Introduction to Evening II – Abbas Akhavan

Our Facebook event is officially live! Please RSVP now! We are continuing to introduce you to the speakers of our event, Evening Conversations at the ICP for Evening II at the ICP Museum. Today we are posting about our Evening II Artist, Abbas Akhavan.

Evening II: Tuesday, December 14th 6:30 – 9:00 PM at the ICP Museum 
– Abbas Akhavan, Caitlin Cherry, moderated by Daniella Rose King.


Abbas Akhavan’s practice ranges from site-specific ephemeral installations to drawing, video, sculpture, and performance. The direction of his research has been deeply influenced by the specificity of the sites where he works: the architectures that house them, the economies that surround them, and the people that frequent them. The domestic sphere, as a forked space between hospitality and hostility, has been an ongoing area of research in his practice. More recent works have shifted focus, wandering onto spaces and species just outside the home – the garden, the backyard, and other domesticated landscapes.

Akhavan has had solo exhibitions in spaces including The Delfina Foundation, in London UK; Mercer Union, in Toronto; and FLORA, in Bogota. He has participated in group exhibitions at KW Institute for Contemporary Art, Berlin; Beirut Art Centre, Beirut; and Guggenheim Museum in New York. He is the recipient of Kunstpreis Berlin (2012), The Abraaj Group Art Prize (2014), the Sobey Art Award (2015), and the Fellbach Triennial Award (2016).  In the coming year he has solo shows at Villa Stuck in Munich, Fogo Island Arts, and at the David Robert Foundation in London UK.  He is the artist in residence at the Alexander Calder Foundation in France from January utill April of 2017.

For more information about the Conversation check out the event at!

Introduction to Evening I – Kelly Shindler

Our Facebook event is officially live! Please RSVP now! We are continuing to introduce you to the speakers of our event, Evening Conversations at the ICP for Evening I at the ICP Museum. Today we are posting about our Evening I moderator, Kelly Shindler. There will be upcoming posts about the Evening II guests; Abbas Akhavan, Caitlin Cherry, and Daniella Rose King.

Evening I: Tuesday, December 13th 6:30 – 9:00 PM at the ICP Museum – Nicole Eisenman and Lucas Blalock, moderated by Kelly Shindler


Kelly Shindler began her career as an associate curator at the St. Louis Art Museum in 2011. During her tenure, she organized over thirty exhibitions featuring artists such as Rosa Barba, Geta Brătescu, Josh Faught, Sheila Hicks, and Anthony McCall. She curated the midcareer survey, “Dear Nemesis, Nicole Eisenman” 1993–2013, which was recognized as the second best monographic museum show in the country in 2015 by the International Association of Art Critics. Prior to working at the Contemporary Art Museum St. Louis, Shindler was a producer of the PBS documentary series Art:21—Art in the 21st Century—from 2003 to 2011 and has organized numerous shows as an independent curator.

Shindler is the Senior Specialist for Exhibitions and Public Interpretation at the Pew Center for Arts & Heritage in Philadelphia. Prior to joining the Pew Center, she was Associate Curator at the Contemporary Art Museum St. Louis (CAM), where she organized solo exhibitions with Tala Madani, Arlene Shechet, Lari Pittman, Sheila Hicks, Anthony McCall, The Propeller Group, Rosa Barba, Mika Taanila, Geta Brătescu, Takeshi Murata, Kevin Jerome Everson, and Josh Faught, among many others. Previously, Shindler was an independent curator, organizing exhibitions such as Chicago-Scope: The Films of Tom Palazzolo 1967–1976 at The Art Institute of Chicago, and others for art spaces and festivals worldwide. Shindler holds dual MAs in Modern Art History, Theory, and Criticism and Arts Administration and Policy from the School of the Art Institute of Chicago.

For more information about the Conversation check out the event at!

Two exhibitions, which are worth to see in this week

I would like to recommend two interesting exhibition in around New York for this weekend.

The first one is a solo show of Thomas Ruff, <press++> at David Zwirner gallery.

March 31 – April 30, 2016.

