August 9 - 23, 2019
Friday, August 9th 6-8 pm - Opening Reception
Wednesday, August 21st 6pm - SONIC MUD Performance by Julia Elsas, Kenny Wollesen, Kirk Knuffke and Mike Irwin
Curated by Elisa Gutiérrez Eriksen
With works by Yasmeen Abdallah, Keren Anavy, Niamul Bari, Frank Born, Jade Chan, Lauren Cohen, Julia Elsas, Lauren Gidwitz, Kathie Halfin + Bingying (Emma) Yi, Tenaya Izu, Daniel Jay Genova, Tadasuke Jinno, Sydney M. King, Abigail Levine, Ioana Manolache, Caitlyn McLaughlin, Robert Melzmuf, Elizabeth Moran, Joshua Nierodzinski, Xavier Alexander Petromelis, Jelena Prljević, Andrew Schwartz, Liza Sokolovskaya and Elena Soterakis
The Weight of the Temporary brings together the work of 25 artists with different perspectives, disciplines, and interests in an effort to explore human adaptation both to and through changing conditions, and living through the heaviness of a moment.
While speaking with the artists in preparation for this exhibition, we often discussed ideas of consumption, the earth getting warmer, relationships with family and loved ones, childhood experiences, traditions, womanhood, feminisms, death, even religion and its contemporary value, and the ways in which we all cope and unfold in our world(s). Whether it is a thought, a landscape, a home, a memory, an exchange, a movement, or just our attention, the momentary aspect of things and events connects us all in impactful ways.
The play on words in this exhibition’s title is reminiscent of Octavio Paz’s ideas in his book The Grammarian Monkey, where he speaks about fixity as a momentary quality and attempts to define what it means “to go to an end.” Paz plays incessantly with language and describes life as an ongoing search, a constant tug between movement and stillness, between the present and the headspace, between the specific goals in life and the uncertainty of the next instant. Similarly, the pieces that have come together in this exhibition remain tied by a continuous blending of
the self with the other,
the self with the outside,
the self with a home,
the self with history,
the self with language,
the self in movement,
the self with nature,
the self with itself,
the self within itself.
The metaphysical opposition of weight and time coexist and thus evoke the notion of occupying two spaces simultaneously, like a musical instrument that slaps, a text that performs, a white noise image, an encounter without regard, space food as a sign of social upper mobility, shifting in a fixed landscape, noise emotions, and the list could go on.
The vagueness of the terms, the finitude of the idea, the embedded cycle without an end… The temporary character of any ‘thing’ is correlated to its importance and to the question of how we measure it –is there in fact a better question? Certainly, the intersectional forces of race, class, gender, provenance, ability, influence, and experience will be definitive in the experience of being in the world(1).
1.After Feminist Data Visualization, Catherine D’Ignazio and Lauren F. Klein
Opening Reception: Friday, July 12th 6-8 pm
Curated by Jessi DiTillio
With works by Rosana Aviña-Beam, Robert Collier Beam, Katherine Spinella, Michael E. Stephen
and John Whitten
Forty one years after its completion, six friends travelled together to see Walter De Maria’s 1977 artwork The Lightning Field in Western New Mexico. Thunderstruck is the aftermath of that trip, a group of art works and collective feelings. Questions of material, history, indigenous heritage, and embodiment suffuse these works in print, drawing, sound, sculpture, and installation. Thunderstruck re-presents The Lightning Field as an accumulation of meaning unfixed by time, floating free from De Maria’s authorial intention.
Jessi DiTillio (Austin, TX) is a curator, writer, and art historian. She is a 2019-2020 Luce/ACLS American Art Dissertation Fellow and a doctoral candidate in art history at the University of Texas at Austin. She is a co-founding member of the curatorial group Neon Queen Collective. Her research focuses on modern and contemporary American art through the lenses of affect theory, critical race studies, and feminism.
Rosana Aviña-Beam (Philadelphia, PA) is an Interior Architect who believes even with the most common spaces and elements of the everyday - design should enrich and impact an individual. Rosana received her MS in Interior Architecture from Philadelphia University and her BA in Theatre Arts from the University of North Texas. Most recently she worked as a Designer for Droese Raney Architecture, her work can be found throughout North America.
Robert Collier Beam (Philadelphia, PA) is an interdisciplinary artist working in photography, installation and drawing. He received his MFA from the University of Oregon and BFA in photography from the University of North Texas. His work has been shown both nationally and internationally, and was supported by a Dallas Museum of Art grant. Robert grew up on his families ranch deep in East Texas where a strong appreciation for the land was developed.
