ICP-Bard MFA exhibition week: How to Make the Bed and ALL AT ONCE

Come out and support TODAY Katrina Sorrentino’s solo thesis exhibition How to Make the Bed from 6 – 9 PM at the MFA Studios in Long Island City.

Join us TOMORROW Friday April 1st for the 2016 Class MFA Group Show ALL AT ONCE at ICP Midtown (School)

ICP_Bard_MFA_2016_group_show

I am not your mother

Ivana Larrosa – solo exhibition

RollingmemoryFebruary 18-21, 2016

Reception : Thursday, Feb. 18, 6-9pm

Vermouth With The Artist : Friday, Feb. 19, 12-4pm

On View : Friday-Saturday, Feb. 19-20, 12-7pm / Sunday, Feb. 21, 12-5pm

ICP-Bard MFA studios : 24-20 Jackson Ave. Long Island City, NY 11101

Remembered Space

Much of Ivana Larrosa’s work is an exploration and expression of the strangely subjective perception that she inherited as a result of a traumatic car accident years ago, which left her with permanent double vision. Stuck in an overturned car for more than an hour, Larrosa brushed up against death and came out with a new desire for self-discovery. After a long period of physical therapy she began a series of solitary travels around the globe and focused all her energies on art making. In New York she has been using her body as material in documented performance; developing an acutely stylized approach that blends a playful womb-world with a hauntingly inescapable strange loop.

gravity

In one of my favorite video pieces, Gravity (4:31), the shot from above holds steady on a brown leather couch.  The artist crawls around it, contorting her body and grabbing on as if for her life. It reminds me of a childhood playing on couches where the wood tiles were lava, not to be stepped-on or fallen-into. The stagnant camera disorients the viewer as the piece endures, becoming a ghostly view of the out-of-body experience.

MaskMonths ago I watched as Larrosa brought a variety of candy colored plastic toys into the studio. There were little 3D figures reminiscent of the flashing LED people in the crosswalk light, but some of them were running and some had their fists raised like superheroes flying through space. She brought in old broken mechanical devices: tape players, TVs, and typewriters, then proceeded to color them with spray paint. She installed them laying on the floor in elaborate compositions with confetti and curlicues every which way – it was sensory overdrive. Looking at this work and it’s installation revealed moments of hilarity mixed with a hallucinogenic heaviness. Her little walk/run/fly figures cascaded down a color gradient banner toward the hardwood floor.

10

“Like in Star Wars, ‘I am your father,’ but it’s ‘I am not your mother’… that’s really how it came. I think in the end you need to use humor, I think in the end life is not that serious…. Like you are not going to get rejected at the gates of heaven if you don’t have enough pictures!”

Pradeep Dalal (ICP-Bard MFA alum + co-chair, photography program, Bard MFA ) in group show “I need my memories. They are my documents.” sepiaEYE

I would love to see the ICP-Bard MFA cohort at the walk through I’m giving of the group show, “I need my memories. They are my documents.”,  this Saturday, Oct 30th at 2 pm.

The exhibition has photo based works, drawing and videos of five non-western artists who work with existing material (repository) in unique ways. Here is a link to Pradeep Dalal‘s interview published by ICP http://www.icp.org/interviews/pradeep-dalal

More information about the exhibition here

The Bawa Letters (1982), 2005

The Bawa Letters (1982), 2005

“Vanity” (online exhibition)

Sebastiao Salgado (Brazilian, b. 1944), Women of the Zo’é village of Towari Ypy, Brazil (2009). black and white photograph.

Sebastiao Salgado (Brazilian, b. 1944), Women of the Zo’é village of Towari Ypy, Brazil (2009). black and white photograph.

This exhibition is inspired by Sebastiao Salgado’s black and white photograph of nude women of the Zo’é village of Towari Ypy, Brazil (2009). The focus is on the seven women on the left who are engaged in body painting using urucum—seeds from a Bixa orellana tree—in a sheltered hut made of tree leaves. Applying urucum seeds to the body repels insects and protects the body from the harmful effects of the sun. The seeds may also serve as a beauty potion as women in Salgado’s photograph leisurely apply it to their bodies. The group of women, portrayed in different gestures, adds a rhythmic movement to the photograph. The left to right configuration creates a circular composition.

Self-indulgence of the body evokes vanity, which can be a natural inclination or socially developed rite. Whether it is to please oneself or others, vanity is a narcissistic ritual and a voyeuristic pleasure exists when exposing one’s body.

