Double Dialogue press release

Opening October 4th, 2017

On View October 4- November 15.

Sometimes you hear a person speak the truth and you know that they are speaking the truth. But you also know that they have not heard themselves, do not know what they have said: do not know that they have revealed much more than they have said. This may be why the truth remains, on the whole, so rare.”

-James Baldwin

doubledialogueinstall.jpg

This multimedia exhibition features the work of artists Kameelah Janan Rasheed and Paul Gagner and is curated by Kristen Racaniello.  Although these artists work in different primary mediums, each has created installations dealing with archiving and history, and their work generally attempts to unpack the monolithic views of history, truth and reality that dominate culture in the United States. Through examining the subjective narratives of our culture, Rasheed and Gagner confront post-truth in their work by crafting personal histories that ask their audience to question the meaning of truth and the status quo.

Humor pervades both artist’s work, which often uses oxymoron to point out hypocritical or dualistic thinking.  Language, as a vehicle for ideas, is primarily responsible for conceptions of the singularity of truth and for the social rifts created by differing versions of truth.  Rasheed and Gagner recognize this aspect of language and exaggerate it in their works, thus giving their audience a momentary glimpse of realities alternative to their own.  Double Dialogue seeks to draw connections between these two artists’ through their critical analysis of the cultural ironies surrounding them.

The location of this exhibition in the Silberman school of social work necessitates a consideration of exhibition as education.  This show is a space for students and faculty to reconsider the parameters used for education and information dissemination. A monolithic approach has become the methodologic choice of many public and private educators in the United States.  Rasheed’s work mines the archive as a collection that can tell multiple narratives. She questions the construction of history and the perpetuation of inherent biases in society, which are often sustained through education. Gagner’s work deals with the psychology of the art world and the conflicting social suggestions generated by the clash of separate philosophical value systems in art.  Together, these artists highlight the malleable nature of truth in our contemporary moment.

 

A Brief History of Post Truth:

This exhibition is a response to the surge of interest in the “post-truth” era. The Oxford Word of the Year (WOTY) for 2016 was POST-TRUTH.

Post-truth privileges emotion over objectivity. The collective notion of a post-truth nation can be traced in part to the advent of the 24-hour news cycle, with its theatrical emphasis on and fetishizing of war. This theatre of war has roots in the Gulf war where the first live news was broadcast from the front lines of battle. The Gulf war was subsequently nicknamed the “Video Game War” because of the surreal images broadcast daily from atop US Bomber planes during Desert Storm.

The word “post-truth” first appeared in 1992, when the effects of the late 80’s and early 90’s weighed heavily on the minds of Americans. Watergate, the Iran-Contra Scandal, and especially the Gulf war were sculpted through multiple filters of media and politics, resulting in the cultural conception of the term “post-truth” and its subsequent publication in an essay in ’92 by Steve Tesich. According to the Oxford English Dictionary post-truth describes “circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief.”
The founders of modern science expressed doubts about the human capacity to transcend the individual and emotional to discover objective, or universal, truths. Science is indebted to Francis Bacon for establishing the foundations of its current methodologic approach to assessing the world and generating information, laws, axioms, facts, and, some say, truth. Bacon believed that before any philosopher could employ his scientific method of inductive reasoning they must first free themselves of false notions that might distort these empirical truths. These were the Idola Mentis, or the Idols of the Mind: psychological barriers that Bacon believed would become blockades in the path of correct scientific reasoning. Even before our age of post-truth, scientists predicted the human tendencies that might distract from the pursuit, or even the possibility, of an objective truth.

doubledialogueinstall2.jpg

 

Word of the Year (WOTY) is an exhibition project hosted by Hunter East Harlem Gallery, inviting emerging curators to activate the wall at Hunter College’s Silberman School of Social Work using Oxford English Dictionary’s “word of the year” from the previous year.

Using a word culled from mass media as a prompt, the exhibition space acts as a site for artists and curators to engage in a month-long dialogue about collective consciousness and understanding how semantics can play a crucial role in shaping public opinion.

 

 

Advertisements

Press Release: “Grow[th]”

This exhibition was on view from June 24th to June 30th, 2016, with the Ess Ef Eff curatorial collective.