Katherine Spinella (Portland, OR) uses printmaking, sculpture, and digital images as a means of archiving and deconstructing discarded physical and digital commodities. She has exhibited nationally and internationally and received grant support from the Ford Family Foundation and Oregon Arts Commission. She earned her MFA from the University of Oregon. Spinella is a co-founding member of Carnation Contemporary. Her practice transports the refuse of commerce into fractured, elevated, and philosophically personified artifacts.
Michael E. Stephen (Austin, TX) is a conceptual artist working in the expanded field of sculpture and video. His work unveils the change and dynamism of objects as they pass through time, space and context as they archive our idiosyncratic relationship with nostalgia and the act of the ritual. He earned his MFA at the University of Oregon. His work has been exhibited nationally and internationally, including in Houston, Los Angeles, Miami, Norway and Italy.
John Whitten (Portland, OR) is a visual artist whose drawings and digital work aims to excavate the philosophical significance of what it means to wander through the sea of signals and noise enveloping our world. He earned his MFA from the University of Oregon and his BFA from Watkins College of Art. His work has been exhibited internationally, and he has been the recipient of numerous awards, grants, and residencies. He is a co-founding member of Carnation Contemporary.
by Levan Mindiashvili
Curated by Vanessa Kowalski
July 12 - 31, 2019
Friday, July 12th 6-8 pm
Click Here to Download Press Release.
NARS is pleased to present Now is Always Someone Else: an experiment in curatorial and artistic collaboration, an exercise in decision making, a deconstructed instruction piece, a new way of working through the limitations imposed by distances, whether, metaphorical, physical or rooted in language. The presented work, newly configured by curator Vanessa Kowalski, employs the same material elements of a piece by Levan Mindiashvili previously arranged in an alternative format, originally commissioned for the 2019 BRIC Biennal with support from Erti Gallery, titled Here is Always Somewhere Else. Formally, the elements of the piece, presented in four different embodiments, are based on the word “here” in Georgian. Beside the installation hangs a single hyperlink, or a correlating tangent of the work, in which Kowalski’s handwritten rendition of the word ‘Now’ written from memory in Georgian lettering has been defined in liquid mirror.
Levan Mindiashvili is a Georgian born visual artist and independent curator living and working in New York and Tbilisi. He holds his BFA from Tbilisi State Academy of Arts and MFA from The National University of Arts of Buenos Aires, Argentina. His works had been included in recent group exhibitions at The 7th Beijing Biennale, China; Georgian National Gallery, Tbilisi; ODETTA, Brooklyn, US; Tbilisi History Museum, Georgia; Arsenal, Kiev, Ukraine; Tartu Art Museum, Estonia. Recent solo exhibitions were held at Georgian National Museum, Mestia; State Silk Museum, Tbilisi, Georgia; The Lodge Gallery, New York, US; His works are in public collections of Georgian National Museum (Mestia), State Silk Museum (Tbilisi) and National Art Museum of China (Beijing).
The Split Is Vividly Revealed
June 3 — 21, 2019
June 7, 6-9 PM | Opening reception
The Split Is Vividly Revealed presents new work by transdisciplinary artist Romily Alice Walden:
“The public world is the world of strength, the positive (valued) body, performance and production, the able-bodied and youth. Weakness, illness, rest and recovery, pain, death and the negative (de-valued) body are private, generally hidden, and often neglected. Coming into the public world with illness, pain or a de-valued body, we encounter resistance to splitting the two worlds; the split is vividly revealed.”
Wendell, S. (2006). Toward a Feminist Theory of Disability. In: L. Davis, ed., The Disability Studies Reader, 2nd ed. London: Routledge, pp.243-256.
Romily Alice Walden is a transdisciplinary artist whose work centres a queer disabled perspective on the fragility of the body. Her work has been shown throughout the UK, Europe and North America in solo and group exhibitions. In 2019 she will present solo exhibitions at SOHO20 Gallery New York and Nars Foundation, Brooklyn, as well as being resident at Storm King Art Centre with the Shandaken residency program. Walden’s practice spans sculpture, installation, video and printed matter, all with a socially engaged and research-led working methodology.
Click here to download the Press Release.
Season II Residency Exhibition
IT ALL TREMBLES
Curated by Nicole Kaack
May 3 — 22, 2019
May 3, 6-8 PM | Opening reception
May 10, 7 PM | Screening of video work by Bat-Ami Rivlin in conjunction with a reading by Emily Toder from her new book Waste NARS Project Space
Featuring a new body of work by Bat-Ami Rivlin, It All Trembles is a study in the tenderness of constraint. Rivlin describes the mutual desire and emulation of object and anatomy in work that is active with symbolic inter-penetrations of the body and its counterparts. Rivlin strikes a rhythmic repetition that parallels both a capitalistic drive and a simulation of pleasure, troubling consumption as the point of convergence between violence and desire.