This exhibition examines the depiction of the female body and vanity over the last few centuries—both Eastern and Western—in an attempt to analyze how the female body and vanity are portrayed in different times and places. It is to question how a woman sees herself, how a woman is seen, and what it means to be a woman. The exhibition showcases a wide variety of mediums, including paintings, photographs, woodblock print, video, and performance art. Half of the selection comes from the 17th century to the end of the 19th century and the other half comes from the 20th century and 21st century. The last image is my own interpretation of the theme.

Rembrandt (Rembrandt van Rijn) (Dutch, 1606–1669), The Toilet of Bathsheba (1643). Oil on wood, 22 1/2 x 30 inch (57.2 x 76.2 cm). Metropolitan Museum of Art, New York, USA.

1. Rembrandt (Rembrandt van Rijn) (Dutch, 1606–1669), The Toilet of Bathsheba (1643). Oil on wood, 22 1/2 x 30 inch (57.2 x 76.2 cm). Metropolitan Museum of Art, New York, USA.

After seeing her bathing, King David longed for Bathsheba who was married to Uriah. To take Bathsheba as a wife, King David sent Uriah to the frontline of a battlefield to get killed. In the painting, Bathsheba sits in the center surrounded by luxurious jewelries and fabrics while getting nourished by two people. Rembrandt’s use of light highlights Bathsheba’s flesh as if she is on the center stage of a theater. Her eyes slant towards the painter, her translucent cloth covering genitals, her left hand covering of right breast with a gentle touch, the scene provokes sensuality. Bathsheba sits passively as she is being prepared for King David. She is vulnerable to the male gaze and the temptation of a woman’s body and ensuing lust.

Yoonbok Shin (Korean, 1758-?), Dan-o-poong-jung (late 18th century). Color on paper, 28.2 x 35.6 cm. Kansong Museum, Seoul, South Korea.

2. Yoonbok Shin (Korean, 1758-?), Dan-o-poong-jung (late 18th century). Color on paper, 28.2 x 35.6 cm. Kansong Museum, Seoul, South Korea.

Yoonbok Shin’s painting depicts women’s typical activities on Dan-o Day—May 5th by the lunar calendar (about one month later than the Western calendar). After seed planting is done, on Dan-o Day, Koreans engage in ceremonies to pay respect to ancestors, offering well prepared foods. In return, they ask for a good harvest. There are activities throughout the day, such as swinging and wrestling. Other important activities include women washing their hair with boiled iris leaves and men carrying iris root in their clothes to get rid of bad spirits. Most of this tradition has been lost since the industrialization of the country.

Shin’s painting has a triangular composition. There is a diagonal line for the slope that divides the painting in half. Circular placement of women in the painting is similar to Salgado’s grouping of women in his photograph. On the right, there are eight women engaging in various activities and on the left, there are two young monks hiding behind rocks and watching them. On the bottom left are four women half naked. Three are washing their body and hair in a crouching position while one is standing up, holding her skirt. Perhaps she is looking at the approaching woman carrying a bag of merchandises on top of her head, wondering if there is anything good to buy. The monk on the right is looking at her revealing body.

At the middle of the hill is a woman who is about to swing. She wears the most colorful clothes in the painting and is watched by the monk on the left. The artist captures her in mid-motion and creates a sense of momentum within the painting. Behind her there is a woman with extremely long hair. The gentle brush strokes of streams and short grass on the hill together with a crowned hole in the curved tree symbolize vagina and connote sexuality. Women’s private moment of nourishing their bodies is interrupted by male gaze expressed by the two monks. The painting captures the male audience’s fantasies to watch women’s bathing.

Kubo Shunman (Japanese, 1757–1820), Two Women Looking in Mirrors (19th century). Part of an album of woodblock prints (surimono);  ink and color on paper, 8 1/8 x 6 5/8 in. (20.6 x 16.8 cm). Metropolitan Museum of Art, New York.

3. Kubo Shunman (Japanese, 1757–1820), Two Women Looking in Mirrors (19th century). Part of an album of woodblock prints (surimono);
ink and color on paper, 8 1/8 x 6 5/8 in. (20.6 x 16.8 cm). Metropolitan Museum of Art, New York.

The mirror and vanity are inseparable. In this painting, there are two Japanese women with three mirrors. The shape of the mirror mimics their faces. A diagonal separation is created by the mirror in the middle that is between the woman that is seated and the woman that is standing. While woman who is standing is checking both the front and back side of herself, the sitting woman is looking up to see either her reflection on the back of the mirror or the reflection of the other woman. The ambiguous use of mirror makes this painting more interesting. These two women probably spent some time grooming themselves and they are in the final stage of checking on their appearance.

The poem written in the painting is translated as; “If you use a mirror which reflects ancient time, that will bring you the flawless virtue of the present emperor.” (Source: The Metropolitan Museum of the Art website) Here the mirror is used as a metaphor for time.

