyp6jJ","image-e1e05dd084d066f93d5b2fb49b77bf6f634cec2e-2003x1500-jpg","b0aa75eab998","image-99f16568f1c019bb47ed68eb9c5e28172561499d-3543x2362-jpg","c8f0fa88de1e","f2a853ef7d0b","Backdoor Fantasies","41aa77507922",", curated by Julia Höner and Ludwig Seyfarth, KAI 10 Arthena Foundation, Düsseldorf, 2014. Image courtesy of the artist and KAI 10 Arthena Foundation, Düsseldorf. Photo: Alexandra Höner","bc71f917bd8f","799df16611c10","0cc3a8e3e542","A9fFzXrV","YWf4Auk6","8b533802225d","5b21e652965c",", Simone Subal Gallery, New York, NY, 2013.","zT8z1n1b","image-f4dcd8c3f0f35188d185aeaf11fb7c5b4c190da3-1200x1559-jpg","DJBPwNrx","0UDHAOTu"," Lucky Weekend","7c613af6da6f",", 2013 (detail image), posters by (from left to right, top to bottom, selection): Johannes Wohnseifer, Carolin Eidner, Alexander Wissel, Manuel Graf, Christopher Williams, Martin Pfeifle, Kate Shepard, Christop Westermeier, Simon Thompson.","ad75d6c36458","8bM4RBLx","image-9091c278283562d7cf054ed5ea9e15c5fc320bf7-2143x1200-jpg","f16f3dbc60da","a5c3048d9d00","c3f7ca9a2213",", 2011. Video and sound. 9 min 32 seconds.","dfcdd2e4c5a3","tzgTzhdT","0Icq54zD","W2aTFpKS","551dceef6a4a","0b73f9b3b232","dXFy0abq","VYJSLsRr","image-bc35cc883bf1d486b8cf628088317b8d4de1eb4e-987x750-jpg","64qvsArm","399978b5e0a0","2de79791bf4e","5f2539cef94b","bB1pUT1r","image-7c5486ad0b9867154073b2a050d5d22ec1cfb4e8-3830x2184-jpg","XW4bTzQ6","LM9IWS6k","He was hit by a car, can she still dance?","0675486fc176",", Kunstverein Mannheim, Germany, 2012.","803fb6c42a86","RTjlGaLA","image-c9798b08612b529aab8d08105c6c9dfbd60bdcf9-1163x742-jpg","nxVSw6u8","image-7f04bb2a6e28369ea5f5f5bae7adfae6a807c8ca-982x738-jpg","DelMqrn4","Metaphysical Triangle and Some Fun Around","9c1c10bb34a5","9db7df2d12de",", abc – art berlin contemporary, Berlin, Germany, 2012.","FHnfWpAX","image-89ddfb6d6fd166362241e92229320e143a08215c-1143x641-jpg","n7AsPaJy","Without Jewel","06f17ce3e768","8ce668c7124a",", Kunstverein Leverkusen, Leverkusen, Germany, 2011.","kYr6zkUX","QEkvQALr","image-42a12c94ef30ebc03522f4c7776092349ab49eb8-792x566-jpg","7x0V1lhz","eWWHpE6D","Without Jewel,","58f071f9b2cc","38992a4d8e00"," Kunstverein Leverkusen, Leverkusen, Germany, 2011.","M24bEJoA","image-ab3c345af9e8caeea2ca4427057168fc0b06bb86-1123x889-jpg","DQN4Itwm","nCvA8Jbg","Anna KE. ","The Current Issue Nr. 08","58645f304fd2",", 2011. Tiles, bended metal legs, wood filled with colored plaster. 43 1\u002F3 x 27 1\u002F2 x 59\".","08922c0f64f6","UukMavYi","8MEv0EpT","48b1bb731776","04e00b8de78e","Enough Sugar","42c61df96372","3432ce213c11",", 2011. Single-channel video. 8:17 min.","gij92LpK","image-0cf9fad369a5c73d8e8ba00680ed00838c426a9e-2135x1182-jpg","anna-k-e","Dolorem Ipsum ","image-b609767177642fd681aa63d10fd26dc69105b7ae-3000x2000-jpg","https:\u002F\u002Fkestnergesellschaft.de\u002Fde\u002Fausstellung\u002F77","Kestner Gesellschaft, Hannover","00ba7e99f36f","112adee4ed0b","255907eae38b","d08a394d82e9","2aefdba90272","2019-05-11","2019-11-24","https:\u002F\u002Fwww.labiennale.org\u002Fen\u002Fart\u002F2019\u002Fnational-participations\u002Fgeorgia","Georgian Pavilion at the Venice Biennale","a45d360cf8ea","23dac5113adb","43745f5fecf6","2021-02-23T19:12:18Z","c11192b1d3a2","(b. 1986 in Tbilisi, Georgia) lives and works in Queens, New York. Anna K.E.’s practice investigates the body as agent and receptor in a technologically and physically mediated landscape; and the absurd nature of the creative act. Working across painting, sculpture, performance, and photography, K.E. mines the tension and humor of the body in space, and the ironies of social relationships and transactions.\n\nSolo and two-person shows include Haus Esters, Krefeld, Germany (2024, forthcoming); the Kestner Gesellschaft, Hannover, Germany (2024); Galerie Barbara Thumm, Berlin, Germany (2013, 2015, 2020, 2022); National Georgian Museum, Tbilisi, Georgia (2022); Gallery Artbeat, Tbilisi, Georgia (2022); Simone Subal Gallery, New York, NY, USA (2013, 2015, 2018, 2020, 2021); The Delaware Contemporary, Wilmington, DE, USA (2020); Georgian Pavilion at the Venice Biennale, Venice, Italy (2019); Kunstpalais Erlangen, Erlangen, Germany (2019); Sammlung Philara, Düsseldorf, Germany (2018); Queens Museum, Queens, NY, USA (2017-2018); Primary, Nottingham, UK (2017); Sommer Gallery, Tel Aviv, Israel (2016). Recent group exhibitions include Simone Subal Gallery, New York, NY, USA (2023); E.A Shared Space, Tbilisi, Georgia (2022); Oxygen Biennial, Tbilisi, Georgia (2021); Hardspace, Basel, Switzerland (2019); September Gallery, Hudson, NY, USA (2018); Galeria Nara Roesler, São Paulo, Brazil (2018); Galerie Gisela Clement, Bonn, Germany (2018); Zentrum für Kunst und Medien, Karlsruhe, Karlsruhe, Germany (2017); G2 Kunsthalle, Leipzig, Germany (2016); The Kitchen, New York, NY, USA (2015); Museum of Contemporary Art, Santa Barbara, CA, USA (2015); Kunstverein Wiesen e.V. Wiesen, Wiesen, Germany (2015); Kunst Raum Riehen, Riehen, Switzerland (2015).\n\nAnna K.E. represented Georgia at the 2019 Venice Biennale with her work ","91a06ab57e0e","ae583df47bab","561be56af7be","007e54e14c95","00176fe12074","0f57fc2ac477","5cd71ddb79f5","a011352898a3","5012b02e575e","77f5f598ba15","98261c182d78","file-4def7bc7c5f82ebb76dc6750761f45ff628d04c7-pdf","Anna K.E. - CV","International Studio Curatorial Program (ISCP), New York, NY","hX8wo1k3","4xrbsqhK","DAAD Scholarship","Kunstpreis Junger Westen, Kunsthalle Recklinghausen","NJaFMGVp","SI1juPom","https:\u002F\u002Fsecond.wiki\u002Fwiki\u002Fherbert_zapp","GuZPyau8","Herbert Zapp prize for young art","DjwcaqEV","Labor Relations. From the International Contemporary Art Collection of Wroclaw Contemporary Museum","2021-04-22T08:10:51.221Z","KjUzcrJJ","Herriman, Kat. “In the Studio with Anna K.E.,” Cultured Magazine.","https:\u002F\u002Fwww.culturedmag.com\u002Fanna-ke\u002F","Ber6tIEy","Profound Approach and Easy Outcome at Queens Museum of Art, New York","https:\u002F\u002Fqueensmuseum.org\u002F2016\u002F10\u002Fanna-k-e","2017-04-09","jjKYXDsW","Franchini, Attilia Fattori. “Conversations: A Body to Tune into Simulation: Anna K.E.,” Mousse. July 2019.","2021-04-22T08:08:49.122Z","cM4CZGJY","“Interviews: Anna K.E. on her presentation for the 58th Venice Biennale”, Artforum.","2019-02-15","2021-04-22T08:09:26.591Z","2020-09-09","V6M1PtPp","Dolorem Ipsum at Barbara Thumm, Berlin","https:\u002F\u002Fbthumm.de\u002Fviewing-room\u002Fpast-gallery-shows\u002Fannake-dolorem-ipsum\u002F","image-9a139943ad9c163238019505806d9945d7d77339-3480x2610-jpg","WUnFkCI0AokknmdrGOCMk3","dT1NZwuI","file-f277632ee00fa15a13cd7e95f32c4efcf22c412f-pdf","The Top Picks at ABC","2012-09-14","file-7badc6027d5d334222c623cb11dce1dd948000df-pdf","i2DND9Bt","file-ed18136bc0969e898948fa0755b8c9153b8e33f4-pdf","9ccc7b6fcc45","H6pYIfKt","2013-02-15","2013-06-15","file-3c05b339ef11083ae8d345b0b12ae0676d34001b-pdf","Ocjea6qy","Anna K.E.: Sisyphean tasks and the failed Utopias of Modernist architecture","mEgqNL6S","The Car Was His…","2013-10-15","file-b0fd8f97f96669506c302ce8229f5600176af16f-pdf","8563abcbdd55","dArt International","VEkSD5YB","file-2e60625ac00995bfafb1ff79d451c1857799d70d-pdf","aa9cc4f9c2a8","z33ixigO","Anna K.E. Builds an Unfinished Swimming Pool at the Kitchen","2015-01-16","file-eaeb6fcb357451a23ce1e47abf402099ccb01d8b-pdf","file-3f67d94d69abe498928d835bacb91dda5f7eb974-pdf","ULdQyLrk","h5knFlWy","file-df7a7ffe111a86c4c82b74c684e5eddedadd0a5e-pdf","3d053c89d0e4","yl8Uo3ZA","Anna K.E., Teen Factory (New York-Berlin)","2015-10-01","file-045ec95db8b08e0638cfb6fcf80a5cab8be6df87-pdf","add9e37504ae","springerin","JOsoyPMw","Anna K.E.: Teen Factory","file-adb2dfcd9b816a2a4d04d996faba9b52891204f3-pdf","lsfvm35L","Artists on Artists: Anna K.E.","file-dfa76c778258544e952d4c8a496e7ea47478da31-pdf","Bomb Magazine","2016-12-08","file-146a94ff5c16c8e7aa834635dd2206a1da3a9675-pdf","fe4c8965c0fc","Vice","5pIzwPvT","The 6 Freshest Booths at Art Basel’s Nova Section","4FdfWJxw","IN THE STUDIO WITH ANNA K.E.","file-98c100a3d198e254d33e73ea695606174deed7a4-pdf","file-7396f513d4bcd4809b3b7776176065eed8eaf1e0-pdf","bCXnpbxn","Anna K.E.: Profound Approach and Easy Outcome","2017-05-03","Muscle Memory: A Conversation with Anna K.E.","2017-08-17","file-99aa527a82d0a2762729b60abc81d298c9b0374e-pdf","b43aa7Hs","KaXsc28l","Critic’s Picks: Anna K.E.","2018-02-15","file-045e33653513f51a909dcd839cca8ae4fe2d8b6c-pdf","643a738e909e","2018-11-27","file-e4ff9bd0f59a2ad4a912ff4abc6de8ffe378eca5-pdf","J0SeUujv","ANNA K.E. TO REPRESENT GEORGIA AT 2019 VENICE BIENNALE","N9hXiZLf","What to See in New York Art Galleries This Week: Anna K.E.","2018-02-16","file-45229811575abd17736789196fcae0352b213614-pdf","bdb4bfbe0dce","0NFugoOD","Anna K.E. Will Represent Georgia at the 2019 Venice Biennale","2018-11-26","file-6e6d82ae5191142de00dcede0059ad6db238986b-pdf","Georgia","2019-03-15","file-b2042e0b3aa9987534609626e5a1cc93a0092ac2-pdf","Art Spectacle International Asia","DtXKYfq7","97R0vYHO","Open Source: Anna K.E. & Florian Meisenberg","file-ad216f4a81884a2d46b310f1eafae798f02bad5e-pdf","wldxwZ1v","DANCE HALLS, PIGEONS & REVERENT HOMAGES: OUR FAVORITE VENICE BIENNALE INSTALLATIONS","LLdblpVY","Anna K.E. on her presentation for the 58th Venice Biennale","https:\u002F\u002Fwww.artforum.com\u002Finterviews\u002Fanna-k-e-on-her-presentation-for-the-58th-venice-biennale-79567","2019-05-07","2021-04-22T09:30:46.652Z","The Art of Getting It Wrong – 58th Venice Biennale: The Best of the Arsenale Pavilions","2019-05-10","file-12703125ddddc705620dd70e455faf234871956f-pdf","I2JSem91","file-57689bf9a389933c9a707c3449a431be9865eb25-pdf","Kunstforum","F7cLbrUW","Länderbeiträge Arsenale: Georgien","Mousse","RyjmvGo6","A Body to Tune into Simulation: Anna K.E.","2019-07-01","file-ac791d775560b92d9ffb58a7ae2ea1a20a016df9-pdf","file-0166e43277f1a18e97ae5aa55cb6ac83c063a6cd-pdf","cFNlGurE","Gallery Weekend Berlin: Shows to See","2020-08-25","2024-05-23T18:01:29Z","sonia-almeida","Almeida","Sonia Almeida Fazer da Rigidez Leveza","file-9d2da696323e1b532b44a81c9b9234cf3366b0ee-pdf","Contemporanea","gtnN1q4j","The Boston Globe","9pgaOgsO","Boston Artists Put Domestic Violence Awareness on the Table","2020-10-13","file-6c0b774160ed9291fef137bcc8e4db75af4147ac-pdf","file-05c25f53ca344ba7363017f8745ab961d14fad35-pdf","NG7KE1mS","Vantage Points: Letha Wilson, Sonia Almeida, Heidi Norton, Claudia Peña Salinas","2020-09-15","file-2c378a9953492219cba9486511d5b080b87f9f90-pdf","Sight Unseen","SMni8hWa","A Group Show of Four Female Artists Affirms our Admiration of the Post-COVID Art World","file-7869d29e8136ffdef9fe282940c5553883e13e97-pdf","e91ac31a331f","Fad Magazine","EpNRzZWd","10 Artworks to View at Art Basel Online Viewing Rooms","2020-06-18","file-ce84a8ce1e907e5b976537bdc801660c45a2c1d8-pdf","577c5b9fb8ff","yCoZkNbR","Sonia Almeida: Perpetual Dizziness","2019-03-01","Art Papers","6fjVJzKM","2017 James and Audrey Foster Prize Exhibition","2017-06-01","file-f11dccb541a9a4ff14bb90c0519c15eb30969986-pdf","ktR1t0mr","A Whole Culture: The Institute of Contemporary Art, Boston's 2017 Foster Prize","file-13947806f2ac565e135dd164334703bb12de5cef-pdf","579db7abc47a","DxdaWC9H","2016-05-02","file-cdde4593cad7dad078ebdf31f071761265881cf9-pdf","file-20b5b74761d419fe294e4cc9af2e4471b8852739-pdf","Art for Rollins (Catalogue Essay)","tSyxXBH2","Art For Rollins The Alfond Collection of Contemporary Art, Volume II, 2015","file-175705a4ad360be5838f31343a4594d6c11b28f5-pdf","XthZoIio","Sonia Almeida: MIT List Visual Arts Center","qKIcUf4i","In the Studio with Sonia Almeida","2012-09-01","file-5628d46337e5a9f777b3d873b88818906a9dec5a-pdf","Art New England","2012-03-19","file-3c1b5e4f3afedea6c1585210a65ef21f4ae48e74-pdf","833578657855","Znmwz7Eq","bg4m1uU1","Sonia Almeida: The Angle of the Sun's Rays","2012-04-01","file-182775f32a195217af1ff3e5df4177b99db3637f-pdf","2f90d0d19de6","image-82704ee1409ec0f4129ac2289cadaeace4c91095-6480x4320-jpg","2021-02-23T19:10:56Z","5491eed6ab5a","image-80f5e22f6a969609c7770c2b784437357512dcf0-1814x2500-jpg","b03a147e877f","Sónia Almeida. ","b4402ae2b62a0","knight's move thinking\u002F wordless systems (lime)","b4402ae2b62a1","b4402ae2b62a2",", 2023. Oil on jacquard fabric. 60 × 42 inches (152.40 × 106.68 cm). Photo: Julia Featheringill","2372dc5ed590","image-e649f5d7b11d472ef41b6271e5c8039648d1c799-952x1284-png","9c1a699e178b","46c95ccfa151","Installation view, Booth B25 Simone Subal Gallery, Art Basel Miami Beach, Miami, FL, 2023. ","9388926395e2","77e247b128e2","54764b7904bd","6ec371ae779d","2ba9f9cf7e26","94435058f3ff","2136ade6fa17","7eacd92ab3c4","4184e19468ca","658c181047b6","image-f8edfd52921d13c9d02f9fb52ba64bd158a0206b-2250x1477-jpg","d6b6064a74bd","Sónia Almeida,","54d87e7a13a20","8359ebe8e19c","7b3ae5cbf0510",", 2018. Hardcover, 16 pages, includes ink and permanent pens drawings, oil on gessoed paper, transparencies, lithograph, woodcut and monotype. 13 ¼ × 10 ¼ × ¼ inches (33.66 cm × 26.04 cm × 6.35 mm). Image courtesy of the artist and Simone Subal Gallery, New York. ","7b3ae5cbf0511","fc7164bc3349","e86c351aad5c","2553f8cca8e0","06e2206bdfd5","ca2c9f39c256","165d79d725f3","image-eda2d9937fc97e6773958dd12612a98fc7e99b1f-4000x2667-jpg","1fd76f4743a0","de4d5e525e67","813d3824d737","ab25afeaf869","df0ec303a00c","9a9ef669143c","image-dc972d97db447f48823ffb20d1ddcdaea8fb7ec8-4000x2667-jpg","2a4bad190d09","c73449214292","a3497b58324c","7591e9ec68a4","0fb7dd542ce0","Sónia Almeida, ","9b75278394a40","1a10cadf8f0d0","Thread system",", 2023. Oil on linen. 20 × 12 inches (50.80 × 30.48 cm). Photo: Marc Tatti","1a10cadf8f0d1","a07cc88be04d","image-4433d74a5a8a7d1a4378471027422db89744d495-1469x2250-jpg","363913580f91","dc7ae7e233de","d6e29eb85abe","image-04d6327bd28effa74fdb2c7365ac63f5fd7d755a-5792x7240-jpg","image-928e73a3bdd1fdc02b3e2d95dec66c4dae1300ab-8580x5363-jpg","7229d17bfa50","2aef9f6cefbe","03fb789bfdb4","image-0eed5e8f1eb733e50d8427fb87f24720960a2a60-8688x5430-jpg","254c8c1374e7","d9719c82f970","e643b31ac7e7","30e6c2de484c","731bbe341ae7","119d79b9463c","4136bfc2f143","Sonia Almeida, ","05e71b11c00f","The origins of asymmetry \u002F As origens da assimetria","6c63ef3f44c8",", 2023. Oil on patterned fabric and drawer with woodcut print. Closed: 68 × 46 inches (172.72 × 116.84 cm) Open: 68 × 62 inches (172.72 × 157.48 cm). Image courtesy of the artist, Culturgest, Lisbon and Simone Subal Gallery, New York. Photo: António Jorge Silva","742c031a2e49","4b771561873d","image-789b0e63037750db49ea7d26ca7dc52318b546a3-5792x7240-jpg","image-d01d566a38ac57757c6d83c71a29444c6c1bdd04-8200x5125-jpg","68aaeacf23c8","f43d14a45c6d","23b535b1e30a","image-406ada99d62c0286e58e8fad557576050278cf38-8688x5430-jpg","304bdefdfae7","9c3276d156cb","d7552d066d6d","a27ffa1356f0","55cd5090b5bd","35788bc739c2","image-ca7ce4e623e6a0cdb2721959babbd223b222c808-8688x5792-jpg","63f802a6a71b","5758744bad70","c179a5e931e6","image-74213c956c342876bfdc3afd37f222e72cf10d12-1947x2500-jpg","ebd7b8359662","Sonia Almeida. Call and Response I, 2021. Oil on plywood. 32 × 24 inches (81.28 × 60.96 cm). Photo: Julia Featheringill. ","5c2e3f020975","5440068a33a4","0499acec6fed","58beefba0437","ee850f4fd11e","3eb229fa7bb0","3ea92c69928a","03811e2e53fa","baf5b8b22902","Sonia Almeida. Onlookers, 2021. Oil on plywood. 32 × 24 inches (81.28 × 60.96 cm). Photo: Julia Featheringill. ","b00e11c2d709","60c4aeef7a2f","f545875e1aec","e99e0a030e11","Sonia Almeida. Learning, 2021. Oil on plywood. 32 × 24 inches (81.28 × 60.96 cm). Photo: Julia Featheringill. \n","954615935bbc","2d56ce2837d6","62b92993f1ec","7e6853229ce0","bdd31daa6855","Sonia Almeida. Counterpoint, 2021. Oil on plywood. 32 × 24 inches (81.28 × 60.96 cm). Photo: Julia Featheringill.","d25d9feb9fde","4b601ad05b93","3495e46d271d","8cea0ce580d2","Sonia Almeida. Half Step, 2021. Oil on plywood. 32 × 24 inches (81.28 × 60.96 cm). Photo: Julia Featheringill.","e6798efe29dc","image-65da6a3928b2d3290ddf5c80d9787f25dd559488-7897x5267-jpg","ecb3b084aa15","Installation view, DOUBLE TROUBLE, Institute of Contemporary Art at Maine College of Art, 2021. Image courtesy of the artist and the Institute of Contemporary Art at Maine College of Art, Portland, ME. Photo: Dave Clough.","33a081b6ee03","e339aab8e6ad","e2d56041089f","image-8cdc211c79c5a1a7ac4685fe5b73e97d1473425a-7609x5075-jpg","6aa24a0d379c","Sonia Almeida. Dancing Score, 2021. Oil on plywood, 2 panels. Each panel: 63 × 47 ½ inches (160.02 × 120.65 cm). Image courtesy of the artist and the Institute of Contemporary Art at Maine College of Art, Portland, ME. Photo: Dave Clough.","667e0579cc1a","ee250d6f0a52","All I Want: Portuguese Women Artists from 1900 to 2020","66447a9ec5e1","8bef12e6340d",", Calouste Gulbenkian Foundation, Lisbon, Portugal, 2021. Photo: Pedro Pina.","2bbf111d6533","d790a5aef16d","image-2244632c89012efcd3971f6feaf6beb0e2a21b5d-3000x2000-jpg","dbab2c0e5178","image-98431f97de58b3e0c4be700cf703923fc3de0a39-2067x2784-jpg","Sonia Almeida. Music score, 2021. 3 color woodcut on paper. 17 × 14 inches (43.18 × 35.56 cm). Photo: Dario Lasagni.","6b843a148ad6","86f5bde692a5","d9cee5e4cbcd","image-2d4bfb05ff394047353457b26a32a95d5865c622-2067x2784-jpg","777edb18fe90","Sonia Almeida. Pacing, 2021. 2 color woodcut and ink on paper. 15 × 13 inches (38.10 × 33.02 cm). Photo: Dario Lasagni.","045aa3970b29","6674a4ed739b","Sonia Almeida. Weaving time, 2020. Oil on plywood. 47 ½ × 31 ½ inches (120.65 × 80.01 cm).","e9d636637a3e","355b0aee05c9","image-16f83787916875e74ee41793e0144bb36fbc2f88-1000x1500-jpg","fb06124678bd","image-fcc028f066117258676475c1c694f84a4be0b4e8-1181x1770-jpg","045dd0b91438","27835c6edef5","726d0542bbc9","7d226fe9e71c","7e18009e0eb4","image-c3d621d65806bc5a3e2b60ec0e2da595a8637ae0-1181x1770-jpg","Installation view, Standard Error (SE), Tørreloft, Copenhagen, Denmark, 2020.","AyqCI9xY","zXo0R96P","vZEzWrFp","image-d6f0712e10b462b23a70800f925513fc801dde64-5406x3604-jpg","P0yPtiAK","LifoU4vD","lncHb5oU","image-b9b91c2f87e1e9fabf2341e395555a91c1f78ba7-3697x4621-jpg","Hjurrku7","RsdEq11n","fQDQv0m3","image-f18eac0fa5cc5178a69d0493c4f31b7597a5e989-4462x3570-jpg","xRq2USGR","Installation view, Vantage Points: Sonia Almeida, Heidi Norton, Claudia Peña Salinas, and Letha Wilson, Grimm, New York, NY, 2020.","3gvUA053","xtRdD0q4","image-95a945380f3d8b0f1bbbe9720546c228c6d9a2df-5400x3600-jpg","Dv1lcNnK","Sonia Almeida. B minor, 2020. Permanent pen and oil on gessoed paper. 20 × 15 inches (50.80 × 38.10 cm).","hFIPrjui","tnm9SAdq","image-9fb2879f59c028d3f6b3f4d39ed05872890ca6d1-1569x2000-jpg","aOrEcPJY","Sonia Almeida. Counter-clockwise, 2020. Permanent pen and oil on gessoed paper. 21 ½ × 17 ¼ inches (54.61 × 43.82 cm).","FgA8b2Hl","EFm9BsRQ","image-90d757d305b1217c90c6c192c1d8fd8f39f2b3bc-1569x2000-jpg","f3jhTh8Q","Reverse timeline, 2019. Printed fabric, screen print, cotton and wool, metal mechanism. Installed dimensions: 54 × 40 × 18 inches (137.16 × 101.60 × 45.72 cm). Photo: Dario Lasagni.","GcVXBdNs","eXktiNGK","image-17a6346526574c4ac3021df5024e75176ca4e3f0-2088x2784-jpg","image-44d1b7713c7e3470f3bf474bd7ddd4465c968eab-2208x3120-jpg","5klwEi9d","Sonia Almeida. Pointing finger, 2020 (detail). Permanent pen and oil on gessoed paper. 19 ¾ × 14 inches (50.17 × 35.56 cm).","bVu7qD0o","k6SrtU0R","nR5aAdpe","Installation view, Liste 2019: Sonia Almeida and Baseera Khan, LISTE, Basel","Swyk9mu9","bRVjV9Fx","image-cda8cb4a347324828b59e1e8bdcfb2431d3a83e5-3733x2800-jpg","f6ygJAra","Raw Data, 2019. Oil on plywood, aluminum frame. 32 × 24 inches (81.28 × 60.96 cm). Photo: Dario Lasagni.","x0faBKmo","jRd68NRw","image-85f0b19cd907afe71be94e8f1647e441da67200c-2034x2712-jpg","A5MFjKX8","image-66f6035b9c4ae5173d8036d2b74a93b88fed7bc9-2085x2780-jpg","VMJIywuD","Jelly Legs, 2019. Oil on plywood, aluminum frame. 48 × 32 inches (121.92 × 81.28 cm). Photo: Dario Lasagni.","VGxLUYPX","ZdAnpRoW","Hws9ORR0","IwT3YfKu","image-d9848fe9f27824295870874bb03489746bce9338-1440x1080-jpg","image-61d611f842e05112f6edce26911eed23fb0e10d6-2784x2088-jpg","vXb6dElc","cLTk85jj","LujDgEP1","6zQzX4xc","1eKqGR9B","EekbUNba","image-f39ce754d2446d9bf490852e057b8f2fa12c0bf3-2711x2033-jpg","image-2cc625952f962582356f9358396cea8dd2ce1c00-2568x1926-jpg","7Z75JEnZ","GmVqpxGH","bgIYvjsV","kL6tyeJ3","WYmMBGIC","The disease of efficiency, 2018. Oil on aluminum and plywood, sliding mechanism. Open: 32 × 41 ½ inches (81.28 × 105.41 cm). Closed: 32 × 21 ½ inches (81.28 × 54.61 cm).","HFFpYxCQ","image-cfd0c8c386d4ffac3a26884c4e1c41fc1cd8cec4-1500x1200-jpg","r0hmVP0I","image-0360d6061356449a1e2e9161885f04ee4e9d0d46-1122x1500-jpg","3pfK5k8a","0zMXGpBx","Predictive Coding, 2018. Oil and permanent marker on gessoed paper. 21 × 14 ½ inches (53.34 × 36.83 cm).","Face formation, 2018. Oil on marine plywood. 32 × 24 inches (81.28 × 60.96 cm).","ABPQgjZd","a9YRAGHQ","w9ydRdTz","image-df13dc35516e8d59e6774c6878f2463bac43d411-1001x1500-jpg","y7Cj7g8L","Installation view of 2018-2019 Visual and Environmental Studies Visiting Faculty, Carpenter Center for the Visual Arts at Harvard University, Cambridge, 2018.","WNZdoZJa","yzxIeR9w","image-a81e34fcdeee3fd16c013655f7d9777e8862252d-5184x3456-jpg","44 Sounds\u002F Sunshine Gate, 2018. Oil on plywood. 31 × 23 inches (78.74 × 58.42 cm).","3JD2sZZL","16o21Q32","lLeqMmm3","image-9ee797a25dfe0db95da895232cef77652448c740-2160x2856-jpg","image-8c13f8526240e9dab56f8a1d3b8088deebe54251-914x1320-jpg","44 Sounds\u002F Double Curtain, 2018. Oil on plywood. 48 × 32 inches (121.92 × 81.28 cm).","DNVZ6Zpw","FzJRbIoU","g9jyHJgh","6rrYf9q3","HsoTFp2U","7AMPuDiu","image-40c7f412906b0bde39cebcdc7d23715507f5ccba-4912x7360-jpg","CIAUHwCU","RChQteCV","ILVHCdTy","image-38c35d0f14e61a68adaa92cecc9f6b7586f5fd9f-6480x4320-jpg","1ILqvkvz","qFJOxVhJ","5gj5LUJ5","image-6b6fbe9fda477de6ce13b84f542e94f548b274e5-6398x4265-jpg","cupping the hand behind the ear, 2016, oil on marine plywood, 64 x 132 inches","2mQBM3bo","h1O2h5PQ","tsENOLVK","image-dbab9a33c2d5efd0949f421319863e90440080ef-810x540-jpg","7NVDvMWJ","cmhaYkBw","90Iu7jdd","7f97e1575001","CcPJ0S50","l0FCSXQl","image-170864e7545654d07357d5abe25ca342a5ca5c71-810x533-jpg","image-96af6f546c5c0244a89a7cbb91fce2780ad82125-810x540-jpg","qQAZFfUr","FxbwvOHz","rErjEnLi","x0y9wZ5F","90lOUU98","Kneeling Sculpture, 2016, oil on marine plywood, 48 x 32 inches","eYQkmlHp","DA4iLm3m","q3UkQIsH","34eDmlmA","image-0f83ed4db156f3ce6f2b94529207ff8f66abfae7-1800x1201-jpg","a1555ae8c053","2LnC43Ag","uDMAwVDC","image-4cea24fef19dc9b7a6ba3707a1f56f76d97a37be-7360x4912-jpg","image-0d0b1649dc29ae842239d32486caf12b26891083-1050x2183-jpg","ux2rwH2v","Knights Move Thinking\u002FPhysics Rocks, 2013, Oil on marine plywood, Xerox copy on plywood, hinges, 65 x 46 inches (Side B)","RSj7zxki","yBSmz7g8","Knights Move Thinking\u002FPhysics Rocks, 2013, Oil on marine plywood, Xerox copy on plywood, hinges, 65 x 46 inches (Side A)","XOWmFi40","yBBq3Q9O","kalPbZTU","image-e36d7e9933343e06dd59d33dab21b8762fe80059-867x1181-jpg","cUs8JD1T","TNDoDxEz","4avoXTAc","DVbvP73T","IxmPWa14","3MeU4GFN","image-7f7a7fa93702989f5bd25ffedb196f505fa4f2fd-1200x967-jpg","yebiU4bQ","Silver Screen, 2014, oil on marine plywood, green LEDS, 64 x 82 inches","o18Mda7y","T5PpLVOR","foCVx1by","e6XLvFLz","rhqU93Q2","image-eb1fc9ef6094648348b7a302b56953121cc9f5f0-1350x900-jpg","J5GS0Grc","image-cc9bb00c61f0ee3f1763c592d348462a7cf0db38-1350x851-jpg","DSleKl83","34oEtqF1","lOgqUyDF","image-91ac31bacc1b48943d9111a27778e3c960c45bf4-900x600-jpg","lFCcHuFE","iqmUrQoT","0ldAovTx","Yellow Red Magenta Blue, Oil on plywood, 15 15\u002F16 x 19 7\u002F8 inches 2011","cUYycZ6h","HymkmEZ1","image-4ce0e8d5f069e02809b075a686bbfa3707d43149-1200x959-jpg","image-8e8f223579c3e98bcc3263437e7cd405ed68bbbb-900x600-jpg","ghSH0t67","WWEGYBzb","DT9ikRZ4","Graphic Gradient, 2012, Oil and spray on canvas, 80 x 62 inches","jHKOFg3j","GZzUB05p","LWgTpIhV","image-10ffe533bd7e3649a0ed313ff1581782da1a4be4-582x750-jpg","b736995cbd6b0","7108c1258dd5","7f1e66810452","paAoY76exgYzNoETafJ95w","2024-04-11T15:23:25Z","88a86930940a","2a4f5ec5bf6d","a68b68f6-7434-4882-83dd-46ffb72e5d51","https:\u002F\u002Fwww.culturgest.pt\u002Fen\u002Fwhats-on\u002Fsonia-almeida-o-agudo\u002F","Culturgest Lisbon","ba2e7458ff48","Ó (ó agudo) ","2023-03-31","2023-07-09","b798f92a1c09","452850436167","829449a7b38a","207f0045a343","524702859735","9f91c4cd0c4c","678699220f74","Sónia Almeida was born in 1978 in Lisbon, Portugal. She lives and works in Boston, MA. ","152fdd8f9ea3","e46c7299de4c","e9de8811f345","880d24f6c9f4","Solo exhibitions include: Culturgest, Lisbon, Portugal (2023); Simone Subal Gallery, New York, NY (2012) (2014) (2016) (2019) (2021); MIT List Visual Arts Center, Cambridge, MA (2014); T293, Rome, Italy (2011); Chiado 8, Culturgest, Lisbon, Portugal (2009); Croxhapox, Gent, Belgium (2009). Group shows include: Fabric Arts Festival, Fall River, MA (2023); Centre de Création Contemporaine Olivier Debré (CCC OD), Tours, France(2022); Kunstverein Bielefeld, Bielefeld, Germany (2022); Atelier-Museum Júlio Pomar, Lisbon, Portugal (2021); Calouste Gulbenkian Foundation, Lisbon, Portugal (2021); Institute of Contemporary Art at MECA, Portland, ME (2021); Pina, Vienna, Austria (2021); Tørreloft, Copenhagen, Denmark (2020); Grimm, New York (2020); Leslie University, Cambridge (2019); Tufts University Art Galleries, Boston (2019); Carpenter Center for the Visual Arts at Harvard University, Cambridge (2018); ICA, Boston (2017); The Serralves Museum of Contemporary Art, Porto, Portugal (2016); Simone Subal Gallery, New York, NY (2016); Serralves Museum, Oporto, Portugal (2014); DeCordova Biennial, deCordova Sculpture Park and Museum, Boston, MA (2013); Plentitude, Carl Freedman Gallery, London, UK (2012); a project by Lucie Fontaine, Marianne Boesky Gallery, New York, NY; Modern Talking, Muzeul National de Arta Cluj-Napoca, Romania (2012); Painting Overall, Prague Biennale 5, Prague, Czech Republic (2011); Four Rooms, Centrum Sztuki Współczesnej Zamek Ujazdowski, Warsaw, Poland (2011); Personal Freedom, Portugal Arte 10, Lisbon (2010); Acts Are For Actors, Southfirst Gallery, Brooklyn, New York (2010); EDP Novos Artistas, Lisbon, Portugal (2009); The Elementary Particles (Paperback Edition), Standard (OSLO), Norway (2006). In 2023, on the occasion of her solo show at the museum, Culturgest Lisbon published a catalog of Sónia Almeida's work titled ","f0aa2ab3f921","Ó (o acute)","a333a8f226dd","432a418f1190","Sónia Almeida is a 2024 Guggenheim Fellow. ","0e648df0753a","c36747bf43ff","81149061b04b","file-322abc43cbe8aac529c5ec5ea0cf082bfbc14c4a-pdf","Sonia Almeida - CV","b7ad60a154050","b7ad60a15405","b90e6fc6-3841-488c-a11f-9180fabfd146","Presumption of Innocence","Untitled,","image-6d945a04a112651886ab248c92c3029ae36685ff-2784x2088-jpg","image-1d72d766746aa2ae7ca750269dd30b354e0a7a52-2657x1993-jpg","2019-02-01","b924a2e7-6dc1-46d5-8ff7-6bcfffd6fb51","image-d58d30cf858f51e4b631306ad508ccd9bc4492d5-1500x1000-jpg","c4abf3ab-7b46-43bb-adad-e79854c94c68","cameron clayborn, ",", Simone Subal Gallery, New York, 2019.","8d22298b-2875-4ce6-9e13-6ac478a0c163","08d8a507-36f3-4c0f-a5ec-3bdbc67649b8","bd7d8ec8-fd72-4d5d-9e21-d39f7e4e04a3","9ed58c77-5d85-4391-9f5b-412e8e888167","image-2f0a1493e0f82b7c4de30c4673a3d271bc51b834-8084x5774-jpg","written in binary using peas and carrots","image-ef5d61bf6bda33d1b1c9ea63ec91fa6e3845c310-8688x5792-jpg","image-472ccabd7cf776dddae096acd299094caf18dc38-8084x5774-jpg","image-0de6d5e6983d7d40d29d23be1fcb78ea805f9336-8688x5792-jpg","image-d284839fa68a50e139f4809f4df362ce097aace6-8084x5774-jpg","SUSPICIOUS Gas is leaking. Danish Defense. Sept. 28th, 2022","image-2138f880f3c87408d3bebf75e0379c62c8ff0c69-8688x5792-jpg","image-0f6865fb93a63a7a419a7c135d6a40f402af7bb0-8688x5792-jpg","image-3291c610b0107ff623ab5afd6504a489266ed58d-8688x5792-jpg","image-c7ad406a73b991e3453033c340694d467051a451-8688x5792-jpg","image-525a852a0554473d60e8bfde928e28abe4c4efe4-1181x787-jpg","image-c410486d0d80ade63825671ca901f77384bd9cd0-787x1181-jpg","Pebofatso Mokoena","Maria Sulymenko","Anna Zemánková","image-cb3615e8dcf49c733c7c6bf1dfb977247002ba12-5760x3840-jpg","image-44135c6dc0393436e9a4eb6a22dc5bc73451e9ec-3840x5760-jpg","42a1e9b3-e392-4bc9-8fff-0a1ecb80dc43","image-cd0257a2c3b55cf9ec9b2657a92bed277e769a59-1916x2532-jpg","window grate, partially drained",", 2019. Aluminum security grate, fused silica ceramic shell. 