Samantha Adams Reut Asimini Tirzah Bassel Keren Benbenisty Ryan Brennan The exhibition will spring into being, exist ephemerally as works are added and taken away, and then disappear, along with the last artist leaving the opening. Each artist brings two versions of themselves to the exhibition: one is their actual physical person, and the other is their visual echo, the self portrait, which like a persistent shadow insists on following the artist in and out of the gallery. While some of the works in the show will be straight-forward self portraits, many of the artists included in this exhibition do not work in a representational manner, and have been invited to create their own riff on the concept. When they are ready to leave, they will deinstall and take their work with them. Artists included in the show will bring their self portraits with them to the opening and install them upon arrival. Install/Deinstall is a 3-hour long group exhibition that condenses the three main events in the life cycle of every show: the installation of the work, opening night, and deinstallation of the exhibition. The container or vessel is either open or closed it can be functional and hold matter, or it can be open and occupy space. Underdonk is pleased to present ‘Fur Cup,’ a group exhibition of sculptural works that brings together thirty artists using a variety of materials, such as glass, wood, clay, paper maché, found objects, plaster, metal, fabric, and plastic. "Dynasty" PS122 gallery, open through December 1 2019Ĭurated by Amy Goldrish, Christopher Ho, Omar Lopez CHahoud, and Sara Reisman But even works of ornamental utility-memorably, Roxanne Jackson’s dark comedy of a candlestick, in which a black taper rises from the index finger of a glazed ceramic hand-make a strong case that art, as Oppenheim herself put it, “has to do with spirit, not with decoration.” Ceramic dominates, but most of the thirty artists tapped by the show’s discerning curator, Elisa Soliven, forgo function in favor of wild form (Gabriela Vainsencher’s alluringly reptilian porcelains Anna Sew Hoy’s Gordian knot of denim, stoneware, and string) or total absurdity (Rachel Domm’s colossal farfalle). You can see that piece now, on the fifth floor of the new MOMA-and you can meet its unruly offspring in “Fur Cup,” an excellent show of sculptural objects at Underdonk, an artist-run space in Brooklyn (open weekends through Nov. "In 1936, at the age of twenty-three, the Swiss artist Meret Oppenheim made one of the most perverse and pleasing sculptures of the twentieth century when she lined a teacup, a spoon, and a saucer in fur. November 2019 Review of "Fur Cup" in the New Yorker Magazine, by Andrea Scott: I'm participating in the online version of the Dallas Art Fair with Bill Arning Exhibitions and New Discretions. Review by Darla Migan in The Brooklyn Rail for "Things on Walls" at Affective Care, curated by Benjamin Tischer Group exhibition at Adams and Ollman gallery, Portland, OR I sat down to chat with Alun Williams of Triangle Arts Association about my work leading up to my work at the Bronx Museum. Triangle Arts Association artist talk on zoom
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