Bat-Ami Rivlin (b.1991) is a sculpture and mixed media artist based in New York City. Her work focuses on found materials that explore bodily functionalities in different social and artificial spaces. Her work has been exhibited in venues such as David & Schweitzer Contemporary, NARS Foundation, BronxArtSpace, Time Square Space, and Knockdown Center. Rivlin is the recipient of awards such as the SVA Bronze Casting grant at the MANA Contemporary Ben Keating Foundry, the David Berg Foundation Scholarship, and the Artis Fund Scholarship. Her work was featured in publications such as ArtSlant, Peripheral Vision Arts, and BTR Today.
Nicole Kaack is an independent curator and writer based in Queens, NY. She is the current Curatorial Fellow at The Kitchen, New York, as well as Administrative Fellow at the Photographic Collections Preservation Project (PCPP). Kaack's writing has been published by Whitehot Magazine, artcritical, Art Viewer, SFAQ / NYAQ / AQ, Artforum, and The Brooklyn Rail. She has also contributed texts to I will set a stage for you (HOLOHOLO, 2019) and to Recto / Verso (Hauser & Wirth, 2018). Kaack has organized at The Kitchen, Assembly Room, NURTUREart, CRUSH, the Re: Art Show, and Small Editions. Kaack’s projects include of missing out and prompt:.
The fusion of art and science opens doors to possibilities beyond our imagination
May 3 - 22, 2019
Friday, May 3rd 6-8 pm
NARS Main Gallery
Yoko Shimizu blurs the lines between art and science, turning the infinite natural scientific phenomena taking place around us into stunning installations. In the Biodesign Lab exhibition, a biology lab is installed in the NARS main gallery to present her latest biological installations and live lab performances. The beauty of the scientific principles that surround us is timeless, limitless, and filled with inspiration.
Yoko Shimizu is an artist and biologist based in Tokyo, Japan. Born in Kyoto and raised in the Unites States, she was inspired by the art scene in New York as a child. To pursue her passion in science, she studied Biology and Chemistry in Kobe University. Her career began as a creative director and consultant in an advertisement company. Currently, she runs her own creative innovation lab in Japan, Lab +1e. Yoko has received numerous awards for biology-inspired installations that integrate art and science, and has held exhibitions in countries around the globe. She is also a media personality on international art and music programs in Japan, and has given talks and performances in global events such as TED, FITC, and Ars Electronica. She is a director of an international art and science festival and a judge of Knowledge Innovation Awards in Japan.
Tai Hwa Goh
April 5 - 24 | Opening reception: April 5, 6-8 PM
NARS Project Space
My print installation, Asymmetry is an open expression of my recent interest in the tensions between opposites. Though my images evolve from biological forms, the color is not biologically natural but rather artificial and exaggerated. It is with this similar approach that I use hand crafted traditional printmaking method but also incorporate manufactured party balls, Styrofoam pipes and cement cast.
I create layered installations from printed and cut paper. I cut, fold, layer, and form the hand-printed paper into three-dimensional objects that engage with the architecture of a space. With my large scale “party-balls” installation, I construct tubes, pipes, and balls brimming with fluid-like stands of paper as a metaphor of the cycle of the body, industrial machinery and natural phenomena, as well as the endless processes of growth and decay, the intersection between a joyful organic form and industrial human- made realm.
Tai Hwa Goh, an artist working with printmaking and installation, was born in Seoul, Korea, where she spent her childhood years through college. Goh’s installation pushes the boundaries of traditional printmaking from two-dimensional images on paper to three-dimensional sculptural installations that transform space. Goh is a recipient of 2019 New Jersey Individual Artist Fellowship Awards and the Gold Award winner of the 2017 AHL Visual Art Competition. She also has been awarded and grants from National Endowments for the Arts, Lower East Side Print Shop, Elizabeth Foundation for the Arts, Guttenberg Art,Emerge11, Vermont Studio Center, AHL Foundation and Evergreen Museum and Library Residency at John Hopkins University, MD, among others. She had an installation show at Sunroom Project Space at Wave Hill and BRIC and her works have shown at IPCNY, DUMBO Art Festival, Islip Museum, William Paterson University, Gallery Aferro, AIR Gallery and Snug Harbor Center for The Art. Goh has participated in the International Artist Residency at NARS Foundation and the Artist-in-Residence, Museum of Arts and Design's Artist Studios Program. She is in the Artist-in-Residence at Children’s Museum of Manhattan now. Goh earned an MFA from the University of Maryland, as well as an MFA and a BFA from Seoul National University, Seoul, Korea. She has been featured in US and international exhibitions. For more information please visit www.taihwagoh.com.
