Both founders of Field Projects will be exhibiting in IMPROVISED SHOWBOAT, a great one night only studio show in Williamsburg, Brooklyn TONIGHT. Other artists in the show include Katherine Bradford, Jim Butler, JoAnne Carson, Caroline, Wells Chandler, Travis Fairclough, Nora Anne Fantry, Gaby Collins-Fernandez, Susanna Heller, Christopher Joy, Julian Kreimer, John Micoff, Lisa Sanditz, Didier William and Brenda Ziameny. Improvised Showboat is a curatorial venture from Lauren Britton and Zach Keeting.
Katherine Bradford’s Studio
119 North 11th Street
Brooklyn, NY 11249
Friday September 26th / 7-9PM
Hope to see you there! :)
Amazing Elissa Levy edition, will be available in the Field Projects Flat File starting next week! @ellelvy , #sewnprint #flatfile #artprint
Studio visit with the lovely @ellelvy ! Her new print with FP launches next week! #elissalevy #limitededition #stuidvisit
BRIC will be presenting 27 artists in their 2014 Biennial TONIGHT at 7PM. Just as we do here at Field Projects, these exhibitions will present the work of emerging and mid-career visual artists. What’s unique about this show is that it caters to artists working in downtown and adjacent areas in Brooklyn! The show represents a wide range of mediums such as sound, painting, installations, photography, sculpture, and performances.
Hope to see you there!
"But sometimes one has the sense of a paradoxically asynchronous contemporaneity—the strange tug of more than one time and place." - Raqs Media Collective
"Landscape everywhere in the world is a construct of human beings- whether through human ascription to it of mythological creation, or through physical actions by the humans themselves.. Whatever the difficulties of recognizing such special sites from the archaeological record- all societies in the past would have recognized, as do all societies in the present, some features of their landscapes (if not all of the earth) as special.” -Peter Ucko, Archaeologist
Amy Pryor’s suggested constructive landscapes confront us with what is superficial. They remind us not to trust the surface, acknowledging the layers slowly making their way to the top. Often we encounter what seems to be an apparently beautiful and meaningful relationship only to pull back the layers and discover the dark and ugly truth. It hurts and every time, it gets just a little more shocking until we are forced to become numb. Everyone and everything has the potential to harm.
We leave it the blissful, naively innocent to keep the world hopeful. Amy’s work asks us if we are the best person we can be- to ourselves, each other and the landscape that we all share for daily survival.
Alois Riegl (1858-1905) the Austrian art historian, once summed up the three main purposes of art:
G.F.W. Hegel, the early 19th century German philosopher noted that, “Where painting thinks experience, sculpture thinks identity”.
Rachel Ritchford’s paintings breathe the young human experience, vanishing fast from our present. We lean back and swing freely between the grounds of the painting. The collective memories of cloud formations as a child are in a endless game of tag with structure.
We begin to understand that though nature begins with geometry it ends with the spirit. Colour and surface are etched deep inside our eyelids just as we are struck from a stray ball on the playground.
Laying in peat moss from the blackout, slowly regaining consciousness - the mind begins to rationalize what can be taken away in a split second. The whistle blows, recess is over- but we want to play pretend longer naming each cloud as it passes us by.
Hello everyone! First of all, happy Friday (TGIF - am I right?) Secondly, stop by to say Hi and see the last day of the show MOMENTO MORI. Lastly, don’t forget to check out the online exhibition HERE.
Thanks to everyone who has taken the time to see the show, to Deborah Brown and to the artists!
Here is the press release from the show and a little about Deborah Brown:
Throughout human history, cultures and peoples have made monuments to celebrate, commemorate, memorialize, remember and insure the survival of their values as a civilization. The artists in Memento Mori (from the Latin, “remember that you will die”) examine the iconography of the monument from a contemporary vantage point. The work takes many forms: heraldic crests (Brian Guidry), totems (Wade Schaming), mapping and marking (Jean Paul Gomez), text-as-structure (Alex O’Neal), funeral mounds (Heidi Lau), hieroglyphic collage (M.A. Papanek-Miller), photo-documentation-hagiography (Julie Ann Nagle), distilled and repurposed remnants (Laura Judkis), surreal architecture-in-landscape renderings (Colleen Cunningham) and retro sci-fi structures (Ben Pranger). These ten artists employ form and craft in the service of a spooky narrative, at times archeological, psychological or metaphysical. Mixing references to art history and popular culture, the works present a fresh take on familiar forms. Together they form a kind of “momento mori,” an elegy to something past or lost to which the artist and the artwork pays tribute.
The curator wishes to thank Field Projects for the opportunity to curate a show in their well-regarded program. Sincere thanks as well to all the artists who submitted work for consideration. The level was extremely high and many different shows could have been assembled from the submissions. After reviewing nearly 3500 images, I have chosen work by artists completely unknown to me. The theme was suggested by the work submitted, around which I thought an interesting show might be assembled. The show has surprised me, and I hope it will introduce fresh voices to the scene.
Deborah Brown is an artist, gallerist and Bushwick gadfly. She is a board member of NURTUREart, BRIC Artist Advisory Council and Community Board #4 in Bushwick where she serves as chair of the Arts and Culture Committee. Her work is represented by Lesley Heller Workspace. In addition to her art practice, she owns and directs the gallery Storefront Ten Eyck to show the work of emerging Bushwick artists and to revisit the work of established artists.
****P.S. The gallery will be close all of August. So keep a look out come September for a wonderful Fall kick off to the art season!
The mind goes through a series of algorithms when confronted with abstraction. We begin with what we know, or at least, what we think we know. Quickly we grapple with things like, memory, color, relationships between lines and objects, materials and our emotions among other rationalities. Critiquing quietly in our minds we begin to form a relationship with what we are experiencing. Beginning to decide if we want to create a special file to reference later, perhaps as we are drifting off to sleep into a slumber of sweet dreams.
Brian Willmont’s Paper Airplanes series of ink on folded paper emphasizes the entanglement of the mind with the world and the phenomena surrounding it. The hybridization of this work makes you want to grab it impulsivity, to line up the folds, can and will this piece of paper fly? Encountering this work with extreme impulse control the mind and body begin to rest and to see and remember the truths. This work is colored ink on paper folded or not folded into the recording of a paper airplane, then folded flat again to dry.
“Dancing on the edge of gaudy decoration, vividly patterned compositions are designed to entrance the viewer (like a siren), disguising and distorting violence. Working in volume like series, repeating symbols and imagery in painting, sculpture, video to create a multi leveled reality from the dialog between works which create further complexities and narratives when exhibited creating installations that bring the energy of the work into the atmosphere and allow endless interpretations of the work. While colorful and energetic, the works are full of quiet unrest - expectant and somber as history repeats its self.”
Just as the Rorschach inkblot tests challenge our perceptions using psychological interpretation, these works question our visual thinking process and challenge our impulses.