Francis William Edmonds (American, 1806–1863), The New Bonnet (1858). Oil on canvas, 25 x 30 1/8 in. (63.5 x 76.5 cm). Metropolitan Museum of Art, New York.

4. Francis William Edmonds (American, 1806–1863), The New Bonnet (1858). Oil on canvas, 25 x 30 1/8 in. (63.5 x 76.5 cm). Metropolitan Museum of Art, New York.

In this painting, a young woman is holding a newly purchased bonnet. She admires it by holding it high, while her parents make distasteful facial expressions from looking at a receipt. The little girl behind her is holding a bonnet case. Everyone is wearing plain clothes except the young woman who is wearing more refined and fashionable clothes. The small room with plain furniture and vegetables on the floor give hint that this is a modest income household. The young woman’s excessive desire for a commodity adds irony to the scene.

Paul Cézanne (French, 1839 - 1906), Bathers (Les Grandes Baigneuses) (ca. 1894-1905). Oil on canvas, 127.2 x 196.1 cm. The National Gallery, London.

5. Paul Cézanne (French, 1839 – 1906), Bathers (Les Grandes Baigneuses) (ca. 1894-1905). Oil on canvas, 127.2 x 196.1 cm. The National Gallery, London.

Cézanne painted bathers from the1870s until his death in 1906. Although a long tradition of painting bathers pre-existed Cézanne’s works, his paintings of bathers strongly influenced Picasso’s Les Demoiselles d’Avignon (1907), a breaking point for Picasso’s delving into cubism. Among many of Cézanne’s works on bathers, I chose this painting for the exhibition. Here, women are grouped into a circular shape and the lines connecting them create a visual rhythm. The bodies are submerged into the landscape of trees and sky, similar to Salgado’s women submerged into the background of tree leaves. Here, female bodies and sexuality are less attenuated and instead, the harmony of women’s bodies in nature is accentuated. The body becomes a formal element of the painting, rather than an object desired by men.

Hillary G. Bailey (American, 1894 - 1988), Vanity (c. 1932). Gelatin silver print, 13 x 10 1/16 in. (33.02 x 25.56 cm) (image)20 3/16 x 16 3/16 in. (51.28 x 41.12 cm) (mount). The Minneapolis Institute of Arts, Minneapolis, Minnesota, USA. Image courtesy of the Minneapolis Institute of Arts.

6. Hillary G. Bailey (American, 1894 – 1988), Vanity (c. 1932). Gelatin silver print, 13 x 10 1/16 in. (33.02 x 25.56 cm) (image)20 3/16 x 16 3/16 in. (51.28 x 41.12 cm) (mount). The Minneapolis Institute of Arts, Minneapolis, Minnesota, USA. Image courtesy of the Minneapolis Institute of Arts.

In this dreamy photograph, a young woman with a long necklace joyfully gazes at her own image in the water, which serves as a mirror. Still developing the body of a woman, she is pleased with what she sees in herself. In Staging this moment of self-love, the photographer took an inspiration from Greek mythology’s Narcissus, who drowned himself, enamored with the beauty of his own reflection.

Richard Avedon (American, 1923-2004), Dorian Leigh, mode. Hat by Paulette. Paris, August, 1949.

7. Richard Avedon (American, 1923-2004), Dorian Leigh, mode. Hat by Paulette. Paris, August, 1949. Image source: Richard Avedon Foundation.

Richard Avedon had the ability to transcend fashion photographs, turning them into personal portraits. In this picture, model Dorian Leigh is applying eyeliner as she sticks her tongue out to the same side of where she is putting her eyeliner, a natural body reflex when concentrating on an activity. The shape of her tongue mimics the hat that looks like rabbit ears. Dressed and accessorized with jewelries, Leigh is putting final touch to her face.

Putting makeup to beautify oneself has been a long tradition for women across different cultures. Some women never go out without applying it. Applying makeup is an act of vanity and way to control one’s self-image to the public. With this close up image of a woman putting on makeup, Avedon succeeded in portraying a woman’s most private of moments with a tongue-in-cheek playfulness. He was very close to the model but the presence of photographer is not felt as seen in Salgado’s photograph.

8. Carolee Schneeman (American, b. 1939), Eye Body: 36 Transformative Actions for Camera (1963). Paint, glue, fur, feathers, garden snakes, glass, plastic with the studio installation “Big Boards”. Photographs by Icelandic artist Erró, on 35 mm black and white film.