April 5 - 24, 2019
Opening Reception: Friday, April 5th 6-8 pm
Curated by Michael Fleming, Olivia Swider and Rachel Tretter
With works by Audrée Anid, Nicholas Cueva, Vincent Dermody and Darryl Westly
Chromatic Reveries unites four artists - Audrée Anid, Nicholas Cueva, Vincent Dermody, and Darryl Westly - working across painting, sculpture, and found photography. Their practice shares a specific affinity for using the surface as a palimpsest for layering meaning and memory. This exhibition explores the excavation of personal history, fractured realities, and the character of the cities where these four artists have spent time creating.
Audrée Anid is a Lebanese-American mixed-media artist and independent curator whose work spans photography, painting, and printmaking. Audrée was born in Ann Arbor, Michigan in 1990 and grew up in the Bronx, New York. She holds a B.A. from Wesleyan University in Connecticut and an M.A. from Teachers College, Columbia University in New York. Her work has exhibited at Photoville NYC at Brooklyn Bridge Park, Humble Arts Foundation, Equity Gallery, Brooklyn Fire Proof East Gallery, Gallery at BRIC House, and Robert Miller Gallery among others. International exhibitions include Arts Suzhou in Suzhou, China, The Beirut Contemporary Global Art Fair in Beirut, Lebanon and Beit Beirut, Museum and Urban Cultural Center in Beirut, Lebanon. She recently completed the Artist on Art Program at Olana State Historic Site, in Hudson, New York in partnership with IAIA I Institute of Arab and Islamic Art in New York. Her work is in the permanent collection of Teachers College, Columbia University. She is based in Brooklyn, New York.
Nicholas Cueva was born in 1983 in Los Alamitos, California. He earned an MFA from the School of the Art Institute of Chicago in Painting and Drawing, where he advised with with Albert Oehlen and Jerry Saltz, among others. He has lived and worked in New York since 2011 and is an active member of the Bushwick art scene.
Vincent Dermody (b. 1973, Chicago, IL) currently lives and works in Brooklyn, NY. Solo exhibitions include: Nervous Service, 65 Grand, Chicago, IL; What Burns Never Returns, MOUNTAIN, Brooklyn, NY; Unretouched: Proof, The Storefront, Chicago, IL; Dick Dermody’s Invincible, Heaven Gallery, IL; You’re Still Under 30, Suitable Gallery, Chicago, IL; and 33 Jobs, T.B.A. Exhibition Space, Chicago, IL. Recent group exhibitions include: Normann X Brask Art Collection, Copenhagen, Denmark; Meisenfloo, Norma Mangione Gallery, Turin, Italy; Twelfth Show: Abstraction, EDDY’S ROOM, Brooklyn, NY; I Amaze Myself, Common People, Brooklyn, NY; Robert Davis feat. Law Office Presents, Anonymous Gallery, Mexico City, Mexico; CEMETARIUM, Regina Rex Gallery at Emerson Dorsch Gallery, Miami, FL; The Physical Impossibility of a Hangover in the Mind of Someone Drinking, Hills Esthetic Center, Chicago, IL; Eraser, curated by Rachel Furnari, Magnan Metz Gallery, New York, NY; and Fun Gun, curated by Brad Troemel, Satan Satin Gallery, Chicago, IL. Select press includes: Artforum, The New York Times, Flash Art, The Miami Herald, and The Breeder Magazine. Dermody received his BFA from the School of the Art Institute of Chicago, and his MFA from the University of Illinois at Chicago, Chicago, IL.
Darryl Westly is an artist and curator based in New York whose paintings experiment with hyperrealism, architectural elements and visual layering to create disruptive portraits of contemporary western culture. A graduate of Cooper Union's school of art, Westly has honed his craft working for artist Jeff Koons and now exhibits across the globe. He has curated shows for Christies Auction House, FiveMyles and Miranda Kuo, and most recently designed a Digital watch for Fossil. He currently works alongside the art collective Bruce High Quality in Industry City, Brooklyn and his studio in Chinatown, Manhattan.