25 ½ × 25 ½ × 5 ½ inches (64.77 × 64.77 × 13.97 cm). Photo: Dario Lasagni.",", 2019. Aluminum bollard, fused silica ceramic shell, extruded hollow core kiln shelf. 30 × 30 × 30 inches (76.20 × 76.20 × 76.20 cm). Photo: Dario Lasagni.",", 2019. Aluminum bollard, fused silica ceramic shell, extruded hollow core kiln shelf. 37 ¾ × 30 × 30 inches (95.89 × 76.20 × 76.20 cm). Photo: Dario Lasagni.","image-2fa31bd96820c114d5e14e08fc1d5893f4d36aed-2800x1867-jpg","image-11110e218317b4eea51b2f17fb9fc1bb4fea3a3f-2800x1867-jpg","image-bd27baa25b01399f89645a9b299e374f89ebd28c-1350x900-jpg","image-94053780dd0a0cda5e8cedadfe5f9f3b69abb36e-1200x955-jpg","Optotype 3","image-4d58e8290910fb753367bac1fcb1e90412cd7e8c-906x1350-jpg",", Simone Subal Gallery, New York, NY (2019); ","Room Temperature",", The Richard and Dolly Maass Gallery at SUNY Purchase, NY (2019); ",", Simone Subal Gallery, New York, NY (2016); ","Public Sector","The ghost in the machine",", Simone Subal Gallery, New York, NY (2014). Past group exhibitions include: ","The public sphere",", Green Farm project, NY (2017); ","Sunny in the Furnace","Centripetal March",", Simone Subal Gallery, New York, NY (2012); and ","A Failed Entertainment",", Virginia Commonwealth University Fine Arts Gallery, Richmond, VA (2011). Ekwurtzel has been awarded numerous grants and fellowships including the Windgate Fellowship, Fountainhead Fellowship, Alice C. Cole Fellowship, Shifting Foundation Grant, Visual Arts Sea Grant, and Oscar Williams and Gene Derwood Grant.","7fc5c0d3-fd53-4f60-8421-ca6860357e68","Electric Forest (Bowery)",", Simone Subal Gallery, 2019. Photo: Dario Lasagni.","Mosaik","Installation view, snake skin, Simone Subal Gallery, 2019. Photo: Dario Lasagni.","Nick Parker.","Nikholis Planck","Lucky Weekend",.04,"image-95276638bd7ba3bbf6f1034709e88916fddf0a8a-2000x1501-jpg","Installation views, ","From Alpha to Creation: Religion in the Deep South",", South Eastern Center for Contemporary Art, North Carolina Museum of Art, Winston-Salem, NC. Photos: Jessica Blackstock\u002FSECCA (NCMA Winston-Salem)","image-14404defa2560a1bd6eae3154d96731a11e5547d-1192x688-png","Installation view, Simone Subal Gallery at Art Basel Statements, Booth M18, 2023. Photo: Studio Shapiro ",", 2023. A High Line Commission. On view June 2023 – May 2024. Photo by Timothy Schenck. Courtesy of the High Line.","image-ded52fb2082f0d3abb3d8f500f6f46d231986008-4000x2667-jpg","Installation view, ","Baseera Khan: Weight on History."," Photo: Wes Battoclette, 2022. Image courtesy of the Contemporary Arts Center, Cincinnati, OH.","image-de0e404923bfd1ff117ad19a332de79c6a17a130-2048x1365-jpg",", 2021. Archival inkjet print, artist’s custom frame. 33 × 24 inches (83.82 × 60.96 cm). Photo by Dario Lasagni.","Performance documentation, ","By Faith",", The Kitchen, New York, 2020. Photo: Paula Court.","Mother",", 2019. Two way mirror film, acrylic, chromatic prints. 30 × 24 inches (76.20 × 60.96 cm).","precious not precious",", OSMOS Address, New York, 2018.",", 2017 (detail). Indoor rock-climbing wall made from 99 unique poured dyed resin casts of the corners of the artist's body. Embedded with wearable gold and silver Cuban chains, hair, and hypothermia blankets, Harnesses made from climbing rope braided into chains, charcoal, large synthetic and real hair braid. Dimensions variable. Photo by: Maxim Ryazansky.",", 2017. Monotone screen-print. 59 × 50 inches (149.86 × 127.00 cm).","2020-12-01","Baseera Khan: snake skin","2019-12-06","2019-04-26","BOMB",.27,.06,"Banner",.22,"Ellie Krakow, ","8dd4451c-e3ba-432f-8a79-0bbbf326f2a5","Fast Moving Sun","image-521bde4fc53d329acdc94faaf306afc5e37e4005-8688x5792-jpg","image-f6bc1ddf962df0b13416c4ee948496e99934d400-4000x2667-jpg","image-2dd513e54a7d4069193e871e9db157fee4f2a2b3-8688x5792-jpg","image-5c364a9bf6e7c275a3f3794044ac22b45ce56aa8-2667x4000-jpg","image-65441bc2401070323b757e52d79be4a23059dd7f-2667x4000-jpg","image-4ef598b149919e83e0cb282dbf729e34611278d4-5364x6307-jpg","image-c013af5df515c55ca83459ab8fa02b2799f4e64e-5792x8109-jpg","image-f2faff5ee9e5b788a1e57dec95817eec016a0267-5792x8109-jpg","image-5e66589b311a628aab7a13f323ea0dd4a23a3a2d-5792x8109-jpg","image-3b20ad58399ba7ed42c1954b75a3216637e93db6-1673x2000-jpg","image-21464c1a62726a1ffb212a0ec5be6e15ab78a806-1673x2000-jpg","image-15e58536718db790bd849b19c8fb24d60de5946d-2784x2088-jpg","image-b8df3dc8fe2a17149231c012d958147427e87998-1720x2000-jpg","image-2dd1108344c4577e55ddc8a3e3176765d755bfbe-2784x2088-jpg","image-6c80c01d64500667d8c839044ff09c79aa4286f7-2784x2088-jpg","image-a255c84fa293eded95cc8ff2b8cfe61238d35e44-1686x2000-jpg","image-6bfe797e9e5d179d67a6e13ad6fce94699033465-2576x1719-jpg","image-0ea3e81e72520a0096fd782c30d2e772e174f313-2576x1719-jpg","fd43d50d-fc14-4d51-97ff-d9edb93957a2","647a64bd-11be-48bb-9551-cb19f87c5a85","b301e6cb-a5b8-4b5a-b8eb-d5824d01a820","aae825cb-5102-4977-b6e6-f568a27d2efd","image-08136066594d1488f2e517127ddb5f7e11187497-1429x2000-jpg","image-17e78c0cc555b13a81b3dfbb9400f2a3249f9e4c-3000x2000-jpg","image-e063ae162058c07304dbec5fdcd3cb116b43781d-5792x8109-jpg","image-598e8c372769b23a6fe438853e88b815d2bca816-5792x8109-jpg","image-c0271a759b84371304dce0901390f2f02a4bb8dd-1732x2000-jpg","image-d671d2601359bcda1e4767cf4da485297bc470c2-2041x1261-jpg","image-926e6469196ec796b2b1dc76a8e505e6d9cfa108-1619x2000-jpg","image-b9721cb46ffa095bb107ba8afb9d0b88309a17d8-2784x2088-jpg","image-8e994983472798ec4db9ef521b8b02ee9f3e747b-1669x2000-jpg","image-c6b86bbbac30f5b6cdaa0b979e46b94f4092cd25-2754x2066-jpg","image-8adc786978061f3638ed2c16d623986c19ed5a62-2784x2088-jpg","image-c53bd2edf07bce6443ca21981e704e961a3caae4-2784x2088-jpg","image-0094a8b969b831e610d2ea62c8c7200bb2c9a839-1000x1500-jpg","image-86d7914e67472c2791c78b317c4747e88b08fa3b-2014x2685-jpg","Anna K.E. and Florian Meisenberg: Open Source","13fc6442-7ea3-4bc2-912d-e209b222d0fe",5.74,"2021-04-30T02:10:39.614Z","cameron clayborn: nothing left to be",", Hamburger Bahanhof, Berlin, Germany, 2022. Photo by: Thomas Bruns ","Installation view, mothership in Malvern, Simone Subal Gallery, New York, 2022. Photo by: Greg Carideo.","double dutch","Bawdy",", Boyfriends, Chicago, IL, 2017.","bodebag","Sweet Creature","cameron clayborn. Self portrait with ",", 2018.",4.51,"AwaRdtSRsNGSHgcpXfmXWs","f952f011216c","3205d8e5be13","2915dec63abe","e05d21938fbd","e3879fa681a0","image-36a7bd034e1687c84047d3af9e2fd30d078bc577-4000x2667-jpg","664dad634111","b28c40962c1e","c452d29ab323","ae0baa1148db","899345a2de62","image-6dcd8f38793ed06ce2b20c1d21fa406684d7fd0a-4000x2667-jpg","46714c014fd9","8af01c9ac39f","d9c1a54f6e49","4c59e3b9e7ad","b6ffdcc1b15f","34f6167006bc","2cdd5ff7aeed","4e5b5e15eb58","image-482ab5cb403ff9184614ff315c3e5601cc484791-6663x4442-jpg","cdf935d32fd2","ce76668d77bc","2aa47b57cff3","image-445170740438a1f0987913ccb20a8bf797cccbf4-6626x4417-jpg","c2d91d864947","34a0884726dd","2e49cf02f707","image-2e8fe902c2b8d387c7a70fff2638ec5894e188ab-6628x4419-jpg","image-8c98a120446374809ba1dee3d16a2708e2ac02a0-8688x5792-jpg","45f4ffa05acf0","A collection of stereotypes and clichés ( Charlie Tuna, Lux Lovely Soap, Ford Galaxie 500 series, Abraham Lincoln), ","f36bacd0e9a2","2022. 4 paper pulp stereotypes, certificate. 1: 7 1\u002F2 × 8 1\u002F4 inches (19.05 × 20.96 cm) 2: 7 1\u002F2 × 4 1\u002F2 inches (19.05 × 11.43 cm) 3: 4 × 6.4 inches (10.16 × 16.26 cm) 4: 6.8 × 5 inches (17.27 × 12.70 cm). Dimensions variable. Photo: Greg Carideo","80140cec9f23","719964eb8504","d70aed6722bb","cfc0bd462bc0","68135cf931c70","3d9fb4aca0c9",", 2022 Ink on vellum. 14 × 17 inches (35.56 × 43.18 cm). Photo: Greg Carideo","38302a22bbf8","485c7b5a05a5","124680426ca8","a293afd8bdbf","1572dba00038","8499d76810bc","28df575a5e4b0","Thomas Edison naps under a tree in 1921, while U.S. President Warren Harding (seated, right) reads a n","fe99b6d44554","ewspaper, 2022. Ink on vellum. 14 × 17 inches (35.56 × 43.18 cm). Photo: Greg Carideo","1173a515a7e4","1ceef987f0ef","2e2e25deb86e","88e2c94a4e45","cc94fd97203c","9cbba7b1016e0","55140541db2d",", 2022. Ink on vellum. 14 × 17 inches (35.56 × 43.18 cm) Photo: Greg Carideo","2dfc13e4f21b","9358ffb291e6","e22b6475fcfa","1e20894ea5ac","311eff138829","cfe84f945e6e","0afdf13ef2c8","a1ccffd7f081","c275d825ca54","dfec323067da","7859c78be139","4d3bc3fc0dc4","dc1b45519409","1a40f13bc01c","e99550d2783e","image-21200e429bd22e1fdc5c61671324dd17a25eaa19-1200x900-jpg","9308c936f865","501b9f6e72c7","96f3b3673071","93d7d2d152f3","4dbc16d59d9a","36ec57bd1643","image-06fa6c3aa7148e7f20e7b1c614b5e9e809c2c226-1200x900-jpg","8ff9bc8b7f1b","255bf5df95a0","4d95a44b06e4","image-d1577ea3e03b93a00e7ca67d01daee6b2c5e6cb3-900x1200-jpg","9df7d837b964","Julien Bismuth. face a revolt, 2020. Newspaper, gouache, ink, and pencil. 6.17 × 7.7 inches (15.67 × 19.56 cm).","d2cfd06e1fd8","7c9da0875d3f","image-244aac96c85231e6f013dc8c0fe07ad459b35bb9-2000x1572-jpg","image-862d64185ebd9a6881084626859e00908b6f1435-2000x1552-jpg","cc7f0fcbfac0","Julien Bismuth. bambule, 2020. Newspaper, gouache, ink, and pencil. 4 ½ × 6 ½ inches (11.43 × 16.51 cm).","2b285842ac2e","446ddbb41f6a","da1d389b9b70","8178227fec14","Julien Bismuth. impronte, 2020. Newspaper, gouache, ink, and pencil. 8 ¼ × 5 ½ inches (20.96 × 13.97 cm).","a4cefbd16060","image-4159160537a37aa041bb6c13854c68035383cde6-1502x2000-jpg","fba32e75260f","e73b4638c359","7b6d1bbb98d0","image-03c18ab557edfd87c35b5f3425dd447bd2437a96-1500x1000-jpg","0a37e76d492e","image-dcd007c063c2c6abaa7848c837cb89f504169804-1500x1000-jpg","c2a52e2cd4c1","2dd53ff5f135","Installation view, Galerie Parisa Kind, Frankfurt, Germany, 2018.","51c696f3ad29","c0716a7d71d2","b981340b043a","image-e20d4d42f2b7309f4713136fe3e2205439b9cfe8-5664x3776-jpg","e6bdc4730c80","Installation view, Sybil Sibyl, curated by Sophie Kaplan, Centre d'art La Criée, Rennes, France, 2017.","57736a379c0c","a6c88274fc5d","image-0ffaf3ff787dba0156f9fa5d8de7dc76729e4939-3840x2563-jpg","b25c29b43a51","a65b8f1c9867","d565d6cefbf8","25abf4435a9f","5bb1dce9723b","image-d00b5bf8ffb9384b9b44501b8dfd0a818afd1dba-3680x2456-jpg","fca10db8cc6a","image-c6c4030159cb5b4894858fde46c1b41826e80df8-3680x2456-jpg","03b91772bcb9","604cf5b3c0d3","12226f671e2c","fe24d6882083","Frieze New York, 2016, with Simone Subal Gallery","bLDU1a3r","8xsKTo0i","qWJ5WJez","image-3eb6927d12b3dbfec92e5d04f7b278e3c7ef689d-900x626-jpg","GhySKTeG","image-caa8a5939fa54c669dd71333bbdd444210cbd887-900x912-jpg","ms0vT5An","India Caduveo (Mbaya), Coleccion Boggiani No. 18, Caduveo Indian (Mbaya), Boggiani Collection No.18, 2016, stretched silkscreen, digital sketch on acetate, 10 prints, Screen: 39 1⁄4 x 39 1⁄4 x 1 3⁄4 inches (99.7 x 99.7 x 4.4 cm) variable installation","QDZO78fG","AGTJowGa","uzM1tG2R","WUxyt4mX","image-5db0455c1953e4f28f204c007afc6698cf25c963-900x506-jpg","image-cb1fc0857ec6646f967333ca0fb4e70a7701f643-900x506-jpg","WKC1WhjQ","lwi7N6Ye","TlrZwKNh","26rR3BU1","UaVCyta6","PcuL8Jpb","gpIdawpN","image-9509a2b7bde8ce7fe55713294f97da524562aaff-1181x787-jpg","kZiA7WUD","EvOJ6dLc","a8wF5OxL","9HosGpYF","s5PdEcyp","6vHjxljK","Monologue for the lowest and highest point of the room, 2014, Audio recording, pedestal, headphones, acrylic string, 1hr 52min, With Jennifer Grace","ChbIE0lV","4VOssdN9","image-ed1f5010860c102f5c72fa1a2aa1afcfb8060349-1350x980-jpg","Vjjqr06h","Le Signe Singe, Julien Bismuth\u002FVirginie Yassef, La Ferme Du Buisson, Marne-la-Vallée 2013","HrIbbyVh","4qDkayC6","Anw9gv8J","La Variation Continue, 2013 Silent color video, 160 min (video stills)","XvkPNj2W","fuuCNa1e","image-f4ac6e7693051bed532c852a9b51fd8351eb2cab-900x503-jpg","Willy Billy, 2013, Silent color video, 23 min, (video stills)","oQqbGb66","S3fDdRf8","WWsDqfIy","image-2cab1fa7c62c33b8582d405d693b55f2c1196cbd-1350x752-jpg","H9Jnm0Qg","Bricole, 2013 Brick, glue","klvZt17X","L6DRmXGQ","image-7a78d749e0acc7bc646035e0de853e167944c2cd-900x603-jpg","image-946c030fdbb3e6915dc5538d97a6f9fc0fe5e61e-1200x800-jpg","Y0GoDMRt","Or Flutes, 2013, Assorted pvc flutes, variable dimensions","HylwDWMB","DO8Fb0hV","NDVVvCds","fR6PAEPR","h0vqfhNA","image-97350cc0d507b990e887ccc17d8f63cb9164ab42-1350x874-jpg","FHk2WJy2","lTpPOlaC","anqfYP8t","image-2b51c5c40ae743b48693a88f58155e93a68d6e00-1200x801-jpg","cP1tWhrd","image-030ab6f60559b4057636eea8a30a9fec1d4d89aa-2100x1117-jpg","Aidc8XFS","Perroquet, 2013, Silent color video, 46’12 min (video stills)","HZfxU1j1","knFe46Bq","XtmvfXTx","qF8JzhfF","image-28cc29e08fbd7c673b93c5f3b78aacc0e50e9095-1050x704-jpg","Ze8XmpTQ","Ia4AGdIU","CN9NLobm","image-cdc61851a42963b71ec164604901d0912959835d-900x597-jpg","noJu4Bv2","Mime Works from the Gensollen Collection: A work by Julien Bismuth, performed by Gregg Goldston\u002F Eric Wilcox , Collectorspace, Istanbul, TK 2013","D8sJxHXG","BsVZ2xSP","image-d43626f046223cf46ea0b9fd57c8ba99f8394d44-639x1357-jpg","lewl5zMy","Notes Towards a Theory of Distraction, Simone Subal Gallery 2011","DidyFLDD","B5STwOLG","image-242bb11c1de6758df8ec8952934c4c82e079476b-936x624-jpg","OojpSzwx","A period or a distraction, 2011, Styrofoam, gouache, spray paint, screw, nylon string 4 inches diameter, height variable","xuIgbIJV","5RdWL2FE","image-fbbb156c9aa529d4d91a20a4fd89512497820748-856x576-jpg","image-7349f099bacd2d213f6fe17054f87eb0be65bc1b-825x1099-jpg","figures, 2011, paper collage, 8 x 11 inches","y6lV1Uqm","9i3SFDb7","0dXS5Sgd","VI65LnsB","image-74a89e8a851c6ce1ac8a7f383dda3bfacfc5559f-600x800-jpg","kVfD2T07","Frustum, Galerie Emanuel Layr, Vienna, Austria 2011","M0uKW6XA","image-015db0db5f09578f1cec516e258b1b0e68015994-1041x684-jpg","Bud7KzXV","Les Continents incontinents, Galerie Georges-Philippe & Nathalie Vallois. Paris 2009","mw98lRqw","2t2NYDry","JLy1hUHx","image-7e5ea948351d9f20dd4a4da5a71e0e3f93faea5c-451x665-jpg","mAnZRIsZ","Unbestimmte Stellen, Layr Wuestenhagen Contemporary, Vienna, Austria 2008","VtNoTkaM","Plouf! in collaboration with Jean Pascal Flavien, Tate Modern London 2006 (video still)","KJNgfcWk","VXmLkYkj","q2Ei1zeg","image-a571b5e3974689c68f7314a34e631b80e981fef1-635x1067-jpg","julien-bismuth","2021-02-23T19:11:25Z","DNk6nBpL","Julien Bismuth “Hiaitsiihi” Nomas Foundation \u002F Roma","2020-02-17","file-e703975dab39d604f5e1b2b180bf113a80d58cd5-pdf","e-flux","OeaJHFw8","osloBIENNALEN","2019-09-19","file-161fe7deba780c4e55f4fa6833633867d45b57e2-pdf","The Art Newspaper","9xaITWmp","No theme, no private funding and it lasts five years: inaugural Oslo Biennial opens in Norway","2019-05-30","file-650c0365c8e2c9f4ecadb5940cde3641f9c18fee-pdf","6D4K6QR4","osloBIENNALEN: a biennial that’s breaking the rules","2019-03-23","file-f269eb0bd4cb85879b60bbb7bcb2bec03067cfb7-pdf","Art Critique","file-0107153f77727209afe865ef1e2dd95a8b5af187-pdf","Spike","TMlh20Xm","OPENING: JULIEN BISMUTH AT EMANUEL LAYR","Luster","oU6jhC8I","Julien Bismuth: “El motor de mi vida es la curiosidad”","2018-12-06","file-f45bf4e23556e4017de747930948761e66746fa8-pdf","Looking Forward: Anne Ellegood","file-d34d523f5d375400dfe2fcc588b6b741deed8eaf-pdf","fCvKYOlJ","Los Angeles Times","sNKVvA1o","Julien Bismuth tinkers with the DNA of his images at the Box","2015-10-16","file-f80a7f2440f493f1fb6dee1bb1ec719fc2c3d061-pdf","KuKZAQF8","Julien Bismuth: ‘An image as the _______ of a surface’","2014-01-16","file-200886b0da1555e573b2035707dd3560a2bb3d52-pdf","8796e430252e","f3026073e358","The New York Observer","iMkCwaqd","Julien Bismuth: An Image as the _____ of a Surface at Simone Subal Gallery","file-8da554b45558995ef7b47ffba83debd45ef681a9-pdf","file-1c497ac12debcc464bfd22c1b5c0c2d88957a3ed-pdf","db946a9cc5e5","1Blc8ps2","EOiPPCJk","Julien Bismuth at Simone Subal","2014-01-30","file-9d5aaa55998f2522c2e7bae0c5dc46eba80aeb78-pdf","2b8b7d4eced8","ekp6Yyjs","Solace","2010-02-01","file-11117cb9463c8280c5aa673e069910f2240b6cc3-pdf","2010-08-01","file-5e02299d00bb9e7a6c61d1d97892d703276623a7-pdf","Artpress","lUPZNf4k","La performance comme espace d’énonciation","file-6f26c8fa521d476c5604b79992b985153b4b9474-pdf","BlackBook","hOhDbY1U","Artists Lucas Ajemian and Julien Bismuth think it’s time to redecorated your kitchen","2010-02-26","xputZpsb","Lucas Ajemian and Julien Bismuth: Les Lettres Tristes","2009-02-01","file-61ec0f9f1dc789fc16738b272c192e695372eefa-pdf","2wem3LCa","A point in Space is a Place for an Argument","2007-07-20","file-3e551fc5318a7d52a88541111f8d0031bc12667a-pdf","QjP4G1cj","Next to Performance","2007-11-01","file-776f62879b730a6d42b44d43dc8f38e2f2c2078a-pdf","Bismuth","6d62b122-91d8-40ab-a931-9b59f0347c95","2024-03-01T18:34:55Z","6de3f612a5900","f48774fe282d","(b. 1973, Paris) lives and works in New York. Solo and two person exhibitions include Emanuel Layr Galerie, Vienna, Austria (2011, 2015, 2019, 2024 Forthcoming); University of Florida, Gainesville, Florida (2023); Simone Subal Gallery, New York, US (2011, 2014, 2017, 2023); Galerie Georges-Philippe & Nathalie Vallois, Paris, France (2006, 2009, 2013, 2016, 2022); Parisa Kind Galerie, Frankfurt, Germany (2006, 2007, 2009, 2012, 2018, 2021); The Box, Los Angeles, CA (2008, 2015, 2018, 2021); Museu do Arte Moderno, Rio de Janeiro, Brazil (2020); Nomas Foundation, Rome, Italy (2019); Centre d'art La Criée, Rennes, France (2017); Solomon R. Guggenheim Museum, New York, NY (2016); Lira Gallery, Rome, Italy (2016); LA Existenzial, LACE (Los Angeles Contemporary Exhibitions), Los Angeles, CA (2013); La Ferme Du Buisson, Marne-la-Vallée, France (2013); Les Abattoirs, Toulouse, France (2012, 2013); Invisible Exports, New York, NY (2010, 2013); Gesellschaft für aktuelle Kunst Bremen, Germany (2011); CRAC Alsace, Altkirch, France (2010); Bloomberg Space, London, England (2010) and Foxy Productions, New York, NY (2008). Selected group exhibitions include Centre Pompidou Metz, Metz, France (2024); Galerie Marli Matsumoto, São Paulo, Brazil (2023); FRAC île-de-france, Paris, France (2023); Musée du Jeu de Paume, Paris, France (2013, 2022); UNESCO, Paris, France (2021); Carré d'Art, Nîmes, France (2020); Nomas Foundation, Rome (2020); Kunstraum am Schauplatz, Vienna (2019); FRAC, Marseilles, France (2018); Fondation Ricard, National Art Gallery of Sofia, Sofia, Bulgaria (2017); MAAT, Lisbon, Portugal (2017); FRAC Île-de-France, Chateau de Rentilly, Bussy-Saint-Martin, France (2017); Emily Harvey Foundation, New York, NY (2016); Centre d'Art Contemporain Parc St. Léger, Pougues-les-Eaux, France (2016); Belvedere Museum, Vienna, Austria (2016); Pavillion de L'Arsenal, Paris, France (2015); FRAC Franche-Comté, Besançon, France (2015); Institut d'Art Contemporain, Villeurbanne, France (2014, 2015); Manifesta 10, St. Petersburg (2014); Gagosian, Los Angeles, USA (2014); Palais de Tokyo, Paris, France (2014); Kunsthalle Wien, Vienna, Austria (2012); MUSAC, Léon, Spain (2011). Past performances have taken place at Oslo Biennial, Oslo, Norway (2019); Centre Georges Pompidou, Paris, France Montevideo, Marseille, France (2017, 2018); Villa Medici, Rome (2016); FRAC Le Plateau île-de-france, Paris, France ( (2016); Palais de Tokyo, Paris, France (2014, 2015); Kunsthalle Wien, Vienna, Austria (2012); MUSAC, Léon, Spain (2011); Tate Modern London, UK (2009); among others. Bismuth also founded the publishing house Devonian Press with artist Jean-Pascal Flavien in 2005. ­","6de3f612a5901","54c9aa259225","bbd9ff18e7e5","83e04c67763f","file-307d199ec2706a4028dc8034ba28702fff4f3e25-pdf","Julien Bismuth - CV","b61012c75561","image-351d40b5aa57b9db0efb150343e23cc4eeb291af-1347x881-jpg",", 2022. Ink on vellum. 14 x 17 inches (35.56 x 43.18 cm).","Gresham Tapiwa Nyaude","Yu Nishimura","cameron clayborn.","Ekwurtzel","2021-02-23T19:11:53Z","99043eb0a689","9GYUCEuR","file-ff382f92a6092848b88d6d235fffd6d8ac3e5b07-pdf","TSoF1QTP","For Sam Ekwurtzel, Cement Board is the New Canvas","2016-10-07","file-796b8943f89b977cd20a392600fd4c8fefa8f90c-pdf","0e77ca768b50","41d8df1be4c0","Art Info","wQ99s6XN","Sam Ekwurtzel and the Framing of Flaws","2014-05-22","file-2f80d42a725ae6efd00fec035c29d13ad2a753e9-pdf","812b9f702977","e6b9d63994a9","4e868d2035c2","e3daf93aa51a","8820371bba67","8bbf46c20a8a","7c7b802bd955","79054e4b7386","d8fee4e90b50","May","815653ba3222",", 2023. Cast bronze. 9 1\u002F2 × 12 × 2 inches (24.13 × 30.48 × 5.08 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: GC Photography","30611a6678b9","image-9b49159290d69620dfdb71a6e92a2fcec4db50e8-8870x6336-jpg","c80ae7ad6e59","3a4faa4c56110","7bd9f2d39334","image-3816ea64f072eaa2f1022c12f2ef2b3fc7b46dfe-4000x2857-jpg","249f25a7a338","b093beb5c5080","107e8e205e97","Sewer grate extrusion, from above to below",", 2023. Cast bronze, sewer grate. 10 × 27 × 26 inches (25.40 × 68.58 × 66.04 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: GC Photography","34f85240a6db","3456b5cf2094","8fc5bd0f90cc","bf5a42d900bf","2ce50b240d58",", Simone Subal Gallery, New York, 2022. Photo by: Greg Carideo.","cc66875fd946","3366092e22af","c1d4dc850066","4f232cace7b9","407b3f88e2e10",", 2021. Patinated bronze. 15 × 17 × 12 inches (38.10 × 43.18 × 30.48 cm). Photo by: Greg Carideo.","407b3f88e2e11","6bd44ff4d35c","GtpIXabY","8l5Fb4gt","OJC1r6Ds","C46kepGA","HD8K0NSJ","694061b9d2d9","2DwLxDVM","27b5274810ba","A69T0M7p","zqfporT0","H94P19nw","image-6f649e535fcf59c5391446cbf1e7d76316222fbb-2784x2088-jpg","image-938b3efc13ca6f807bdcc157372e13dff98aae4f-2116x2812-jpg","35310fd65f78","mooring bollard, partially drained (a)","k61AwxOQ","667490ea0557","iP47w9fH","Enyb8wPT","QiLvuW3d","2AOFi9Yk","ARV9ihIW","image-8c6f04e7b9ea5faeaac0b2142bfcc336720d4420-2122x1591-jpg","2645d81af4fa","tapered bollard, partially drained (b)","ONUS05iW","f7292e219adb","GNxYAuHj","nQlGZKNU","image-471a76879211c0f7ebeecb6986fde3dcc843dc69-2088x2784-jpg","99ae15d5df87","mNCKfm80","Bronze Glove","9bf1ae8e4693",", 2019. Cast bronze. 15 × 12 ½ × 11 inches (38.10 × 31.75 × 27.94 cm). Photo: Dario Lasagni.","nu0UsTDi","8r4aveUJ","image-a1f44cd86084477e71936a5eda866cc7fa896861-2000x1500-jpg","image-a7fb0d9db3d40f31ddad124f0c8a71343293ab5d-5760x3840-jpg","Installation view from Glass Age, Helena Anrather, New York, NY, 2019.","Pat2vgSU","1VoxwZ3n","gdCSydl3","Sam Ekwurtzel.  ","47c7c7efa07a","3\u002F8” chain, draped, partially drained","OtdVifxM","2cf30213757f",", 2018. Fused silica ceramic shell, non- ferrous aluminum chain. 64 ¾ × 12 × 17 inches.","oKYwchVD","rQZ5Hvrs","image-b27ee225842f4fd3ab55f88ca88fb46667c46780-1500x2000-jpg","2BR44eqU","Black limestone glove, 2018. Champlain Black limestone. 15 × 17 × 12 inches.","LZLZAEci","F3l5xHBH","image-d5bfb164b11e54de7fb30a9368bdb22cacd3faa3-2000x1500-jpg","gL4sVyrJ","496dca8621b4","3Pqt4rlp","411d2eb6db45","9il0U1vt","ccbf205a3fb3","Stormwater pipe, 14” offcut, partially drained","Yozxsm5k",", 2017. Aluminum culvert pipe, fused silica. 16 ¾ × 16 ½ × 17 inches (42.55 × 41.91 × 43.18 cm).","2fd646ed2e8f","pXsOdtNI","DJIjcNKP","kMBpTy5f","15103e01e1bb","Late Morning, Early Spring","LbvPY4Fb",", 2014. Cement board, aluminum. 2 panels: 36 x 60 x 2.5 inches","67c52747ae05","UbfrRDIR","image-ca1cd4a2fc1c9700841a960ddf9471f0de990b0a-600x933-jpg","8yQoOb4Y","Installation view of Frieze New York, with Simone Subal Gallery, 2016.","Q7ZIcTgF","K14g3wQQ","image-86b36459c522459ec995879a7ab67a631fe5ba9f-3000x1948-jpg","image-c8aa384f80c99b3c33e261d79abb027f69e37053-5184x3456-jpg","Installation view of There is No Fact of the Matter as to Whether or Not P, 247365, New York, 2015.","kN5ub9nO","6iM2feaY","EIJBeLBg","ElQo3N5u","f1e5d028f892","Late morning, last September","JLYKCho5",", 2015 (detail). Cast iron pipe, fittings, compressed air. 4 x 8 x 96 inches. ","8dbc97662e4d","op7OYHA7","image-dbea15b0d61912af9535caa2f6d054e24d190d1e-3456x4864-jpg","callnkcE","image-bbeeed6b1a9ad5397bfec6216bc361e7cdb5f832-3152x4674-jpg","11b17a6e883c","GpngwTmc","Modular system for grocery checkout divider bars",", 2015. Custom hardware, stolen grocery dividers. 18 x 18 x 60 inches.","bedfd1788794","FYcSCr56","Xmf19P2r","image-2a2564bd97b4508728f87e21aa300af446a12ec3-720x1096-jpg","23c240436e63","r3IWoeJq","e41100fcf80e",", 2015. Cast bronze alloy, metal detector, 12 x 9 x 55 inches.","rLczfuTs","FlhwbEct","fcc8f6239d5b","WzENtudO",", 2015 (Detail). Cast bronze alloy, metal detector, 12 x 9 x 55 inches. ","e2d0f69416c5","YM1pWQZq","image-26d822ffc7ca873d12838d87a31b7000344e3d88-3456x5184-jpg","ydtc9lfh","Installation view of Art Basel Miami Beach, with Simone Subal Gallery, 2014.","jZ8wvCcA","KhfgDz19","image-540166b7d021691f09150dfad872a0bc0f5e22f2-900x698-jpg","Hy3rMMMu","HVzKzdJA","67iaShHT","69UkxUQW","rkgjVsCZ","qGBluhTl","f652dda08ae3","JfiEkADJ",", 2014. Brownstone, 22 5\u002F16 x 21 ¾ x5 ¼ inches.","6923836e5102","Ib1d6rjE","Xk51LVnm","LuxzgEFV","e60528a28de0","Live and dead knots Mach\u002F April 2014","24KiJd9W","c6fcd8de48b3","4bgdgPnj","nHMm0mMU","PD4zGQdO","lkyhCEGG","image-f78b686543f7f0ec83349152ccfd9221ca005631-1152x764-jpg","kOtJm9M0","0CaSYqT6","gpyGAly5","image-a6c7b00fcc9ff8ab8bde98d9b319510a96da7e59-1812x1200-jpg","image-d155c7258370ae645d5c66bc9960a49ac6eecc24-1270x900-jpg","ZyfhGVZu","8f01a8a8c8b5","A tripod and a tetrapod","HsJCvEXE",", 2011. Modified tripod, digital SLR camera, image. 60 x 36 x 36 inches.","0a3cc35bac48","2XCM9xYt","image-a399fba8512480ddfa498b72db643b1aab16767b-1152x948-jpg","41d1054f11a2","A tripod and a tetrapo","KiqR4nEn","d, 2011 (detail). Modified tripod, digital SLR camera, image. 60 x 36 x 36 inches.","5f3fb7b2ed2c","ihCFsxcH","d8syLdj2","0T5rHyvD","image-2f3aa5f8197e70279198ba2e37e7faf4ac2c614b-1152x765-jpg","nlY5WPDX","Installation view of The Passenger Position, Reference Gallery, Richmond, VA, 2011.","m5po53G4","kAxIWqaD","2971d5f2c6d7","Dolos, a tetrapod, 2011, 102” x 72” x 72”, plywood, auto primer, wax.","cXxtsnhC","detnqq5S","image-836b97ebe971b045ac238a472c5dc29190e29ed0-1152x948-jpg","image-619ab1aa57b4c8f0e5a77852f125516e53edc8fe-1152x846-jpg","197ba1d4884e","The passenger position, 2011, Installation, dimensions variable, Station wagon, lapstrake rowboat, plywood.","R9sdjXbh","4cPRSVpf","LB2CvWet","0LgmgZ0F","d85820e7a11d","The passenger position, 2011, Installation, dimensions variable, Station wagon, lapstrake rowboat, plywood (detail).","7T9StpUy","HKquG286","image-bd2224a901e544653e413fcc446a23cea3c1ced2-598x492-jpg","KVDX3QaC","99ef1bd9525d","Treadmill and clock","xVtWYBLV","8cffc6d5e2e9",", 2010. Steel, wood, PVC, electronics, motors. 72 x 24 x 60 inches.","BLv4sGj7","image-c5056edac3abcce4b94622cd39f7ac2a56836ae1-1152x954-jpg","Installation view of A Failed Entertainment, Virginia Commonwealth University Fine Arts Gallery, Richmond, VA & Land of Tomorrow, Louisville, KY, 2011.","7SbIlPu6","tGNy5oEQ","hWiAOjs4","image-0d35f1022d880feeee6afe46c4c9b117fa5e1c46-1152x956-jpg","svNE96ex","7d270303217b","A Failed Entertainment,","tMYpjNgD"," 2011. Dimensions variable.","d69383f922e1","qETRMqbp","image-7977275c0126503911fefe8ed00201a66b726079-1152x960-jpg","60b67994e28c","QqpknNkl","Lake Intervention","90933a6c7dc0",", 2007. Dimensions variable.","DYAAOubW","l5evSKJe","image-ee1cd65222691448da632d0377da464b7d59a1f3-1152x942-jpg","mJ68KVyqabybOMW8E8zmwl","c72b7b23-ae5d-48f4-91d6-4f5f44ee1405","sam-ekwurtzel","2024-04-06T20:10:29Z","8de9277a1102","Sam Ekwurtzel (b. 1983) lives and works in New York. Solo exhibitions include: ","8de9277a11020","9e88c1532e60","85f763270ac1","bcd208d957a1","7a46681b11ce","ff65eb7a0f8c","21aadc0ca4d7","b81a18083390",", Simone Subal Gallery, Art Basel Miami Beach, FL (2014); Dunnage, Wellesley College, Wellesley, MA (2014); and ","a1df189116d1","3b3825281a09","1d205ed66c09","898a5a25fce6","e603a2fa9f41","Am Schwarzenbergplatz, Vienna, Austria (2024); ","The Devil you Know, ","8843f8e0d85c","Simone Subal Gallery, New York (2022); ","16c4077d252b","Glass Age,","ce1a98bb73a5"," Helena Anrather, New York (2019); LISTE, Simone Subal Gallery, Basel, Switzerland (2018); ","8ccdc4c43bea","Redirecting,","d59708d52193"," Simone Subal Gallery, New York, NY (2017); ","d3a06d3e1208","04edf626c77d","263b1b173692","Fieldwork, ","628889b1f845","curated by Nicholas Baume, Bass Museum of Art, Miami, FL (2014); ","3856a6799e55","fcdb1b741310"," (with Aki Sasamoto), The Kitchen, New York, NY (2014); ","782398a59718","40d24f7d948f"," (with Aki Sasamoto), Chocolate Factory Theater, New York, NY (2012); ","bd9ddef9d97a","ee2648582303","9ca15479f979","d9218b6a3a27","2cec729b085d","a026973ff41f","d0ee4f9d00af","25357eabd83b","file-8e9f9c467a1709edc7b4ae330a8956b6b533ada4-pdf","Sam Ekwurtzel - CV","48913ea2-8d7f-45d5-9230-5f7181fa6371","image-9585fddd6cd48683bb700cc8a77a600a044961a1-1296x729-jpg","image-577a95cd2978c372b463daecbca15ac9262fb208-1800x1200-jpg","Jesse Wine. ","Anna K.E., Florian Meisenberg.","#bcbcbc","B. Ingrid Olson","Be frictionless latecomer","Condo New York: Marvin Gaye Chetwynd and Aleksandra Domanović","Jessie Stead.","Em Rooney.","Brian O’Doherty. Speaking in Line","Patricia Treib.","TalctoTile PL'd to MDO, shown in Pink","Larry Bamburg","Mutations",", High Line, New York, 2017. Photo: Timothy Schenck.",", 2009. Mixed media. Dimensions variable.","Nikholis Planck. ","Green Doesn't Matter When You're Blue",", 2011. Paper collage. 