Press Release:


press++00.53, 2015. Chromogenic print. 79 1/2 x 72 7/8 inches (202 x 185 cm)

And the second one is Dongju Kang‘s solo show, <Seoul> at DOOSAN Gallery.

April 14th – May 12th, 2016

강동주 1시간58분3초의땅__4443

Ground pieces of 1hour 58minutes 3seconds #1 ,(2015.1) 2015, pencil on paper, 23.5×16.5cm

Press Release:


Artist Talk – Wolfgang Tillmans

I would like to introduce a artist talk video of Wolfgang Tillmans. Wolfgang is considered as one of artists who is still developing his own aesthetic, experimenting various form of expression.

This video would be helpful to understand his work and attitude.

This artist talk was held when he had a Hasselblad Award in last year.


Playing and Reality by John Houck

Before I read a book called ‘photography is magic’ which introduce many photographers who practice experimental approach to photography, I haven’t seen/experience weird perspective effect of photography. When I found john in the book, his photography was interesting since his style of playing with photographic perspective in frame seemed to say, “what if there are still questions about reliability of photography, when we are even looking at it?”

There is interesting solo exhibition of John Houck, Playing and Reality, which is held at On Stallar Rays, from opening on Sunday, April 10 to May 22.


A Pointing Device (from A History of Graph Paper series), 2013 Archival pigment print 46-1/2 by 33-1/2 inches

According to Gallery’s explanation, Houck’s new body of work follows his History of Graph Paper series. Subsequent iterations of re-arrangement and re-photography create spatially layered images that evoke the complexity and malleable nature of memory, and show how objects laden with personal histories can drive the imagination and inspire new narratives. Objects and pictures are surrogates of the specific nuances of the intimate and psychic space shared between two individuals.

Houck further draws a metaphoric parallel between the imagined third entity between two people, and the idea of an interstitial third entity between painting and photography, engaging not only photographic representations, but incorporating painting on and within the photos. These elements do not function to replicate reality, but are rather playful and irreverent jests that skip and meander across pictorial space, intensifying awareness of the flattened picture plane. Such cursory brushwork ruptures the familiar space of the digital image, disputing the expectation of photographic perfection, and heightening the desire to connect with a constructed, physical reality.



Pine Ridge (from A History of Graph Paper series), 2013 Archival pigment print 32-1/8 by 24-1/8 inches

Houck’s mining of memory and the imagination—through both psychoanalysis and within his fluid studio practice—attends to the roles of introspection and creative play in feeling fully alive.*

*It is in playing and only in playing that the individual child or adult is able to be creative and to use the whole personality, and it is only in being creative that the individual discovers the self.
― D.W. Winnicott, Playing and Reality

On Stallar Rays Gallery

Also I attached a link about conversation with John Houck for understanding his works.

A Conversation with John Houck

Minny Lee: Elsewhere

Minny Lee has developed her own artistic practice by taking photographs through her personal experience in life, especially memories from her childhood. Like literature, her works seek to create and sometimes find certain spaces that resonate her synesthetic sense and she creates visual expression like writing poet with camera. Such senses construct her personal aesthetic of expression in photography and awakens her possibility to create new mode of expression, like performances and video works. Her artistic practices have expended further beyond photography through her practice in MFA, focusing on her own aesthetic through objects, trees, sounds, and interacting with viewers by performance. Through two years of artistic practice, she presents her works that she has developed about her perspective of her own memories, exploration, and creation.


Minny Lee. Central Park, New York, 2015. Archival pigment print, 16×20 inches.


Conversations between Minny Lee and Hyungjo Moon about Minny Lee’s solo thesis show and her work

February 26, 2016

Hyungjo: Childhood memories seem to be a central part of your work. Why?

Minny: I always thought that my childhood in South Korea was ordinary and there was not much to talk about. After spending a lot of time in the US, I realized that my childhood was unusual due to the tumultuous history of Korea at that time and the economic severity of my family in the midst of country’s industrialization. The most recent video I made was based on searching for my earliest memory when I was living in Daegu (a southern city in South Korea) with my grandmother and her mother-in-law. Growing up apart from my parents and siblings from age two to six and then reuniting with them and living in the countryside surrounded by nature influenced me as a person and an artist. Living on a farm on a foothill of mountain from age seven was a completely different experience. It was a quiet and self-sustaining life. I attempt to translate that experience through my paper cut-out work. Its contents reflect my time in the countryside, living closely with flowers, trees, bugs, stars, the sky, and stream.