Michael Fleming (b. 1985, Illinois, USA) is an artist, educator, and curator based in Brooklyn, NY. Fleming received his BFA in Painting from UIUC, his MFA in Studio from SAIC, and a Business Certificate from Columbia University, where he currently works. He was the director of MOUNTAIN, an apartment gallery in the heart of Bushwick (2016-2018). His gallery was written about by Artnet News, Art F City, Brooklyn Magazine, and The New York Times. In September of 2018 he combined programs with Selena gallery and Olivia Swider to form Selenas Mountain in Ridgewood, NY. Fleming has held previous positions as Co-Producer/Curator of the IMPACT Performance Festival, Chicago, IL; Co-Director/Board Member of artist-run space OPENSOURCE Art, Champaign, IL; Gallery Assistant at Gladstone Gallery, NY and Rowley Kennerk Gallery, Chicago, IL. In his artistic practice Michael has made performance, video art, and sculpture with his collaborator (and identical twin brother) Alan Fleming for the past decade. Together, they have had residencies at the Oxbow School of Art, MI; ACRE Residency, WI; NARS Foundation, NY; and the AIM Program at the Bronx Museum, NY. They have exhibited and performed internationally, including shows in Denmark, Germany, Mexico, Scotland, and the Ukraine.
Olivia Swider (b. 1987, Illinois, USA) is an artist, curator and writer based in Brooklyn, NY. Swider received her BFA from the School of the Art Institute of Chicago in 2010. She is the cofounder of Hungryman (2008-2012, Chicago, IL) and Selena (2016-2018, Brooklyn, NY). While directing Selena, Swider focused the program on curating artists of color. Closing in 2018, Selena combined programs with MOUNTAIN directed by Michael Fleming. Relocating to Ridgewood, NY, Selenas Mountain opened with its inaugural show this past September. As an artist Swider has exhibited at Filter Photo, Chicago, IL; Fresh Window, Brooklyn, NY; Kustera Projects, Brooklyn, NY; MOUNTAIN, Brooklyn, NY; Three Walls, Chicago, IL; Pentagon Gallery, Chicago, IL; and the Verge Art Fair at Miami Basel, Miami, FL. Her exhibitions have been featured in The Art Newspaper, Artnet News, Artforum, Art F City, Burnaway, Bedford + Bowery, Bad at Sports, Editorial Magazine, New City, The Chicago Tribune, The Fader, The Visualist and Univision News.
Rachel Tretter is an independent curator and consultant based in Brooklyn, NY. She received her BA in European History and French from Wesleyan University in Middletown, CT. In 2018, she co-founded RATA Projects with Audrée Anid to provide a platform for emerging contemporary artists through cohesive exhibitions. Recent RATA shows include 'Skip/Salvage' and 'Signs Foretelling' at 131 Chrystie Street and LA BODEGA Y MÁS in collaboration with Good To Know Collective during Miami Art Basel 2018. RATA Projects has been covered by The New York Times and ARTNEWS, among other publications. Tretter also serves as associate director of albertz benda in Chelsea. She is the editor of numerous gallery publications including Painting as Process: Ed Moses Works 1951-1999, Tess Jaray RA: The Light Surrounded, and Tsibi Geva: Jolt. Previously, Tretter has worked as the collections manager & archivist for the Pennwick Foundation, which holds the world’s largest collection of Robert Frank photographs, and as a fine art conservator.
Featuring works by:
Ideally, Yes is a group exhibition of works by artist who's focus is on process and experimentation as main motivating force. Rather than fitting into one category or another, the works of these artists often straddle two or more disciplines, landing in a grey area. Between sculpture and design, between architecture and lighting. Between painting and sound. The constant however, that runs through all these works is the desire to experiment, and in doing so invent unique and personal methods of creating.
The title "Ideally, Yes" is a reference to a common discussion or mode of understanding work between a creator and viewer in which questions like "does it provide x,y,z function?" or "does it work?" often arise. Where the starting point for these works might have been straightforward; to accomplish a particular goal or express a
particular idea, the process of creating the work has spawned new ideas, shifting the focus subtly or dramatically. The tone of the answer (and in this case, title of exhibit), denotes a certain peace with the idea that perhaps something more important can be
arrived at when allowing for a totally abstract investigation for investigation's sake, whether that be into a material, a process, a technology, or something else.
Jonsara Ruth / Salty Labs
We are in a process of modifying existing furniture pieces to give them a different life. Our process is a collaboration with the original maker, designer, or manufacturer. While we deconstruct and clean the piece, we learn about the original decisions which brought the piece into existence. Our decisions to add or subtract materials and finishes carefully respects the integrity of the piece, its original use and its marks of age.
This piece is one in a series.
Salty Labs is an experimental design studio aiming to elevate human experiences. The studio was founded by Jonsara Ruth in 2011 to bring together experts from a wide variety of disciplines and perspectives to create designs at a variety of scales – interiors, events, installations, furniture, and manufacturing. Making new places and things while keeping people, places and economies as healthy as possible is a value that underlies all of the work. Jonsara Ruth is an artist and designer. She is Design Director of Healthy Materials Lab, Founding Director of the MFA Interior Design program, and Associate Professor of Interior Design at Parsons School of Design. Central to her work is curiosity, listening to and learning from diverse perspectives, and studying human experience, behavior, and health as principal motivations for design. Material curiosities drive her research.