In this performance piece, Eye Body: 36 Transformative Actions, Carolee Schneeman transformed her loft and body into a medium for an expressive “happening”; her body became a canvas and/or a studio space. Schneeman materialized her body and let it become an artwork in and of itself. She covered her body with paint, chalk, grease, rope, and plastic and later let live snakes crawl on her body. Schneeman’s materialization of the female body is different from objectifying a female body, something she did one year later with Meat Joy (1964). The body functioning as a material or canvas for artwork is a protest against the notion of the female body as sumptuous flesh seen from the male gaze. Here we see a woman exercising her free will to dictate her body to make a bold statement.

(Note: Photos of Eye Body: 36 Transformative Actions for Camera can be seen HERE. It is the third work from the top.)

Barbara Kruger (American, b. 1945), Untitled (Your Body is a Battleground) (1989). Poster for March on Washington. Image Source: Art History Archive, accessed November 27, 2014, http://www.arthistoryarchive.com/arthistory/feminist/Barbara-Kruger.html (left). Image scanned from the book, Barbara Kruger (New York: Rizzoli, 2010) (right).

9. Barbara Kruger (American, b. 1945), Untitled (Your Body is a Battleground) (1989). Poster for March on Washington. Image Source: Art History Archive, accessed November 27, 2014, http://www.arthistoryarchive.com/arthistory/feminist/Barbara-Kruger.html (left). Image scanned from the book, Barbara Kruger (New York: Rizzoli, 2010) (right).

Barbara Kruger’s Your Body is a Battleground converts the female body into a political debate; do women have rights to decide whether to carry pregnancy to a full term or not? Rather than showing the whole body, Kruger only shows part of the head, focusing on the cerebral side of decision-making. The conflict between the right to give birth and the right to have an abortion is portrayed in a half positive and a half negative image of a woman’s face, as if it is between good and evil. In the second poster, there is additional verbiage about a rally in Washington. It asks for support for “a woman’s right to choose.” The flip side of the coin is an unwilling pregnancy—in the case of rape. In such cases, the female body becomes a battlefield: women resisting unwanted sex and unwanted pregnancy. Ignorance of the issues or apathy towards the issues can no longer be tolerated, at least with an artist such as Barbara Kruger who believes in the power of speaking up rather than keeping silent. Kruger represents an artist as activist.

Joonsung Bae (South Korean, b. 1967), The Costume of Painter - W. House 060201 (2006). Oil on vinyl, vinyl on photograph (later made into lenticular). 243 x 154 cm. Image courtesy of the artist.

10. Joonsung Bae (South Korean, b. 1967), The Costume of Painter – W. House 060201 (2006). Oil on vinyl, vinyl on photograph (later made into lenticular). 243 x 154 cm. Image courtesy of the artist.

Using photographs and paintings, Joonsung Bae plays with reality and imagination. In The Costume of Painter – W. House 060201, Bae combined three layers: a photograph of Sagrada Família in Barcelona as the background, a photograph of a nude woman sitting on a bench, and a painting on vinyl that is placed over the photograph. Using painting, Bae covered the nude woman with a shoulder bearing dress. Near by her, he painted a little girl holding a mirror, both sitting on the carpet and surrounded by flowers. Behind the woman are fully grown flowers and in front of the little girl is a single flower in a vase. Bae brought a domestic setting into an outdoor scene, evoking what was seen in the first painting by Rembrandt. The seated woman revealing part of her shoulder is seductively touching her hair while the young girl is smiling looking at her own reflection. Bae’s work depicts vanity in two stages: a mature woman’s self-confidence versus a little girl’s innocent interest in herself.

11. Minny Lee, Self-indulgence, 2014. Video, 1:10 min.

In thinking of vanity, I looked into self-indulging moment—applying oil to my body after taking a shower. It is a rare moment that I pay attention to myself, which makes me realize that indulging one’s body can nurture the soul as well.

The New Beauty of Our Modern Life @ Higher Pictures

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Kate Steciw
Abstract, Animal, Art, BBQ, Black, Bokeh, Closeup, Comfort, Decoration, Flavor, Hot, Leather, Line,
Liquid, Material, Meal, Messy, Orange, Paint, Pork, Quality, Sage, Stain, White
2014
c-print, custom frame, mixed media
64 x 40 x 2 inches
edition 2 of infinite

The New Beauty of Our Modern Life, on view at Higher Pictures through March 1, was curated by the digital painter-of-modern-life Kate Steciw and delivers an annual report for contemporary avant-gardism.

For these artists, the Internet—encompassing all of modern culture and its technologies—is the primary support for their medium. Shall we call it Photography? I am not sure. Some would like to fit this type of image making under the rubric of photography, but perhaps we need new terminology?