8 x 11 inches, 12 1\u002F4 x 15 x 1 1\u002F2 inches (framed).",7,"2021-01-01",.5,"Nova Jiang","image-48b2796a4e25dba79c4ed54435d7d25f09f1baf0-1500x1000-jpg"," and ",6.85,"3a01780b41be0","3a01780b41be1"," was born in 1987 in Prague, Czech Republic. She currently lives and works in Montréal, Quebec, Canada. Selected solo and two-person exhibitions include Simone Subal Gallery, New York (2023, 2022, 2019, 2017); Esker Foundation, Calgary, Canada (2022); Bradley Ertaskiran, Montréal, Canada (2021); The Sunday Painter, London, UK (2021); Parisian Laundry, Montréal (2018); Hunt Kastner, Prague (2018); Franz Kaka, Toronto (2018); Tatjana Pieters, Ghent, Belgium (2017); Paramo Galeria, Guadalajara, Mexico (2016); Motel, Brooklyn, New York (2016); and SARDINE, Brooklyn, New York (2015). Selected group shows include Public Gallery, London, UK (2024, forthcoming, 2022); Bradley Ertaskiran, Montréal, Canada (2023); Hunt Gallery, Toronto, Canada (2022); Xiao Museum of Contemporary Art, Rizhao, China (2022); Perrotin, Paris, France (2022); Taymour Grahne Gallery, London, UK (2022); Santander Art Gallery, Madrid, Spain (2020); Remai Modern, Saskatoon, Saskatchewan (2019); Cleve Carney Gallery, Chicago, Illinois (2018); Oakville Galleries, Oakville, Ontario (2018); Andrehn-Schiptjenko, Stockholm (2018); Peana Projects, Monterrey, Mexico (2017); National Gallery of Canada, Ottawa, Ontario (2017); Disturb the Neighbours, New York, NY (2017); Flat File at Deli Gallery, New York, NY (2017); University of Georgia, Dodd School of Art, Athens, GA (2017); Motel at Roberta Pelan, Toronto, Canada (2017); White Columns, New York, NY (2017); 11R, New York, NY (2017); Bureau, New York, NY (2016) and Simone Subal, New York, NY (2016). Pausova has been awarded numerous awards including the Canada Council for the Arts Explore and Create Grant (2018) and the RBC Painting Prize Finalist and Honorable Mention (2017). Veronika Pausova’s work is part of the following public and private collections: Banque Nationale, Canada; Claridge, Montréal, Canada; Equitable Bank, Toronto, Canada; Montréal Museum of Fine Arts, Montréal, Canada; Rachofsky House, Dallas, US; Royal Bank of Canada, Canada; Scotiabank, Canada; Xiao Museum of Contemporary Art, Rizhao, CN; Zabludowicz Collection, London, UK. In 2023, the Esker Foundation published a catalog of Veronika Pausova’s work titled ","3a01780b41be2","3a01780b41be3","41050aac4dbb","d712d72832f3","c14658cc5b0d","file-54fd170a93536c99e7ec9ac3321450fb6bc184d7-pdf","Veronika Pausova - CV","98799f6057de","2021-02-23T19:13:39Z","The McGill Tribune","2f4ac67621a1","'Reversible Lining' turns tables while turning heads","2021-11-30","file-c84cb3714d2ef4e7891db97d2ee1283fb4ec261b-pdf","2021-12-04T20:37:43.982Z","cb843cd6a11b","2018-11-13","file-5655788387df5786ce299ab9f5359ab456ac98d6-pdf","Canadian Art","9MWd7Dad","Veronika Pausova Paints a Spidery Sublime","Art Agenda","t75ghmte","Basel Roundup","2018-06-18","file-6adc266a6432f46ec6dcbdccb384e0c9da81ad1a-pdf","2017-10-01","file-464b5277d7b86f26073b097f3270e6872880b905-pdf","8KhOMaN6","file-46d175b1ab400be99ae309f92446bff7494d9640-pdf","7tAOiXKS","Ten to See: New York","2017-07-01","2017-07-24","file-7f27b41224fcfada0abf514923076a147a5d6e3c-pdf","b35dbd045567","PMoqs3Kj","c18242f83e8e","image-54124826875c4ca9e0ab085e925cc03768147188-2667x4000-jpg","8ecb3535f7170","In White Boots","57456a033040",", 2023. Oil on canvas. 36 × 30 inches (91.44 × 76.20 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Paul Litherland","fe9fe8477bff","93c72aca53e0","a9d6ecf960a8","5b1bac6acb9e0","eb3f04a304f3","7a1433a3b42c","b69242b5e305","Ultra Sight,","5e2c19ad2695"," 2023. Oil on canvas. 49 × 41 inches (124.46 × 104.14 cm). ","043b2453e1a8","45b184547df4","7583eaf5c520","acfe0037c7b0","Installation view, Fertile Cloth, Simone Subal Gallery, New York. Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo","804ea41b1f19","509e499c34b0","af3aff72eb4e","45f4706fe4bb","9fdd61996ad1","Directed Efforts,","4e37d022443f"," 2023. Oil on canvas. 29 1\u002F2 × 25 inches (74.93 × 63.50 cm). ","61844c090ab1","9e5f81fe8701","978a68017899","8483fb206d15","aee28f882985","210d351ade2d","2cd87537b1c8","e53451789913","c9f6e13c0c3f","3df740ab1b0a0","Between the Stars, Against the Glass, ","b6b4b7619061","2023. Oil on canvas\n18 × 15 inches (45.72 × 38.10 cm). ","ef14bfafbd30","061857b11d60","62ea7ad1f401","c8a6cef7a356","d242baeac62b","image-ce36f841e6f08bc5629f93607d426c37b3f5ef2f-2667x4000-jpg","image-569182a02e638404ed873793073fe57912237072-8688x5792-jpg","a7140e760865","f5a33eb6c298","Spider, Brain, Uterus,","f227fade00f0","25310541a031"," 2023. Oil on canvas. Overall (approx): 63 × 140 1\u002F2 inches (160.02 × 356.87 cm).","b937c59d3658","4ae3089b37b2","c3e0c925dbfe","96909938cabf","b7cfd28964fc","7fdfb98685ce","b5dbe9ab3685","f79e7d13032e","image-9792f85ef77f83a027b120dbb8b4729c6ec04205-8688x5792-jpg","57aa4475e699","404740106ad1","7c6ca4a451ca","da48fa45a07c","f55f4333b677","1cbf8c89fa360","82d1d8aba924","Dish Washer,"," 2023. Oil on canvas. 29 1\u002F2 × 25 inches (74.93 × 63.50 cm. ","82609906fc3f","a4e7ab143b57","6f16efbf1f0b","1a77abd6a25a","f1af229837f3","image-bbb0452cb8df2e745e497ddfd7e07e6b6261788a-1333x2000-jpg","3cf9c86dcea2","53dddb0e14a5","b87e9f799d75","A Dear",", 2023. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm). Photo: Paul Litherland","d4f61c9873c1","632ae780b496","71da71d687be","image-b4b273e81438492b158b5940482ecc93f4beec45-4500x6500-jpg","3593da701be2","2b4e7b9bf7f9",". Same Arms Twice","8c82150290d70",", 2022. Oil on canvas. 36 × 30 inches. ","8c82150290d71","1f1a41412057","38d6095b8606","4caee2042b51","image-83f3ab97aa8979fa4680a0acdc6ba2d409750cfa-4500x6500-jpg","c03c41b2c469","e6214aeac8c8",". Trading Senses","9390950f69880",", 2022. Oil on canvas. 18 × 15 inches. ","9390950f69881","7e02ab854346","da74d6107de8","A word for underfoot; the sun","b9a4b70c818d",", Hunt Gallery, Toronto, Canada, 2022. Photo: Laura Findlay. ","871cdca0f95f","a75ddc004d34","d1a539bccd76","image-41b25a83759d5f6a2af7962f33fc9c3b5fe34947-2400x1714-jpg","d0a3cc8f8015","ccf092b35355","b5082d94d9e70",", 2022. Oil on canvas. 49 × 41 inches (124.46 × 104.14 cm). Photo by: Claire Dorn.","b5082d94d9e71","dca10081c769","image-471e9320e17c51749bbaf05a3b7e939e523fd165-3824x4500-jpg","image-ce048a5779b179680e4e7dcbdec2cb030e603d8a-4500x3214-jpg","aa002920c242","57e902d4fca1","Finger Bang","3e03f1feb572",", co-curated by Genesis Belanger and GaHee Park, Perrotin Paris, 2022. Courtesy of the artists and Perrotin. Photographer: Claire Dorn.","f0a8b65c0557","983bac51967f","7e02323ce7cc","3648e0d365d7","Now I am a lake","39803eb1e310",", Public Gallery, London, UK, 2022.","919757592d59","423ad1a8daf5","image-66abf28fe446ebfb79f9601b38e1f286e9ebc1b0-3000x2000-jpg","313cd9303e7f","b2cf46def40a","2616513a3f0d","12b4a5e143ba0",". Fountain","12b4a5e143ba1","3aafba8737d5","ce8949b6e90d","bc9635a2e926","image-a7cc69bedb5443c5986494c4c9c6b9da22392ab7-2085x1390-jpg","c80549213c31",". Moon","ddb871d1b7e50","ddb871d1b7e51","f2e819fba52f","1ff6cf937ec4","image-63638a8985a49da4971bb92a2a58c6ead8cc1609-2085x1390-jpg","8cd135a256d3","65c21b01777f","8612c3994841","79528535289f","c96cf93398b8",". Busier","6d2e7a675ada0",", 2022. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm). Photo by Greg Carideo.","6d2e7a675ada1","61408cb6a9b6","image-b1350e76d3e90199383797f4e75bb992529de31b-5693x7590-jpg","6e0938dd2ec1",". Playing the Organs","95a6562348d70",", 2021. Oil on canvas. 75 × 67 inches (190.50 × 170.18 cm). Photo by Ollie Hammick.","95a6562348d71","6a0aae8fc01e","6eae9ee468e3","Installation view, Veronika Pausova: Fast Moving Sun, Esker Foundation, Calgary, 2022. Photo by John Dean.","1b1203fa3029","5bf381a8bdda","c7b42b134d59","image-e90474f25acd89e03e83761ce47794b23b3366fc-3600x2125-jpg","986b31d7762f","image-415a4514b1ec4e1f662ef11cfd26cc46c517ad13-3000x2000-jpg","Installation view, Simone Subal Gallery at Art Basel Miami Beach, 2021. Photo: Daniel Terna.","97f9f7a50175","4b7d7fd4aae2","4c27b42a06f0","Veronika Pausova. Love Mime, 2021. Oil on canvas. 75 × 67 inches (190.50 × 170.18 cm). Photo: Paul Litherland.\n","dc1de345508b","e4e2ae64b930","image-b81be4c3177f20bc53a1fb5675cc1fb57d4b48c6-1000x1500-jpg","43624ccb1c4a","59638e7dd9d0","0e690712ebff","2482eceaeba5","1511d2daa280","image-ee06b9e1ce905c98ac200cd110f3cba198550112-3000x1688-jpg","094f4d095994","85ddbbbb51e1","023c078817c4","7a18201e8614","d21e5e35c94c","image-a013505b032cd9477d90640a8c2f075969f87702-3000x2000-jpg","c80cf5aed9e5","Veronika Pausova. Right from Left, 2021. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","c06f74a9754c","6a56d31b8cf3","image-6140f367a97e9f1cb80d24ecde693e4317192035-5733x7644-jpg","Veronika Pausova. Partly Cloudy, 2021. Oil on canvas. 75 × 67 inches (190.50 × 170.18 cm).","6c567a1d2ef2","2106924030c2","4bbf849f3110","image-f36a96a10bdcbab06716bb95c354c119ba1664f0-5678x7571-jpg","Installation view, Playing the Organs, The Sunday Painter, London, UK, 2021. Photo: Ollie Hammick.","693b8f8b2b43","079c6325052a","d21a718ff2b8","image-e0a4abd79639689dec7f7a0cffe36d2f045ff8c5-5760x4320-jpg","image-72aada8d778e250add987ad5057b1c115e578534-4000x4032-jpg","37bba8ef273b","Veronika Pausova. protocol, 2020. Oil on canvas. 49 × 41 inches (124.46 × 104.14 cm).\n","8da188eeb154","df42fe638aee","Veronika Pausova. a fingerless glove, 2020. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","nFLT2H1m","4LZT4PI4","rgTcxlWn","image-1b44d6b0579d4d0e815afceb383781ccc3f808e2-2940x3422-jpg","ChA15PQ5","Installation view, Material 2020: Anna K.E. and Veronika Pausova, Material Fair, 2020.","G28No0mW","kzOaarOh","image-3cd6841b9a610f22fb2c2827ef899e3d47c15d8d-3893x2921-jpg","z9WevxcB","image-8e4bf3792b2457853dfee5d2d8fb1a87e7e5836e-2062x2437-jpg","iopdIL7l","srKTOxOa","Veronika Pausova. fussy trance, (detail), 2020. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","image-7e603954b9270eab581224c57d4469570191d3a7-2969x3450-jpg","8e5NOE41","Veronika Pausova. soft, reversible, 2020. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","iUUTcn2a","j4tHxUQl","hIapxq8z","Veronika Pausova. indoor currency, (detail), 2020. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","az7WuCLv","oXxaNsAN","image-1c51f2bd08827ea72360cb332a754f5492d0d9fc-1926x2275-jpg","wdhUJl04","NH4DXvS8","Installation view, FIAC: Cameron Clayborn, Kiki Kogelnik, B. Ingrid Olson, and Veronika Pausova, 2019.","rYKI3kdw","Veronika Pausova. Garden at night, 2019. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","Jgm44s9k","EAb7bnvu","clrLwLEA","image-2dd81cf306ee357a41bec7779476d827306bd62a-2550x3300-jpg","Veronika Pausova. counterpole, 2019. Oil on canvas. 49 × 41 inches (124.46 × 104.14 cm).","5tpbzKnD","9o7zybSx","hwspjahr","image-50eb50316f8b26d121eb26503b3353a895bf6c1e-1822x2024-jpg","ua9H2oTs","Qmqezd28","k6slvEY3","Eq33MpTH","the talker: inarticulate informer, 2019. Oil on canvas. 41 × 49 inches (104.14 × 124.46 cm). Photo: Dario Lasagni.","wh9o09A4","gXJ2J5AL","Fdd1mC0j","fixed attitude, 2019. Oil on canvas. 41 × 49 inches (104.14 × 124.46 cm). Photo: Dario Lasagni.","KFTqTJ9P","i4pPHCs0","7iqHYIZj","mrMfV6Ot","avY5sqoN","WzYyZ4TK","iG7bzUV7","customs, 2019. Oil on canvas. 15 × 18 inches (38.10 × 45.72 cm). Photo: Dario Lasagni.","9mUXT2kQ","WNABJQab","5WsEEHCN","RBdqOxzr","A1fW9084","tR8QjNvL","3RxyHACj","BVkjqovr","KoGM4NKQ","Veronika Pausova. window still, (detail), 2019. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","TGeuFDoJ","power massage, 2019. Oil on canvas. 41 × 49 inches (104.14 × 124.46 cm). Photo: Dario Lasagni.","qEgu7YpB","QBvl9bCD","lBS2tuRf","WgUvhNXt","Veronika Pausova. I drop, (detail), 2019. Oil on canvas. 36 × 30 inches (91.44 × 76.20 cm).","7SNT1hzf","iyV267vI","image-7aa15cf29d471124130dbe2e46a4f4fa184d0aa7-815x976-jpg","lhITOeaS","Veronika Pausova. Fruit flies, 2019. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","1kjjWkwa","1igjupaU","image-b7bec1b9e0d7e3a7d4e23b8e0b0cb5b7bda96142-2550x3300-jpg","xLgTvjhu","image-9f5b8ef93f00955016748507ec2e47127ccdfd82-2550x3300-jpg","Veronika Pausova. Handles to, 2019. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","THXejOfA","95iMXN27","beVegZtw","Veronika Pausova. overkill, 2019. Oil on canvas. 49 × 41 inches (124.46 × 104.14 cm).","ljXwypXt","4i665kIT","image-abdbdcb3d37449b70d89dbe5252b77b9ab70374b-1790x1935-jpg","fWwZcrpP","Sx7Silqc","ZwTk71xC","image-ca23d6275312705df23ad6da3bbe70904be1da93-1600x1012-jpg","Aeiisb8Z","u3OJpwYG","Veronika Pausova. pointy entry, 2018. Oil on canvas. 36 × 30 inches (91.44 × 76.20 cm).","GnusnKKD","image-672833c581ed66fb8a7d6c6974e3bd7389cb32f8-3403x4037-jpg","GvkpXx8f","8zAKijKk","8cPEu3oF","image-c2a269fa760440f16570a45db2715211b2a6b750-1600x1067-jpg","Veronika Pausova. Comfrey, 2017. Oil on canvas. 26 × 22 inches (66.04 × 55.88 cm).","DQxfvLIM","OOtCQYoe","atn6sMHK","image-e167dea30bf06430747fa7a11dfa11101d57985f-3537x4055-jpg","image-67c33b46d3608aad36e7f47419c119fd7f5d3306-1600x885-jpg","nXNCbfFM","xRsIOxtK","NcuYldSE","hQynhvBx","lZSVuXwh","3E8zWyA8","image-275e61a39f72c87678ab138ac73a0ae2b3dc60cb-3000x2000-jpg","iqJmXfV5","YsitBBTv","k1H5zy4l","image-f56f55a30c983c65760d29f1581901e3785de038-4749x3591-jpg","Installation view, An Assembly of Shapes, Oakville Galleries, 2018.","pXPXM3Dn","zQsb6dYg","khknEAw7","image-380a677404970d42ba4dfd2ead1b38a7bb365dc8-8568x5059-jpg","image-5fe3e95614f4e36c18e476a9a330fe80a8434843-1600x1068-jpg","cPRPHDuQ","qxyza2K2","A1YctgHW","40zkTvnE","cIuRYvVx","bGrscqBh","image-f4ffdb3af4e226f2b0d149ab70f8600d04f38d51-1600x1067-jpg","R2ZScIPO","1bac7b7e0459","Veronika Pausova. Jacuzzi, 2017. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","2UvjzRk1","image-994a537a5e261a9a0cba92f76267df33c9d41aac-600x693-jpg","326247ebe42a","Veronika Pausova. Hot Springs, 2017. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","e321af0ea8b7","joTxjm1b","image-23e74cca6ef21724905deaf29eb70335e05f7f1e-600x712-jpg","kVWTeIkZ","ESqWRbvb","o9HB3Aga","Veronika Pausova. Legs, 2017. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","fc1hbojn","Yrb4XCc6","h0fOdaTX","image-a7b4e23bf052b5d0dc941fb9b9ff3d86312aa6ba-600x706-jpg","Z5B9IPmc","zDOxoAnc","QRLIqjYO","Installation view, Forest House, Tatjana Pieters, Ghent, Belgium, 2017.","fWx04ctc","Ydqn4mWS","y3knRTsW","image-2b4f70bcc9e70858db89b5419fe77fbc3d8b6c73-3264x2448-jpg","3oYbpmNf","nOThgBjG","Iap1oe2S","image-0f81034820d197aeb4f5b7ff1ebc1672c5ae051e-900x600-jpg","N5q4XjWd","mglKP1Bc","C9bteEDs","image-7def2186e79a237cd001ed8620930573606ddb00-900x600-jpg","veronika-pausova","qIZRtD2Cr7QX1LmhyhkSu9","2024-01-09T21:00:19Z","f43e7055181c","2022-01-22","2022-06-25","image-2a62cd8260f2f4da39bea03801e0b74ef8636f27-1618x1771-jpg","https:\u002F\u002Feskerfoundation.com\u002Fexhibition\u002Fveronika-pausova\u002F","Esker Foundation, Calgary, Canada","038c995f80a2","Veronika Pausova: Fast Moving Sun","a586bd208593","c74fcb7f1533","52f21100f896","1b96c7d97ac0","Pausova","3Sl2kTDWgv1NvaWgP8r00Y","image-17d8a5e7e241e3c457b495b6f52ad727fe9a00d1-3543x2018-jpg","815a67cc183f","44ff7582af32","b8f248487f68","2babfca5acb6","54e2edd0fa72","image-6d339cc356164f853e6382d6e431fe67caf6b4ab-1743x1232-jpg","image-74ba6b47d8ed74d7713aee70fccab4c373903b9b-1743x1232-jpg","453b917fe70a","726f6dceaba5","c0ac56284876","0a3ebff4c25d","f08a41aad317","a1171a9ca3b3","8db094912afc0","economics of making the most out of it\na painting of the sun and other patterns, in the style of biomorphic abstraction, melting, light sky-blue and dark gray, expressionist figures, polychrome sculpture, cellular formations, eroded interiors","5d1585bff92a",", 2023. Oil paint, airbrush, and marble dust on canvas. 36 × 28 inches (91.44 × 71.12 cm). ","7138f5a0b7b8","adeee90a277b","c1cff2c3b4d7","609f11e3acdb","0528b20db5ab","5ef5d44dcd0d","d218d35442c8","f6fb61220fc0","4f21d3eeaea0","8ecc285cb25f0","179c8c501685","45a869af6959",", 2023. Oil paint and marble dust on canvas 20 × 16 inches (50.80 × 40.64 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo","8e4ac72351de","287073b341cf","f4ea988c0468","edfc7c2723db","aa2ff4e004bd","f7cc102ae85e","f95ec2484ccb","image-6cdab60ffd4f5e94e3b9c7f929aa40a7bcb810f5-4000x2667-jpg","fecc7a215e94","d6ba2712cddc"," 2023. Oil paint and marble dust on canvas 20 × 16 inches (50.80 × 40.64 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo","7992e944ca89","70ede35a1a10","a73bbf21a247","3d80b93fee09","image-5d5dd311b2440dd4c0a83a3f33310232af78a700-4000x2667-jpg","b56b3a4743ca","b843fdbf8c76","f585ab98ea33","8baaf1d82414","a77f474ecdb7","image-37103fbde42a345498572c8bb2f2d6788b78eebb-4000x3200-jpg","08d2a075241e","60b4cbfc11c8","Maskenfreiheit","29f976d7093f",", Margot Samel, New York, 2023. Image courtesy of the artist, Margot Samel, New York, and Simone Subal Gallery, New York. Photo: Olympia Shannon","39fe6aeb5f2c","image-1db0492cb51fa4115a67bc0e81cb7696c35ade43-1440x1287-jpg","5c6ee9f8b25d","fdebe33653fc0","Eintauchen in die Kunst | Diving into Art","a064169ad2e9",", Kunstgeschichtlichen Instituts der Ruhr-Universität Bochum in Museum unter Tage in Bochum, 2023. Photo: Foto Tretter","6aaac1daf7d5","993d20395daf","db18163b3c7b","26e36bb1bcc7","fa81a60f146e","image-cc3e1fe6997e743d5ea5fc1f4c5ba4028767d632-8688x5792-jpg","image-0a8b7bf1abd2d088da7de064d60fa38e5cfa17ac-3000x2000-jpg","c3a3e0b622e5","5380c0c000c5","de7e584511000",", Niveaux du jeu au Tamanrasset (La suppression de la sexualité naturelle chez l'enfant, en particulier de sa sexualité génitale, rend l'enfant craintif, timide, obéissant, effrayé par l'autorité, bon et ajusté au sens autoritaire ; elle paralyse les forces rebelles parce que toute rébellion est chargée d'inquiétude ; elle produit, en inhibant la curiosité sexuelle et la pensée sexuelle chez l'enfant, une inhibition générale de la pensée et des facultés critiques. En bref, le but de la suppression sexuelle est de produire un individu qui s'adapte à l'ordre autoritaire et qui s'y soumettra malgré toute misère et dégradation. Initialement, l'enfant doit se soumettre à la structure de l'État miniature autoritaire, la famille, processus qui le rend capable de subordination ultérieure au système autoritaire général. La formation de la structure autoritaire passe par l'ancrage de l'inhibition et de l'anxiété sexuelles.[6])",", 2022. India ink and oil paint on canvas. 72 × 120 inches. Photo by Greg Carideo","1e3e25cf9d4c1","8fa3b24a5c79","image-bc4021af53b75db05714f568ebeba797cf69b531-2037x2000-jpg","Florian Meisenberg, how to fold yourself inwardly (A river is not a car. A body is not a continent. A stain is not a brushstroke.), 2022. India ink and oil paint on canvas. 48 × 48 inches (121.92 × 121.92 cm)","94a833dd52b9","4d132bed52e4","acc47a5bea6d","1e53ff1ba5ae","image-44104782ff55c546f69a2779a2d0fb264a4779f2-6704x4474-jpg","Installation view, Simone Subal Gallery booth featuring works by Mie Yim, Florian Meisenberg, Baseera Khan, and cameron clayborn, Paris+ par Art Basel, 2022. Photo by Grégory Copitet.","a01b0fc9f0a1","7459a21af1e8","79c0ea14e03d","62de64d1b1cf","2df79d83c003","image-c01613ac89645390bbd760625a1d75f77df3d883-3200x2133-jpg","38fd2fd55aaf","4c4af9b458b9","c7a84c52c874","image-2ae98d711919acc9979776681dcbe02d2ef35d12-2133x3200-jpg","6af405dcb548","7bb852316c43","051d06830563","image-5c52221dfd18b2e1efaac7600c278b12942d0403-2133x3200-jpg","8a474bd0d4b4","image-d94f5aa5a6c8add6b6aa871450fbcf98cdb2101f-3200x2133-jpg","eed5e5e41757","33698d60d645","d107b357fd04","Florian Meisenberg. The idle idiot, 2021. Oil on canvas. 24 × 20 × 1 ¾ inches (60.96 × 50.80 × 4.45 cm). Photo: Dario Lasagni.","f8710192da0c","483ab75f9fca","image-ee3825d4d87ca862259af4dd6c0575ad1d29bdeb-1742x2000-jpg","fc4d30873c67","Florian Meisenberg. Untitled, 2021. CNC-routed permanent marker and oil on canvas. 24 × 20 inches (60.96 × 50.80 cm). Photo: Dario Lasagni.","d330c8fdff12","ad8d0a5dc285","175de6acf6fc","0124194d2df6","4eb772c1fb12","ed1fdadd071a","562e63f775ad","deca3f0a97fd","6925a66512a4","6fff7e031125","Florian Meisenberg. A story is always told into two ears, 2021. Iridescent acrylic, airbrush, and oil on canvas. 108 × 216 inches (274.32 × 548.64 cm). Photo: Joerg Lohse.\n","b7b157b59b94","Florian Meisenberg. Aquaphobia\nIf you unfold a skybox you end up with a cross rotated 90 degrees to the left.\nA horizontal cross. A horizontal cross is a method of creating backgrounds to make a scene look bigger than it really is. When a horizontal cross is used - the sky, distant mountains, distant buildings, and other unreachable objects are projected onto the crosses’s faces, thus creating the illusion of distant three-dimensional surroundings., 2021. CNC-routed permanent marker and oil on canvas. 16 × 12 × 1 inches. Photo: Dario Lasagni.\n","bf26221ff464","5c672c801ea2","340ef80f08e3","Installation view, A story is always told into two ears, Simone Subal Gallery, New York, 2021. Photo: Dario Lasagni.","e2ef11bf9a70","ff835b7b3551","4be5c9c5089c","Florian Meisenberg. six queens in my backyard, 2021. CNC-routed permanent marker and oil on canvas. 28 × 22 × 1 inches (71.12 × 55.88 × 2.54 cm). Photo: Dario Lasagni.","d4fc5f9e418d","e91367a43adb","image-5f43d68d698c6aaab896689b144b5e56253deea9-2290x1524-png","25ae437ea5e0","The Adulterous Woman, Self-portrait as a Glass of Water","9b1cebcffbd0",", Avlskarl, Copenhagen, 2020.","6370dd06191b","b013f164de11","4b406b62b8c1","Florian Meisenberg. l'imperatif sociale (nudity, substance, language, smoking), 2020. indian ink, airbrush, charcoal and oil paint on canvas. 60.24 × 47.64 inches (153.01 × 121.01 cm). Photo: Dario Lasagni.","aef346a9144f","54490eadeff1","1523ad01c378","image-2b1c359600d6e3245a239e44d82b5a0c551db7d3-2088x2784-jpg","7ISMcBaq","Florian Meisenberg. Preparing for my TEDtalk: The launch of your lounge At the Lounge of your mind In the Mind of your Lounge At the launch of your mind In the midst of yourself In the back of your head. (\"I used a mid-size, medium-dry brush to create this effect\"), 2020. acrylic heavy impasto gel, oil paint, airbrush on canvas. 84.6 × 84.6 inches (214.88 × 214.88 cm). Photo: Daniel Terna.","9GbwnRlR","u7YNcmdA","image-dd6e08b6d78c8704e210bfce1115636679fbdc27-1903x2100-jpg","image-5b735f44d3bbabbf3415951bf3cd3a698129a188-2088x2784-jpg","d46e74b1cd39","Florian Meisenberg. Untitled, 2020. Indian ink, airbrush and oil paint on canvas. 151 × 138 cm (59 ½ × 54 ⅜ inches). Photo: Dario Lasagni.","9bc96496da64","f97feca46ece","image-574d854bbaac41a26a2d657288171bc2f2284727-1576x2362-jpg","LUnuaZ0R","Dc8qy8LN","Florian Meisenberg. \"Here in our own dream, we can do whatever we want, with whomever we want, we can be whatever we want whenever we want, we can look however we want and think whatever we want, we can say whatever we want, and smell however we want, we can vote whomever we want and we can buy whatever we want, we can cheers to whomever we want and we can post whatever we want and we can dream whatever we want.\", 2020. oil paint, airbrush on canvas. 71 × 71 inches (180.34 × 180.34 cm). Photo: Daniel Terna.","mGTioYkO","vetSFkzM","ORs4D42j","oIA53CRW","Anna K.E., Florian Meisenberg. 45 Degrees Fahrenheit, 2020. CNC engraved Baltic birch, wooden studs, Mirror box and Video piece: Common Storage, 7min. 32 × 96 × 96 inches (81.28 × 243.84 × 243.84 cm). Photo: Dario Lasagni.","D4TmY3Qk","v1u6n3Bb","NCgUtIwu","OPehxGVT","GMEex0g0","u5o1P70x","Anna K.E., Florian Meisenberg. In the Pipeline No.1, 2019. 3D Animation 1.09 min., metal tube, holographic fan. 20 × 20 × 84 ½ inches (50.80 × 50.80 × 214.63 cm). Photo: Dario Lasagni.","iVuUteS2","po6jiUr8","P4Szyh7O","ajHoF9AO","image-a6c590275136dc36233fe1501be5cde17634ccff-4961x3315-jpg","Installation view, Jetzt! Junge Malerei in Deutschland, Kunstmuseum Bonn, Germany, 2019.","C9VsCD7c","Vlt7zWdb","image-904640e25061ac262fc30ea6babe825ec5e3b2fd-3543x2645-jpg","kPup2ka4","Installation view, Jetzt! Junge Malerei in Deutschland, Museum Wiesbaden, Germany, 2019. Photo: Bernd Fickert","I66sLxlB","QkvSmpVS","image-115c6dcc8b3846223107081ada50038dd23dbdc3-1600x1066-jpg","i7t3ZGRA","wRatkfNM","Y33WXF92","QR29QSnu","image-992348c5c968a468058251fdbfb318b9b1c0c6fc-1600x1066-jpg","V5BUfW1b","YyB01tnl","1f6674873ceb","image-235b9a1bf498eb681a2eb9f73cd9a0d256609c7c-1500x924-jpg","a783593765d4","ef44f4b22a30","0589cb9ac075","8bcb4887bd9d","c74c3b535e0d","99f90a1f6ba2","415a8823c78e","b652e2504281","image-2f0b20ca2fb92009ca373b478f4d5fbdcbdeb163-2748x2088-jpg","Florian Meisenberg. Day 2: The Boy in Blue, 2018. Oil on canvas. 24 × 20 inches (60.96 × 50.80 cm). Photo: Dario Lasagni.","c3db2d4cbc62","7b60bc0bc7bd","9a16f9a236e4","image-94bccb70e4bcc7cec4fea4e834957c68224fdb5c-1912x2549-jpg","8ffe4dfbaea2","image-a17fcd40a7b6134407492ec8e09256393259deac-2748x2088-jpg","e66815eec017","50b402cd616c","z3u3njbc","7TbAnuSN","sUMWcHyQ","image-3231695059e19c93f4c6ddf96d7a366a748d3641-900x684-jpg","27e127f70b91","eb044df061da","fcad36b36683","Florian Meisenberg. Day 6: Vampire's Kiss, 2018. Oil paint on canvas. 40 × 30 inches (101.60 × 76.20 cm). Photo: Dario Lasagni.","tZpAE7qh","4SJSNOsx","k3VK5w9D","image-8ad4247bd83c18523fec5715fc9ac0582060e278-900x684-jpg","WbCPgCXQ","Florian Meisenberg. In Flames Leaving Las Vegas (Sphinx), 2018. Cat: pigment printed CnC cut plexiglas, rear projection Topographical models: CnC cut MDF, transparent resin. 56 ½ × 33 × 26 ½ inches (143.51 × 83.82 × 67.31 cm). Photo: Dario Lasagni.","pUQ3IHbK","4bWoRUFl","image-c9a5802c8474fbcf96d8c4763f4e2eb5d69d5cbe-900x675-jpg","29jzhg3p","Florian Meisenberg, The Taste of Metal in Water, Ghebaly Gallery, 2018.","IZZ9e16r","lw5MMD0q","image-a992547505ed5507e39d400c023846e77b0719d0-900x600-jpg","image-bf0a0e6972065c9c569d5b4c901342434f6b17be-900x1350-jpg","36LoBmGe","HhyahX8T","Da5MWR8x","765sPUqF","2sUsIRGB","gEvE6xRH","image-5e6eacced4fef4581499e31a450f2209ed7bc9cf-900x549-jpg","obWbC2jm","image-b8a0185e9b725cd9202bc087e2f111504499cb89-900x1350-jpg","npNTNoQd","Florian Meisenberg. From the series: \"San Pellegrino (The taste of metal in water)”, 2018. Oil on canvas. 96 × 84 inches (243.84 × 213.36 cm).","6f9cdde53ef7","image-d1e35505ca3732c7ed49176fac702fd8e3d5dd6f-900x1349-jpg","3xxOCcK7","fYsHTX7l","Florian Meisenberg. From the Series: I don't think he knows how to turn on a computer (brief pause), 2016. oil paint, oil stick, and iridescent acrylic paint on canvas. 54.7 × 54.7 inches (138.94 × 138.94 cm).","m6aiAqNN","image-8c04bbf458033542eebaa1c8d063df4de58061d3-900x622-jpg","clBO1vxH","chV9eJZJ","Florian Meisenberg & Anna KE, Late Checkout, Signal, New York, 2016.","P1RfPvrP","XT6RFsM3","image-f4852c0ad85869e63f6502cbe37306a5c0d5b958-900x1349-jpg","Florian Meisenberg. To be titled, 2016. oil paint, iridescent acrylic paint, and airbrush on canvas. 72 × 58 inches (182.88 × 147.32 cm).","DE7xlK6W","eRNZcdf6","hdO2iwPP","image-d4b837228fd9302d20f2b184a2d3f5f7f8b37c3a-900x1349-jpg","Florian Meisenberg. Napoleon Complex, 2016. oil paint, oil stick, and airbrush on canvas. 