Since 2010 I have been focused on a process of coiling and stitching rope using industrial sewing machines, with which I have produced a wide range of functional and sculptural objects. The work utilizes a long history of human technologies such as cordage, coiled vessels, bags and basketry, masonry construction, sewing machines and 3d printing. With these I have worked to build a formal vocabulary and studio practice that engages my varied interests in architecture, spatial and landscape formation, commerce, and fundamental human technologies. My work often sits at the intersection of art, design and craft, taking the position that no made object is exclusively aesthetic or utilitarian. Each piece is a drawing, a body, a space, and an attempt to grasp a moment in geologic time as we enter the anthropocene.
My work explores the relationship between mechanical/kinetic mechanisms, certain human motions and the human responsiveness to wearable pieces. I focus on the hand as my canvas, because I am intrigued by the small scale and by the idea of creating miniature sculptures that can be held in the palm of the hand, but can also become part of it when worn.
I make a lot of studies, eroding things.
Parameters for making the studies are simple and flexible, oftentimes changing midway to further emphasize some developing trait. There's nothing technological about the work, nothing especially complicated in the gestures that generate the studies. I approach these things as opportunities for working out ideas and techniques, and for working off pent up energy. As far as the forms go, the process lends itself to embodiments of time passing, suggesting long weathered things like stony outcroppings, ventrifacts, yardangs, and ancient bodies in pieces, illegible tablets in arcane languages and ruined temples.
This work is a collection of experimental studies taken from a larger series called quickcount. It is an ongoing process of experimenting with a plastic material used for embroidery. By deconstructing and reconstructing, reimagining linkages and form, I am curious to see what is possible for this material to become.
James Dieter is an artist and designer working in Brooklyn, NY. He has manufactured lighting pieces as dform inc since 2001, and eponymously since 2015. Central aspects of his design process are the development of modular structures and folding.
Since 2001 Takeshi Miyakawa has been producing work in range of areas, from furniture and lighting to set design and interactive installation. His work has been widely exhibited and published. His studio, Takeshi Miyakawa Designs, is located in Brooklyn, NY.
Andrew Jay Rumpler / Nine Stories Furniture
Andrew Jay Rumpler designs and fabricates objects in Brooklyn, NY, and has been making work under the studio name Nine Stories Furniture Co. since 2007 . Creating systems for the reuse of discarded materials is a theme which is central to his practice. In addition to studio work, he is an adjunct professor at Parsons/The New School.
His current work "Vulcan", is an ongoing group of related seating objects fabricated from de-commissioned fire hose. The name is a reference to the fraternal order of African American firefighters formed in 1940 as a response to the systemic injustices they were forced to endure in the department in New York City.
Mar 1 - 22, 2019
Opening Reception: Friday, March 1st 6-8 pm
Featuring NARS' 2019 Season I Residency Artists:
Soo Hyeon Kim (South-Korea), Leah Hewson (Ireland), SeungTack Lim (South-Korea), Shoko Masunaga (Japan), Le’Andra LeSeur (USA), Julian Louis Phillips (USA), Erica Molesworth (Australia/USA), Or Zubalsky (USA), Gyun Hur (South-Korea/USA), Bahareh Khoshooee (Iran/USA), Cathleen Clarke (USA)
The Body Responds by Lying Down is an exhibition featuring the works of our 2019 Season I artists-in-residence. The exhibition is titled after a poem by Quinn Latimer which similarly takes its title from a phrase in an essay by Alex Kitnick on the work of Pamela Rosenkranz, which was published in the 2012 catalogue of Pamela's work called [No Core].
The exhibition brings together the practices of the included artists which are doubtlessly multi-disciplinary and multi-faceted. Throughout their residencies, each artist has embodied their own method of response in order to answer to the call of nature, the call of responsibility, of environment, of language, of technology, of creative practice itself. No matter how they have chosen to respond, by and by, they respond.
Latimer’s poem was published in her 2017 collection [‘Like a Woman’ by Sternberg Press].
Curated by Priscilla Dobler-Dzul
February 8 - 20 | Opening reception: February 8, 6-8 PM
Featuring works by: Carmen Lizardo, Maureen McCourt, Lacey McKinney, Regina Ruff, Lesley Wamsley, Kelly Worman, LadyFIRM, Asia Tail and Hudson Valley Bee Habitat.