Minny Lee. Jackson Heights, Queens, 2014. Archival pigment print, 16×20 inches.

From age eleven, I lived in Seoul—the capital of South Korea—and from that time, I started to be aware of government driven industrialization, military dictatorships, and democratic movements. Korea’s long Confucianism tradition taught me to respect elders and parents but at the same time, it was repressing the society at large. Living in a politically unstable country with Confucianism pressure, I had to escape somewhere. During high school, the answer was poetry and novels. Both my father and eight-grade teacher emphasized reading world classics. In my youth in Korea, reading was considered as a fundamental ability of the educated individual. I strongly responded to literature in particular and started to write poems during my high school years. My work would not be the same if I did not have literature growing up.

H: For your solo thesis show, you will encourage visitors to handle your cut-out boxes to form images. On opening night, you will do a performance using cut-outs and storytelling. Why is evoking viewer participation so important to you?

M: I am interested in creating an experience through an exhibition, by being thoughtful about utilizing the whole exhibition space and inviting viewer participation. It frustrates me when objects in museums and galleries get overly protected by barricades and guards. I understand preservation issues and market values but when an artwork is treated more importantly than visitor observation and enjoyment (whom the work is made for and addressed to), I feel there is a loss of morality.


Minny Lee. Moving Images, 2015-2016. Paper cut-outs with light projection, 7½ x 7½ x 20 inches (box).

I like to let people touch my work and awaken different senses such as seeing, hearing, touching, and smelling. Sensing can evoke the viewer’s memory. I made cutouts on a vellum paper and attached them to a black box on one end while leaving the other end open. One can see the content of cutouts when shining the box with a flashlight. They are fragments of my childhood memories but I hope that viewers can form mental pictures of their own childhood memories. This possibility of connections and expansions makes me excited and motivates me to work in a participatory practice.

H: You often title your photograph with the name of the place you took the photo. What significance does the place have in your photography?

M: I took my first photography class in the fall of 1999. One day the teacher took us to a Bill Brandt (1904-1983) exhibition at ICP Museum. It was the first time I saw so many great photographs gathered in one place. While Brandt was experimenting with abstractions and surrealism with photography, he was mainly a photojournalist working for print media. Brandt’s generation and the generation after him titled photographs with subject, place, and year. Richard Avedon was not considered as a documentary photographer but he also titled the same way. One of his titles would read: Marian Anderson, contralto, New York, June 30, 1955. I studied Documentary Photography and Photojournalism Studies at ICP School from 2007 to 2008 and learned a great deal about the importance of captions, which provide context to the viewer. Being in a specific place at a specific time means something. Clicking the shutter release one second earlier or one second later can make a huge difference. If you look at Robert Frank’s contact sheets from The Americans or Richard Avedon’s contact sheets of sittings with models, you will understand how crucial the timing is, in addition to the specific place and specific situation they are in. I often include the place and year in my title because it provides both the least and most information I can provide to the viewer without imposing any further meaning to the picture.

H: It seems that trees are your main subject matters and walking is an important method of making work.

M: I started to photograph trees since 2008 after realizing my interest in trees, which has a lot to do with living in nature during my childhood. In terms of walking, it comes from my early training in photography—from street photography to documentary photography. New York has a great tradition in street photography and you get to see a lot if you live in New York. With street photography, a photographer has to be in right place and right time and be ready when interesting thing happens. My approach is more about discovery of wonder—being a visual poet with a camera. In documentary photography, a photographer pursues the same subject matter for a long time by returning to the same people and place. I tend to walk a lot when making work but I also like to return to the same place many times to have deeper explorations. Walking is a strange exercise. I can be completely mindful of myself or completely open to observations of the world. Unexpected encounters make walking worthwhile. A work becomes more interesting when an artist’s introspection collide with the outer world.