72 ½ × 60 inches (184.15 × 152.40 cm).","jX1JLf6t","eW7ZIm9t","image-66559f32975ad33a989b88b81af41673048ee605-900x618-jpg","Florian Meisenberg, Schirn Kunsthalle, Frankfurt, 2016.","3KXoXmTp","RNhCeXuV","jtck3J67","Q3RYPmAD","16frGQJo","u17qMhMA","image-36bbd3602c94c9789260f3e0cf700fbdd4649968-900x651-jpg","image-9e9cda93c9b19234251c3c28834c7c2c88648d67-900x579-jpg","NiXxCzyF","KuqUuX35","At9XSCoc","image-4ebca94d3a2709861c11c1d0562c86b8943bcf60-900x600-jpg","WwQpmaKP","fE0CfHC8","9zDH8Tj1","image-5804b9fb2fc3c84dae0c6950b996de112d9b2fe6-900x600-jpg","DPzqrEvM","GU8A5cZz","9HaGwGLq","8uDEqJUL","33UOqdqC","brfaeb45","image-f933efb78666600762845050cfd06cf730f333c9-900x599-jpg","Florian Meisenberg, Being blonde with insufficient funds (transpirations of a virgin), Mendes Wood, Sao Paolo, Brazil, 2014.","0tq3YVVJ","Qxc4znO7","dlXL1b8o","image-905da5455b6f50fb601c1e5a035a692da573c0bb-900x449-jpg","4YJwconI","EopPhSh1","lKskrZNe","image-eb10ac9f4c9c992f09503c5cd1de129aa5e8d216-900x599-jpg","9AmVUeKG","image-2bf5647dd76a4d01028b65d9cb1f5f9942cd67b3-900x658-jpg","sr1rPxus","Florian Meisenberg, Delays During Transit: Tales of Early Prematurity, installation view, Kate MacGarry, 2013.","qeJj1MqE","Florian Meisenberg, Oh, Ah Rimbaud, Rimbaud, 2013, single-channel video, 3.53 mins, 2013, single-channel video, 3\" 53'.","kYxWxZBj","QDwm0r5J","0F0TkZyu","image-9b6bf2713d68da40ac4997d8ffb4b62d648ce305-900x504-png","AwpLwIgr","Florian Meisenberg, “GUERNICA MON AMOUR, GIVE ALL AND GET SOMETHING (POSTMODERN TRAUMA)”, 2012, single-channel video, 8'22\".","4zXPjH5B","tAGO0hnl","image-dc50b2975950f6144d11a9b371fdc5001678a9f5-900x506-png","o6oINoI1","7jUbXFip","Florian Meisenberg, from the series: Cosmic Experiences, 2011, oil on canvas, 245 x 200 cm","O0ph77WV","image-4c7682194e1c9002078e41e634ad1ba244b537d5-900x1350-jpg","image-28c831981bb0a8804561f83a96ec8903514cef14-900x670-jpg","Florian Meisenberg, Hairy Combs, 2011, oil on unstretched canvas, 215 x 290 cm.","FMgD2nw9","dR1vuHBA","lyBMZwRV","Florian Meisenberg, From the Series: It Was More Than It Was, 2011, oil on canvas, 50 x 40 cm.","VP2V2ipq","oHrMsCK6","AIlcCxwL","image-7bc9411c3a86a09638bd17f5dca82a64794069dc-900x1325-jpg","Florian Meisenberg ","florian-meisenberg","9e2e1accd8dd","3 Art Gallery Shows to See Right Now","2021-05-05","file-8f719d88b979f4f27cd5f121074dec1043dfd191-pdf","2021-05-13T20:35:58.484Z","97b3a68ecab0","Password Protected: Florian Meisenberg","https:\u002F\u002Fpioneerworks.org\u002Fbroadcast\u002Fpassword-protected-florian-meisenberg\u002F","2021-04-20","2021-05-26T14:57:26.361Z","Pioneer Works: The Broadcast","bb2e6bf9a6f2","2021-04-14","file-6e246828b29ba065ab5febb0fb2a1dedc058448c-pdf","2021-05-13T20:34:47.864Z","4e7f0f29f60a","TheGuide.Art","a61ed1dd0c1e","iYkBb6I9","Colorful Highlights From Frieze New York 2020","2020-05-06","file-e17b0c101ce239230d264a08b3d7a8d1d6bb04bd-pdf","98de50b4-4385-4bb7-83ab-df0b42976d6c","a4d6a5e5e253","Cool Hunting","IDhnSMr9","2018-08-01","file-75078b31adaa7cadf51f3d83ea63fa5374f26995-pdf","Bomb","2QWfIJio","file-02008e24fb7f60b490c9c8cb55481fbcb68a2d29-pdf","DTjTPljT","Florian Meisenberg: Wentrup","2016-12-01","file-f11bb66d240b449eb89e04940f36274d34ec1889-pdf","5xd4jq1L","From Brushstroke to Keystroke and Back Again: Six Artists Talk Contemporary Painting at the New Museum","2015-07-01","iqXEirUt","Florian Meisenberg Harvests ‘Digital Readymades'","2015-03-20","file-0ee7e4f51750bd5e1de346f5f972eae9fddb7fc9-pdf","408e4931c9be","file-31fef3f771251e36ec2c96605d1dc95f50d5616c-pdf","b417155d605b","Ar4RKMdt","LFJ2MJGx","Formal Affairs","file-3273feff408727ea772f996321269465a0704533-pdf","3JqzQLrP","2013-10-01","file-bb4aafff6fd6bce8193891f1c22effc5ec3517c7-pdf","f8f337941bdf","file-3388831dd3204cfdd957a4898a2f8ff3568d0a4d-pdf","10b797ef8f56","Modern Painters","Ln7suMwd","R39RrzOT","Magic Moments of Homeopathy Vol 2","2012-04-05","file-4bb4ca95dd649a57bb494266d83fcba132ea5fe4-pdf","Berlin Art Journal","115VCC5X","file-d4cb22eb12a818f8b8e256b737678913692140a1-pdf","TimeOut London","Q5ditDTD","The Absence of External Flames","file-a3ac87ce0e9e1b44c5592e685d1e443aaa491cee-pdf","Aesthetica","file-b5128ba7cb463d3d8e8d94d6638eb123702b62e4-pdf","The Guardian","ffQtOxQv","Artist of the Week 145: Florian Meisenberg","file-b8765e51782e6c333e85f7090a365856d4ed4391-pdf","AGdqZaRV","2024-01-09T20:47:12Z","Meisenberg","b942ec7403fe","Florian Meisenberg (b. 1980, Berlin, Germany) lives and works in New York and Düsseldorf. Solo shows include Ora et Lege, Broumov (2024, forthcoming), Kate MacGarry, London (2023, 2020, 2013, 2011); Simone Subal Gallery, New York (2023, 2021, 2020, 2018, 2015, 2013); Provinz, Bochum, Germany (2023); E.A Shared Space, Tbilisi, Georgia (2022); Kunstpaterre, Munich (2020); Avlskarl, Copenhagen (2020, 2017); Zabludowicz Collection, London (2019); Kunstpalais Erlangen, Germany (2019); Wentrup Gallery, Berlin (2019, 2017, 2016, 2014, 2012); Ghebaly Gallery, Los Angeles (2018); and SIGNAL, New York (2016). Selected group exhibitions include: Berthold Pott, Cologne, Germany (2024, Forthcoming); Kunstpalais Erlangen, Erlangen, Germany (2023); Margot Samel, New York, NY (2023); Insel Hombroich Kulturraum, Neuss, Germany (2023), Ruhruniversitaet Bochum, Bochum (2023); Educational and Cultural Center Broumov, Broumov, Czech Republic (2021); Wentrup, Berlin, Germany (2020); Jetzt! Junge Malerei in Deutschland, exhibition in four locations in Germany, Kunstmuseum Bonn, Museum Wiesbaden, Kunstsammlungen Chemnitz Museum Gunzenhauser, and Deichtorhallen Hamburg (2019); Künstlerhaus Bremen, Germany (2019 – 2020); Museum der Bildenden Kuenste Leipzig, Germany (2019); neue Gesellschaft für Bildende Kunst, Berlin, Germany (2018); Zabludowicz Collection, London (2018); Zeppelin Museum, Friedrichshafen, Germany (2017); Broehan Museum, Berlin, Germany, (2017); Zentrum für Kunst und Medien, Karlsruhe, Germany (2017); Neuer Kunstverein Aschaffenburg, Germany (2017); ICA, Philadelphia (2017); and Kiasma Finnish National Gallery, Helsinki, Finland, (2017).Florian Meisenberg’s work is part of the following collections Hammer Museum, Los Angeles, USA; Boros Collection, Berlin, Germany; Zabludowicz Collection, London, UK; Kiasma Museum, Helsinki, Finland; and the Sammlung Stadtsparkasse Düsseldorf im Museum Kunstpalast, Germany. In 2018, Distanz published Meisenberg’s third monograph with the title: SOMEWHERE, SIDEWAYS DOWN, AT AN ANGLE, BUT VERY CLOSE.","3a64355a0b9f0","61d501fee993","94e8a77b417f","file-f678362471584cec4f538cc71c2ad5d16055e74a-pdf","Florian Meisenberg - CV","ae208a2c5a95","37e84da8924b","1eafa26e7bac","4f08c92956a9","fc497f3c3c1b","cccb31185d03","e84956a763f2","974c2bda-d9d8-4d5d-a35c-2cc10a6976d9","2021-02-23T19:00:41Z","Howl","Mie Yim: Fluid Boundaries","image-27e6ab1d5c4cbeeaacf5b84a3f7abb0d99265105-1920x1080-jpg","Image courtesy of the artist, rodolphe janssen, Brussels, and Simone Subal Gallery, New York. Photo: Hugard & Vanoverschelde",.14,"New Kind of Sun","Sylvie Hayes-Wallace, ","Umico Niwa, ",3000,"Anna K.E.. ",.47,"image-7fb8bc8e6e473965c7bc5238ae2e3350dbff3065-3000x1688-jpg","image-b8a05855dbb91261ada0421043c473fc51630898-3000x1688-jpg",", Simone Subal Gallery, New York, NY, 2021. Photo: Dario Lasagni. ","image-e7003c00293d34bed459431f6de87f7aa96b9b95-2784x2088-jpg","image-e469bff2898a1d996a0436a596408640c179f708-2784x2088-jpg","frank-heath","image-74dc28d57be8c457fd9fd5ca1cadbb5cbecef382-1080x720-jpg","image-458bbdf8a31ce975f8eb110d3212f6fa7b74105c-2496x1872-jpg","image-2f1f290e043100097dff23efac20f8d472d48430-3200x1800-jpg","image-878f6bcc7b40509d804a95efb6fd45b7c906542a-5616x3744-jpg","Heath","957d2dae-6d73-40f3-8d01-1f54234249c5","Triple Canopy","On the Beach","Penny Slinger. ","Ten Izu. ","2021-04-30T23:18:16.045Z","Valerie Snobeck.","image-e7c7684319b5c8e841ba093838adb25cb1c1ad8f-1107x900-jpg","As Per This Course of Action: Willow Branch, Porcelain Under Glass",900,"Kathrin Sonntag.",", 2012 (still).","Lucy Skaer.","Us To Them IV","Rosy Keyser.","2021-04-23T10:25:07Z","598dd5e4f84bbbb62965753b44dfe92af46db67c",21.84,"#c4bc08","Simone Subal Gallery is pleased to present ","2021-04-23T10:25:13Z",.63,.09,6.98,"2021-04-23T10:25:14Z","2021-04-23T10:25:15Z","2021-04-23T10:25:18Z","2021-04-23T10:25:20Z",.17," lives and works in Queens, New York. Khan’s practice uses the lens of their own body to investigate and disrupt social and capitalist systems. Much of this inquiry revolves around the experience of both power and surveillance in public space. Khan translates these observations into formal and material artworks that intersect the constructed spiritual self, gender, and desire.\n\nKhan's High Line Art Commission, ",", 2023, is currently on view at the High Line Park until May 2024.\n\nRecent solo exhibitions include: Statements with Simone Subal Gallery, Art Basel, Switzerland (2023); Hirshhorn Museum and Sculpture Garden, Washington D.C (2023); High Line, New York, NY (2023); Georgetown University, Washington D.C. (2023); Contemporary Arts Center, Cincinnati, OH (2022); Moody Center For The Arts, Houston, TX (2022); Brooklyn Museum, Brooklyn, NY (2021); Simone Subal Gallery, New York, NY (2019), and Participant Inc, New York, NY (2019). Selected group exhibitions include: Elizabeth Foundation for the Arts, New York, NY (2024, Forthcoming); Am Schwarzenbergplatz, Vienna, Austria (2024); North Carolina Museum of Art, Raleigh, NC, US (2024); Kiran Nadar Museum of Art, New Delhi, India (2023); Sharjah Art Foundation, Sharjah, UAE (2022); the Wexner Center for the Arts, Columbus, OH (2021); NOMA, New Orleans, LA (2020); The Kitchen, New York, NY (2018); SculptureCenter, Queens, NY (2018); and Aspen Art Museum, CO (2018).\n\nKhan was also the winner of the recent docu-series \"The Exhibit\" broadcast on MTV, and Smithsonian Channel (2022).\n\nBaseera Khan’s work is in the public collections of the Brooklyn Museum, Brooklyn, NY; Columbus Museum of Art, Columbus, OH; Kadist, Paris, France and San Francisco, CA; New Orleans Museum of Art, New Orleans, LA; The Leslie-Lohman Museum of Art; Providence College, Providence, RI; Rose Art Museum, Waltham, MA; Solomon R. Guggenheim Museum, New York, NY; Whitney Museum of American Art, New York, NY; and the Walker Art Center, Minneapolis, MN.","image-0dcef7cd347052539bb4f9fcba08b5b20a3f637d-2000x1334-jpg","33c7ca1c-2340-472d-a80d-1c9e53058146","1aa41d3e-0a80-4c13-a232-a4c95c18b91e","ea660db1-b084-4dc4-b090-9577aa412172","https:\u002F\u002Fsimonesubal.us1.list-manage.com\u002Ftrack\u002Fclick?u=829a90f7ddaa926bcc5a953a1&id=65172fe672&e=1702da07fa","https:\u002F\u002Fsimonesubal.us1.list-manage.com\u002Ftrack\u002Fclick?u=829a90f7ddaa926bcc5a953a1&id=effb20fc2b&e=1702da07fa","https:\u002F\u002Fsimonesubal.us1.list-manage.com\u002Ftrack\u002Fclick?u=829a90f7ddaa926bcc5a953a1&id=775031e28d&e=1702da07fa","https:\u002F\u002Fsimonesubal.us1.list-manage.com\u002Ftrack\u002Fclick?u=829a90f7ddaa926bcc5a953a1&id=3f7305b747&e=1702da07fa","https:\u002F\u002Fsimonesubal.us1.list-manage.com\u002Ftrack\u002Fclick?u=829a90f7ddaa926bcc5a953a1&id=fbb38af8fd&e=1702da07fa","https:\u002F\u002Fsimonesubal.us1.list-manage.com\u002Ftrack\u002Fclick?u=829a90f7ddaa926bcc5a953a1&id=07e7dca5de&e=1702da07fa","Am Schwarzenbergplatz ","is a Vienna-based art space shared by\nthree international galleries: ","KOW",", Berlin","; ","LambdaLambdaLambda",", Pristina","; and ","Simone Subal Gallery",", New York",".\n\nAll three galleries have one thing in common: their Viennese background. Throughout the last couple of years, the gallerists were playing with the idea to join forces for a collaborative project in Vienna.\n\nPaying tribute to their hometown, "," is a 6-month project housed within the famous Palais Schwarzenberg. To accentuate the collaborative spirit, each of the 4 planned exhibitions will be curated jointly, presenting artists from each gallery’s program in every iteration.",11.26,"PR",.26,"St. Bacon","Appear and Disappear","So Young Park, ",", Simone Subal Gallery, New York, NY. Image courtesy of the artist and Simone Subal Gallery. Photo: Marc Tatti","Sónia Almeida, ",", The Study at Simone Subal Gallery, New York. Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo","Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Marc Tatti",", Brattleboro Museum & Art Center, Brattleboro, VT, 2022. Image courtesy of the artist, Brattleboro Museum & Art Center, Brattleboro, VT, and Simone Subal Gallery, New York. Photo by Erin Jenkins.","0edff90b-6324-4942-bf7a-595723faac83","image-31921348bc8ce32c0834b17d7d63856f43959a4d-1920x1080-jpg","image-189eed6ad2d2c2b3fdbd0ec14ff6661499ac7071-1920x1080-jpg","image-7eed87319c42e24929c5ac53cbedf0a6236995a9-2250x2212-jpg","image-7d357954fbf425f643d76979b7f6322cf439007c-3000x2250-jpg","homegrown #4","image-5a07e2d501e82c059cfbc1f8703f9140de5909ef-5760x3840-jpg","image-debbab49d82219db860b23816ac5deee79e983b0-3000x2250-jpg","image-13c0710f7532a989593d7cc412e20e825a235834-3840x5760-jpg","image-2e7d30a277b436c63699b8e26c821204e27d5da1-1640x2250-jpg","image-9ac6c0e9a4613a6ba38dd82ca185379df9b343b3-1217x2250-jpg","image-312360efd02c461f147e1a845714e758d8a6e82b-2533x1900-jpg","image-265217590dacb5531ed8c813702ac9e24f5a8a60-1966x2621-jpg","image-52a9866efe918e0c4156684f1708f81de687a32a-2779x2084-jpg","image-e52402c1881e0d5e6bd9633a75d8e364a4eb7ad9-2758x2068-jpg","image-10be7950e9138fb3fd658dd00b365604bab79d89-2016x2687-jpg","image-e2d8e8feb62ce13a164ee7fd108c9f8e46c9ce1e-2689x2017-jpg","image-a5ecd5ff28d6d21df8abc47185a275b562debb47-2728x2046-jpg","image-53a905d90fadc515ae655bc4002db7147327a94b-4096x6144-jpg","05164c73-4e04-466f-a570-d76d8158fe04","For your eyes only","Gonzalo Fuenmayor",", 2022. Oil on canvas. 49 x 41 inches (124.46 x 104.14 cm). Photo by Greg Carideo.","Davide Balula",", 2021 (still). 4KUHD Video. 15min 40sec.","2024-01-09T20:51:18Z","eQHvYp7u","Goings on About Town","2018-06-25","file-428a3e40f9c57df893a9b108a098fa678725ad4e-pdf","e7c1b3995c26","5H5Y9vf9","2017-03-10","file-7deb9ac4b5bc08af361f25d80756849de271226b-pdf","Lg1qjiWG","The Wire","2017-05-01","file-ecd3404e1bae2da102df056ab9be47f9facc56d9-pdf","HqV0IzAE","2017-02-28","file-c860a5c5898480c7b818d6018a2f15ae151971ca-pdf","2014-12-05","file-69e960ebbc3b4fd626da465f489043e8e894110a-pdf","c6f9456f6b0d","Art in America (Print)","S50VmhQ9","file-e58ef7c8319da069f74f2e6e4a356baba151230c-pdf","584290db71eb","Blouin Art Info","rWaDe94c","Reviews in Brief: 8 New York Gallery Shows to See This Month","2014-10-11","d72ce5658862","The Daily Pic","kNQsz4W4","Frank Heath’s Conceptual Alchemy","2014-10-03","file-464f8493e19e47a4b9db7ba3bf86269d30c4e855-pdf","file-5264b86efdda61a1092857284c49de15b8bc1c2b-pdf","9ca7091990a6","Art in America (Online)","ydMJZvhP","2014-09-18","V-Magazine","oGtHihWL","Work in Progress","file-a6fee3cdb493d37007be0181f98cfac1b8e25bf7-pdf","d897960a8c42","Artforum.com","yDSIW8B2","2012-04-11","file-1cef87a9828ceb7f06c579e2c49744d32ea9c47f-pdf","ES3nJ8Sj","Future Great 2012: Frank Heath","2012-03-01","file-d2e714dee4108e00766c20d3d2bb0f47c60fae1b-pdf","Frank Heath was born in 1982 in St. Joseph, MO. He lives and works in New York, NY. Solo and two-person exhibitions include: Simone Subal Gallery, New York, NY (2012, 2014, 2018, 2021); Swiss Institute, New York (2017); Art Basel Statements, with Simone Subal Gallery, Basel, Switzerland (2016); Frieze Frame, with Simone Subal Gallery, New York, NY (2013); Roots and Culture, Chicago, IL (2011); and Videotage Gallery, Hong Kong, China (2007). Selected group exhibitions and screenings include: Royal Albert Memorial Museum & Art Gallery, Exeter, UK (2023); The Lewis Glucksman Gallery, Cork, Ireland (2023); Museum of the Moving Image, Queens, NY (2023); Nottingham Contemporary, Nottingham, UK (2022); Maysles Documentary Center, Prismatic Ground, New York, NY (2022); Flint Institute of the Arts, Media Arts Gallery, Flint, MI (2021); Climate Changing: On Artists, Institutions, and the Social Environment, The Box, Wexner Center for the Arts, Columbus, OH (2021); Speaking Images, Fluentum, Berlin (2019); Vilnius International Short Film Festival, Vilnius, Lithuania (2018); Leuven Short Film Festival, Leuven, Belgium (2018); International Film Festival Rotterdam, The Netherlands (2017); Centre Pompidou, Paris, France (2016); deCordova Sculpture Park and Museum, Lincoln, MA (2015); Ukrainian Institute of America, New York, NY (2015); Bureau, New York, NY (2015); Mixer, Istanbul, Turkey (2014); Franklin Street Works, Stamford, CT (2013, 2014); High Line Art, New York, NY (2014); The Power Plant, Toronto, Canada (2014); Kitchen, New York, NY (2012); Simon Preston Gallery, New York, NY (2012); Frutta, Rome, Italy (2012); and Wallspace, New York, NY (2011). Heath’s films are distributed by the Electronic Arts Intermix (EAI).","3ca1a33b1536","1ec0e444339c","0c11bf511be8","707b42b26449","c55d72d4c8a6","file-f907c701e2df24a2cb5ef58c111a890684921440-pdf","Frank Heath-CV","be085dd85102","Frank Heath at the Electronic Arts Intermix","http:\u002F\u002Fwww.eai.org\u002Fartists\u002Ffrank-heath\u002F","2021-02-23T19:12:06Z","8aa6f24b7fd2","844d07489901","64e4ef6f48270",", 2021 (still). 4KUHD Video. 23min. Edition of 3 plus II AP.","64e4ef6f48271","38f03b5486f8","64ac06218167","d342c10e20d1","12ce681058e80",", 2021 (still). 4KUHD Video. 15min 40sec. Edition of 3 plus II AP.","12ce681058e81","8cd138313546","a663b592bfdc","e0144e64c298","7026704243fe","66461a806f3f","50ddceec9111","993eb2b4a1a0","6856df035aea","0d53762c6915","e7168a327660","1e249fecf78d","image-3ee2dd1d79f1fc069748e9ad5ce7e6029fe9c0e2-3840x2160-jpg","hMpYXvq4","Frank Heath. Path of Totality, (still), 2018. HD Video. 12:30 minutes.","50LTG178","8EnWFKvd","4lgBKAW4","8gKkdFSF","xO3DPWhn","image-a93593909c75ca44f101834374b02760d42619ff-1080x720-jpg","jEdHCh0w","6RcIEvUk","kCqAq1Xn","image-c8d39da79081b24d73a04f391aeeff8860fbbb1c-1080x720-jpg","d9fATYIE","image-82b299124868db20391e4d2fef37965a2914c2d2-3840x2160-jpg","Frank Heath. There Is Nothing Underneath The West Virginia Wing, (still), 2018. HD Video. 11:20 minutes.","9Zi9AeTG","S3amnnG4","jdXDodAA","Th0uZDGq","YBMcN6nE","9kIX7Z0f","nldHiI5e","Uod1q5jq","image-2872478f06d67f6690acea0d399e7e618e1bd3f1-1080x720-jpg","Frank Heath. On The Beach Ep 03 - Midnight Sun, (still), 2018. HD Video. 15:30 minutes.","BoeIS58P","NgEVn6iN","s6TIIbJl","ULgOBFUU","AhSOgmuL","AD7W09Lk","image-6657ae0b35f244964366b1a8a380b5d3e67d217f-1080x720-jpg","UbRTR55w","8wvo1LU6","ygpctGTt","image-a2e305d94b028d3b319e7722ccd7fc38ddab4be9-1080x720-jpg","91d8627867de","image-fecd90bbacf9642c79b22b013e2a9013f5a37345-5656x4242-jpg","b7d8f24f5793","b8021f2e465a","Installation view, Dialogues with a Collection, Laure Genillard Gallery, London, UK, 2018. ","ckxnf9pf","sCLKw8NE","pkoxOh0l","image-240e0a4390a80eb964e969ccc3c1abb0b4bbd830-1500x999-jpg","X9j93kRR","Frank Heath. War Pigeon, (still), 2017. HD Video. 13:45 minutes","uiXTzYNA","lYe6e9hG","image-0cc2dff55edde26a36be26fc5d8d75a5a7ac2a0e-3840x2160-jpg","NLllbd5B","sesf3Dls","09XJwyHk","image-6834bf59d6bef062285fbcfa04cb07f706f86332-1500x1000-jpg","OhGG5mW2","xcNLmL2j","tmU9xCqF","x1OUxKJk","image-a67aec668543f8365749ce4f5c240ac44db1afd1-1920x1080-jpg","lUXiI2GF","Still from: The Hollow Coin, 2016, HD video, 12:13 minutes.","LmbCnfpl","Z7O7iRl5","DmD1o3qq","Art Basel Statements, 2016, with Simone Subal Gallery","gga4GbWR","image-ea2e4a619f56394aee537b0d03606890e050e558-1440x960-jpg","AP8K70qj","image-c19214773eef0a5965c8c236deffe314c10da3f5-960x640-jpg","8GADKcmO","Frank Heath. 75 Broad St., Location ID No: 1000400094, 05.12.16, 06:04:32 PM, 2016. Archival inkjet print. 18 x 27 inches.","LcwrTL7f","DVHQkGg7","RyJq9cNb","tJkpyZXd","image-e30e68fa1733ec1ba37441eea38dc91fd2306bea-1350x900-jpg","Vk52dj5a","Y3vZb9n2","sCOorjeP","VvxCdvmR","T7rMF8gZ","Frank Heath. Production Drawing Backup Plaque (Twinkies Capsule II), 2014. Laser-etched stainless steel, aluminum, tamper-resistant screws, acrylic, plaquemaker's twinkies. 18 x 24 inches.","zCwiBErj","8RleTPYo","Frank Heath. On The Beach - Episode 1, (still), 2014. HD Video, 2 channels (unsynchronized), sound. 20:00 minutes. Installation variable, Channel 1, with Jesse Wakeman, writing by Frank Heath and Rob Slifkin.","7Bd3XdXE","j3GN05EO","image-47e6b57635fbbcd00563abc1809051e40da98461-1134x638-jpg","fkIHJ3pW","Frank Heath. Asymptomatic Carrier, (still), 2013. HD Video. 14:23 minutes.","E37BPLVY","19wrRmNC","akFVXqxT","image-5edd0e70ea9b19585d51cc8c6941b22f4f9f35fe-1170x780-png","1lMqXkar","Frank Heath. Wall Deposit Backup Plaque (Greenfield Daily Reporter. Aug 26th 2014, “Indiana High School Rodeo.”), 2014. Dye sublimation print on aluminum, tamper-resistant screws, box and packing materials, plaquemaker’s newspaper, backup plaque, backup screws. Plaque: 15 x 11 inches, cutout in wall: 30.5 x 22.36 inches.","PaEBd6GY","image-1874382d033ac56a932bde540223af5501f02dda-1134x756-jpg","RwKF4zHK","Frank Heath. Bcc: Fort Lafayette Island \u002F David's Island (Bed), 2013. Powder coated steel, photograph, postage. 74 x 24 x 2 inches.","UebHmPXp","UCaf3YQT","Frank Heath. Bcc: Fort Lafayette Island \u002F David's Island (Bed), 2013. Powder coated steel, photograph, postage. 16 x 24 inches.","HZ8NZkHE","2cCkQ4Lw","4GNuyYFD","image-b14703f1f1d25fb4e5682757b5bc8c4f5e666ecc-1134x756-jpg","Wivr3Avl","image-5b96f93bfd6ae53b6c3af87ab8015a07bec7bed2-7200x4800-jpg","AKKCmKL8","Frank Heath. Cenotaph For 1891 Centennial Time Capsule, Lyndon, VT 05849, 2013. Found scan of rock, polylactide resin print, photograph. 16 x 24 inches.","a0Xi6WmQ","Installation view, Post Holes, Simone Subal Gallery, 2012.","ceFYOS33","le3hEVkq","ZIRT7LAY","image-f0bec9aff0d94af8817fa861b51036f3c1fefc64-1350x900-jpg","BC8X7JuF","image-a0ceab144c5eed3cd5d49a25397c6d9db5becd42-1050x591-jpg","7e3qpCs0","Frank Heath. Graffiti Report Form, (Submitted to the New York City Department of Parks and Recreation 01.07.12), (still), 2012. HD video, 35mm and 70mm film stills transferred to HD video, original score by Brendan Meara. 51:00 minutes.","uj9DkaRa","Frank Heath. Former Structure \u002F Distribution Case, (City Hall Post Office, Broadway and Park Row, New York, NY 10038), 2012. Wood, paint, postage. 39 x 39 x 10 inches.","Rz0ba6Va","h5DsjPJY","gxXBQBzi","image-bc339379d291a9a24781f513a11d6d6478fdf19c-1500x1000-jpg","Frank Heath. Rerun \u002FDear Pat, (Daily News, February 28, 1972 \u002F February 28, 2012), 2012. 2 pigment prints, 7 ½ x 6 inches, framed: 13 ¾ x 12 ½ x 1 ½ inches each.","d0DLd5Gv","VlPH1Hz7","MCYA1JYT","image-c48898d9cd6cd4f926d112ab74d5419432ab9e04-863x685-jpg","9smoxFOJ","Frank Heath, Invasive Species, (still), 2012. HD video and sound, 11:30 minutes.","vUmdOSmN","UD0o4h7g","image-d5efa6d460e35883da71df6134b97b6fc25b812b-3840x2160-jpg","NEBOx11E","73R66RZB","Frank Heath. Fixed Window, 2011 (With B.J. Wooley). Slate, glass, recorded telephone calls, audio. 58:00 minutes.","zagICdeu","KzJA4QTPGWFTYSBa45ZKZy","94e668951811","25669c695e26","8cec665ccbae","Frank Heath: Blue Room","2017-02-17","2017-03-19","https:\u002F\u002Fwww.swissinstitute.net\u002Fexhibition\u002Fswiss-in-situ-frank-heath\u002F","Swiss Institute","3ce829dca697","2015-05-26","2018-07-07","https:\u002F\u002Fwww.canopycanopycanopy.com\u002Fseries#on-the-beach","342a632c6cf9","f11f8fa08124","1c672c00c6be",2.67,1500,"Emily Mae Smith","Installation view, Liste Art Fair, Basel Switzerland, 2015.","Anna K.E., Florian Meisenberg. Late Checkout (Part II), 2015 (still). Video, sound. 9:58 minutes.","E'wao Kagoshima. ",", 2019. Acrylic, chromatic prints, custom handmade silk rug pieces made in Kashmir. 31 × 25 ¼ inches (78.74 × 64.14 cm). Photo: Dario Lasagni.","#bcbcc4",", 2019. Oil on canvas. 41 × 49 inches (104.14 × 124.46 cm).","Joanna Piotrowska. ","On The Beach Ep 03 - Midnight Sun","It is with great pleasure that Simone Subal Gallery announces the opening of ",5.33,"Beaded Interludes\u002FVol. 13","Brian O’Doherty. Phases of the Self",", Kunstmuseum Liechtenstein, 2022. photo: Alicia Olmos Ochoa","Installation view, Simone Subal Gallery booth with a solo presentation of works by Brian O'Doherty, Art Basel Miami Beach, 2017.","Rope Drawing #123: Orange Crush, 2014 (detail). Acrylic paint, rope. Dimensions variable.","Installation view, Simone Subal Gallery booth with a solo presentation of works by Brian O'Doherty, Frieze London, 2014.","2017-02-01","Brian O’Doherty","Architectural Digest","2014-04-02","2014-03-28","Grace Weaver.","image-3e61f893376f7f2fe68356b07e12d7f168fc9d8e-4494x3112-jpg","Larry Bamburg at Simone Subal","2011-01-15","2007-01-01","residency","BurlsHoovesandShells on a Pedestal of Conglomerates",", Visual Arts Center at the University of Texas, Austin, 2017. Photo: Sandy Carson.","Bone Stack #8 Shown in Sweet Bluette, Frozen",", 2011 (detail).","Committing to the Idea that This Thing is Important. Outer Layer","Untitled (Variable See-through with wood accents)","Whistlers","Tomasz Kowalski. ","Erika Vogt",", and ","Who is it who, Who is it who, Who is it who, Who is it, What is it, What is it, What is it, What is it, Oh.....Baby, it's you! \u002F Who is it who, Who is it who, Who is it who, Who is it, What is it, What is it, What is it, What is it, Oh.....Baby, it's you! \u002F Who, who, who is it, Who, who, who is it, Who, who, who is it, Who, who, who is it, Who, who, who is it, Who, who, who is it, Who, who, who is it, What is it, What is it, What is it, What is it, Oh.....Baby, it's you!, 2015, triptych, oil and oil paint on canvas, 96 x 252 inches","Delivery to the following recipients failed permanently (I used to be with it, but then they changed what 'it' was, and now what I'm with isn't it. And what's 'it' seems weird and scary to me.), 2015, 2 channel live-feed installation","Diagram",1350,"Wall Deposit Backup Plaque (Greenfield Daily Reporter. Aug 26th 2014, \"Indiana High School Rodeo\")",", 2014. Cast aluminum. 30 x 30 x 30 inches.",3.44,"An image as the excoriation of a surface","An image as the _____ of a surface","Charles Mayton.","Lea Cetera","Derek Franklin","from series: give it all and get something (post modern trauma)","BurlsHoovesandShells on a Pedestal of Lava Rock",", 2012. C-print mounted on aluminum. 18.5 x 28 in, 47 x 71 cm.","False Security 1","Linda Matalon.","Graffiti Report Form","Reruns","image-598dd5e4f84bbbb62965753b44dfe92af46db67c-1008x776-jpg",.37,.38,.12,.28,.98,.18,"iamuslima","Bios","2021-02-23T19:10:03Z","e514a3f9c302","7321ce4098a0","293780ba8ee2","313b46e825e1","b2189efa3bd3","2d16e7867f71","6fd254102f6c","f7a50846a489","file-41704ee3bf5137b4573053524089360cd32b9df1-pdf","Baseera Khan - CV","2024-05-18T19:34:59Z","a6c251bf0431","image-4eae7cf8c40f9504edaf91d7a38de15b86371eaa-3952x5928-jpg","1b219cce0e46","d332d9ccf6f80","d332d9ccf6f81","d332d9ccf6f82","31f52dde6b91","97daf88730460","97daf88730461","97daf88730462","f9245c99672c","image-40a4ead8e01adeb1f7981261b2bd4197c1fd00c6-6103x4069-jpg","8865f1adb24b","Installlation view, ","a4b46e3c356b",", Am Schwarzenbergplatz, Vienna, AT. ","f74c9c08209f","48b2a7adf9c1","ee3ec41fe04f","bc7b22a5d2a9","image-3b9b112bc5ddf39c7c78ace87cd344031de1018d-1200x1680-jpg","851e52121e18","bfda0105f58f0","I Arrive in Place with a High Level of Psychic Distress (Moonlight Stone Crop)","bfda0105f58f1",", 2023. Framed C-prints, laser-cut acrylic, maple wood spacers. 33 × 24 × 3 inches (83.82 × 60.96 × 7.62 cm) (framed). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: GC Photography ","bfda0105f58f2","1ad62c0145ec","88f6f5eb50670","3efbaf5e7c7c","30be9c8218a5","image-0ae798c86cad7d6f92c96110a7eaf7d79b4a4d46-2000x1333-jpg","c9784f5e4700","106066503302","9dd8241c629d","The Rose",", The Lumber Room, Portland. Image courtesy of the artist, The Lumber Room, Portland, and Simone Subal Gallery, New York. ","4756d640a9fd","77bb2bd28108","The Protector, from Bust of Canons","64a710266a60",", 2023. FMD (Fused Deposition Modeling) 3D-printed acrylic, jacquard alcohol ink, artist’s hair, custom steel pedestal. Bust: 43 × 45 × 24 inches (109.22 × 114.30 × 60.96 cm); Pedestal: 30 × 18 × 18 inches (76.20 × 45.72 × 45.72 cm). Photo: Daniel Terna","483fcc35a0a4","0247a7ef909e","2f4806206c6a","image-94141fb123cdf0c2905306489a01d81f6676f41c-2400x3000-jpg","d05d00c3929d","image-e5981355f85046494300229388708f5f83451c4f-8033x5355-jpg","6c2ba7153fd4","17342e7e39f1","a2cbd51def5a","9945e2f3fae4","a90c60d62895","image-a59069a9607cef8cd5e2822a244de054ae20a278-7984x5323-jpg","eae2636e2cc2","image-01d2ebe88da7d37a1f70cfa02ffcfc107568bc59-4000x2667-jpg","2856ce8e1a3d0","2856ce8e1a3d1","2856ce8e1a3d2","876ab3d2072b","be4908815b52","f84d63de093c0","f84d63de093c1","f84d63de093c2","a6d80f6cc77d","63849ae538fc","9800c1073bc8","c95baf3dc9c6","e6e72c503523","b50b0e5d55c1","Femme F(r)iction","619819761a68",", C1760 at the Academy Mansion, New York, NY. Image courtesy of the artist, C1760, and Simone Subal Gallery, New York. ","1ff7baea1454","6c8fe0e787be","image-bb4dbee1a6912a1098d2b4c405261c1bb6a22cda-1600x1067-jpg","5ca78f79ee3e","image-1882e6a29502be094e99fafb733f64fc0777c378-5000x3750-jpg","6f43e14b20b3","Installation view, Baseera Khan: ","e46dea2f351a0","The Liberator, from Bust of Canons, ","9990aa1bda480","Hirshhorn Museum and Sculpture Garden, Washington D.C., 2023. Image courtesy of the artist, Hirshhorn Museum and Sculpture, Washington D.C. and Simone Subal Gallery, New York. Photo: Rick Coulby ","e0d023d1709b","f66726d930ca","e778cd4f03d6","445e4ca45d06","0106d457fbeb",", Seat 26 Purple Prayer Rug","77ecec9eeeaa0",", 2019. Pleather, prayer rugs, trimmings, polyester. 