Women’s Work is an exhibition that examines the connection between women’s domestic labor and craft. The title of the exhibition comes from the derogatory use of the term “women’s work” and exams the unseen, disrespected domestic labor of women. Ten female artists have been selected to represent this group exhibition. These selected artists create work that examines the labor of women and challenges the patriarchal viewpoint of domesticity and craft.
Curator: Priscilla Dobler-Dzul (b.1985) is an interdisciplinary artist and curator, born in Merida, Yucatan, Mexico. Her work juggles multiple narrative layers, providing physical spaces in which viewers can reflect on society’s structures of inequality and misrepresentations of race, gender, and class. She is interested in developing her own unique artistic interpretation of her cultural identity through weaving, woodworking, audio, video and performances. Her work has been exhibited in multiple galleries and museums in the United States and internationally in Mexico. She has completed multiple residencies and received numerous grants. Priscilla holds an MFA from the State University of New York in New Paltz.
Asia Tail is an artist and curator based in Tacoma, Washington. She attended the Cooper Union School of Art in New York on a full-tuition scholarship and graduated with a BFA and a prize for excellence in painting in 2014. As an extension of her creative practice, Asia handcrafts wearable beadwork in contemporary colors and forms. Using glass seed beads and sterling silver, she explores cross-cultural trade, matriarchy, and ancestral memory through her designs. Asia is a citizen of the Cherokee Nation of Oklahoma, and a member of the diverse urban Native community in the Pacific Northwest.
Lacey McKinney lives and works near Syracuse, New York. Born in 1984, she studied at the State University of New York at New Paltz and graduated with a Master of Arts in Painting and Drawing in 2012. She is an Assistant Professor of Visual and Performing Arts at Finger Lakes Community College. McKinney references embodiment and the implications of social power structures. In her most recent work, depictions of differing corporeal flesh form faces of women to address perceptions of self and other. Feminist theory influences her as well as how women are represented throughout art history and popular culture.
Kelly Worman (b.1983) is an artist, curator, professor, and archivist based out of New York City. She holds an M.F.A. from Pratt Institute (2011) in New York, and an M.A. in Culture, Criticism, and Curation with distinction from Central Saint Martins (2015) in London. Worman teaches at Pratt Institute in New York. She exhibits her work internationally and is included in an array of private collections. Recent exhibitions this year include "Summer of Love" at Freight + Volume in New York, NY, the Invitational at Barney Savage Gallery in New York, NY, "WE: Women Empowering Women" at Borghese Gallery on the North Fork, and "I See an Omen" at Benaco Arte in Sirmione, Italy. Worman was featured in NY Arts Magazine as one of "30 Artists to Watch" in 2012. Recent curatorial projects include "Shapes of Curiosity" at The Schneider Museum of Art in Oregon, "Surface Tension" and "Land After Time" at E.Tay Gallery in New York, NY and the last three (2015, 2016, 2017) Pratt Alumni Exhibitions at Pratt Institute in Brooklyn, NY. Other recent projects and publications include "Karen Barth: Works 1979 - 2014" (a catalogue raisonné), "WYSIWYG?- What you see is what you get?" (a project in collaboration with South London Gallery, investigating the impact of the digital world on art and culture in the 21st century), the Studio Spoken project (interviewing artists about their studio practice), and "The (W)hole Picture– Transgressing/Abjecting Subjectivities in Art" in Unknown Quantities (written with Janice Mitchell). Worman also writes and speaks extensively on color theory, the role of artist as curator, the artist as entrepreneurial model, and arts and economics at multiple institutions internationally.
Maureen McCourt was born and raised in Montana. She is currently living in Oakland, CA. She received her B.A. from the University of Montana and her M.F.A in sculpture at the State University of New York in New Paltz. Maureen has exhibited at SOIL Gallery, LA, CA, Center for Community Arts, Walnut Creek, CA, Westchester Community College, Peekskill, NY; The Pelham Art Center, Pelham, NY; Adelphi University, Garden City, NY; The Hewn Art Center, Jersey City, NY; Hudson Valley Center for Contemporary Art, Peekskill, NY; Samuel Dorsky Museum, New Paltz, NY; Saunders Farm Project, Saunders, NY; The Catalyst Gallery, Beacon, NY; The T-Shirt Factory, Kingston, NY; Chashama Gallery, New York, NY; the Pratt Institute, Brooklyn, NY; Masters On Main, Catskill, NY; the Church, Missoula, MT; The Golddust Gallery, Missoula, MT and GalleryStudio, Missoula, MT. She was a co-curator for The Untitled Show at the Golddust Gallery.