Minny Lee. Video still from Daegu (2016).

H: Making artist books has been important part of your practice. Do you see your book as an object in itself?

M: An artist book is an intimate medium to invite viewers to experience my work. I like small books that people can hold in their hands. A book consists of a sequence of pages and therefore it is a time-based medium. I can intend to lead the viewer in a certain way by sequencing and designing the book but each viewer will experience and react to the book differently due to their diverse backgrounds and histories. I make a book as an object because I pay great attention to materials and details. However, I don’t want to revere book as a precious object and display it inside of glass vitrine. Books should be experienced through close physical contact and that’s why I still like to read traditionally printed books. When I was making books last March, I thought that I could just make books for the rest of my life and be happy forever after.


Minny Lee. Souvenir (2015), Million Years (2015), and Resonance (2015) (from left). Artist book, various sizes and materials.



Minny Lee was born and raised in South Korea and received her higher education in the US. Prior to entering the ICP-Bard MFA Program, Lee obtained a Master of Arts in Art History from the City College of New York, worked as a writer for photography magazines and curated several group shows. During her MFA studies, Lee has been exploring multiple mediums, including photography, video, drawing, installation, and performance.


Minny Lee: Elsewhere

Exhibition: Thursday, March 3 – Sunday, March 6, 2016

Opening Reception: Thursday, March 3, 6-10pm


Performance Schedule:

Moving Images: Thursday, March 3, 7pm

Storytelling Relay: Friday, March 4, 7pm


Hours: Thursday – Saturday 12-7pm, Sunday 12-5pm

Location: 24-20 Jackson Avenue, Long Island City, NY 11101 (subway E/M/G/7 to Court Sq-23rd St)



The Wrong

Welcome To The World’s Largest Digital Art Biennial


The Wrong offers the most natural environment for showcasing net art: your browser.

Will it help digital work sell?

“The natural media of digital art is in a browser, not in a big screen,” says Quiles Guilló, who first had the idea for an digital biennial in 2002, when he organized The Wrong Festival, a parallel event to the Sonar festival in Barcelona. After an unsuccessful initial attempt, he decided to shelve the idea until Internet access was better and faster, but never forgot his resolution to create a better venue for showcasing digital art.

“You know where to put the paintings and sculptures but don’t know where to put the digital artwork,” he says. “I thought it was time to gather all these artists who are doing digital work that have an established background and try to bring them all together under one big flag.” The question is whether that “big flag” will help digital art—the market of which is growing, but small—sell.

Much like a physical biennial, The Wrong is exhaustive and sprawling and overwhelming. The directory on the site might be the best starting point—it lists all 50 of the pavilions, which each have a curator in charge. Each pavilion is its own rabbit hole, an immersive pocket of the Internet full of videos, interactive installations, strangely beautiful GIFs, 3-D graphics, incredible data visualizations, poems translated into binary code. Pavilions range from Code Nebula, which features code artists, to Crystallized Skins, an exhibition dedicated to 3-D graphics. Color Hybrids features works that are designed to be experienced using a Google VR headset and Sub Art Department lets viewers manipulate GIFs, text boxes and images in an interface that looks like it could be very early version of Wikipedia.

The natural media of digital art is in a browser, not in a big screen.

The best way to explore is just to browse without an agenda, though you could spend an entire afternoon clicking through the pavilions and barely scratch the surface. Digital tours led by writers, artists, and friends of the biennial offer another mode of discovery—one that ditches the structure of the pavilions all together and just takes you through individual works. Ultimately, the show is as unpredictable and as unwieldy as the digital art genre itself, and it’s still being added to and worked on even as it progresses.

Digital-only museums and exhibitions are also being born online, and some hybrid digital-physical galleries have been successful at making digital art salable. At Transfer, a popular gallery in Brooklyn, gallerist Kelani Nichole encourages digital artists to create site-specific works that have both a digital and physical element and can be sold through exhibitions or in digital editions on their nicely designed website.

The Wrong (Again) – New Digital Art Biennale runs from November 1, 2015 to January 31, 2016.