43 × 44 × 3 inches. Photo by Greg Carideo","77ecec9eeeaa1","d1d6638a1417","cfed9d18f00d","image-2f6d844a3a0fee03d7c3ee27157dffda533d7ff8-3000x4200-jpg","b5c99726c9ac","194f2515dcf0","3d35897e79b0","44ff53da4674","39d64cc999ea","image-c3db6bb076f7e585b36c864a2d2114f002aa38e0-1280x854-jpg","2907639bd685","image-954b3f2509dd19269d29b1a0d064d61a53753049-1280x854-jpg","ad29ceca8e8c","ca854bcb0410","d598f5da8c31","90062e8a91e9","6e5cf836a843","image-c1ef85486d1586aa7b877a7bcbd002d3c29db69a-2550x3300-jpg","3b16d250f079","48fe2b979180",", Green Shapes White Triangle","57b4792326b30",", 2020. Chromogenic print, metal chain, acrylic, wool hand-made Kashmiri rug. 24 × 18 inches. ","57b4792326b31","b6bdb95429b3","6099e07d8a6f","a44542ed3c7c","5a0b99adfe74","e153f734ffc0","image-b0dd9f216fa953b8cca3b1bedc23010788ecc0b9-2048x1365-jpg","caad42265cbe","b8651017acb8","b5a6e0a0317d","66be2cb51709","468c6f2a7ae6","image-8645616bfca7129eda02694f133fed09b5c7847d-2048x1365-jpg","0fdc6ef6487a","bce7717e54aa","09c78f5baaff","fd237bde91db","5e487903cd0f","1bd20e5834fc","71a070ae6281",". Second Skin, Column 1","c0ac294d2d870",", 2022. Plywood, polyester, and custom silk rugs handmade in Kashmir. 90 × 90 × 32 inches. Photo by Sean Fleming. ","c0ac294d2d871","0c024cc9b98e","image-d11f4e7cbba4fcbc4e05e33652d0a41a090e82db-2000x1333-jpg","image-387af83023d0d1ef1106635f3aac5b4e0678763a-4350x2899-jpg","8cc03fb1b6d4"," Texan: Part II","30fbc533aad5",", Various Small Fires, Dallas TX, 2022. Courtesy of the artist, Various Small Fires, Dallas TX, and Simone Subal Gallery, New York, 2022. ","6e746d3b8dfe","0db30a7b077b","68b854c8d55f","ebbdeaf0030b","image-b7361bcae40ca03f2f734b383087a6a021271f80-3840x5760-jpg","Installation view, Bajo el sol, Travesia Cuatro, Madrid, 2022. Photo by Pablo Gómez-Ogando. ","5a1e141e333c","Courtesy of:Simone Subal Gallery, New York and Travesia Cuatro, Madrid.","74cdea417581","7ed6f7477eda","https:\u002F\u002Fsimone-subal-gallery.nil-database.com\u002Fcontacts\u002F299928\u002Fdetails\u002F","fedc2524338c","83fbe6796777","Chandelier [Feat. Blue]","50e6b3c0dce30","50e6b3c0dce31",", 2021. Acrylic, insulation foam, wood, disco ball motor, metal carabiner, cotton, indigo dye. 60 × 60 × 60 inches (152.40 × 152.40 × 152.40 cm).","4b5708eaf50a","Photo by Greg Carideo.","7353b4529e22","965013d8ee06","94a1d1ae6b44","image-30dd98d61a6f27c7f39e5f6552134883b20cb0b1-3571x5000-jpg","656ed4390137","5f558fb4632e","a5fad6c835f1","image-cbea26b77886d3411eb0278d8fe6b9d04c92690b-7062x4912-jpg","f170898140c7","image-e3524c757415ca3fe404c57a89d9e81498583b45-2182x3000-jpg","f693dbe84d31","65a5327e1374",". Mosque Lamp and Prayer Carpet Green, from Law of Antiquities","2508d46897e00","2508d46897e01","image-88c11e870f5f6a1c461a748cc4c4803d59feda70-2400x3000-jpg","52f6a4d5a0df",". Pricket Stand Base with Light, from Law of Antiquities","a2f30fa14a5e0",", 2021. Archival inkjet print, artist’s custom frame. 20 × 16 inches (50.80 × 40.64 cm). Photo by Dario Lasagni.","a2f30fa14a5e1","eb3cf5524f3d","80a737e6cafa","image-ec080614128f33b4a14d4951b96ba1a797b127f3-4000x2670-jpg","9b539241d849","6962e8649532","29a0df9bd02f","cabf5e15a294",". Pricket Stand Base, Shaft, and Tray Pink, from Law of Antiquities","4ba7421972040","4ba7421972041","3e2fc528eb54","a9422d095190","image-c1ce7590f9514e52dba6a2f6ab3c458544df33c8-2400x3000-jpg","83d61105c303","b02ffee44bdb","166f237a7f79","image-f116fdfeddd8b19d50a1369c59ba1511cdcbc0b7-4000x2591-jpg","4107b25c8e9e",". My Family Seated","c9b4e5ac22930",", 2019. Archival inkjet print on paper with cutouts, pleather. 22 × 33 inches (55.88 × 83.82 cm).","c9b4e5ac22931","f1df418e0595","1e02f3750726","image-db627267474348c2f9f0a921aaa6d07a765e5a83-2743x2072-jpg","c2591c1c2e06","image-4b5f6e6cf1cc23b8c2f4732f13d241f433028d7f-5184x3888-jpg","62152303ebc9","e9afce500347"," In Place of an Inde","x","4b977edb1b0f","a993f52d9f47","47ac67bf778d","FotoFest, Husdon, 2021. ","300afea57a4d","Courtesy of: the artist and FotoFest, Inc., Houston.","5bae45a0cf84","2ea792d38ba5","Installation view, TEXTiles September 21 – October …, Bookstein Projects, New York, 2021. Photo by:Etienne Frossard.","3121cc660f19","a018b97208b7","image-263649833446329551effe317d0f5e366243142b-1584x1061-jpg","Installation view, Climate Changing: On Artists, Institutions, and the Social Environment, Wexner Center for the Arts, Columbus, OH, 2021. Photo: Stephen Takacs.","53a2e0894977","aa38faf30c2a","fde5d25a6a00","image-f2372edada3204d9cb5485c003f58e80113d4428-1920x1280-jpg","e1aa2c125705","89de4b9c5f86","Baseera Khan. I Arrive in Place with a High Level of Psychic Distress (Pink), 2021. Framed C-prints, laser-cut acrylic, maple wood spacers. 62 × 37 inches (157.48 × 93.98 cm). Photo: Stephen Takacs.","4b9b510eb22c","image-994490c333243daf48f5382a15d0343f388c615e-1062x1417-jpg","image-62c663d2ef32ab1b37e68c72306880486700c458-3028x4538-jpg","Baseera Khan. I Arrive in Place with a High Level of Psychic Distress (Blue), 2021. Framed C-prints, laser-cut acrylic, maple wood spacers. 62 × 37 inches (157.48 × 93.98 cm). Photo: Stephen Takacs.\n","1800aebbdfbf","c71bb1c6b64f","0f9ca4e43cac","223601c02055","image-43c5010242f8c8a9609c19aaebd4eb0a2551bc0e-6720x4480-jpg","Installation view, Baseera Khan, Lux Art Institute, Encinitas, CA, 2021.","bd307736becd","6883e516af2e","c09e95c9cce4","Installation view, Home Body, Sapar Contemporary, New York, NY 2021.","42431127021c","4668a09d05c6","image-08c2407777ea36a827a14aaf6bb9e5f38925a609-2519x1889-jpg","6d018debc262","Baseera Khan. House 1, 2019. Pleather, trimmings, photo print on cotton silk mix, gold grommets. 50 × 46 × 2 inches (127.00 × 116.84 × 5.08 cm).","a21995147cc5","1086c0899c6d","image-c9d0b5e72cbaeda4a6a97cd7df355becb548b37e-2088x2784-jpg","b302ff2c701a","image-020aafc16a50b8045faeac16fe3309b8da5e0bef-1500x2000-jpg","beb7d8eb8b1e","2d4bd8dd973e","032032c30364"," Baarwaada, the Oldest Walk",", 2019. Acrylic, archival inkjet prints, custom handmade silk rug pieces made in Kashmir. 31 × 25 ¼ inches (78.74 × 64.14 cm). Photo: Dario Lasagni.","dd259715912b","a5e6ed2a3c2c","da78e10d6db9","By Faith (Front Door)","ac61672fdb50",", 2020. 9oz Polyester Matte backdrops, grommets, wood, foam, muslin, microphone stands, selfie light. 78 × 72 × 15 inches (198.12 × 182.88 × 38.10 cm). Photo: Dario Lasagni.","d7dab78e9436","8d266d0a30a1","image-2982daf6ba53c62b6f31880230039fafddeac97b-1500x2000-jpg","image-8b0c161886670e256c4ed00d380445542658cbc0-1500x2000-jpg","4083232b876e","0e7b7002eb43","Receiving and Giving (Dining Room)","47598cfd1ce1",", 2020. 9oz Polyester Matte backdrops, grommets, wood, foam, muslin, microphone stands, selfie light. 120 × 75 × 14 inches (304.80 × 190.50 × 35.56 cm). Photo: Dario Lasagni.","53ee2dafdcbc","881da44d6cdd","image-f39f328a7bfcf18d551575e4559b741803789e66-1482x2000-jpg","6daebe650fc6","dd576668886a","Gold and Black (portals)","1667e43f099d",", 2020. Pleather, leather, c-print, grommets. 32 × 19 ½ inches (81.28 × 49.53 cm). Photo: Dario Lasagni.","9d1856e17da4","a4af6d021b22","5558a3026982","3cc44fa87cdd","24e9814752d9","8de44a4fed10","f9857fb73f26","image-e8d4829925df2f1f280253784080043516a4fbfa-1328x884-png","1e0fc2d4074e","image-e3b692e3ebcf9df5f607602287a28b467a37f942-2000x1333-jpg","3351082e12c3","bb183439881d","78142504640b","b54fc46b6d24","d7e6fe2cb5c3","image-262790901eb2f1c2df26fe7d659bc346af4fecc1-2000x1335-jpg","acf5838e2b85","SOUND OFF: Silence + Resistance","32ad46643471",", LACE, Los Angeles, 2020.","449cbfd592ea","f5727d562846","ae2653c4de1f","Radical Love","b4f9a88fe467",", Ford Foundation Gallery, New York, 2019.","5c2d912d5932","e7583fed97db","b56056f69f00","image-ac8e67e78bea2e067946bb3f7c5bd121e8880ec5-2000x1333-jpg","d366fe922d63","4c9d407b052d","d905e11d21ca","064eced7a2c4","35741a81ce9b","image-ffa8bbf06e5b327f5a6fa6f86adab5a41455c66e-1500x2000-jpg","2c3f8fb9ef52","f47bac44cae5","27 Jain, 2019","a00bc73df949",". Acrylic, archival inkjet prints, custom handmade silk rug pieces made in Kashmir. 31 × 25 ¼ inches (78.74 × 64.14 cm). Photo: Dario Lasagni.","a966254607bf","1ed6d2b03a94","53f146dcd030","c9420da1a86e","98ba06061fa8","8ec887a2879f","dbb8e592fa83","image-e2181b9a5ee40cfd753d8c52691c748e1ae633a9-2000x1501-jpg","image-0582cc52c8d0aa3de4716c58095fa7f868b91c0a-2000x1500-jpg","8884286f82f9","4c6e993ebf7f","504c4cb7d64a","af7659d4a3e2","e563cceb3750","f265463b2538","Column 4","08a13b2d4ba1",", 2019. Pink Panther foamular, plywood, resin dye, custom handmade silk rugs. 72 × 19 × 72 inches (182.88 × 48.26 × 182.88 cm). Photo: Dario Lasagni.","97779fba7b2c","00f845a12ded","6115178716a6","image-cfb174b550caf9703adcad1b845e0d728ce4fadf-1500x2000-jpg","image-2f2a66cabb9adc6634f9ee2d3f172279f0d9fbc4-2000x1500-jpg","b9e99f5240b6","f50d13d268de","576c8dc26943","7996c89e3269","fe8316d2a9db","1565895a6abf","image-733e5114516f28ffe4e088594e07e284d8f1b5ba-800x1066-jpg","e73faa813210","4c1902930a51","f4354afbd462","0b321a08168f","image-32b0da2b0a9758b126a48c060566ff34acbd6a5d-800x1067-jpg","081b9f9ec763","d2aa313db153","9cc01399d6c8","79379589e2a2","8ac1c32b868b","d663b11337c5","42b41b5f345b","Acoustic Sound Blanket 7",", 2019. Silk, felt, industrial sound insulation, gold custom embroidering. 94 × 85 inches (238.76 × 215.90 cm).","b8233d6f076e","e94c959f21c6","f2913c1ce09d","image-af9e1186f34a3900dd3f1f8759740956458a17a0-800x1067-jpg","image-3115701efd4119c4b26a82b66d39ab54ab9954bd-800x1067-jpg","572d2a1dfac7","b8db9f79e30f","Reflection","85476d29f997",", 2019. Two way mirror film, acrylic, chromatic prints. 24 × 18 inches (60.96 × 45.72 cm).","09a5eb3f0b72","103205b074f8","5c43a21e719c","image-94003e99b311aff755c836724b58d890f1b213d9-800x600-jpg","156f5d47167a","66b68503a964","561c8e422216","f80119fa727a","image-71de98d3a98ba7028e42ac1ab9f64bcba7bdc59c-800x1067-jpg","3bf262b62c20","f748b6014aa2","8dee5acb74f5","24a612f39ba6","4ec1571f3267","Text from ","03db1ef4b5ce","f081231b895c","49a51071942b","133953b60ca0","0178b7889e03","image-6d53f5964cd61278037ee6fb1190ba237aaa1d0e-800x434-jpg","f0e267a9a567","f0a1ce126631","6eb3f0f122e6",", curated by Allie Tepper, Simone Subal Gallery, New York, 2018.","19bb4f13775b","882fea2ca103","image-f3c2c30e48dc6814fa6384cd79427c0b26d29a3a-800x600-jpg","57eecfe5807b","Kneeling","2a9a6f70b614","bd7c6efb5921",", 2018. Acrylic, vinyl decal, chromatic prints. 24 × 18 inches (60.96 × 45.72 cm).","85c6364f67f5","c034e9a24abf","image-9408fafaffc835d05e1b6216feeed0b961ea56e6-800x1069-jpg","3a690c4aa098","The Unknown","77beba9533df",", 2018. Two way mirror film, acrylic, chromatic prints. 24 × 18 inches (60.96 × 45.72 cm).","983888c38865","b1ef91ae4885","5876320d5683","image-59658ff2249718af79d9708a15c12d5b7b600a6c-800x1067-jpg","ddef07f29829","3f766060596c","Rituals","a1d878195cde",", curated by Courtenay Finn, Aspen Art Museum, Aspen, Colorado, 2018.","49f6c96a12c8","b15f8833c471","image-07181db67ab1612bac08935eab5a9e99f958b796-800x600-jpg","d9e6c917b8f6","Long, Winding Journeys: Contemporary Art and the Islamic Tradition","989ae6db9955",", curated by Elizabeth Rooklidge, Katonah Museum of Art, Katonah, New York, 2018.","0ebc6ccd2cca","2591548966a5","d34c56eff92d","image-090b7f25d533a27f3986694809eb84c1497a4181-800x534-jpg","image-207142ea5902b047a0aff86a16bc98a2eed71389-800x534-jpg","5a2de93f7dc8","08641327b38e","Nike ID #2",", 2018 (detail). Nike ID Tag customized Nike Air Force One mid-top shoes.","080a849eda53","eabb2a6e9a81","1e817e1b8168","image-f404d1e43fcc21f31a360e65a16315d121915834-800x534-jpg","34eb838d63cc","d973851e4485","Nike ID #1, 2018 (detail). Nike ID Tag customized Nike Air Force One mid-top shoes.","9e3018ff78f7","a849be0378f1","df351358d38b","81e3a1e1bbe4","c32ae371d81b","a3b97531d75e","a3cbc47dae71","image-5da8fc34037001e39d634ca19f2b236ec4cebffb-800x626-jpg","45b0f982bde8","image-85bfc58c71dba7924edbf6232a9e5ec0d863f5b4-800x593-jpg","e22cd15bc440","41ff917b8b11","fea31bb28328","a64f041f2da5","1c7c99a63b89","84796c1e6677","Seat #7 [Feat.]","051fc5ad9647","06bd4cfcbc6f",", 2018. Prayer rugs, artist’s underwear, pleather. 42 x 45 x 3.5 inches.","bf8efdc86d9f","image-ec84642abdcb6a505bb5b3f32e28c13f3aeb1736-800x811-jpg","image-114e21f3f7c96e4d179b1af8ecfb69735ea1181b-800x563-jpg","Installation view of precious not precious, OSMOS Address, New York, 2018.","ea740704f53f","dbb40be4ffd6","174822cc406b","image-92eeb2b85e60646604e12b3cb79f116b6caee100-800x1036-jpg","5a1a7bb3e0d2","ee62d113bcdb","d600b62f25c9","Seat #10 [Feat.]",", 2018. Pleather, artist’s underwear, prayer rugs, synthetic hair, 52 x 54 x 3 inches.","fda1cdaca9a1","82a3bd1463fd","768a70ced182","image-afdd16edac10a4d22ddaf122204df11ac645bcad-800x1068-jpg","27ebbb11ad2e","Seat #11 [Feat.]","17197eca7f650","17197eca7f651",", 2018. Prayer rugs, artist's underwear, textiles, pleather, metal chain. 57 × 49 × 3 ½ inches (144.78 × 124.46 × 8.89 cm).","4cf627e55e23","81e297d4d794","Installation view, iamuslima, Participant Inc., New York, 2017. ","f1d1f12aa1cf","e8142af81c4f","image-2908c25f5fdc3a0f03b737da7f4f2896e9faa712-800x489-jpg","c0179f570cd7","Braidrage performance","2b465e3dec940",", 2017 – ongoing. Performance. Duration variable. Photo by: Maxim Ryazansky.","2b465e3dec941","9696c861b0f5","a4bbe7a04436","image-05639f1f09a2ba4e8703d4c2bc3befd9d2b05a1b-800x1332-jpg","c3824633e135","575c5ed5f218","3ef10da64c4c0","3ef10da64c4c1",", 2017. Indoor rock-climbing wall made from 99 unique poured dyed resin casts of the corners of the artist's body. Embedded with wearable gold and silver Cuban chains, hair, and hypothermia blankets, Harnesses made from climbing rope braided into chains, charcoal, large synthetic and real hair braid. Dimensions variable. Photo by: Maxim Ryazansky.","7091bff66d19","image-c8ee40693cd1110a3ce42cf17461b0c69a8f29a3-800x1068-jpg","f4f3add0684b","7defecc3cce1","ce007b480924","9d71501ef179","f4bd04990061","image-e2c4e0f8674f2188cc1da3b48050398e62e9719d-800x1198-jpg","1e45ec2bd76e","5ab113689c05","4da241f3102b","e01b9badfe47","77b9670c1b7d","image-4f398c3e924245938dd5355f47176804af8b315f-800x599-jpg","image-7690ccadc7553cc97d62d83e5936fb8bc10e681e-800x599-jpg","921919f8239e","076b7591da5e","1453750df6f2","image-83e5aa103125f006d6ccbadb34bbd4ca14c477ec-800x599-jpg","0089a4a4b9ba","04492708810f","5bac8bac7cde","5bb47ec131dc","8e5aa6f443a3","227685a5bb0a","image-86ab7e9fa92bc2d3fcef14fb9aac26d90c4923ab-800x599-jpg","bd04af81b282","d510743dcc410","Fasting (30-day fast by the lunar calendar)","d510743dcc411","44a506a81abf","8c2e65f94f24","image-01d4f290c9e0246b5eb98fcaa8e631ef4e892049-800x947-jpg","dd7251316297","image-664bf9bd128a37db98f99a81b3b3a58bfd1ca201-800x602-jpg","43d28ea11dd7","1f67b0d31b55","image-89cb5afb74a5f67893b37469bcd2c65fca075b26-800x928-jpg","79c22c5bc1d6","60ebcd4ea354","Pilgrimage (visiting the Kaaba, which is adorned in black cloth as are so many practicing women)","f8895d203b7f0","f8895d203b7f1","4fd4ed112fc6","523b41f93c06","28c565f5500c","13c0989a8103","image-5567ad2d1f3b2a2fd4662c677461dddf68564f8e-800x1068-jpg","Khan","The San Diego Tribune","f4769c6031d5","Artist Baseera Khan on searching for meaning and identity","https:\u002F\u002Fwww.sandiegouniontribune.com\u002Fentertainment\u002Fvisual-arts\u002Fstory\u002F2021-05-02\u002Fartist-baseera-khan-on-searching-for-meaning-and-identity","2021-05-02","2021-05-26T15:03:59.863Z","2021-04-13","2021-05-26T15:07:02.762Z","The Lantern","b9c354e8cd47","The Wexner Center for the Arts Held Discussion on Public Safety and the Public Health Crisis of Racism","https:\u002F\u002Fwww.thelantern.com\u002F2021\u002F04\u002Fthe-wexner-center-for-the-arts-held-discussion-on-public-safety-and-the-public-health-crisis-of-racism\u002F","ce71ea1176fd","How to get well amid deeply embedded inequities","https:\u002F\u002Fwww.columbusalive.com\u002Fstory\u002Fentertainment\u002Fhuman-interest\u002F2021\u002F04\u002F12\u002Fhow-get-well-amid-deeply-embedded-inequities\u002F7192251002\u002F","2021-04-12","2021-05-26T15:12:47.814Z","Columbus Alive","2021-05-26T15:14:35.510Z","KBPS","6143f7b4fa7c","San Diego Weekend Arts Events: Baseera Khan, Flower Fields Theater, Dances To Strings, ‘Hype Man’ And Wood Type Prints","https:\u002F\u002Fwww.kpbs.org\u002Fnews\u002F2021\u002Fapr\u002F08\u002Fsan-diego-weekend-arts-baseera-khan-hype-man\u002F","2021-04-08","ccb7e14a31cc","Art Review: Climate Changing: On Artists, Institutions, and the Social Environment","https:\u002F\u002Fwww.columbusunderground.com\u002Fart-review-climate-changing-on-artists-institutions-and-the-social-environment-jr1","2021-04-07","2021-05-26T15:13:51.848Z","Columbus Underground","Elia Alba, Baseera Khan, Sola Olulode, and Maya Varadaraj: Home Body","https:\u002F\u002Fbrooklynrail.org\u002F2021\u002F03\u002Fartseen\u002FElia-Alba-Baseera-Khan-Sola-Olulode-and-Maya-Varadaraj-Home-Body","2021-03-01","2021-05-26T15:08:53.253Z","e598ae58db03","file-e5fc521dc746659bddfd8b78605d681630787284-pdf","2021-05-13T16:06:59.070Z","Kitchen OnScreen","2d30c6616374","In Conversation with the Cast and Crew of “By Faith”","2021-02-01","Reconstructed Mag, Vol. 2: Bodies","1241eb074129","file-2567af08e3da7e7a7c95e5f70bf38cb6f6b05677-pdf","2021-05-13T16:14:02.588Z","ea350f4b65ff","7d0c84fa3993","Brooklyn-Based Artist Baseera Khan Awarded Brooklyn Museum’s UOVO Prize","2020-12-07","file-f48daf0a6fe1ab2b4f10da896a21f48323c4202f-pdf","2021-05-13T16:15:43.914Z","Brooklyn Reader","d3f50701ee84","Baseera Khan Wins Brooklyn Museum’s Uovo Prize","file-47a14f33177e85a560b6978884c3677bfb8598b1-pdf","2021-05-13T16:16:34.832Z","Baseera Khan Awarded Brooklyn Museum’s $25,000 UOVO Prize","file-0bdfb60e9f3d8fe3c0fbabea82ef0e1b3e263804-pdf","2021-05-13T16:17:14.373Z","3177aa3b7716","a22557b6e9e5","The Kitchen’s new residency programs: Autumn Knight at 512 West 19th Street and Baseera Khan at Queenslab","file-431cc7969cdc976e00eb5fc698b8f0299a8e405f-pdf","2021-05-13T16:17:55.197Z","2021-05-13T16:19:34.438Z","09323efaeae2","69be7a02b9ad","2019-12-12","file-feb69235a14191fcc68994925be3f011c83b43ce-pdf","2021-05-13T16:20:40.511Z","f522d519c31a","464a9c987452","2019-12-11","file-c7d102f6374a0045d5cf4f2133de6fa072d7d223-pdf","file-f88a1cc0d86487605f9a7aee5c15e75089a23153-pdf","2021-05-13T16:21:17.012Z","e378f4509608","4Columns","a28d3293010b","Baseera Khan: In snake skin, the tricky quest for meaningful transformation","file-e3b7921678ad6a946436363467162b010d8883bc-pdf","2021-05-13T16:22:49.322Z","201371c2b2e3","Time Out New York","41c2be1196b8","ca7aa1d2a8ec","Baseera Khan’s Vivid Anti-Imperialist Odes","2019-12-04","file-e24f0015dc61e2a23be5ab756f209d7699672d63-pdf","2021-05-13T16:23:27.043Z","88bb435ecac1","2019-11-20","file-b2ec86b28ea809d7872d92b78fdf0e0ff577d2dc-pdf","2021-05-13T16:24:01.163Z","4597e0d66128","f2a0188f106c","Goings on About Town: Baseera Khan","2019-10-31","file-86215a90f39c726bd6b30f59ae810fde9ec812ab-pdf","2021-05-13T16:24:50.219Z","Flaunt","51e7a18857d1","Wu Tang x Absolut Art Exhibition","2021-05-13T16:25:34.159Z","Observer","2b39117b36dd","Reflecting on What It Means to Be Muslim Today, 8 Artists Share Experiences in a New Exhibition","2019-09-10","file-7eb4b8f3965303c4373b564bc9dc0e288c369f41-pdf","file-7a8d602ad6ff04c65506dfddb5d72e89300601b6-pdf","2021-05-13T16:26:48.731Z","05e43f5a6aec","A Sound-and-Art Show Fills a Void for Muslims in Brooklyn","2019-09-09","file-6d2abcea87ba44cb2912d1f6d4c8dea1db8af9f7-pdf","2021-05-13T16:27:21.084Z","a8b4988d039a","Rico Gaston and Baseera Khan","ff26f7863287","New York Galleries: What to See Right Now","2019-08-07","file-3819f467af4208e10eb81ecbcb270993466b21ba-pdf","2021-05-13T16:28:42.569Z","Rico Gatson and Baseera Khan: Free to Be","file-f43ba53613a6d55486df656e53c69f539fdf4483-pdf","2021-05-13T16:29:27.781Z","f80e96fe806a","2019-05-31","file-88d4aa64192dd8d263ec126f5784511a2541c378-pdf","2021-05-13T16:30:23.368Z","Artnet News","fb789badb726","Settle Into Summer With These 5 Shows by Some of Our Favorite New Emerging Artists","file-cfaca0bc7d62ecb04e9fef28afcd54706f9727f8-pdf","2021-05-13T16:31:15.504Z","2fe5a2ef538c","Spring Gallery Guide: Brooklyn","file-86081d1159af732724030a5904be970e9f8f0d22-pdf","2021-05-13T16:31:48.503Z","9c0d7bf93eab","The Offing","23b7b6774ee3","Not For Everybody: Baseera Khan, Gloria Maximo and Hadi Fallahpisheh","https:\u002F\u002Fbrooklynrail.org\u002F2018\u002F09\u002Fartseen\u002FThe-Racial-Imaginary-Institute-On-Whiteness","2018-09-04","2021-05-13T16:32:39.817Z","b911cb8da111","The Racial Imaginary Institute: On Whiteness","2021-05-13T16:34:41.139Z","VICE","456c78f9ffb6","The Artist Creating a ‘Karaoke Spiritual Center’ to Explore South Asian Identity","https:\u002F\u002Fwww.vice.com\u002Fen\u002Farticle\u002F9knj87\u002Fthe-artist-creating-a-karaoke-spiritual-center-to-express-her-queer-muslim-identity","2018-01-22","A Showing of Art World Solidarity on Inauguration Day","https:\u002F\u002Fhyperallergic.com\u002F354906\u002Fa-showing-of-art-world-solidarity-on-inauguration-day\u002F","2017-01-30","2021-05-13T16:35:42.169Z","c2b1adf4cdae","85c81858088c","Climbing Generations of Trauma and Muslim Heritage: Baseera Khan’s “iamuslima” at Participant Inc","http:\u002F\u002Fartfcity.com\u002F2017\u002F03\u002F28\u002Fclimbing-generations-of-trauma-and-muslim-heritage-baseera-khans-iamuslima-at-participant-inc\u002F","2017-03-28","2021-05-13T16:36:46.275Z","ArtFCity.com","https:\u002F\u002Fbombmagazine.org\u002Farticles\u002Fbaseera-khans-iamuslima\u002F","2017-03-31","2021-05-13T16:38:03.441Z","5e7d74bc89a3","Baseera Khan’s iamuslima","2021-05-13T16:39:49.162Z","7c5e0e95401d","2017-05-26","file-13f6e775d5ca7990981aca1d9add6ac3f7784a05-pdf","2017-08-01","file-246f9c19351b345b7b854c7c801a387674bba4b7-pdf","2021-05-13T16:40:26.967Z","e4f4e6f71dbb","https:\u002F\u002Fnews.artnet.com\u002Fart-world\u002Femerging-female-artists-2017-766571","2016-12-21","2021-05-13T16:42:10.595Z","ArtNet News","e47b8b3e01bc","14 Emerging Women Artists to Watch in 2017","2021-05-13T16:43:23.247Z","044cf8336064","Artist Profiles: Baseera Khan","https:\u002F\u002Fbombmagazine.org\u002Farticles\u002Fportfolio-28\u002F","2016-06-09","baseera-khan","evnB8La7ACSTNADuAImT4Z","478a6253d896","70df85431eb0","68dd31dd3986","8e10a7fe-8181-44ea-a081-85b5ed5c713b","https:\u002F\u002Fwww.thehighline.org\u002Fart\u002Fprojects\u002Fbaseera-khan\u002F","High Line Art, New York ","a5be606e1c76","Painful Arc II (shoulder high)","2023-06-07","2024-05-24","https:\u002F\u002Fmoody.rice.edu\u002Fexhibitions\u002Fbaseera-khan-weight-history","Moody Center for The Arts, Houston, TX","d68939bcca1f","2022-06-03","2022-08-27","2021-10-01","2022-07-10","image-b3bc3700b7bd327fcd288a59c3e06dc25bf0eb3c-940x1565-jpg","https:\u002F\u002Fwww.brooklynmuseum.org\u002Fexhibitions\u002Fbaseera_khan","Brooklyn Museum, New York, NY","652b9c5060d7","I Am an Archive","6adeb182085b","6d15df8a3acf","2a6074b91ea3","a5ec08d2-9388-4dba-bff1-f7e64c336ed9","image-22db43f98d1da4891a75e6b862dd5e0b13d50d72-2889x2310-jpg",.39,"Nova Jiang, ",", Simone Subal Gallery, New York, NY, 2022. Photo: Greg Carideo ","Probability",", 2021. Oil on panel. 14 x 11 x 1 inches. ","Nova Jiang: Markers",", Union Pacific, London, UK, 2021. Photo: Union Pacific. ",8.03,"image-ab15fb660ebc700f0dfb87a26e43bf44baab7150-1858x960-jpg","images","image-9df1b65bfbda11472b9b6575e44efe3509277cf3-3840x2160-jpg","image-50cca43c496a8e31ba84a4b3c9f89864a16dd2a5-3771x2529-jpg","\n\n",", 2024. Ink, crude oil, acrylic, and oil paint on paper. 52 1\u002F4 × 36 inches (132.72 × 91.44 cm); 57 1\u002F2 × 41 1\u002F2 inches (146.05 × 105.41 cm) (framed).","Baseera Khan,","image-e4824b9e0788c15820c2a08c2ad4cc6ff53d7cf2-3067x920-jpg","image-041326a60281c8d7ee2d7f40534fccbd48db83c6-2737x1143-jpg","Dominick Di Meo","image-b8e8697b738d9e5d3cf89d62814238fb92e3ce35-1544x717-jpg",", Am Schwarzenbergplatz, Vienna, 2024. Courtesy of the artists and KOW\u002FBerlin, LambdaLambdaLambda\u002FPrishtina, Simone Subal\u002FNew York. Photo: kunst-dokumentation.com \u002F Manuel Carreon Lopez","Images ","tenterhooks","an echoing corridors","Masaya Chiba, ","Ernesto Burgos, ","Luciana Maas, ","image-70db2d5cfb0f5bc3825820da9f4a49513041180d-2216x1527-jpg","Ambidexterity\u002F Ambidestria","image-581a863a0ac177fb438220bdf9eb7213513febc2-2000x720-jpg","– Moira Sims",", 2023. Oil on canvas. 29 1\u002F2 × 25 inches (74.93 × 63.50 cm) Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Paul Litherland",720,"image-d6289d6994f9bd478f94ae250bf921d157d47d60-2000x733-jpg",", 2023. Oil paint and marble dust on canvas. 20 × 16 inches (50.80 × 40.64 cm) Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo ","image-d779730cd6fdfa9706a80ff1b5cab5f456195f81-11399x8550-jpg","Sue Tompkins, ","Images courtesy of the artist, The Modern Institute, Glasgow, and Simone Subal Gallery, New York. Photo: Patrick Jameson","Paige K. B., ","Bronx Boogie Woogie","Belladonna","Mie Yim. ","Psychotropic Dance",", Olympia Gallery, New York, NY, 2021. Image courtesy of the artist, Olympia Gallery, New York, NY, and Simone Subal Gallery, New York.","PoYgyDaB4waDNjVqsAWdHb","cameron-clayborn","image-e5c04dbf7d34075fd296a2a66004e5cfa202098e-2000x1500-jpg","2021-02-23T19:11:39Z","3e080e37-2e78-4a1b-afa0-e6a1f6c14205","EhAf74rK","Spring Gallery Guide: Lower East Side","file-94aec546b49ba7cc901b69d63f5ad1d57733d607-pdf","f05661ae74e8","file-9730025a6a2543b053bd6cb0af034c8b132d4434-pdf","Sixty Inches","EPx9StTo","Intimate Justice: cameron clayborn","2019-02-11","92a510a8fed6","457dbb02f7a80","a3c60bb22dc1","aca6b1a48a05","e88346e8a3700","Reliquary #3","e88346e8a3701","e88346e8a3702"," , 2023. Bronze, dyed canvas, photo transfer on canvas, fiber fill, dyed muslin and wire rope . 45 × 10 × 8 inches (114.30 × 25.40 × 20.32 cm). Image courtesy of the artist and Simone Subal Gallery.","16ecb02ac301","image-3e8939a1ffdf3f33862d1fad119b800e3041d2a8-2000x2500-jpg","c5fa91584fb8","ce5ff9cd5276","portrait of papa & granny #1",", 2023. Colored pencil, upholstery cording, dyed canvas, photo transfers on canvas, and oil pastel. 24 × 18 inches (60.96 × 45.72 cm). 28 × 21 ½ × 2 inches (71.12 × 54.61 × 5.08 cm) (framed). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Greg Carideo","664932c54e65","8b5ddc1f80fe","d92825c4738f","image-899494d54877f3c57ba46d68d25bdaaf925f7a1d-2857x4000-jpg","9d5d7bed439b0","644980a28664","896dd86dad3d","caf15a5637ef","2d37f50587f0","ad3caa6283d1","7fc01716225d","a8eed7b3aebc","image-b780aa54d09c863ba03501c9bd78a610c338ca34-1500x1000-jpg","7b03a4759589","40cef478478f","cf3025391d62","cbd9a6a3d84e","7da0cf20b9ba","image-d10c7b2e19b11221e1f4ac44e8ac29dd166f04ac-1500x1000-jpg","d8bed16ed35b","c913da660b41","f7913b933722","9cb49b6002a2","42151905e879","image-753793c3c1c208dd837a6858727dde3dffd4d967-1500x1000-jpg","33cd26bdf0f0","image-ab2732cc3decd7acb6506d9e063dbe4820c2eeff-1500x1000-jpg","b53301ccd028","de55eb51b4d7","c1fc0513884c","298c73ffcbda","image-32bba59c3fdb7239458088ede88747823ef396ef-2000x2500-jpg","81197a220b2b","0fbc9981fd16","No Title,","09d25e0d14f6"," Chapter NY, New York. Image courtesy of the artist, Chapter NY, New York and Simone Subal Gallery, New York. Photo: Charles Benton","e8b01036947e","8e0fc24df9d5","be56481aa5a30","roompiercer (with a mended form) #4","071ac98b7fca0",", 2023. Bronze, dyed muslin, and wire rope. 8 ½ × 2 ¾ × 5 inches (21.59 × 6.99 × 12.70 cm). Photo: Marc Tatti ","071ac98b7fca1","d4c1aeb6c6fc","7bcc708dc7d2","image-b5b6b0622863ae8f8e4e3ddc2cf81e120f989cfd-7200x9000-jpg","92eab425f888","2fc4e6b7a6a9","cc71190aa453","9f661de2a3ce","11836354d6ee","641f4c561cfa","7854740c3961","03d9b88ed9b5","26180e56531f","9a879f62b078","69284058b5d3","7a0c2e20fac6","5575d5d8418c","c6f625880e37","c0d0da88b3bf","41d184b40a4b","d92ee5b36939","1cfcb87daa85","db054ab4c5fb","cameron clayborn. blisters #1, 2022. Dyed muslin fabric, fiber fill, spring clamp and velcro. 