Carmen Lizardo was born in the Dominican Republic and immigrated to the U.S. at the age of 19. She holds a BFA ad an MFA from Pratt Institute. Lizardo was one of five American Artists of Latino descent awarded with a national/international travel and production grant from the US department of Cultural Affairs. She has received numerous grants, including a dual NYFA in nomination in Painting and Photography, The Sustainable Arts Foundation, the American Academy of Arts and Letter and The Women Studio Workshop, NYFA MARK among others. Lizardo Lives and works in the Hudson Valley, New York.
Regina Ruff is originally from Florida, Regina received her BFA at the Fashion Institute of Technology in New York City. A couple years later she attended the State University of New York at New Paltz where she received her MFA in Painting and Drawing. Regina has shown her work in and around NYC for over a decade. She has taught at the Fashion Institute of Technology and SUNY New Paltz. She currently lives and works in New York City and Jersey City.
We are Lady Firm, a group of female artists who address issues of feminism, violence, gender inequality and injustice through creative performances and artwork. Lady Firm is a collaborative firm created by Priscilla Dobler, a textile sculptor, radiant genius Regina Ruff, an abstract painter and colorful crafty Maureen McCourt, a textile artist. Here at Lady Firm, we do our best to serve our community and people. Lady Firm is an artist collaboration committed to representing all persons regardless of race, sex, color, religion, sexual orientation, gender identity and disability. Interested in the politics of craft and fine art we create interactive performances allowing the viewers the opportunity to engage with the artwork and us.
Lesley Wamsley (b. 1982) is an artist living in Brooklyn. Her observational paintings focus on the landscape and portraiture. She holds a M.F.A. (2012) from the State University of New York at New Paltz, New Paltz, NY. Recent shows include Optimism, 20/20 Gallery, New York, NY, Watch It Burn, Trestle Gallery, Brooklyn, NY and Women’s Work, Columbia City Gallery, Seattle, WA. Awarded residencies include The Constance Saltonstall Foundation, Ithaca, NY and Wassaic Project, Wassaic, NY. Her work is held by The Museum of Modern Art Artists’ Books Collection, New York City, NY.
The Hudson Valley Bee Habitat: How might we leverage the arts to help save the bees? The Hudson Valley Bee Habitat was founded in 2016 when three artists: Emily Puthoff, Elena Sniezek, and Jennifer Woodin, asked this very question. Together they utilize their expertise as socially-engaged sculptors, beekeepers, digital designers, and mindful educators to pollinate public engagement with bees and to cultivate wonder for the natural world in order to help both humans and bees thrive.
With works by
Caitlin Berrigan and Jemila MacEwan
Curated by Elisa Gutierrez
February 1 - 20 | Opening reception: February 8, 6-8 PM
NARS Project Space
On Volcanoes and Other Transfigurative Bodies is a dialogue between the work of Caitlin Berrigan and Jemila MacEwan, presented in NARS’ Project Space. Both their practices touch on questions surrounding general ecology, natural forces, and the human condition with connections to feminism, land, the environment, and politics. Most of their questions are connected to volcanoes and the way in which they both refer to the concept of “becoming” as a central part of their research.
In their work, the geological becomes a metaphor to talk about general ecologies, the conduit to recreate a dialogue between human and natural forces, the space for mimicry of natural phenomena or inhabiting a character of a science fiction narrative; the idea that makes us wonder about the possibility of acknowledging a second body and the understanding of its impact and extent as a transfigurative form.
The idea of the body in the work of these two artists is expressed as vessel, as creator, as destructor, as extension and consequence, as natural and ecological manifestation. Their work exists in the tension between observing the extinction of life and questioning what defines impact in geological and human terms. Berrigan and MacEwan create poetic relations between the constant transformations inherent in every living being on the planet.
MacEwan’s work seeks out an empathetic approach to humanities destructive impulses. Using sculpture and performance in intimate communication with the environment, she inserts herself within the landscape to participate in the process of constant change and exchange between culture and the natural world. In her recent works MacEwan inhabits the role of various forms of destruction of the natural world such as a meteorite, volcanoes, dead animal skin and melting glaciers as a way to understand what it is to be human in the age of the Holocene Extinction. In her work, these phenomena act as a counterpoint to the conscious and unconscious impact that humans have on each-other and the planet.
Caitlin Berrigan’s work “draws upon geology to examine the deep time scales of structural patriarchy, sexual violence, ruptures, resistance, re-emergence, and friendship as a form of politics.” She integrates pseudo-science fiction in the form of episodic videos, sculptures, and drawings that forge into affective geologies and the idea of becoming mineral.
Both artists arrive at the same question, each in their own way, but both considering the geological and the environmental impact of humankind when asking: “Can we begin to grasp the scope and scale of geological change, and human intervention within it, by embodying it at the human scale?”
An action as an image /
A text as an image /
An impact as an image /
A body as an image /