In this self-reflexive or re-Modernist moment (the prefix re- dominates the plastic arts today) the Internet contemplates its own material essence. What Kate Steciw and the seven other artists turn up is an image that can only point outside itself. It is an allusionary space—relentless representations and cultural associations abound.

The obscure and rambling Suprematist text by Kazimir Malevich, which Steciw borrows her title from, calls for a creation of new forms from nature that are born of our impulse and intuition rather than objects of our knowledge. What this amounts to for the Suprematists is an abstract and geometric art free of ‘vulgar subject matter,’ but for the group at Higher Pictures their raw material—the Internet—is already always coded. In using culture to create a new nature, the artists must bump up against our cultural literacy; remove it from our realm of comprehension.

The work in the show is notable for its lack of humanism; the hand in these handmade readymades is surely not attached to any complex, thinking/feeling body. Even Rachel de Joode’s tear drops—universal signifiers of human emotion—are made solid, are pilfered and pedestaled. Nothing is sacred, it’s simply material. They sure are an industrious group.

Kate Steciw’s conglomerations of everyday imagery (laundry listed in her titles) are built up on her digital canvas in painterly swaths of color and pattern.  The sculptural frame, hung perpendicular to the wall with commercial, kitsch objects fixed to the surface, reasserts its physicality outside the digital sphere. The accompanying meta-data from the title allows us to dissect the image. The metaphors never gel, but the composition is harmonious and productive. The title also operates like an Internet tagging system, where any one of these search terms might spark our desire.

On the flip side, Yannick Val Gesto mines the discarded depths of the Internet—an accessible memory of fads and technologies. The resulting plexi-prints are primal in their mark making and legibility; however their idiocy points to the infancy of this new unnamed medium.

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Sara Cwynar
Our Natural World (Books 1)
2013
c-print
30 x 24 inches
edition 2/3

Sara Cwynar’s black-and-white photographs are an elegy to pre-digital memory. Her collaged compositions of encyclopedias, self-help books, photography manuals and literary tomes read like textbook illustrations, emphasizing the past they belong to. Rather than the possibilities her fellow artists see, Cwynar is lamenting the end of a kind of slow-life and knowledge, as our technology continues its invasion.

The show also includes a floor installation by LES It Boy Alex Da Corte. Handcut tiles in red, purple and mirror fill the space, which Da Corte has littered with plastic romaine lettuce leaves. The piece is full of art-banal references to M.C. Escher and Giovanni Anselmo’s eating sculpture. Besides being a David Scanavino rip off, Da Corte’s piece is merely decorative.

The same could be said for the remaining three artists. Ethan Greenbaum is represented by more-of-the-same pressed plastic sidewalk paintings (the problem with a really cool process is moving beyond it), and Asha Schecter’s ribbony web of stock and pop images overwhelm the frame, some even spit out into the gallery with the gimmick of placing stickers of the images around the space.

Finally, Harm Van Den Dorpel’s suspended plexi-print ball, which prominently features a nautilus—the many chambered shell whose spiral follows the Golden Ratio. However, the harmony between nature and form demonstrated by the beautiful and mysterious Phi is misplaced here, as culture (not nature) gives birth to these new forms.

-Kkory Trolio

Edits Self

SlideFest has come and gone. It’s a relief really. I am not much of a performer, and somewhere along the way ICP-Bard’s annual event to showcase first year work turned from a slide presentation to full-on theater. It says a lot about the experimental and creative nature of this program.

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Courtesy of Jamie Liles.

For me, I needed a work-around for the fact that I am awful at documenting my work. Most photographers have it easy—digital files or scanable negatives—my large-scale photographic chemical abstractions aren’t as easy to digitize. I also don’t feel like I have the right words yet to describe my process.  Or at least to make it sound more interesting than: something about photography, experimentation and the sheer pleasure of being in the darkroom (it’s sexy).

Continue reading

(THE SHOW IS ON) The Other Foot

Video

Here’s a sneak peak of the show. Stop by this weekend!

ICP-Bard MFA Studios, 24–20 Jackson Avenue, 3rd Floor, Long Island City, Queens

Kathy Akey
Laura A. Gonzalez
Kasia Gumpert
Marina Leybishkis
Xavier Lujan
Emilie Lundstrom
Nina Mendez-Marti
Juana Romero
Aline Shkurovich
Kkory Trolio
Kim Weston
and featuring a recreation of Alison Knowles’ 1963 piece “Shoes of Your Choice”

The exhibition is on view during Open Studios on May 4–5 from 2pm to 6pm.

E and M trains to 23rd Street/Ely Avenue; G and 7 trains or the B61 bus to 45th Road/Court House Square.