72 × 27 × 6 inches (182.88 × 68.58 × 15.24 cm). Photo by Grégory Copitet","3ebb3568afd4","d1b75b292395","image-c03f23b6ae34a6da4c1ae026f8e51b729957b4a7-4474x6704-jpg","Installation view, Simone Subal Gallery booth featuring works by cameron clayborn, Mie Yim and Baseera Khan, Paris + par Art Basel, 2022. Photo by Grégory Copitet. ","8d52c176f68d","28e18d306316","4f228c844787","image-acc7a084eed42be08a13ed7a6ac6246c66db8c13-5477x5477-jpg","de9cbad189a3","image-7fc140497e2b94a3cad521a4f5482ee72632d590-5234x3491-jpg","4d2183dc738c","a1a86a8e56cd","f8e2fbec9542","6c4262a2d3fb","8517a2589fef","cameron clayborn. blk water #2, 2022. Color pencil, dyed muslin and watercolor on paper. 11 × 15 ⅛ inches. Photo by: Thomas Bruns","adef7041f37d","71b159cdae4a","image-2a6ec7f89d36d926a10698d7079b2ffd9b49d2bc-3666x5498-jpg","image-015c25ed119455941fa178abfe15b56dd38d9730-5498x3665-jpg","54570e651d4f","d622038189ea","6e5b7084b5ee","a98f10a32827","e2df02646429","image-6d8d3bb27be46ca0c34f85ea9a0dcb2431b47669-4005x6005-jpg","1579fd22f75c","5483c2008860","cameron clayborn. an incubator, 2022. Dyed muslin, fiber fill, sand, wire rope and zipper. 59 ⅞ × 10 ¼ × 13 inches. Photo by: Thomas Bruns","fb0bdb6f314b","fb80b8d717bc","b363202bb87f","2ecb607c8ff20",". a large anxious stomach buried deep in the ground","2ecb607c8ff21",", 2021. Colored pencil, oil pastel and nails. 36 × 35 inches (91.44 × 88.90 cm).","f75df23737da","5452f510340b","bdf7273074a90",", 2022. Hair beads, insulation, paper, stucco ceiling paint, and wire rope. 138 × 5 × 48 inches (350.52 × 12.70 × 121.92 cm). Photo by: Olympia Shannon.","bdf7273074a91","0b3b434be2c6","b9c53115debe","234b2e86ca9a","d51bcfc83372","e1f384fd29eb","ae6860556416","image-6d3ddbce59cbd099fbe2225660704e47b7dc7603-1410x2250-jpg","04b9b85de42b","8255be9bd222",". self acceptance #3","f0f1e5f968520",", 2022. Colored pencil, dyed muslin, fiber fill, nails and velcro. 16 × 8 ¾ inches (40.64 × 22.23 cm)","f0f1e5f968521","8fa1e6326627","86970c47a644","920353047b420",", 2022. Dyed muslin, wire rope, fiber fill and sand. 60 × 4 ½ × 60 inches (152.40 × 11.43 × 152.40 cm). Photo by: Olympia Shannon.","920353047b421","33ff44795e0e","e0144a05051f","28b9db21156a","e4e349c7d98a","image-6350dfb6dd16706ea34381361261c6df47719c52-3122x4377-jpg","c831435d8703",". self acceptance #4","346be8107aa80",", 2022. Colored pencil, dyed muslin, fiber fill, nails and velcro. 24 ½ × 22 inches (62.23 × 55.88 cm)","346be8107aa81","75c5b2c19244","d8802186df24","74cefa3896fa","008ca1a504b20",". a cocoon swirling in mid-air #2",", 2022. Colored pencil, oil pastel, watercolor and spring clamp. 15 × 11 inches (38.10 × 27.94 cm).","008ca1a504b21","0463ee05dd66","86cf87fd025d","449c68591f0f",". to get dem evil spirits #1","37d720bcc73d0","37d720bcc73d1",", 2022. Face mask, wire rope, dyed muslin, and oil pastel, nails. 62 × 7 inches (157.48 × 17.78 cm).","19f1db46c5e8","c8b7f2f4365f","image-9802ec52575e8653bc621552034e2712f2a69d4f-3000x2000-jpg","Installation view, Entrainment, Someday Gallery, New York, 2021. Photo: Daniel Terna.","330e2ac4123a","c1238b6bf422","da10ed25deb4","74838e08efb1","Installation view, Simone Subal Gallery booth at Art Basel Miami Beach, 2021. Photo: Daniel Terna.","1e713c2061e4","fdbc9c492d70","image-675d7e1d94f6fd53351471dd784ab40102fe0534-3000x2000-jpg","614269fe991b","image-52cff72ef08c3ec00a88b4f66bedbdf1bb5005c3-2526x1896-jpg","51031ac10a6a","expansioncord #2","47390d784873",", 2021. Dyed muslin, denim insulation, hair beads, polyfill, sand, velcro and zippers. 29 × 17 ¼ × 63 ¼ inches (73.66 × 43.82 × 160.66 cm). Photo: Dario Lasagni. ","c8356860c546","eba3f20d9871","8ed45a79af5c","image-d7c7e726ebaedeb8f1564ef5440a5be65829db74-1937x3000-jpg","589f3b001b88","1857d5f47f28","homegrown #1","acaddec6cb6b",", 2021. Hair beads, insulation, paper, stucco ceiling paint, and wire rope. 95 × 43 × 3 inches (241.30 × 109.22 × 7.62 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Studio Shapiro.","ed97759696fd","c8ab9cad4d05","image-e53ae675d7b9bf59bdf4d4923ebf8d970ec9c285-2000x3000-jpg","59e537c68c1e","cameron clayborn. expansioncord #1, 2021. Fiber fill, hair beads, insulation, worn jean, and vinyl. Dimensions variable. Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Studio Shapiro.","2ceeef055afb","1f822345e96a0","90a503293855","image-906fe06098eea251890afc0b698a05a96b7e6d13-4225x6338-jpg","0f64c1348021","d28b090d77cb","homegrown #3","8c844abc578a",", 2021. Hair beads, insulation, paper, stucco ceiling paint, and wire rope. 78 × 28 × 5 inches (198.12 × 71.12 × 12.70 cm). Photo: Studio Shapiro.","25904af6b8be","1f97b5bca6b8","89489bcf1dcf","image-11e22ea5a0f06771af95501315e7d7cf52fba40f-3000x2067-jpg","d82f03a108f0","9dc0239f7cbb","47751e5c86b5",", 2021. Aluminum and steel. 5 ½ × 2 ¼ × 5 ¾ inches (13.97 × 5.72 × 14.61 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: cameron clayborn.\n","3aa953c50b89","image-a40c061bf6f6d107918c1434ab309ed240f8bd7d-3000x2000-jpg","29a83d6604e3","1bb9bac16495","b409593766d9","a2a83c6817c7",", 2021. Aluminum and steel. 2 ¾ × ¾ × 6 inches (6.99 × 1.91 × 15.24 cm). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: cameron clayborn.","ddc3a19a15ee","95507d9c9799","7d47d88342bb",", 2021. Aluminum and steel. 4 ½ × 3 ½ × 4 inches (11.43 × 8.89 × 10.16 cm).","cb8b465a9b8b","44f869f89cd7","cf06dba98e70","image-84ae72f3bd7cebcba998a713a97d3d8dce74dc94-2630x3456-jpg","095aae7c15c5","Tense Conditions: A Presentation of the Contemporary Art Collection","198bbcc4eda9",", Staatsgalerie Stuttgart, Germany, 2021. Image courtesy of the artist and Staatsgalerie Stuttgart, Germany. Photo: Staatsgalerie Stuttgart.","5f550bdd26c5","4c999d2c356a","609cadb9f17d","image-4b6d9c79b0bfde85b863420ec73c699d1ec5a923-3000x2002-jpg","f27eb4db3243","image-9d897ac15b44be61fdc7c6bbbcbf8c21fa8f3ceb-3000x2002-jpg","9f453cd6c04c","00bbbf6b3c67",", 2019. Insulation, sand, steel, and vinyl. 35 ½ × 12 ½ × 32 inches (90.17 × 31.75 × 81.28 cm). Image courtesy of the artist and Staatsgalerie Stuttgart, Germany. Photo: Staatsgalerie Stuttgart.","7355aad826e4","8bba8d78f993","4414dadc6ff9","image-8a4fc09a359fdd1cfedded68d3915c8675dffa68-3802x1992-jpg","6625e92e559b","0d0bd1422633","a father (exposed to light) #2","c1b95fe13475","6bdbd47f1d5c",", 2021. Colored pencil and watercolor on paper. 20 × 38 inches (50.80 × 96.52 cm).","image-9608e82fa4beb264620d3cc335d4a487db2d9739-3692x1972-jpg","1fcbff9ddea9","92e0347daad1","a father (exposed to light) #3","f7f71cc6af9c",", 2021. Colored pencil and watercolor on paper. 20 × 38 inches (50.80 × 96.52 cm).\n","1199f0d2d826","acf0cf338a01","bfe43a63dfba","image-1457afce53df0b7b1e3411a4a9df5838e88236b1-8256x5504-jpg","50202021a84b","1640fdecb1f5","Good to know",", Bradley Ertaskiran, Montréal, Québec, 2021. Photo: Paul Litherland.","355a98b3242d","68fb42b47e4b","e0d27a5e33ed","ffc48c61abec","cushioncontainercapsules","769e1e9e1889",", 2021. Photo: Jesse Meredith.","36a1b47be7cb","c1fac103c129","image-96187d5e381d65cae23d3d7d9c8644b5f2436d30-1281x1920-jpg","a7c4e2a4bf48","29c213ce8e66","cushioncontainercapsule","5efb43e75e05",", 2021. denim, fiber fill, sand, vinyl, velcro and zipper. 41 × 20 × 9 ½ inches (104.14 × 50.80 × 24.13 cm). Photo: Jesse Meredith.","e9a16498f410","b696607e2bfa","image-4e450d639f77ef393d4e7afe3500a161649b483c-1281x1920-jpg","995e0018c025","sssssspppphhhffff","c12c7d43de78",", 2020 (detail). Oil pastel, colored pencil, and watercolor. 51 ¼ × 51 ½ inches (130.18 × 130.81 cm). Photo: Dario Lasagni.","db68e4906351","27213052c499","d02b4eff342f","image-0913a391e64a65a074123401f52bbd8df06abeee-2473x2492-jpg","2f9cffde6f4d","fractal #3","df0d0d532f8f",", 2021. Colored pencil, oil pastel, and watercolor on paper. 12 × 9 inches (30.48 × 22.86 cm).\n","7e267a106d9d","ef74dd13b00f","2733320281ee","image-90ec84ca5bd647aa5e63ba06af8b12f8439ff3df-3000x3000-jpg","0ae50a11152d","551dd751f37d","fractal #1","71dd8a1e7179",", 2021. Colored pencil, oil pastel, and watercolor on paper. 12 × 9 inches (30.48 × 22.86 cm). ","892f72b8b25c","e4e673bf91ec","image-9557a5443648399538d8abef887326d31af06685-3000x3000-jpg","c51ab9acafb9","image-bde3b548c235d303984367b555ce164a3d8d3dd6-4912x7360-jpg","56d68b6f7a21","Static In the Gelatinous (Ode to FEAR.)","77e401b56014","f2d0a10969cb",", 2019 – 2021 (detail). Video installation. 5 minutes and 30 seconds.","de02631d1d0a","f42bea96ced7","image-7be1f9389a18cfb5278ea559a94b6d10a3e78607-2048x1536-jpg","7778722391ff","24e86c630393","26f8fd807fe1","As Far as You Can, Tell the Truth",", Casemore Kirkeby, San Francisco, CA, 2021.","b0e91f46816a","SsCZouHo","PrsJMRmT","499c10893e38",", 2019. vinyl, spandex, and steel. 13 ¼ × 1 ½ × 4 inches (33.66 × 3.81 × 10.16 cm). Photo: Dario Lasagni.","18249ffe930b","cq9RRFzu","image-f85288a41ccf5e4d779663bdf8a639ebb4fb435f-1333x2000-jpg","image-3c4896d737f6303f0ce4dbf8373b70246b70824d-3000x4200-jpg","bQzLDfY2","Untitled, (April 1, 2020)","24a00071dd29",", 2020. colored pencil and oil pastel. 8 × 6 ¼ inches (20.32 × 15.88 cm).","6819484a3964","9W2i02NS","sCFMINKF","bIMfj30D","LWPNEDqE","9gZD1yHM","Installation view, Simone Subal Gallery booth featuring works by cameron clayborn, Kiki Kogelnik, B. Ingrid Olson, and Veronika Pausova, Foire Internationale D’Art Contemporain (FIAC), Paris, 2019. Photo: Philip Poppek.","cWfnJNEz","LIjrsqOH","31f4244050f6","A Detached Hand",", organized by Nicole Will, Magenta Plains, New York, NY, 2019.","03e03b001cd7","AtGG7oJ8","image-5e19256a737089c6372fd868f30b956b0ab0c35b-1500x1060-jpg","694tRpCc","ad16a53ab3c7",", 2017. glitter vinyl, steel. 37 ½ × 31 × 11 inches (95.25 × 78.74 × 27.94 cm). Photo: Dario Lasagni.","e91e6c65b0c9","Z9HtuENK","FDAtXZpX","image-c80866cf0752c4b9eb66646a0d6026753d3f65c8-1977x2636-jpg","rH487Ct4","PhKnwTcT","bd48a4185dfd","1959bcd446a9","tiVQMesy","OvwAcQCe","AjrA6Tok","49f8cafdfba4",", 2017. glitter vinyl, steel, pink insulation. 57 ½ × 12 × 7 inches (146.05 × 30.48 × 17.78 cm). Photo: Dario Lasagni.","21a078062f88","DdiCXfc6","bCnZtU2x","93f58f35d8a6",", 2019. 5 cushioncontainerbags: vinyl, zipper, steel, sand, polyfiber. 11 × 44 × 12 inches (27.94 × 111.76 × 30.48 cm). Photo: Dario Lasagni.","eacbe6c4821f","bIfZNEkX","OVgzx2l6","8vB1klHu","fa83c20ad50e","4f1ba92298d8","gylpDW6j","0xobW36M","xEImLVdH","WsGEQQPr","289026715ca5","e60cd6b3cc64",", 2019. 3 cushioncontainerbags: vinyl, glitter vinyl, steel, polyfiber, pink insulation. 60 × 14 ½ × 12 inches (152.40 × 36.83 × 30.48 cm). Photo: Dario Lasagni.","yyw0L19u","72pJjnhE","arp2NKiJ","9dfba0d40d8f","ad6443058307","46trmuUp","ddb2a0155d16","2f64148df6ec","08d10083d619","E5dWhnIu","6gwZ7sNE","m5RwFXuQ","d26705b51526","b88e9ee21fc2",", 2019. steel. 3 ¼ × 1 × 4 inches (8.26 × 2.54 × 10.16 cm). Photo: Dario Lasagni","vupK6nkZ","FgN0K36q","image-e28b3af0978e39238ce747dda1f88da27837bd8c-1472x980-png","KHjDhBm6","28d13c8a7bcd","9d657844ea80","rdoyYdDD","23l8tNUC","7be961939770","b37c65f6d21a","b456ed8db238","pDODDDrb","6kdIvLSN","image-db0f6c817b5aaa98e2cf12e84361c88b92da507a-1474x978-png","70aadab68e26","image-e92af07add3cc0254873a01c50fc2795f11e18c4-6000x4000-jpg","419c9f5dedca","6ed9bd9a5a67","db4bf968838c",", 2015 – 2021 (detail). Vinyl, zipper(s), upholstery foam, participant, dimensions variable. Installation view from Sweet Creature, Chicago Artists Coalition, Chicago, IL, 2017.","aad408192ee7","v8pgqmRO","image-3894ff17c8438cbb7ccabd4540b7b31697ef28ee-1500x1000-jpg","c40SfuH1","Performance documentation of cameron clayborn, ","NSBG7ENS","7d956f672c43","762484640f51",", 2015 - ongoing, Vinyl, zipper(s), upholstery foam, participant, dimensions variable. Installation view from ","258f1399bec7",", Chicago Artists Coalition, Chicago, IL, 2017.","7c3288120674","image-b1d389f90cfde2574e46916e175d41b8490dc7e6-1474x980-png","NJoEAP0P","14e4458b807e",", Chicago Artist’s Coalition, Chicago, 2017.","5766047dde44","jtAd4LLt","7FtGbwdQ","aa5594d146ce","cushioncontainerbag","3269b2e35f17","bc9318eefb80","82452e816523","92f5115215ef","image-76b3a5a365531d31b15f5e2f0e7d2a50d31790d5-965x1447-jpg","image-3c95e09445fa878bd5ddfc3533b467ba678757b8-3562x5774-jpg","2d003d7a27cc","7c23a9f97c3c","drawerspeakermatholder","d0c58bd27cfe","cf4079c095c0","c0ae5552bf60","2024-03-01T17:44:49Z","d9b0ceb602510","cameron clayborn was born in 1992 and was raised in Memphis, TN. They live and work in New Haven, CT. Solo exhibitions include: Morán Morán, Los Angeles, CA (2023); Hamburger Bahnhof, Berlin, Germany (2022); Art Basel Statements, with Simone Subal Gallery, Basel, Switzerland (2021) where Clayborn was awarded the Baloise Art Prize; Simone Subal Gallery, New York, NY (2022, 2019); and Boyfriends, Chicago, IL (2017). Group exhibitions include: LACMA, Los Angeles, CA (Forthcoming, 2025); Gallery 400, University of Illinois, Chicago, IL (Forthcoming, 2024); Chapter NY, NY (2023); TONE, Memphis, TN (2022); Emalin, London, UK (2022); Someday, New York, NY (2021); Glass Curtain Gallery, Chicago, IL (2021); Bradley Ertaskiran, Montréal, Québec (2021); Staatsgalerie Stuttgart, Stuttgart, Germany (2021); Casemore Kirkeby, San Francisco, CA (2020); FIAC, with Simone Subal Gallery, Paris (2019); Mildred’s Lane, Beach Lake, PA (2019); Magenta Plains, New York, NY (2019); White Columns Benefit Exhibition, White Columns, New York, NY (2019); Heaven Gallery, Chicago, IL (2019); Hyde Park Art Center, Chicago, IL (2018); Chicago Artist Coalition, Chicago, IL (2018","); ","d9b0ceb602511","Zhou B Art Center, Chicago, IL (2018); Rover Gallery, Chicago, IL (2017); Lawrence & Clark Gallery, Chicago, IL (2017); and Chicago Artist Coalition, Chicago, IL (2017). clayborn’s work is in the permanent collections of the Detroit Institute of Arts, Hamburger Bahnhof Museum, the Los Angeles County Museum of Art, and the Studio Museum of Harlem.","d9b0ceb602512","9021e59aef9d","3d31546efbc5","fc5e00c0f97c","ca301753136c","file-670c1520bf537e82da6135ebb8b43c06ee0eb6bc-pdf","cameron clayborn – CV","Clayborn","82aef9893418","2022-09-15","2023-01-22","image-e1bb1a2211a5a73b8b87a2bac885ef978472442b-5234x3491-jpg","https:\u002F\u002Fwww.smb.museum\u002Fmuseen-einrichtungen\u002Fhamburger-bahnhof\u002Fausstellungen\u002Fdetail\u002Fcameron-clayborn\u002F","Hamburger Bahnhof - Berlin","33bafe89b491","cameron clayborn, nothing left to be","782805bfa5fc","67ac7e6d-0d3a-4edc-9978-b92118133049","f59f7935f0bc","6ad2f9a3d8a7","7688db930eaf","cfe8d180-f36c-4532-8fe9-7b0e9275f622","99ab82a20b07","Bubble gum","f24c3e7d-aa25-45fc-8e3a-e21ec478f755","Installation view, For your eyes only, Simone Subal Gallery, New York, 2023.  Photo: Greg Carideo ","Installation view, Behind the Curtain, Royal Museum of Fine Arts of Belgium, Brussels, 2019. Image courtesy of the artist, rodolphe janssen, Brussels, and the Royal Museum of Fine Arts of Belgium, Brussels",4.33,"image-1e5c8c43e62014bc7d86fccb842759cc9c24be83-2211x2771-jpg","Sydney Shen, ","Umico Niwa,","Carolina Fusilier, ",", 2021. Oil and collage on paper canvas mounted on wood, wood frame. 19 1\u002F2 x 15 3\u002F4 x 2 inches. Photo by Marc Tatti ",", 2022. Oil on canvas. 59.06 × 51.18 inches (150.01 × 130.00 cm). Image courtesy of the artist, First Floor Gallery Harare, Zimbabwe, and Simone Subal Gallery, New York. Photo by Marc Tatti.","#ffcc3e","image-154636160df7b2535ffde43b9ef32460e184f76a-6046x3381-jpg","Hannah Lee",8.38,"image-6b2374bc9f6aeb6679c752d5c897f213d94b4151-3118x3723-jpg","Busier",", 2022. Oil on canvas. 18 x 15 inches (45.72 x 38.10 cm). Photo by Greg Carideo.","Moon",1.49,5.93,5.84,"Witt Fetter","Sophie Friedman-Pappas","City Full of Soil (One Chase Manhattan Plaza)",.6666666666666666,.19,"work","image\u002Fpng","png","image-729f9705ea1667594aae2a53ec3d7f2cac620096-1605x1046-jpg",1605,"image-88e6a0862d4eaf9fccc24951e9ce754d858820ac-2784x2088-jpg",", 2021 (still). 4KUHD Video. 23min.","Common Nocturnes",1.96,"image-e173699c5134654deeb22b5f01181b75b221fa30-2694x2020-jpg",2.49,"Installation view. Late Checkout (Westberlin), WNTRP, Berlin","Art Basel Nova, Simone Subal Gallery, Miami Beach, 2016","Anna K.E., Florian Meisenberg. Late Checkout (scarf), 2015. Silkscreen and letterpress on silk scarf. 34 ½ × 34 ½ inches (87.63 × 87.63 cm).","2015-06-01","image-adb7b1373c28bbff002a501f4fa997589eb4b76a-2784x2088-jpg","image-b13b655b0c0fa527f74c072c90d4d350021a20e4-2784x2088-jpg",6.55,"image-9fae06b8826fa6084483f644cf42d6ce2e65716f-2784x2088-jpg",3.34,7.88,3.69,"image-9ce11593a8b7eff44eaf3ad3ea4e71a30867628a-2000x1500-jpg",", 2017. Silver gelatin hand print. 8 ½ × 10 ¾ inches (21.59 × 27.31 cm).","Jen Liu. ","Wine","Muscle memory\u002F Lower case h",", 2018. Open: 47 ½ × 60 inches (120.65 × 152.40 cm) Closed: 47 ½ × 32 inches (120.65 × 81.28 cm).",1200,"In Flames Leaving Las Vegas (Sphinx)",2.27,"image-bb141328da15637866a36526d9aeff0838ee57f7-4608x3456-jpg",8.17,"b-ingrid-olson","In ","Splayed Corner, endless room","Kiki Kogelnik (Foundation)","Untitled (Still Life)","image-ea0a63503765529351c468afe12b02d2b3a165a3-1200x800-jpg",.78,"Sentinel Madonnas (Monument Valley)","Drawing the Curtain","image-cf2e6ebbc58388cb89f159e5f60b9e9f0a67441c-1000x667-jpg","hold not have",", 2017. Ink jet print of digital image encoded with the title in 6 out of 8 bits per byte, dry-transfer wall text. 24 × 35 ½ inches (60.96 × 90.17 cm).","Keegan Monaghan.","heavy rain",", 2017. Foam, wood, steel, aqua resin, latex paint. 78 × 44 × 66 inches (198.12 × 111.76 × 167.64 cm).","Trisha Baga.","This Woman's Work",", 2017. Glazed ceramic, ceramic glaze, shaving cream, shampoo, razor, bar soap, sponge, pedestal.","Stormwater pipe, 14\" offcut, partially drained",", 2017 (detail). Aluminum culvert pipe, fused silica. 16 ¾ × 16 ½ × 17 inches (42.55 × 41.91 × 43.18 cm).","image-2391e5be0fbe2c05b06f31796060573d22989a48-792x1037-jpg","Virginia Lee Montgomery.","Bill Jenkins. ","Window Bin 1 (Left)","image-d632d43514bb27a809c6fedb61be9221f8eb043a-2576x1719-jpg","image-037dbe0066f1a6d94b0586221e9401dc6d61b7b3-2576x1719-jpg","image-66b17b909d84f333eaab605984c65dbc4a48c77a-2576x1719-jpg","image-4b471d4bc00abe58e29823608e53f1dd4c780b81-2800x2811-jpg","image-d5901d124c45657db6296f1f79fb324a58d5ec68-790x900-jpg",", 2016. Cement board, aluminum. 2 panels: 36 × 60 × 2 ½ inches (91.44 × 152.40 × 6.35 cm).","Seeing double","2016-05-01","image-ad5881f04786ca0c207bb1422ac2463eb547fb86-3000x2000-jpg","The works in ","Gavin Kenyon.","image-7ba24a5106d93dbe5dea71b697007cc8e59441ac-2000x1333-jpg","image-df3b7932e7735322df129333be065c6595504721-2000x1254-jpg","image-29142100c673d0090749813baa18f2bb67a280a5-2000x1333-jpg","image-77decf717318b2ce8362723da1caf407d47b81d3-2000x1973-jpg","image-9fec0cbf874d0ccafd412fb573ead2b7ececd853-2000x1385-jpg","image-e579465134d7ab5539a50bd162816b5b8eef8e01-800x676-jpg","image-4ee043d5402c925437d2ea20ad67d3b01de852db-800x541-jpg","image-f44f0e2ea49b7f5846d0052768cae69759b71b00-800x537-jpg","image-bd16c49e92a434bb9504b4ee147f7ece879d82ab-502x800-jpg","And the fair Moon rejoices","image-c93a90e2557cb96fd9621d1af3a25334155c5715-5188x3460-jpg","Tomasz Kowalski.","Autumn Ramsey. ","Teen Factory – Berlin NYC (letters)","Cara Benedetto.","erika-vogt","Vogt","image-a4cbaa5944cb1ddc03ae123673163b920eda8be0-1560x1040-jpg","image-fc485ed375bab54dd7bbd1edb90d8eedf22f3e70-1096x1531-jpg","image-c54af9808c04009fdbdc7614376ee3da5aad02f9-1598x1064-jpg","Errata, lighting form",", 2014. Silver gelatin prints, and UV inkjet printed matboard in aluminum frame. 25\" x 17.5\".","image-56ab2ad396d616e9fb4d35da8860c4f945542e65-1027x1350-jpg","image-b60695f67e7f29588827b1e6ff7d7d1179ab8f8d-1350x900-jpg","Joan Jonas.",", 1973\u002F74 (detail). Video installation. Dimensions variable.","image-aa5f996d633b7d6dd2022bebff83a024080fe465-507x380-jpg",", 2014. screen, aluminum, mesh, glue, emulsion, screen. 30 x 30 inches.","Brown Sun Eclipse","Silver Screen","Speech Mesh-Drawn OFF",", 2013 (still).","image-d958cd5e4d22d2ecb4efa37ac4a21d69bed209e8-720x480-jpg","\u002F■(■)n ■u(■)t\u002F",.11,"Drawing with light",", 2013. Archival pigment print. 10 x 14 inches.","image-1c3e502120dac909f1f8c0c07424bb2736c93f85-936x622-png","Lea Cetera. ","Angle of Repose",", 2013. Oil paint on canvas. 96 x 84 inches (244 x 213.4 cm).",",","Bone Stack # 44: All Birds are Dinosaurs, Not All Dinosaurs are Birds, Chicken","image-79e40b466f36412bbd08ac4d1d84bc6f086823e5-625x900-jpg","The car was his and story mine,"," Simone Subal Gallery, New York, 2013.","Gloss of a forehead",", 2011 (still). Video and sound, 9 minutes, 32 seconds.","image-a62c1f498f5e79463dcca30859b98cd82a73bc25-2400x1600-jpg","Matt Keegan & James Richards","Marie Lund","Rose Marcus","Emily Mast","Lucy Skaer","Viola Yesiltac","Viola Yesiltac.","Marie Lund.","Marie Cool Fabio Balducci.",", 2008. Video loop. 1 minute, 16 seconds.","image-09d4b275215a7dc923b1f0d3430581ef494124ea-709x399-jpg","Lucas Blalock","Henri Chopin","Marie Cool Fabio Balducci","Outer Space","Atmospheric Drag on Satellite","image-63918be161d063fcf01ed7ccb14b132e6c65df06-1500x1000-jpg","Robert Kinmont","Linda Matalon","Luis Camnitzer","Rosy Keyser","Dislocation Station","image-2e4c965cf23cbb5711f5a7718c632d4642fc7e87-352x284-jpg","Notes on Currency 1-15",", 2012. Spirit duplicator with black and white laser print, latex paint, and casein on paper. 15 pieces: 11 x 8 in, 28 x 21.6 cm each.","image-d6c534f88202b01ea2f80c1f1b0cc38ea795f185-1181x777-jpg","Yorgos Sapountzis. ",", 2011. Inkjet print on archival paper. 8 x 10.5 inches.","2021-04-28T23:48:22Z","image-8b6bc5fcd15f05e8c38ae0421a8f6a32bdbb482c-1181x787-jpg","The Truth Has Four Legs (Punishment II)","RH6Eo7wIdNpmUYgsCS9vF1","5FdtaxlQ083Vdnt6smLruspKMhQYNKV8",574267,"HadiFallahpisheh_Punishment-II_Chromogenic-Print_54x32-Inches-Small.jpg","#599008","#3f895c","#dae44e",10.84,"#518308","#b3d1c0","data:image\u002Fjpeg;base64,\u002F9j\u002F2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj\u002F2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj\u002FwAARCAAPABQDASIAAhEBAxEB\u002F8QAGAAAAgMAAAAAAAAAAAAAAAAAAAYBBQf\u002FxAAjEAACAQQBAwUAAAAAAAAAAAABAgMABAYRBRITQQchMTJR\u002F8QAFQEBAQAAAAAAAAAAAAAAAAAAAgb\u002FxAAhEQABAwIHAQAAAAAAAAAAAAABAAMSAhEEBRMhMVFh0f\u002FaAAwDAQACEQMRAD8A1zNskuOChDwqrb8EUsweoV04tiVUmU6IA+tOeQ44vMhUlcdvfuDVVDgltH0bKntjSH8qXxrWYVP1aUo32sfPqfRBCa7OdpbZHb5I3RUWVobe3WMv1EeaKpW7xEuUCv\u002FZ",1008,1.2989690721649485,776,"https:\u002F\u002Fcdn.sanity.io\u002Fimages\u002Fub94fyvm\u002Fproduction\u002F598dd5e4f84bbbb62965753b44dfe92af46db67c-1008x776.jpg","images\u002Fub94fyvm\u002Fproduction\u002F598dd5e4f84bbbb62965753b44dfe92af46db67c-1008x776.jpg","823756a6b4539a8cabe0e2b770e6cb97832e37c1",7.91,"#2a2927",1.81,"4857ead0890a9343d84dea9d732df59da04d6986",2026,.57,.89,"#56d8b5","2021-04-23T10:25:11Z","#787a7b",3.91,"8216e9dca94a0e190577a5aca4b934ee553167e2","2535d8e230666a5620974d77ed7f1fecf06d34eb","#838683","d5c02e03862606897f8ff8d06c1b72ab5fa1de3f","#bcbcbd",8.9,"#2e2a2d","5fe5322af4a2897f334fbabfaa0156a5c556d09b","#323334",7.79,.54,"c2b7d2259205fd029f7a2dad18b86e125c544741",7.68,"#837974","2021-04-23T10:25:19Z","cb4079698fec8e3379bbc8ca51b31f45ba5eabb5",6.61,"#7c7e89",10.65,"#503f37","7a97d9c37b791779bb960fd4f2df3c1896935acf","e01014112ab235cbeb1aa1824603b00886bd495c","#757f8e",8.98,4.99,"2021-04-23T10:25:23Z","b03a91dc439efaed16f2d0c9b0ce66f35e306309",.72,"#c1c222","d2ed55ffffc5cfb3e125f4dd45486c8cfc233269","2021-04-23T10:25:21Z","#363a3d",9.33,"7e08e99088dc2abda8e89d28cab20697abc3d472",.24,"#cec30f","Hadi Fallahpisheh","In Practice: Another Echo",", 2024. Oil on canvas.18 × 15 inches (45.72 × 38.10 cm).","d29ab36b4e96","f948a1ba7571","57a2b6d5cc6e","0522fb4ad14d","9188448ab136","0b662599ae58","2024-06-14T21:52:45Z","22db43f98d1da4891a75e6b862dd5e0b13d50d72",.93,"#f7e562",4.02,"29521ce9-5b5c-4197-96e4-0b8d9139c1b0","image-7af9951d6952c5005363547c323cbff4e01e696e-8688x5792-jpg","image-20c3d5d3e107ba3d9cd9204f482e22e896641d37-5760x3840-jpg","image-2683a4cbae3c8dd57bf23b0e9773e090a95dcaf9-5760x3840-jpg","image-50eff6aca03ed676e46fea267d686de59854b9d7-4000x2666-jpg","2020. Oil on panel. 12 x 9 x 1 inches. ","Palm Reader","Installation View: ","Song of the Cicada",", Honor Fraser, Los Angeles, CA, 2021. Photo: Jeff McLane. ","Demolition Derby",", curated by Lucas Matheson, PSLA, Los Angeles, CA, 2019. Photo: Blake Jacobsen.","Jiang",960,"#543c33","2024-05-18T19:10:26Z","ab15fb660ebc700f0dfb87a26e43bf44baab7150","Detail of Nova Jiang, ","Cradle",", 2024. Oil on panel. 12 × 12 × 1 inches (30.48 × 30.48 × 2.54 cm). ","Milkgiver","Still from Frank Heath, ","Smoke gets in your eyes, ","2022. 4KUHD Video. 5:42min. ","2e7dea90e28b","38aa7e121fff","7dfc71cddd8a","d298610bbd8c","328ccc1c3846","0c3d6c56ae69","9df1b65bfbda11472b9b6575e44efe3509277cf3",3.83,"#6f3607",.42,1.7777777777777777,"2024-05-06T18:08:17Z","Schwarzenbergplatz","50cca43c496a8e31ba84a4b3c9f89864a16dd2a5",6.92,"#945267",.4,"Saffron Crocus, Few Strands of Anxiety Relief","Press Release ","Bio ",", 2024. Plastic, water, blue, green, and purple ink variations, Pennsylvania crude oil.",", 2024. Ink, crude oil, acrylic, and oil paint on paper. 51 × 36 inches (129.54 × 91.44 cm); 57 1\u002F2 × 41 1\u002F2 inches (146.05 × 105.41 cm) (framed).","Detail of Florian Meisenberg, ","pointless seriousness - serious pointlessness",", 2023, Oil paint and marble dust on canvas. 51 × 20 inches (129.54 × 50.80 cm). Photo: GC Photography ","e4824b9e0788c15820c2a08c2ad4cc6ff53d7cf2","2024-03-28T20:26:04Z",1.19,.15,7.57,"#afbec0","Am Schwarz Press Release","5ad04e0c9a48","d3c8b489a4bd","fc48a633ade3","c52ce3d514e6","86f1e6b3c47a","61b7aa9d0911",", 2023. Cast aluminum. 10 × 14 × 3 1\u002F2 inches (25.40 × 35.56 × 8.89 cm).","image-f28ae13949855234af76af423b4b0d3de58b5c35-8084x5774-jpg","Detail of Ella Rose Flood, ","Yoga wall with reduced scale",", 2024. Oil on linen. 40 × 30 inches (101.60 × 76.20 cm). Image courtesy of the artist, and Simone Subal Gallery, NY.","Ella Rose Flood ","041326a60281c8d7ee2d7f40534fccbd48db83c6","2024-02-16T21:16:01Z",15.92,"#646c74","Detail of Mie Yim, ",", 2024. Oil on canvas. 66 × 52 inches (167.64 × 132.08 cm). Image courtesy of the artist, and Simone Subal Gallery, New York. Photo: Marc Tatti",6.17,"#5d3c3d","2024-02-22T17:14:07Z","b8e8697b738d9e5d3cf89d62814238fb92e3ce35","2024-02-16","2a54be835456","95c0e3ce3356","1ead6c517a0c","ce0ce18e8417","c5d2ea0e1025","5648b035be77","image-1b504e03ba78e3f65e3a37287a8f67c14db85f8c-2000x1334-jpg","image-d037c864678d7972ab02bc4fad7cfe42cb065c40-1878x2250-jpg","Baseera Khan, ","Pauline Shaw","Detail from Anna K.E., ",", 2023. Mixed media on canvas. 16 ½ × 21 ½ inches (41.91 × 54.61 cm); 17 ¾ × 22 ¾ inches (45.09 × 57.79 cm) (framed). Image courtesy of the artist and Simone Subal Gallery, New York. Photo: GC Photography","Pauline Shaw, ","Ernesto Burgos ","Masaya Chiba ","image-6696c1d6c8661a538e75b32cb76b20fa8ce88da8-3802x1783-jpg","2023-12-22T18:05:52Z","6696c1d6c8661a538e75b32cb76b20fa8ce88da8",3.85,.08,13.93,"#ebab23","image-caa17232d711610523dc6c18bf569887a3eb52d8-1233x1574-jpg","2023-12-22","Opening: November 3rd, 6 – 8 PM","Ellie Krakow","Luciana Maas","Detail of So Young Park, ",", 2022. Mixed media on canvas. 70 ⅞ × 55 ⅛ inches (180.02 × 140.02 cm).\nImage courtesy of the artist, P21, Seoul and Simone Subal Gallery, NY.","caa17232d711610523dc6c18bf569887a3eb52d8",12.38,"#7c7972","2023-10-26T18:43:13Z","2023-11-03","Detail of Sónia Almeida, ",", 2023. Oil on green olive fabric and drawer with woodcut print. Closed: 59 × 37 × 3 ⅜ inches (149.86 × 93.98 × 8.57 cm); Open: 59 × 53 × 3 ⅜ inches (149.86 × 134.62 × 8.57 cm). Image courtesy of the artist, Culturgest, Lisbon, and Simone Subal Gallery, New York. Photo: António Jorge Silva ","70db2d5cfb0f5bc3825820da9f4a49513041180d","2023-11-01T15:42:37Z",6.41,"#826749",4.12,"Image courtesy of the artist, Culturgest, Lisbon and Simone Subal Gallery. Photo: António Jorge Silva","Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Sónia Almeida",", 2023. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm) Image courtesy of the artist and Simone Subal Gallery, New York. Photo: Paul Litherland","2023-09-01T17:32:16Z",7.6,"#f9bf06",.13,"581a863a0ac177fb438220bdf9eb7213513febc2","2023-10-28","2023-09-08","Opening:  September 8th, 6 – 8PM ","2023-09-13T20:12:20Z","#054b79",6.21,"d6289d6994f9bd478f94ae250bf921d157d47d60","Image","Kang Seung Lee. ","Untitled (Fairies) (Detail)",", 2022. Graphite on goatskin parchment, antique 24K gold thread on Sambe, walnut frame. 1: 37 ½ × 31 ½ × 3 inches (95.25 × 80.01 × 7.62 cm) (framed). 2: 10 × 12 × 3 inches (25.40 × 30.48 × 7.62 cm) (framed). Courtesy of the artist, Commonwealth and Council, Los Angeles, Mexico City, and Simone Subal Gallery, New York. Photo: Paul Salveson.","Kang Seung Lee, ","Image courtesy of the artist, Commonwealth and Council, Los Angeles, Mexico City and Simone Subal Gallery, New York. Photo: Paul Salveson","Christine Sun Kim, ","Image courtesy of the artist, François Ghebaly, Los Angeles and New York; JTT, New York; White Space, Beijing; and Simone Subal Gallery, New York. Photo: Charles Benton",10.55,"#ccc0ae","d779730cd6fdfa9706a80ff1b5cab5f456195f81","2023-05-23T20:35:56Z","image-8dd595be4c1d1276741462f2d685dba53c17dc79-4452x3897-jpg","Text ","For ","2bb1b4d8e3ca","image-a0469c3a227243890424d75f2ac7be2ea5e84b9c-8688x5792-jpg","image-c35b85354e8893af6e77d21d671bf4706f7100d5-8688x5792-jpg","image-aece283131f4caa37b4f5b0f1f1e69911607276a-8688x5792-jpg","image-3acdfadd618749e178122af28ba9f201b6ac0158-8688x5792-jpg","image-a3b96d2192f6637bdba0af578bcb6fd51997eade-5792x8109-jpg","image-00f3326ab923f714d743e42bf0402f2b73d817b9-5792x8109-jpg","Doll parts","image-baa3a85569b4385ae4fed373d44f001ffff46baf-5792x8108-jpg","2023-05-02T21:37:01Z",7.32,"#9f1c22","8dd595be4c1d1276741462f2d685dba53c17dc79","2021-01-21","2021-01-30","470ccddf-eedb-4bd2-a18e-2b794629948a","2022-06-18","image-d284bb8cf0e1e89bcc6f9fd486f7e8965f425a9d-4032x3024-jpg","Wonderland, ","curated by Tae Um, Lehmann Maupin, Seoul, Korea. Images courtesy of the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London. Photo by Creative Resource. "," Cathartic Creatures",", Jessica Silverman Gallery, San Francisco. Photo: Phillip Maisel ",", Olympia, New York. Courtesy of the artist and Olympia, New York. Photo: Anthony Flores","Mie Yim Amuse Bouche",", ScottMiller Projects, Birmingham, AL, 2022. Photo: Joel Valencia ",", 2020-2022. Pastel on Shizen paper. 11 x 8.5 inches. ",", 2021. Oil on canvas. 72 x 60 inches.",", 2020. Oil on canvas. 70 x 60 inches.","Mutants",", Villa Magdalena, San Sebastian, Spain, 2021. Image courtesy of the artist, Villa Magdalena, San Sebastian, Spain, and Simone Subal Gallery, New York. Photo by Idoia Unqurrunzaga.","image-5d78558f2234fa7c480ef183ad8791f71b232550-1768x1768-jpg","6e82e80882a7","single_col",7.62,"#f40636",1768,"2023-04-06T17:06:11Z","5d78558f2234fa7c480ef183ad8791f71b232550",", 2022. Oil on canvas. 27 ½ × 23 ⅝ inches. ","Image courtesy of the artist, Galerie Rodolphe Janssen, Brussels, and Simone Subal Gallery, New York. Photo: Hugard & Vanoverschelde",", 2023. Oil on canvas. 31 ½ × 23 ⅝ inches (80.01 × 60.01 cm). Photo: Hugard and Vanoverschelde","image-0bb28e568de649fcd15ec871b2281556a30205c9-2367x3000-jpg","image-5d73f46062fe31fa1c390f288af99e8c4d478fa7-2665x3000-jpg","image-9e06e8ab19860faf20f940cdc5adfe663fe76dbe-2501x3000-jpg","image-c92e91659307b206eae10ab3f2ae727fc91c6b3a-2430x3000-jpg","image-9153d77fe02d927647c4a2986c7a6760ab32aac6-2392x3000-jpg","image-4a59291eec350797590fc74fd9014dab29a5925c-2498x3000-jpg","Blink twice","image-54aaf945cca80fd7ff88bfa634e86650b870ba46-2470x3000-jpg","image-46c93e742a2e854fe92d2adfdf0dbe0948fe6f96-2501x3000-jpg","image-11f23c2571e6f0d7a5fffa848d3ec57dfd283eb4-8688x5792-jpg","image-1050d4eb09cf9953e0526d2a72b7e216bc878551-8688x5792-jpg","image-8da7434d7ac36f335ec909b6066df7ce78c77d0d-8688x5792-jpg","image-9d8b66247dcd13b5d999210341e35d6e160f6f15-8688x5792-jpg","image-88ad2411a5e70e6b26539e36fd197e3b20aa0ce6-8688x5792-jpg","image-bd43aff92a56a613ff317ddf2fa65921ce8840aa-8688x5792-jpg","image-a3f7e26a56acfe923c15c978fcfb13f2750c707b-8688x5792-jpg","image-16bd3216f2d47033e3a24cd250b177972bd09492-8688x5792-jpg","image-d8f64a851c2c706cbb7d391ef6c81783d88c4ef1-8688x5792-jpg","image-671f367ea3673a49591a1055bc4ff1ed5aeaefe1-8688x5792-jpg","image-46ced1dcb3c43d079575ba7c1b6bad7877989372-8688x5792-jpg","image-8e69e3434cf9fc88cfddf7d7d1f3c5b15538191a-8688x5792-jpg","f854bffbcb82bffe417e216b33d25272a3e6fe47","image-f854bffbcb82bffe417e216b33d25272a3e6fe47-4650x3237-jpg","#e29769","2023-05-03T16:38:49Z","image-bed3008ce2f9f8762f89415a79cbfa26fc179a75-850x568-jpg","image-1b0c3cdd9ae5fceeb5ce757fa604a62edabbb05d-3576x2652-jpg","Thomas Lerooy,","image-908ae986b7f87a3c0931d6981ac3dc8aac2f65ef-2475x3000-jpg","Installation view, Thomas Lerooy, rodolphe janssen, Brussels, Belgium, 2021. Image courtesy of the artist and rodolphe janssen, Brussels. ","Installation view, Playground, Museum Dhondt-Dhaenens, Deurle, Belgium, 2017. Image courtesy of the artist, rodolphe janssen, Brussels, and Museum Dhondt-Dhaenens, Deurle. ","Installation view, Beauty in the Shadow of the Stars, Petit Palais Musée des Beaux Arts de la Ville de Paris, Paris, 2015. Image courtesy of the artist, rodolphe janssen, Brussels, and the Petit Palais Musée des Beaux Arts de la Ville de Paris, Paris. ","a4e82189c089cc8bbaa9c95cfb0082a2660c9b16","image-a4e82189c089cc8bbaa9c95cfb0082a2660c9b16-2595x2841-jpg",4.78,"#bfc4c2","A collection of stereotypes and clichés ( August 9th, 1974; January 1st, 1980). ","3 paper pulp stereotypes and metal cliché, certificate. Dimensions variable (1: 23 1\u002F4 x 16 inches (59.06 Å~ 40.64 cm); 2: 14 1\u002F4 x 10 inches (36.20 Å~ 25.40 cm); 3: 22 1\u002F2 x 15 3\u002F4 inches (57.15 Å~ 40.01 cm); 4: 22 1\u002F2 x16 inches (57.15 Å~ 40.64 cm)). ",", 2022. Ink on vellum. 14 x 17 inches (35.56 x 43.18 cm). ","Carolina Fusilier","Priscilla Jeong","Sylvie Hayes-Wallace","Umico Niwa","Sydney Shen","Karinne Smith","1e5c8c43e62014bc7d86fccb842759cc9c24be83","2022-10-31T18:21:39Z","#dbbaaf","Carolina Fusilier. ",", 2021 (detail). Oil and collage on paper canvas mounted on wood, wood frame. 50 × 40 × 5 cm. Image courtesy of the artist.","Nebular Homemaker Rig 2","Arousal","Karinne Smith, ",", 2022. Pencil on paper. 12 x 9 inches. Photo by Marc Tatti","Carolina Fusilier,"," Angel Engines",", 2019. Oil and collage on canvas with aluminum frame. 110 x 83 cm. Photo courtesy of the artist. ","Daphne Adorned Series: Flaming Lover",", 2022. Two figures composed of Britannia pewter, organic materials. Dimensions variable. Photo by Marc Tatti","Karinne Smith,"," Strawberry Legs I-I,"," 2022. collagen, silicone, cantaloupe, resin, rubber bands, glass beads, mosquitoes, rope, flesh clamps. 114 x 24 inches. Photo by Marc Tatti","Daphne Adorned Series: Pie Smasher","image-4a4737368a9f21dd0894cbb47d550f4b67cbd02b-1019x1300-jpg","4a4737368a9f21dd0894cbb47d550f4b67cbd02b",8.99,"#538670","2022-08-30T16:59:12Z","Yu Nishimura. ","motion","Shifting, Glances ",", 2022. Charcoal on paper. 30 × 22 ½ inches (76.20 × 57.15 cm). Image courtesy of the artist, Sean Horton (Presents), New York and Simone Subal Gallery, New York. Photo by Marc Tatti.","154636160df7b2535ffde43b9ef32460e184f76a","#d4ccc9","2022-06-25T15:20:54Z",", 2022 (detail). Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","Electrical Flower ","If I have a body",", Remai Modern, Saskatoon, Saskatchewan (2019); ","On Anxiety",", Cleve Carney Gallery, Chicago, Illinois (2018); ","An Assembly of Shapes",", Oakville Galleries, Oakville, Ontario (2018); ","Line and Verse",", Andrehn-Schiptjenko, Stockholm (2018); ","RBC 2017",", National Gallery of Canada, Ottawa, Ontario (2017); ","Sojourner Truth Parsons, Sean Steadman, Veronika Pausova",", 11R, New York, NY (2017); ","Seek Professional Help",", Bureau, New York, NY (2016); and ",", Simone Subal, New York, NY (2016).","2022-05-06T18:50:07Z","6b2374bc9f6aeb6679c752d5c897f213d94b4151","#4cb4ec",9.79,"video",", 2022. Colored pencil, oil pastel, watercolor and spring clamp. 15 x 11 inches (38.10 x 27.94 cm). Photo by: Marc Tatti.",", 2022. Dyed muslin, wire rope, fiber fill and sand. 60 x 4 1\u002F2 x 60 inches (152.40 x 11.43 x 152.40 cm). Photo by: Olympia Shannon.","9469d3b422990006c99463ee27f7a44ddb01f2db","image-9469d3b422990006c99463ee27f7a44ddb01f2db-2250x3000-jpg","2022-03-29T14:46:59Z",.31,10.07,"#d2b7af",.75,"Installation Images","A.I. Generated Instructions (Free Hand Vocalists)","Farmed Painting (Sagg Creek, Kel Star Milk Drop)","95% aluminum, 5% magnesium","Binary Explosive","Sophie Friedman-Pappas.","image-9e5a10a6034369c45e20db92855be7d681e35465-2000x3000-jpg","9e5a10a6034369c45e20db92855be7d681e35465","2022-02-02T20:28:09Z","#774719",5.51,"image-ab1d5c43752d8e91b85f0fb475fbe085f9045e58-1123x739-png","image-8f6732f979aa7cc29b6fda14d03d92cb9070c8ca-3000x2250-jpg","image-ec2d7178d92bb16a20f5929443a95aeac4726ee5-3000x2250-jpg","image-e3ff103f850bcefcc8a7049fee7fb248bfae4ba5-2250x3000-jpg","workBlock",13.43,"#b4ac9c",.23,"99ebfd3e14d9860de7f6809b2e0fc6406645553d","2021-11-02T14:41:28Z",5.71,6.19,"#bf432a","729f9705ea1667594aae2a53ec3d7f2cac620096","Aaron Douglas Estrada. ","Cielo Félix-Hernández. ","That 12 Million Dollars",", 2020. Plexiglas, acrylic paint and color pencil over inkjet print on wood panel. 34 ½ × 42 inches (87.63 × 106.68 cm). Photo: Dario Lasagni.","Nikki Reisman. ","ThisOnly","2021-07-08T19:19:46Z","#315e51",4.79,"88e6a0862d4eaf9fccc24951e9ce754d858820ac","2021-06-03T17:09:53Z",8.6,"#c9ceda","723bfa84d23509aab95a6140842dc8fad0b15a82","faefc53995bf","6d945a04a112651886ab248c92c3029ae36685ff","2021-04-23T15:03:51Z",2.47,"#a9986e",.59,"image-a955472885d5855cb0e7a517cf256c66ac1b4525-2800x2100-jpg","Ten Izu","Sean Mullins","Penny Slinger","Joanna Woś","Joanna Woś. ",", 2021. Oil on canvas. 90 × 120 cm (35 3\u002F8 × 47 1\u002F4 inches). Image courtesy of Galeria Wschód, Warsaw. Photo: Dario Lasagni.",", 2020. Glazed ceramic, etched pewter, choke collar, wood, nail. 30 × 7 × 6 inches (76.20 × 17.78 × 15.24 cm). Image courtesy of the artist. Photo: Dario Lasagni.","Sean Mullins. ","image-505d7253beba5e997f74b9ee364c2942692c2b9f-2800x2076-jpg",", 2020. Glazed ceramic, glass fishbowl, wood, pump, water. 54 × 14 × 18 1\u002F2 inches (137.16 × 35.56 × 46.99 cm). Image courtesy of the artist. Photo: Dario Lasagni.","2021-03-12T18:28:01Z","505d7253beba5e997f74b9ee364c2942692c2b9f",2800,"#b37554",1.09,"image-998a4d4ec6b8405986be6d26a98971bcde1a9e58-2784x2088-jpg","Jesse Wine ","1f4d8a8df6355bfc4c4eef6e2d1ae46a11ecbd1a",2173.91,null,6.04,"#acaeab","emily-mae-smith-kin","Smith","The Idle Servant","Ilk and Honey","2021-04-23T10:17:32Z","#8f7f2e","e173699c5134654deeb22b5f01181b75b221fa30","Anna K.E. and Florian Meisenberg’s selected collaborative solo shows include: Simone Subal Gallery, New York (2020); Kunstpalais Erlangen, curated by Milena Mercer, (Cat.), Erlangen (2019); WNTRP, Berlin (2017); Salon Kennedy, Frankfurt (2016); Signal, Brooklyn (2016); Art Basel Miami Beach with Simone Subal Gallery, Miami (2016); LISTE 20, with Simone Subal Gallery, Basel (2015); EY artforum, Düsseldorf (2008); Schaufenster des Kunstvereins für die Rheinlande und Westphalen, Düsseldorf (2007). Select group exhibitions include: Signal, Brooklyn (2016); Galerie Hasen at MMOGG Düsseldorf, Düsseldorf (2007); Villa De Bank, Enschede, Netherlands (2006).","image-c246b08a93b9d9c5056ffe643c7e8e45d0016ccf-2784x2088-jpg","Anna K.E., Florian Meisenberg. 45 Degrees Fahrenheit, 2020 (detail). CNC engraved Baltic birch, wooden studs, Mirror box and Video piece: Common Storage, 7min. 32 × 96 × 96 inches (81.28 × 243.84 × 243.84 cm). Photo: Dario Lasagni.","image-e401584dac9166eed6f2f87d71f90f2b77d2ea16-2682x2011-jpg","image-d85c04b33d3c1f5f9cb79fe71e56fd61dc4ba1b8-2784x2088-jpg","image-33100bd2b3f63c5d4c830a5557c29a396bc29f5b-2784x2088-jpg","Late Checkout (Electric Forest), SIGNAL, Brooklyn, NY, 2016","Artsy","adb7b1373c28bbff002a501f4fa997589eb4b76a","2021-04-23T10:17:18Z","#4c4032","While driving at night down the long, unbroken roads of West Texas, flickers of eerie, amber light punctuate the darkness. A congregation of hares stand sentinel at the edges of the dusty road, their glassy eyes reflecting headlights like so many illuminated screens. At other times, they are transformed. Eyes no longer effulgent. Once-lithe bodies reduced to flattened panes by contact with a passing car.","45 Degrees Fahrenheit",", 2020 (detail). CNC engraved Baltic birch, wooden studs, Mirror box and Video piece: Common Storage, 7min. 32 × 96 × 96 inches (81.28 × 243.84 × 243.84 cm). Photo: Dario Lasagni.","b13b655b0c0fa527f74c072c90d4d350021a20e4",5.86,"#847d7d","2021-04-23T10:16:51Z","Robert Lostutter. ",4.39,"#403b41",1.52,"image-0b398093e66f14053b0037b19e6a4139e3928a0d-2780x2087-jpg","0b398093e66f14053b0037b19e6a4139e3928a0d","2021-04-23T10:19:34Z","image-de4374e1534e28b6e523d9f5b2f885fdee592c6f-2722x2041-jpg","Column Number One – Seven","image-756bd7398f702a0bb1fadd32b0d953d57c695618-2100x1605-jpg","756bd7398f702a0bb1fadd32b0d953d57c695618","2021-04-23T10:19:10Z",2.96,"9648c8891b4f","e15f71b0fdd4","2021-04-23T10:18:55Z","#474644","#f3fcf9",1.18,"9fae06b8826fa6084483f644cf42d6ce2e65716f",", 2019. Oil on canvas. 15 × 18 inches (38.10 × 45.72 cm).","Be Frictionless Latecomer","#787579","718d0310afd154a82405e637616462158d6da9c3","2021-04-23T10:18:33Z","cameron clayborn centers their practice around the sewing machine, a vital source of production and context for the corporeal sculptures they produce out of leather and shimmering vinyl. A form of making that’s been historically coded feminine, they call on an essential artistic lineage of queer history, from drag shows to protest banners, clayborn zips their materials through this mechanical lens with fastidious skill. The clique of these works gathered together creates a fluid energy of possibility, as clayborn searches for liberation of a self in contest with the world.","image-64348e522fed7581974068e10c80691fb58750d4-864x1296-jpg","64348e522fed7581974068e10c80691fb58750d4","#382520",.41,"2021-04-23T10:18:09Z","It is with great pleasure that Simone Subal Gallery presents a group exhibition featuring works by Jen Liu, Joanna Piotrowska, and Jesse Wine. All three artists question the stability of established political or biological systems, blur domestic and bodily architectures, and re-envision new forms of agency. They believe that the manner in which bodies interact and create within manmade space is inherently political—whether an individual manipulates personal belongings in their own living space, or a collective workforce executes a preordained system of industrial production, or an anthropomorphic object poetically merges with architectural elements. These various actions question the limits of our collective and individual subjectivity, and posit the possibility of rethinking or revolting against overdetermined societies.","Joanna Piotrowska.","Jesse Wine","9ce11593a8b7eff44eaf3ad3ea4e71a30867628a","2021-04-23T10:17:55Z",3.36,"#3e3f3e","#beb6b5",1.25,"2021-04-23T10:17:45Z","image-ae10187ddf9759868e73f7a52adc0d7c7892d21f-1500x1200-jpg","ae10187ddf9759868e73f7a52adc0d7c7892d21f","The disease of efficiency",9.35,"#beb9a8","2021-04-28T18:18:17Z","75a5999bbe416d5fcd48e87caf444c9e1a2c7a25","Day 2: The Boy in Blue",", 2018. Oil on canvas, CnC routed aluminum. 47 ½ × 31 ½ inches (120.65 × 80.01 cm).",", 2018 (detail). Cat: pigment printed CnC cut plexiglas, rear projection. Topographical models: CnC cut MDF, transparent resin. 56 ½ × 33 × 26 ½ inches (143.51 × 83.82 × 67.31 cm).","2021-04-23T10:24:53Z","#3f473d",.83,"bb141328da15637866a36526d9aeff0838ee57f7","Unfinished Smile","355a9c164e1eb3b0258ea4487f7c82d1e1200445","2021-05-27T15:23:50Z",13.02,"#500a11",", 2018 (still). HD Video. 15:30 minutes. ","It is with great pleasure that Simone Subal Gallery announces the opening of Frank Heath’s ","There Is Nothing Underneath The West Virginia Wing",", 2018. HD Video. 11:20 minutes.",", 2018. HD Video. 12:30 minutes.",", 2018. HD Video. 15:30 minutes. ","Ingrid Olson","2021-04-27T16:05:08Z","#848484",7.95,"#424242","#7f7f7f","#444444","f75c1b7d67292e68db01759266122bcf1a34de02","Midriff Riff",", 2018 (side view). PVA size, latex paint, vinyl paint, polyurethane foam. 14 × 11 × 11 inches (35.56 × 27.94 × 27.94 cm)."," Eye and eye",", 2018. UV printed MDF, PVA size, gesso, Plexiglas, screws. 16 × 23 1\u002F2 × 6 inches (40.64 × 59.69 × 15.24 cm).","Hinge, wedge","Small of Back, velvet lay fold","Kiki Kogelnik New York, 1979 © Kiki Kogelnik Foundation.","image-acf14ca18f122bb49699a0dec1598a0857074fae-1280x869-jpg","Untitled (Girl with Cigarette)","Untitled (Head)","acf14ca18f122bb49699a0dec1598a0857074fae","2021-04-23T10:20:09Z",1.42,"K.E.’s current exhibition continues her investigation into two different topics: the body as an agent and receptor in a technologically and physically mediated landscape; and the often absurd nature of the creative act. For K.E., these issues are intimately related, and with Crossing Gibraltar at Midday she arranges new wall pieces, several free standing sculptures, and a video in order to explore what might be a called a Blade Runner-esque urban space and a near-future rendering of the body as an avatar. In each work, K.E. is somehow present. Her body and subjectivity function as a cipher, and it is through her, both literally and metaphorically, that an image of what it means to navigate and intervene within a techno-inflected terrain becomes viscerally understood."," Intangible Economies of Desires (Knee #2)","Intangible Economies of Desires (Knee #1)","Intangible Economies of Desires (Knee #3)","No Sound",7.58,"#bf896a","feaecc4417ff5abe9de9e9e47d9218da215567e4","2021-04-23T10:19:56Z","Looking at my own eyes in the rear view",", 2017. Glazed ceramic, paint. 15 × 22 × 2 ½ inches (38.10 × 55.88 × 6.35 cm).","Zillow","ea0a63503765529351c468afe12b02d2b3a165a3","#4d4741",.05,800,"emily-mae-smith","Emily Mae Smith is versed in various strategies of representation. She pulls from disparate sources to create paintings that reflect the complexity of our time and personhood. She has been particularly interested in a wide range of neo-classical and symbolist works—commonly known as the twisted end of academic painting—in part because these compositions delve deeply into the abyss of the subconscious.","The Other End","The Riddle","Portrait as a Klein Bottle",", 2017. Oil on linen. 67 × 51 inches (170.18 × 129.54 cm).",", 2017. Oil on linen. 14 × 11 inches (35.56 × 27.94 cm).",5.97,"#797979",1.04,"56b2d64327d3959c1dd635f504e5e8841d4935b0","2021-04-27T16:20:04Z","image-3319e2f9ad0e19af9a3fb1b83f35f536572a6d73-2788x2311-jpg","2021-04-28T14:22:21Z",8.16,"#0473cc","3319e2f9ad0e19af9a3fb1b83f35f536572a6d73",", 2017 (detail). Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","2017-06-29","Simone Subal Gallery is excited to announce, Be frictionless latecomer, a solo exhibition by Veronika Pausova. The show will be up until July 28, 2017 and is part of the CONDO New York exhibitions. Pausova’s small scale paintings mine a precise visual vocabulary and often engage in pictorial games that play with the thin line between reality and its perception. Pausova describes her approach as “mathematical surrealism, ” in which she shifts the meaning of her characters from one painting to the next: In these seemingly disjointed environments, familiar forms such as fish, fingers, flowers, and spiders call to question the stability of one’s perspective and asks how much information is required to elicit a story.",", 2017. Oil on canvas. 36 × 30 inches (91.44 × 76.20 cm).",", 2017. Oil on canvas. 18 × 15 inches (45.72 × 38.10 cm).","2017-07-28","The inaugural Condo New York, a collaborative exhibition by 36 galleries across 16 New York spaces, will take place from June 29 – July 29, 2017. In 2016, Vanessa Carlos (Carlos\u002FIshikawa) founded Condo London as a way to offer international galleries a site for creative collaboration and exchange.","image-903f40fddfdf2a747111224d44ca1cc6705c0780-2576x1719-jpg","2021-05-22T18:33:54Z","c7b01a3da1c1025871ea13476a957b7e031b57c2",4,"#d7c4b1","the bow and arrow that he made for me",", 2017. Ink jet print of digital image encoded with the title at 6 out of 8 bits per byte, Ink jet print of digital image encoded with the title at 7 out of 8 bits per byte, dry-transfer wall text. Diptych. Each frame: 35 ½ × 24 inches (90.17 × 60.96 cm)","look down at the ground what do you know what do you know when you look down at the ground",", 2017. Ink jet print of digital image encoded with the title at 6 out of 8 bits per byte, Ink jet print of digital image encoded with the title at 7 out of 8 bits per byte, dry-transfer wall text. Diptych. Each frame: 22 ¼ × 35 ½ inches (56.52 × 90.17 cm).","balsa",", 2017. Ink jet print of digital image encoded with the title at 6 out of 8 bits per byte, Ink jet print of digital image encoded with the title at 7 out of 8 bits per byte, dry-transfer wall text. 22 × 35 ½ inches (55.88 × 90.17 cm).",5.65,"#ac7b53",1000,"cf2e6ebbc58388cb89f159e5f60b9e9f0a67441c","2021-04-23T10:25:49Z","2021-04-27T17:32:55Z","image-d55372b5af7b32385c2ac14b0352285c47dbfc5e-2000x1333-jpg","#785316","d55372b5af7b32385c2ac14b0352285c47dbfc5e","Bartolomeo's contribution to The Coronation of the Virgin",", 2015. Dyed and pigmented cement, brass, natural fibers, rubber, wax. 4 ¾ × 4 ¾ × 4 ½ inches (12.07 × 12.07 × 11.43 cm).","Beaded Interludes\u002FVol. 14","Nick Parker. ",", 2016 (detail). Plastic balls, LEDs, miniature headphones. 13 × 1 ½ inches (33.02 × 3.81 cm).","795f6a567d4a","Noiseless Currents, Strong & Obscure",", 2017. Leaded crystal, steel, colored silver gelatin print, newspaper, cardboard. 9 ½ × 15 ½ × 24 inches (24.13 × 39.37 × 60.96 cm).","RUST 1984",", 2017. US mint alloy reject, coper rod. 0.9 × ¾ × 6 ¼ inches (2.29 × 1.91 × 15.88 cm).","Bill Jenkins.","Hallway",", 2017. Two TVs, Paint, Hall. Dimensions variable.","Background Baghouse",", 2015. Synthetic polymer paint and baghouse filter. 102 × 40 × 40 inches (259.08 × 101.60 × 101.60 cm).","80 quart stock pot, partially drained",", 2017. Aluminum stock pot, fused silica. 20 × 25 ½ × 20 inches (50.80 × 64.77 × 50.80 cm).","D.C. After the March","Mother, Baby, Broken Key Chain","Bruised Baghouse",", 2015. Synthetic polymer paint and baghouse filter. 102 × 40 × 40 inches (259.08 × 101.60 × 101.60 cm)","2021-04-23T10:26:20Z","2391e5be0fbe2c05b06f31796060573d22989a48",8.14,"#8d7c62","image-93b6da387476616097185420b833779c601f7a3c-7360x4912-jpg","P! and Simone Subal Gallery are thrilled to present their second solo exhibition by Brian O’Doherty (also known as Patrick Ireland). Featuring rarely-exhibited works from the 1960s and 1970s, the exhibition follows a strand of thinking that connects the artist’s synthesis of embodied and encoded language with abstract form.","Meribah",", 1970. Aluminum on wood. 72 x 2.75 x 2.75 inches (182.88 x 6.99 x 6.99 cm).",", 1975. Watercolor stick on canvas. 66 x 66 inches (167.64 x 167.64 cm).","Golden Vowels (Cry)","2021-05-22T18:45:25Z",4912,7360,1.498371335504886,6.44,"93b6da387476616097185420b833779c601f7a3c","l64zz6XWPmWPpVvc7hM7F4","2023-03-10T15:22:31Z","brian-o-doherty","9f804cd7-170a-4096-b001-bc0e2ae2b9e7","image-4cfc5146ea5b688de7bbe86cab025ff7c2088294-5616x3744-jpg","2021-02-23T19:13:09Z","1c2e45f56482","60eedff8cd9b","7f05f477dd1d","8d62712ee58b","e51db7a97a1b","image-95a86b49b682dd43cc1d0c1a945e0b91fe2bef84-1600x1067-jpg","53933ce10045","117186730a72","64902a6d93e4","387479eedf27","07ddd9bd8589","image-b07b2912d1269059614dcd534bdeae1456f66c30-1600x1067-jpg","Installation view, Delirious: Art at the Limits of Reason, 1950–1980, The Metropolitan Museum of Art [The Met Breuer], 2017.","a0886571579c","07db0f637c03","80e4b7097124","image-658ecf1406539f69c887f34a3b2660e7ae862e23-7919x5974-jpg","Brian O'Doherty. Now, 1968-70. Aluminum on wood. 72 × 8 ½ × 4 inches (182.88 × 21.59 × 10.16 cm).\n","7675b33f8821","547c0c5b79e7","f3152b5c980e","image-8836e469e2cc647f45d0b885b1f905d15c7c89dc-3744x5616-jpg","1e855c4777e5","991de50b9a4b","Brian O'Doherty. Now, 1968-70 (side view). Aluminum on wood. 72 × 8 ½ × 4 inches (182.88 × 21.59 × 10.16 cm).\n","723ba1da82c9","image-598efe738eb94970a6b18cfe245df80b8207cd24-3571x5616-jpg","9b9da4a4eefd","8a10f7369f0f","5e652489eea3","d257626f4af8","1d8c05a9dfe3","401c6088db8d",". The Late Show","36a4d89c9f1b0","36a4d89c9f1b1",", 1968. Mirror, mirrored tape, liquitex. 30 × 30 inches (76.20 × 76.20 cm).","dd2bd2f94151","8de1a443a53d","0af0a62159cb","2b1c7f67d77a","da80ccc6d06c","565190c0cdc5","439f8d2be0cd","image-33ba5b036dce119c00039965157835d03f6b06ad-2000x4847-jpg","81459ddaad44",". Places","4cb05ed869220",", 1969. Aluminum on wood. 72 × 2 ¾ × 2 ¾ inches (182.88 × 6.99 × 6.99 cm).","4cb05ed869221","4a6e6ca6fc97","6c3b790b72fc","85232cd563d8","95132e669a63","79ecf5dafbb4","4cdb2c51c99c","3388fce718ee","915489b406e5","f4379f88e413","4174c895a492","image-f3e505bf97d4320f7f0a8137b353315d148951a7-1200x801-jpg","image-6d5130f1446ab17724840ab7755caca09915b64b-2379x3264-jpg","56f2333189c4","92f80d34d85a",". Rope Drawing #128: Flipped Corner (Green\u002FBlue)","f9cba1862e830","f9cba1862e831",", 2017. Rope, nylon cord, latex paint. Dimensions variable.","5e600a3a43ec","9ccb25a82619","247ac2bb9830","2868affc491b","image-41478c83d9bad463dc92b6a65c5c484c502c5af0-1200x801-jpg","image-5926ad59b12e99944e0d544bd1f71ba6edbaba4a-1366x900-jpg","fgXL2HDo","rQf5GtWf","iDp4TFp1","AOUT, The Broad Vowels, 2005. Liquitex on canvas. 72 x 72 inches.","FMFjyeny","WhjHWSzf","jzaQODrr","image-d395fb76cb36e4769890c4ad7a253bae25867aa4-900x879-jpg","lvT7a6Sa","RbHBl1cI","Ywai5SAi","uc0U4gJr","HyXLSVr4","RuGIsj2K","image-7836697e5295b07cd03b995315220667d05b7bb9-1350x900-jpg","a3c277c7c5b2","92072c2fc20a","Self-portrait, 1957. Graphite on paper. 10 ½ × 8 ½ inches (26.67 × 21.59 cm).","z5bRAHrL","QI3cxsee","mAqrxJ82","rfK8kh4H","NVfOxe6G","y1o3Swny","image-f29a4c1b8d8081fde0375ac21a6c9319730facb2-1350x900-jpg","0f56454b1165","18ea33116889","Structural Play: Chess, 1967. Ink on paper. 29 x 30 inches.","GsQ78cqa","J7XNQvU0","QBpPbfhv","image-aba2e4389afd3d61450463715caff1989499e049-900x1088-jpg","LGE4tW96","K3EVdP02","wbqd7lL3","image-429f8bcdbe4a9fb8489a334f2d509bb3835a53bd-1350x900-jpg","VHXplUjA","image-39eb1e4f1f071e106750ee2cceff66778ea8f776-1350x900-jpg","e1i3YLBi","zNpJ7pWn","y6XtJcST","image-7b878d518628e118dc827c5231ec2953d3082130-958x900-jpg","u7Z8a10a","psU5qtfh","image-58efaab60f4e806d00c315ddd116324f477f6f0c-900x1269-jpg","6oZAdgX4","b4e61cd90350","bafc6065b2b9","Sight (Narcissus), 1966. Mixed media. 73 x 23.25 inches.","zrbLyMbL","zRDT6fsO","VbywfMyn","9i67jO38","a8yAu20O","image-e873144f2770fb4c2c1ac73f0acec5909195a1a9-900x1284-jpg","aoiRsb1x","image-4fdb084f78d90be40769b9cc5827aa7c4d2fa7dc-1350x900-jpg","pxVRXOdX","mL4aJiBu","image-a0fdf0b36822d3f735da1fa93a21ce6d15647516-675x837-jpg","SznzFAxa","cc3e6458283e","88cb0c4cd6a4","One to Six Rotated, 1967. Ink on paper. 22 x 17 inches.","xCF7nxCx","BbGaZhCJ","image-c59ce093c685ac663d78bd5d031d8efdaa0351e9-1350x900-jpg","DAR2C0Fe","EivMWOp8","fUgmC0X0","image-a3d27b5ef7c3ce65294ea7d7c780620c1d30c61e-1240x900-jpg","wBqsI4fi","nsqohfvI","CZgLuGl6","Installation view, Simone Subal Gallery booth with a solo presentation of works by Brian O'Doherty, Frieze London, 2014. Rope Drawing #123: Orange Crush, 2014. Acrylic paint, rope. Dimensions variable.","587aa2946812","4uWGsvbD","LiNobALU","image-7bad0511dc2150fd2f35c5464a0d75463e3a3b03-840x1244-jpg","Pwp7yEY7","984443033312","d3e23707a9ec","A4bBTFKS","jyBCY76t","image-fbc0f3b0b49b5a1d3407aa0ceeb89c218c717d11-870x1173-jpg","image-b9a2aa079de921069e31d117d245382c66c62086-840x1260-jpg","mtRLkiOd","9fac943f9c5f","aea316e055eb","A1ILqhLZ","dTX6sA8c","e73326588886","8c301e05627f","1f30615db830","image-6ebc40e78717f90139c68ac03342b4e236f953ce-3000x2000-jpg","b2af30b2cc84","8231e3c81f38","Wittgenstein 7H to 7B, 1967. Pencil on paper. 21 × 29 inches (53.34 × 73.66 cm).","ikop6xOy","tgwEgfnK","N61aWQt9","image-f4ba34ee421720746495a821eae913ed8e59ea7a-4101x3053-jpg","7ebbabddc106","image-d1245df6ba495d8c55f4364d2003157ec93a516b-3000x2000-jpg","4c281ac1139a","df0920b6d152","d50879ca45f2","6351dbfc7b42","O'Doherty","3ec093521ff2","3ec093521ff20","Brian O’Doherty (b. 1928, Ireland, d. 2022, New York) led a remarkable and multifaceted career. After working and researching as a medical doctor, he relocated to the USA, where he hosted two television shows on art and culture. O’Doherty served as art critic for the New York Times and as editor of Art in America magazine. He edited and designed the groundbreaking “conceptual issue” of the multimedia magazine-in-a-box Aspen, as well as authored the seminal essay series Inside the White Cube. While part-time director of the NEA’s visual arts and media program, he helped make Soho a magnet for artists, coined the term “alternative space,” and championed early video art. From 1972 to 2008, he worked as an artist under the pseudonym Patrick Ireland. He has mounted over forty solo exhibitions and was the subject of several retrospectives; his most recent solo presentation was in 2018 at Sirius Art Centre, Cobh, Cork, where O’Doherty unveiled recently restored murals he had painted during an artist residency at the Art Centre 20 years prior as a permanent installation. O’Doherty is the author of several novels, including The Deposition of Father McGreevy (2000), which was nominated for the Booker Prize. His most recent novel, The Crossdresser’s Secret, was published by Sternberg Press in February 2014.","e51ed4727f0e","5b0f2c4bc8f2","3074aba8927c","file-744d469d548263fdeda79b5b3b3d1f4b38e3cf91-pdf","Brian O'Doherty - CV","hYo05GWk","Into the Mystic","2019-10-01","file-00267127d4de6e5c8a7bc15efb359c65b415de51-pdf","2019-02-26","file-460bae0f56250c2f1515d6c4bd40e7135bd5f60a-pdf","CPLDysgb","Beyond the White Cube: 60 Years of Brian O’Doherty’s Letters","Man of Letters","file-a2872f003a06d984b48d4886e253ae6607fdeb8c-pdf","Visual Artists’ News Sheet","8OeLWhTf","Frames and Personas","file-a6b27b50cae93f47bce34996e55d9a400e891c83-pdf","xk2y1Fae","uKfVaU6p","‘I Am Now a Saint’: Brian O’Doherty Turns 90","2018-05-10","file-3581efb33e7fd999ed730ae1bc46a1465f10c837-pdf","9cb757ba8943","UGsZodHH","file-bbcb4b68cfdbb8844c0552546c727a7e0e57c971-pdf","2017-02-10","file-b7034bc86ad8028344b500a69b45ad71cfc8eb95-pdf","e3d6883b169a","ATrUM07E","Sz3uenPo","file-b5f01b4373b11b953ae286713a8d083bef8dfe23-pdf","fbb6e1cd53a9","ikUIRjcH","Brian O’Doherty, Love Child of Marcel Duchamp and Clement Greenberg?","2017-01-10","file-9a119ddae3b5e58baa8611ef1e2914ad9bc6d053-pdf","69e627302a27","Galleries – Uptown","2014-06-06","file-b053dfb4bd9107551a874b62fe4e01a0757dbde9-pdf","Wi9k6bAl","file-b2f2a1e0c75886de83e5f8660a3f088dc4bddcab-pdf","6b831fdeeb8b","ARTnews","GuyYPcrw","0qPCcMs7","Kulthaus","2014-04-01","file-aeefa1f488c12c4e515dbb7bd8dcc8920bc4e634-pdf","Brian O'Doherty \"Connecting the...\"","file-c13cab7de8db8014eb4115ad6e91d7c1ff10a8f2-pdf","850c910e5c83","WFqC4qHJ","f1876e1442e1","Observer\u002FGallerist","TkBlbKQr","Brian O'Doherty \"Connecting the ...\" at P! and Simone Subal Gallery","file-29b35922dca7073917b9c60e06358e359802feec-pdf","file-0fff23764156aad4d634ce5ace736a9a5e65a5ea-pdf","c666a7c1f1b7","LzOoBYQA","2439e6bea0af","BNkbNAgz","file-83e1af79841ee97c4b4d5b4c33ae124861e10e6c-pdf","HZdCWPq3","2014-02-01","file-9773e1d18a712cfbf4246105ac694daf4ef7dd72-pdf","2021-04-23T12:44:24Z","4bcf7dc034b045732c15907e79ff7072fe061320",4.68,"#7092da","#434242",15.2,"2021-05-19T16:59:00Z","c2fb3376a3a4c77cccc8c3866454d2dfecb59e9b","10:36",", 2016 (detail). Cement board, aluminum. 2 panels: 36 × 60 × 2 ½ inches (91.44 × 152.40 × 6.35 cm).",", 2016. Cement board, residential bathroom remodel. Installation, photograph.","10:35 someone and someone entering",", 2016. Cast iron drainage pipe, wye fitting. 107 x 8.5 x 3 inches (271.78 x 21.59 x 7.62 cm).","10:37","6' opening",", 2016. Grocery checkout divider bars, granite. 52 ½ × 107 × 9 ½ inches (133.35 × 271.78 × 24.13 cm).","#515356","2021-05-22T18:55:54Z","6a070287e6cbb4df4ac5568f5aab5d04177a2f28","image-232e37dd4a66500524e92d9d819c0aca37e353a0-5090x3393-jpg","Gladys Nilsson.",", 2016. Oil on paper. 7 ½ x 5 ½ inches (19.1 x 14 cm).","Jimmy DeSana.",", 2016\u2028. oil on marine plywood\u2028. 48 x 32 inches (81.3 x 61 cm).","2021-05-22T20:19:25Z","#534449","image-d39b3abf1b0744ecad07bc8c25fa40114ee13462-3539x5000-jpg","d39b3abf1b0744ecad07bc8c25fa40114ee13462","Predictive Action","Relief Ribbons","Relief 3D","Kneeling Sculpture","2021-05-14T20:32:02Z","ad5881f04786ca0c207bb1422ac2463eb547fb86","#3f3d41","Margot Bergman","Anna Glantz","Margot Bergman.","Anna Glantz.",", 2016. Oil on canvas. 56 x 46 inches (142.2 x 116.8 cm).",", 2016. Charcoal on paper.","Philip Hanson.",", 2016. Reinforced concrete, fur, pigment. 39.5 x 28.5 x 28 inches (100.3 x 72.4 x 71 cm).",", 2016. Talc, ceramic tiles, cold-processed beef tallow soap, FD&C colorants, plywood, polyurethane construction adhesive, hardware. 70.3 × 43 ½ × 54 ½ inches (178.56 × 110.49 × 138.43 cm).\n","TalctoTileoverTile PL'd to MDO, shown in Mint Ice",", 2016. Talc, ceramic and plaster tiles, plywood, polyurethane construction adhesive, aluminum, hardware. 63 x 28 x 61.5 inches (160.1 x 71.1 x 156.2 cm).",", 2016\u2028. Talc, ceramic tiles, cold-processed beef tallow soap, FD&C colorants, plywood, polyurethane construction adhesive, hardware. 70 3\u002F10 x 43 ½ x 54 ½ inches (178.6 x 110.5 x 138.4 cm). Originally commissioned and produced by Artpace San Antonio.","Gst0KDik","Larry Bamburg was born in 1974 in Houston, Texas. Selected exhibitions include: Visual Arts Center at the University of Texas, Austin, (2017); TalctoTile, PL’d to MDO, Simone Subal Gallery, New York, NY, (2016); Talctotile, Talctotire, Artpace, San Antonio, TX (2015); UR, Room East, New York, NY (2012); It’s Endless Undoing, Thierry Goldberg Gallery, New York, NY (2012); Science on the back end, Hauser & Wirth, New York, NY (2012); Heel gezellig, GRIMM, Amsterdam, NL (2011); Bamberg (sic.), GRIMM, Amsterdam, NL (solo) (2011); And the fair Moon rejoices, Boston Center for the Arts, Boston, MA (2009); Hi, Low, and In Between, GRIMM, Amsterdam, NL (2009), Fruit Farm Film Festival 2008, McMinnville, OR (2008); Only Connect, Art in General at Bloomberg LP., New York, NY (2008). TBA:07, Portland Institute of Contemporary Art, Portland, OR (2007); Stubborn Materials, Peter Blum Gallery, New York, NY (2007); You Are Here, Ballroom Marfa, Marfa, TX (2005); Exit Biennial: The Reconstruction, Exit Art, New York , NY (2003).","EEQkVs16","606e721b085f","1a2005a51dfe","05f69a13efda","file-5b4c7f675ea9011a2cb5931c3f08eb5326ed0f09-pdf","Larry Bamburg - CV","larry-bamburg","b12e4fd9fe9c","a1b9c622d5f0","2021-02-23T19:11:12Z","ZX2qsrwT","Meet Lumber Club Marfa, An All-Girls Woodworking Group in West Texas","2019-06-05","file-4e37c9b46534af23916765507a77a19411f989af-pdf","06FCZMFv","Strange Creatures and Constructions Alight on the High Line","2017-11-08","file-ebc77c3dd4fe19c6c9ac1d02b5cbb9c8df60494c-pdf","EG8nwWbf","file-93f4e0595f2da71827c67483ae84ffde29d1c0b2-pdf","b42abfe5b758","UJmt5AN8","Museum & Gallery Listings for March 11-17”","2016-03-11","file-51cdd1fb072e7ebf9244721ca12b487c1c71def8-pdf","cf401b85fbb2","Mp1FTrpc","At Simone Subal, Larry Bamburg Asks Nature to stay True to Its Portrait","file-7c979618269d4295fefa0e732b3d4c98d61d92d0-pdf","6c49c6d0a010","7575c0fdd6fd","Blouin ArtInfo","sMXPa6rE","5 Must-See Gallery Shows During Armory Week","2016-02-29","file-2cc14bd6b168f9fc09cec3fb988fd6e8171dd6b6-pdf","2016-02-01","file-2a0eef9b837ab5bf111a56dd0dc17b3e89e0bc67-pdf","68646a863513","hCzU5F9B","t4wy0z5L","2013-04-01","file-233949edf7ec5a706f7a37167f51e1ea6e4b8763-pdf","ea8c136354f5","Gallerist NY","isu9y3vM","Larry Bamburg: BurlsHoovesandShells at Simone Subal Gallery","2013-04-02","file-8977564fb091aac1534c367d3bd2935c169851a2-pdf","396267b57c7a","2013-07-01","file-9cae0f973ec5f2dafdb86dd536d6f9e512c9d063-pdf","ead3d090970d","Artforum International","7fBLB7XP","Bamburg","URjfm6wF5VMDpvBGmtXjXO","k4TYULY5","Talctotile, Talctotire, Artpace, San Antonio, TX","Quiet Earth, Ballroom Marfa, New York, NY","2013-01-01","hCojs8WK","QUtQHD58","UR, Room East, New York, NY","CmxznOue","Its Endless Undoing, Thierry Goldberg Gallery, New York, NY","Science on the back end, Hauser & Wirth, New York, NY","xAr4yOOs","Heel gezellig, GRIMM, Amsterdam, NL","H7TJJcmD","EO3o1DnL","Bamberg (sic.), GRIMM, Amsterdam, NL (solo)","eo4SRoSY","And the fair Moon rejoices, Boston Center for the Arts, Boston, MA","c2keiJZ1","Fruit Farm Film Festival 2008, McMinnville, OR","2008-06-01","809xiTyx","Only Connect, Art in General at Bloomberg LP., New York, NY, curated by Cecilia Alemani","8MPurvGf","TBA:07, Portland Institute of Contemporary Art, Portland, OR","Rema Hort Mann Foundation: Visual Arts Grant, New York, NY","2WBI4PSt","HRUjdAnf","Artist-in-Residence, PICA, Portland, OR","NnMeGwJJ","1Ko9ytjr","Artist-in-Residence, Weir Farm, Wilton, CT","2004-01-01","8Ga6rH55","New York Foundation for the Arts Fellowship, Sculpture","2003-01-01","2000-01-01","aMmrW4Ni","Blanche E. Coleman Award","1f7bdb01-c352-4b5c-af2b-e6b8255b3741","X81SRYHV","image-d11d27a1ab8a07ea3f5e2919279340bbb6e434e5-3955x5925-jpg","UpKv7IhX","ty8aRC82","259cbeb715de","ea00424ef5bb","image-8f96856d724a01b59b0cfd678b7789bd9c8c39e0-6016x4016-jpg","GbIHfjjf","Detail view of ","10PBbfy4","f94a6b053504","899d12c0bf6d","3GVlYnYU","XRUmvpOJ","3280b9bc1170","1716bf18d684","bPWuRLBt","JFkiedLr","image-c32b58f670507c251a4f41d9633952fa14dd99bc-4016x6016-jpg","ab3f97229378","db7da67dbf35","d964b9f0dc63","dWr2Km2P","yVU1wy9v","image-b35da0633d6cdf7749cd3aec660c2b127b5fc25c-6016x4016-jpg","image-b4ba50b487416fb9349f5732571bbafd9a4d1409-6016x4016-jpg","IeVM1K9J","4cc4664773bb","c8d1e0007404","6214d6db47f0","9lcRmWml","RIjKhak9","7a31a157d419","a64c26693350","fbc0b652d3ff",", 2016. Talc, ceramic tiles, cold-processed beef tallow soap, FD&C colorants, plywood, polyurethane construction adhesive, hardware. 70.3 × 43 ½ × 54 ½ inches (178.56 × 110.49 × 138.43 cm).","05d1c3e1fa08","9D6qDQKs","IVqElc1K","dUm75DI3","17b5feb7875d","35bc4036c977","JI0qIU8e","cc5dd00c5553","31d30ebecee2","87d89baa8ebf","swXp7Qjc","Oy0tNMmn","dhvgn1EE","3ca0e62f4f1b","6a06a76d357e","807b1deffb67","cXZO5UMX","ynUdIphc","7dzkfGng","6cb30fa85ea1","Color Study: Mulberry Rounds #1& #2, Book-Matched in Anoxia","18c395c1e13d",", 2016. Mulberry wood, plywood, Marvelseal, solid surface acrylic, acrylic sheeting, lighting gels, silica gel, oxygen scrubbers, brass valves, aluminum, argon gas, hardware,\n26 ⅛ × 26 ⅛ × 5.5625 inches (66.36 × 66.36 × 14.13 cm).","0dfe0a5ee06a","iHkLDkYy","Mofmfufz","eb3e6c5b6544","93d0dbc2c890","DG7iRsDX","image-3742053f2a553b893bb73d17fff9826ca8a35d5d-800x544-jpg","yawJ1M2b","d8dd74cca3dd","d39489ffc59d","16a014042ec0","a2WDoqxN","1b29db5ccdca","ae5935354de7","ea731236a600","BPKDFJds","6HUERd4b","PwAl7Jur","a9205d5bc179","2319b6a36433","10bf04d9091a","650c72efdd26",", 2013. Fine silver, wood bark, mushroom spores and wax over porcelain under glass with a porcelain deck on a pedestal of safety glass over acrylic sheeting over plastic shopping bags over pink foam with electric aerator equipment and hydroton. 67 ½ × 38 ¾ × 22 ½ inches (171.45 × 98.43 × 57.15 cm).","7cjKwq8V","iuPGBWrM","YvNjYmnu","df5b6750156b","1268b986c1b3","aecb23f4dbb0","image-0ba5da40e195ce252a5b89693c85a1a664b0cc23-1259x640-jpg","h36T7Qp2","2c730b6790e5","Committing to the Idea that This Thing is Important. Substrate","5ba6626c728f",", 2011. Wood, log, shelf paper, vinyl flooring, fans, wire, screwdrivers. 109.5 x 178.5 x 113 inches.","JZK9mj9h","uQnv8mfI","hpsxQpeO","n8kYCvBN","d625bbf52959","e136bd34a15c",". 2011. Chest freezer, handmade insulated glass vitrine, bones, shells. 74 x 22.5 x 20.5 inches.","ti8VGLRT","image-93d2a5e11ae861dca9a5678825e81a5de0ba7dec-958x1440-jpg","NgHarLT8","df26a3582b37","19f6bc3fb1a1","5548290e7b88","GlUKSqQ3","zcQhltR8","image-6aa8f30d254b5a6b3cb2cbed5f35ba4f84ef7ae2-958x1440-jpg","hP7PBLag","4e07756fc991","33ac787a37aa",", 2011. Concrete, moss-covered bark, tempered glass, plaster tiles, grow light, misting system, fans, steel tubing, wood screw drivers. 70 x 112 x 82 inches.","d0199f5b9b1a","fZNVH35M","OKESAA8h","image-0e009fbdde9b3f8fa2b446d4827b57b693c3ad94-781x573-jpg","image-81ade437535bb68142fe2d24083ddba1e98de61e-629x945-jpg","rMcWnZj6","z3CvrNiH","b769dae17ef9","f7c3f6ec040f","7441262e3271","Q9iJhpnU","39MTyYL4","pAm57al2","4250276a78a9",", Boston Center for the Arts, Boston, MA, 2010.","9d111977eae8","uiGpdu8P","image-9c3ecfba0eb3c3d388fff29ac70d1119f84f08dc-658x995-jpg","BJczCLvY"," Two Deer Down","ed31de339412",", 2009, (detail).","ff749b7e5dcc","cyNVxhZX","RxfmNIx0","image-3aea2165cb6cf14aec364885160f878a266ba731-520x780-jpg","4NWV6gxc","2d758c929093","Two Deer Down","6ae3eb2e0734","c5961d28fe54","pI2aRwft","W3IfgobT","image-ae49785d8ff959521b372f31a4ceb425cc41003a-518x779-jpg","qpu4Yv3K","yGBueNL2","34db3992ea38",", 2010. Mixed media. Dimensions variable.","df4cefbf1b75","3XnDt4Hj","image-db70b2a940cb565916697ed99c55f54feb03ed0e-2000x3008-jpg","HYxj1kji","image-4c6f41e013e248dcd71a0deaa97c7854beed4dc4-2988x2102-jpg","2ec1315cc8aa","f7f7c28d2048","e29e9efeed32",", 2010, (detail). Mixed media. Dimensions variable.","c088babf545b","dqUJ9o3f","zxBf3DY0","ivk9pYjK","e2850cac1bd2","a47379e00c00","pz18CHow","image-86d36adb18b2f79579741979413c86fd49cbb70a-662x1000-jpg","znjgMFSR","image-33cd8a7cdd00f68c5cc1d398ec0b57a8a1f01f26-936x566-jpg","lsP4l146","ixf6e1Q3","657848a084ce","fa32c054231d","8fb48586470e","daSgzq2D","6f6f40e9a9ac","cb5424a67ca0","2de2dcf946d5",", 2009, (details). Mixed media. Dimensions variable.","9738100002b1","BtODjVao","image-2febf5acb90adf768cb0dbba96e4fd2a4f847b3c-720x1027-jpg","IobZAdcL","Installation view, Portland Institute of Contemporary Art, Portland, OR, 2007.","IvNOgBom","Cl0JhDOO","image-ffac20b38a9f42559f7f321984c95119c418f6d6-1000x664-jpg","xMDsu3Yz","image-684c5f8fca925e511f007d6dddcd633c66d8a3bd-775x890-jpg","1tyCsa1K","Installation view, Portland Institute of Contemporary Art, Portland, OR, 2007 (detail).","ad0ade3ce90d","EKu5vDdf","Installation view, Esso Gallery, New York, 2006.","2Ceeyjku","qc2fwVot","image-39dbe9ee8a7691c6cd415dcaf2db8c71e4986e8d-936x702-jpg","AvFOExLF","Installation view, Esso Gallery, New York, 2006 (detail).","e72cf366b181","kyyVls4i","image-7513d177200ea3852fb01967cb1e33156840a55e-709x1008-jpg","2021-05-20T18:37:43Z",7.83,"#d0b3ad","3e61f893376f7f2fe68356b07e12d7f168fc9d8e","2021-04-22T19:49:21Z","c93a90e2557cb96fd9621d1af3a25334155c5715","2021-05-22T20:45:20Z",1.12,"#654e48","Untitled (Hanging)","Mira Dancy.","image-9d9f56c6c923f22e63fa5fa86538201bd0470c89-1000x667-jpg",", 2015. ink and gouache on paper. 15 3\u002F4 x 11 7\u002F8 inches.",", 2015. collage, ink, and spray on paper. 19 1\u002F2 x 13 3\u002F4 inches.",", 2014. oil on canvas. 30 x 24 inches.","Autumn Ramsey","1dd974e31b41364717bc03c76222caa8bdd49cb8","2021-05-22T20:50:38Z","#5d4940",.7,.29,.55,"2021-04-23T12:45:21Z","1c06a2971c84bfd07f373bd63e71b4d8015f42a9","#a17e80",6.25,"image-1c06a2971c84bfd07f373bd63e71b4d8015f42a9-600x900-jpg","Teen Factory – Berlin NYC (paper)",", 2013-2015 (detail). Wood, self-dyed rope, varnished MDF, lacquer, spray paint, acrylic, metal, found object (bird). 41 ¼ x 30 x 25 1\u002F8 inches (105 x 71 x 64 cm).","Teen Factory – Berlin NYC (eyes)",", 2015. Wood, spray paint, acrylic varnish, MDF, aluminum tape, metal, aluminum, ropes. 95 x 20 ½ x 29 ½ inches (241.5 x 52 x 75 cm).","Teen Factory – Berlin NYC (flower)",", 2013. Metal, wood, MDF, primer, spray paint, wall paint, acrylic, Plastecine. 29 1\u002F3 x 26 x 18 1\u002F8 inches (74 x 66 x 46 cm).",", 2013-2014. MDF, aluminum, found object (ceramic), metal, yoga mats, acrylic, wood, string, wood of pencil head. 56 ¼ x 36 ¼ x 66 ½ inches (143 x 92 x 169 cm).","Teen Factory – Berlin NYC (pearl flowers)",", 2014-2015. MDF, aluminum, acrylic, lacquer, metal, plaster, oil, watercolor, pencil, found object (hand-made pearl flower). 57 x 18 1\u002F8 x 21 5\u002F8 inches (145 x 46 x 55cm).",", 2014. MDF, wood, metal, magnate sheet, spray paint, lacquer, acrylic, cast resin, and egg shell. 41 ¾ x 17 1\u002F8 x 22 7\u002F8 inches (106 x 43.5 x 58cm).","Teen Factory – Berlin NYC (text)",", 2015. Cut Plexiglas aluminum, brackets. 41 ¼ x 30 x 25 1\u002F8 inches (105 x 71 x 64 cm).","2015-07-31","Opening Friday, 26 June, 6-8PM","2021-05-22T21:29:03Z","2e290ecfd37004664eba1a2a0212d6d0c0df0797",2.79,"#e6ce46","John Seal","But it’s the lake that attracts me, as if I were a seagull…","\n– “The Seagull”, Anton Chekhov","– Sam Korman, June 2015","image-2d55153d1d1f6cbb7bbef98f3e1a7f0ae27f9aac-1560x1040-jpg","image-156f6103e8040807de65f12d5d82cafc61a4de9d-1560x1040-jpg","image-64c355c3c145b300dd4c7078fdbef24841bebdf9-1560x1040-jpg","image-43af828f49471c0d155543acf96b04a310cc34a0-1560x1040-jpg","image-c60a015ccc123534993e71ecc0738716d8240367-1560x1040-jpg","image-9bdfe129c6e2f2a5511a0e857ece05d7cdcd02c2-1560x1040-jpg","image-8c73793f3d113a019c9c2c8f90d7e245fbe9bf90-1040x1560-jpg","image-b211227b47b872a71af8b1c17a7776e5d9192e93-1560x1040-jpg","image-c6067a0e31da51cc228336731b3f34a035217f7e-1560x1040-jpg","image-181c0039d5fbc882ceb7b6ad9d6a33a55058ab52-1560x1040-jpg","image-d872f512033da54104bfaff637727301fbf22aa9-1560x1040-jpg","Gina Beavers.","Gene Beery.","John Seal.","2015-06-26","image-8ffd910d6935299a64a5afc297c27b4f7b79eec5-959x687-jpg","Calla Henkel & Max Pitegoff.",", 2014. Framed archival digital print. 10 1\u002F2 x 9 inches.","Jill Magid.",", 2014. Digital C-print, dry eraser board. 18 x 24 inches.","#be3104",959,"8ffd910d6935299a64a5afc297c27b4f7b79eec5","2021-04-23T12:45:36Z","Lu","Irene","Rei","Gladys","2021-04-23T12:45:41Z","a4cbaa5944cb1ddc03ae123673163b920eda8be0",5.55,"#7f7b76","Book: painting: poem: drawing: poster: book: sculpture: painting: book: drawing: poster: painting: drawing: drawing: drawing: poem: drawing: poster: painting: drawing: book: sculpture: painting: painting: poster: drawing: poem: painting. For Nikholis Planck, any work evacuates into another. It is difficult to keep up with his frenetic hand.","nikholis-planck","fc485ed375bab54dd7bbd1edb90d8eedf22f3e70","2021-04-23T12:45:55Z","#292a54",10.71,"Nikholis Planck @ Simone Subal","2021-04-23T12:46:01Z","c54af9808c04009fdbdc7614376ee3da5aad02f9",10,"#5b6d87","double-ended arrow features photographic wall-based works, cement relief sculptures, and freestanding steel and ceramic sculptures. Across a variety of materials, Olson alternately demonstrates and complicates an internalized, studied understanding of perception. In particular, she manipulates the optical hierarchy of proximate vision, the shift between a central focal point and the blurring of the peripheral.",", 2014. Inkjet print, and UV inkjet printed matboard in aluminum frame. 25\" x 17.5\".",", 2014. Ceramic, sintered nylon, steel. 96\" x 13\" x 13\".","If given, closed eyes alive like darkness","2021-04-23T12:46:07Z","56ab2ad396d616e9fb4d35da8860c4f945542e65",8.89,"#c9c1c0","The Austrian born Kiki Kogelnik (1935 – 1997) spent much of her working career in New York. Her encounters with Pop art, amongst other things, led her to give up her initial School of Paris inspired abstractions for a compellingly idiosyncratic style that blended together elements of Pop art, a color palette akin to the Chicago Imagists, a deep engagement with science and technology, and first wave feminism.","Sexy Afternoon",6.42,"#b1bbcc",1.08,"b60695f67e7f29588827b1e6ff7d7d1179ab8f8d","2021-04-28T23:04:23Z","2021-05-27T15:35:46Z","1846f697cfc6c555d3cb1d10381dd9c401d0532d",7.78,"#c47c5c",", 2014.","Taking its title from Joan Jonas’s 1973\u002F74 video work, Glass Puzzle, the exhibition brings together artists working with the logic of rules, substitution, artifact and repetition.","2021-04-28T23:04:42Z","aa5f996d633b7d6dd2022bebff83a024080fe465",2.98,"#5c90ca",6.7,", 2014. Mixed fabric, ink, pins. 34 x 28 inches.","Andrea Büttner. ","Mary Simpson.",", 2014. Oil on canvas. 50 x 90 inches.","Yorgos Sapountzis","yorgos-sapountzis","Sapountzis","2021-04-28T23:04:58Z","689222a00bf72428bacfa63debcfe1731b28f42f","#898785","6fd7fc893e1f","Live and dead knots March\u002F April 2014 (2)","Optotype 1",", 2014. Brownstone. 34 3\u002F4 x 32 1\u002F2 x 8 inches.","e7c7684319b5c8e841ba093838adb25cb1c1ad8f","#553a45",1.03,"2021-04-28T23:05:07Z","d1d1d7248e19","One Here Now","6e5d89e7c8f5","Rope Drawing #122 Here\u002FNow",", 2014. Acrylic paint, rope. 13 x 17 x 19 ft.",3.2,"#d76d82","2021-04-28T23:05:37Z","5a63f2ead593d75dce1424abe742fe9fc1c27a37",.44,2.88,"#9c7462","987031407d8cc37baa881e69559d67dffa09a988","2021-04-28T23:05:49Z","Sonia Almeida’s","Red Signal",", 2013. Oil on marine plywood. 36 15\u002F16 x 29 5\u002F16 inches, (93.8 x 76.1 cm).",", 2013. Oil on marine plywood, and green LEDS. 64 x 82 inches.","Charles Mayton","Kathrin Sonntag","Kathrin Sonntag. ","d958cd5e4d22d2ecb4efa37ac4a21d69bed209e8","#729278","2021-04-28T23:05:58Z","1c3e502120dac909f1f8c0c07424bb2736c93f85","2021-04-28T23:06:54Z","#f4e3d6","The diverse work on view examines construction and mobility as implied, yet fundamental requirements within the formation of narrative. Through a blurring of presentation with representation, these works question the perceived stability in the meanings attached to objects and images.",", featuring the work of ",", 2013 (detail). HD video projection on installation: blue stone gravel, chicken wire, fake rock, steel, aluminum, brass, copper, slate, dried papaya, reflection hologram, IPod touch, pico projector. Dimensions variable.","Derek Franklin.","Pressa",", 2013. Wood, steel, foam, resin, inkjet, paint. 172 x 64 x 92 inches.","image-9690f062c2fcdbd612eb78d141dfb63f12cab1a7-440x267-gif","from series: give all and get something (postmodern trauma)",", 2013 (detail). Oil and oil paint on canvas. 96 x 84 inches (244 x 213.4 cm).","image-2eaa660ccc8a0d3fb89d440a0f5bfacedbf5f4a1-2008x1379-jpg","from series: continental breakfast, overmorrow at noon","2eaa660ccc8a0d3fb89d440a0f5bfacedbf5f4a1","#4b3d39","2021-04-28T23:07:06Z","image-c35e9cfbd2778f5c8f4f4b7bba450310edeff537-360x391-jpg","BurlsHoovesandShells on an Acrylic Rake",", 2013. Wood burls, animal hooves, turtle and mollusk shells, acrylic. 105 x 42 x 40.5 inches, 267 x 106.5 x 103 cm.",", 2013. Wood burls, animal hooves, turtle and mollusk shells, lava rock, ratchet strap. 112 x 49 x 38 inches, 284.5 x 124.5 x 96.5 cm.",", 2013 (detail). Wood burls, animal hooves, turtle and mollusk shells, lava rock, ratchet strap. 112 x 49 x 38 inches, 284.5 x 124.5 x 96.5 cm.","2013 (detail). Fine silver, wood bark, mushroom spores and wax over porcelain under glass with a porcelain deck on a pedestal of safety glass over acrylic sheet over plastic shopping bags over pink foam with electric aerator equipment and hydroton. 67.5 x 38.75 x 22.5 inches, 171 x 98 x 57 cm.","Cow Hide: Book-Matched, Framed","Bone Stack # 45: All Birds Are Dinosaurs, Not All Dinosaurs Are Birds, Quail",", 2013, (detail). Chicken bones, brass, wood. 111 x 32 x 99 inches, 282 x 81 x 251.5 cm.",7.28,"#92e0fa","2021-04-28T23:07:16Z","c35e9cfbd2778f5c8f4f4b7bba450310edeff537","2021-04-28T23:07:27Z","79e40b466f36412bbd08ac4d1d84bc6f086823e5",8.37,"#5f4245",", 2013 (detail). Wood, tiles, aluminum, clothes, paper. 19' 8\" x 8' x 5' 5\", (599 x 244 x 165 cm).",", 2010. Mixed media on paper. 8 1\u002F4 x 11 inches, (21 x 28 cm).",", 2009. Mixed media on paper. 11 1\u002F2 x 16 inches, (29 x 40.5 cm).","B!RDBRA!N","Untitled (I really must congratulate you on your attention to detail)",", 2012. Color c-type print, 28 x 31.5 inches. 70 x 80 cm (framed), 24 x 28 inches \u002F 61 x 71 cm (unframed).","Rose Marcus.","Goods",", 2012. Concrete. 6 x 5 x 1.5 in, 15 x 12 x 3 cm.","2021-04-28T23:07:40Z","a62c1f498f5e79463dcca30859b98cd82a73bc25",7.3,"#eac59b","09d4b275215a7dc923b1f0d3430581ef494124ea","2021-04-28T23:07:47Z","#bcb4b4",8.88,"Much of contemporary life appears to be defined by an emphasis on the here and now, the presentness of objects, and the immediacy of returns. The quest for the fullness of the moment casts much to the side, often leading us to forget that presence, and by extension experience, exists in relation to absence. Absence is not a virtue, just as slowness is no better than speed, but to consider in the midst of presence what is missing, forgotten, and left to memory can be liberating. The works in It’s When It’s Gone That You Really Notice It suggest the specter of absence in distilled and poetic ways, whether through the tenuous relation between the original and the copy or how the intensity of a moment enables us to recognize what is not there. As with life, absence is one—albeit critical—part of the equation.","4e475c014436a7436284e072c523e5a4a0e9d62f","#847c7c","2021-04-28T23:07:52Z","image-4e475c014436a7436284e072c523e5a4a0e9d62f-509x624-jpg","Female Robot","Untitled (robots)","2021-04-28T23:08:01Z","#908888",6.84,"63918be161d063fcf01ed7ccb14b132e6c65df06",", 2010. Birch plywood, graphite, pine, steel wire, aluminum wire, brass screws, paint and pencil. 8 3\u002F4 x 33 3\u002F8 x 32 1\u002F2 inches.","Poem for a Stutterer",", 2012. Sawdust, ink, enamel, twine, and blanket on birch panel. 82 x 65 1\u002F2 inches.",", 1978\u002F2008. Silver gelatin photograph. 11 x 14 inches.",", 2012 (detail). Tarp, enamel, graphite, spray paint, can tabs, collage, and wire on canvas. 86 x 68 inches.","Diptych (big\u002Flittle)",", 2012. Wax and graphite on paper. 38 x 50 inches, 12 x 6 inches.",", 2012. Charcoal on paper, 25 x 38 inches, 63.5 x 96.5 cm.",", 2012. Wood, latex paint, celastic, tambourine jingles, and nail. 12 3\u002F4 x 3 1\u002F2 x 1 3\u002F4 inches.","Engraved Plane","2021-04-28T23:08:09Z",3.04,8.62,"#738322","2e4c965cf23cbb5711f5a7718c632d4642fc7e87","image-c9064e73035b3b7430a229a4d613ba1c557e1d49-1181x796-jpg",", 2012. Wood, paint, postage. 39 x 39 x 10 inches.","Former Structure \u002F Calendar, (New York World, 99 Park Row, New York, NY 10038)","Rerun \u002F Dear Pat, (Daily News, February 28, 1972 \u002F February 28, 2012)",", 2012. 2 pigment prints. 7 1\u002F2 x 6 inches, Framed 13 3\u002F4 x 12 1\u002F2 x 1 1\u002F2 inches each.","Rerun \u002F RAILWAY MAIL CLERKS, (New York Post, March 02, 1912 \u002F March 02, 2012)",", 2012. 2 pigment prints. 7 1\u002F2 x 6 inches, Framed: 13 3\u002F4 x 12 1\u002F2 x 1 1\u002F2 inches each.","2021-05-27T15:39:18Z","1e8e8edd41d041953f73d05c6208b61fbd055107","#649ccc",10.48,"d6c534f88202b01ea2f80c1f1b0cc38ea795f185","2021-04-28T23:08:29Z",1181,5.92,"#7e8796","Almeida’s most recent work continues her engagement with subtly gestural paintings. The construction of these pieces resembles the mechanisms of the printing process, emphasizing problems with image making and documentation. The works—mostly oil on plywood, but also a large tapestry—function like propositions for potential paintings and appear as if in various stages of completion: some unfinished and some overworked. As with printing, they play with layering and the restriction of certain colors.","Monochromatic Veil","St. George and the Dragon","image-8836e4f2396ce0c52e07cba1606fce61015ab151-550x475-jpg",", 2011. Aluminum plate, photocopies, tape, fabric, cord, needles. 96 x 48 x 4 inches.","Reclame Food on the Ground",", 2011. Aluminum sheet, aluminum pipes, plastic pipes, aluminum tape, aluminum foil, glass jars, food, fabric, photocopies, tape, cords, needles. 17'4\" x 8' x 73\".","2021-04-28T23:08:36Z",6.77,"#5b462a","8836e4f2396ce0c52e07cba1606fce61015ab151","zoom, shift, abstract brings together works of diverse media and content. In their variety of form, which includes painting, sculpture, drawing, and photography, the pieces on view isolate or emphasize real, tangible things in order to evoke a broad spectrum of narrative and interpretive possibilities. That is, the work zooms in on a specific situation, whether an actual material or something represented, shifts its context and therewith abstracting the work’s relation to its original referent.","8b6bc5fcd15f05e8c38ae0421a8f6a32bdbb482c","2021-04-28T23:08:42Z","#c3bebb","To give a face",", 2011. Collage. 8 × 11 inches (20.32 × 27.94 cm). 12 ¼ × 15 × 1 ½ inches (31.12 × 38.10 × 3.81 cm) (framed).","image-da4c678b7e277dd986e121c38feb1edbc3bdf9bf-945x1243-jpg","da4c678b7e277dd986e121c38feb1edbc3bdf9bf","#393e3e",9.83,"2021-05-22T22:03:26Z")));