13532887_10210146501048766_2800188124681856520_n.jpg

Opening night at “Grow[th]”

Original press release:

Ess Ef Eff is pleased to presentGrow[th], a new group show featuring Eleanna Anagnos, Erin Castellan, Hilary Doyle, Daniela Gomez-Paz, Seren Morey, Dustina Sherbine, and Lena Schmid.

The exhibition is curated by Kristen Racaniello, a member of the Ess Ef Eff curatorial collective and a visual artist based in Brooklyn, NY.

Grow[th], is a process of becoming.  This show is intended to focus the viewer on the artist’s use of material and process to create forms that grow by invading the audience’s space and suggesting that they are not yet disconnected from their process and making. Form is anti-complete in the visual arts today; it seeks to jostle the viewer into an interaction with physicality through unexpected fragmentation.  The artist’s selected for this show were chosen because they deal with this question directly: their work answers the pressing need for fractured yet still captivating materiality in art.

The physicality of these works is a product of the artist’s investigation of materiality and their use of the inherent properties of each material to evoke a new experience of material interaction.  These works beg to be touched, tasted, smashed, sat-on; lived with.  The conspicuous use of process gives each work an individual narrative of events, a life, that extends the object-hood of the thing and becomes its own personality.  The individuality and character of each of these works  makes them appear to be in a state of growth.  Through their individual personalities, they become organic: living things, growths with the potential to expand into the new.

The works in Grow[th] rely heavily on history. Historical narrative, personal histories and cultural identity make up the foundations of each individual. Eleanna Anagnos, Erin Castellan, Hilary Doyle, Daniella Gomez-Paz, Seren Morey, Dustina Sherbine and Lena Schmidt all make use of their unique artistic processes to explore their relationship with collective history and individual identity.

 

Zabar Artist Lecture: Robert Barry & Non-Material Art

On a wednesday night Hunter College students and staff packed into a crowded lecture hall on the second floor of 205 Hudson to listen to the words of Robert Barry, which are physically plastered to the ground level gallery walls below.  Barry is famed for his work using invisible media, performance, and word based “suggestive artworks;” a term coined by Barry himself at wednesday’s lecture.  The exhibition in the 205 Hudson gallery downstairs and in the room adjacent to the lecture hall is a retrospective of fifty impressive years spent making immaterial artworks.   

The exhibition consists of work from the 1960‘s onward and includes a variety of media, from video to painting, drawing, exhibition catalogues, and even to a student run performance which continues throughout the duration of gallery hours.  The physical manifestations of Barry’s work are minimal and word based.  Performers in the gallery are instructed to project words out into space as if these words are objects.  Time floats around each word, cushioning it like the ephemera of air, gas, and light which construct and simultaneously disassociate object/things from space.  Barry has proven himself, time and again, to have a profound interest in the intangible; should he phrase his flippant explanations differently, his work could signify religion, the sacred, and the ineffable.  Yet Barry strives not to place this emphasis on his work.  He is profoundly grounded in nature and the physical. In keeping with many other conceptual artists, Robert Barry rejected outright the label of “conceptual art” (a term supported by critics and the internet at large: http://en.wikipedia.org/wiki/Robert_Barry_%28artist%29) when a student put the term forward during the lecture.    

Robert Barry adopted the persona of an artist who easily navigates the art world organism.  He presented his ideas vaguely making statements such as “(I hope) that people might get lost in my work,” and indeed Barry stated that he “kind of liked” when people did not understand his creations. These vague allusions to meaning and viewer impact created intrigue among his audience and made him appear detached and sometimes disinterested in his own work.  This act (if it was one) does no justice to the essence of the ineffable power that his work evokes. 

For the past month, I myself have performed Barry’s timed wordlist once a week.  The experience is gripping in its ability to transport the actor out of themselves through careful, meditative focus on one specific word/object/thing which is then projected outward into the space of the gallery every thirty seconds.    Barry’s categorical explanation of each piece in the retrospective of his career did no justice to the experience of his work; it successfully portrayed him as a likable but detached artist. In my experience, and I suspect many others, the work of Robert Barry speaks for itself.  It is provocative, it has gravity, it creates thought.

The words of Robert Barry are best when left on the wall.

Gagosian’s “Balthus: The Last Studies”

Image

BALTHUS
Untitled, c. 1999–2000
Color Polaroid
​4 x 4 inches (10.2 x 10.2 cm)

What better place to start than with the power house gallery of NYC: Gagosian. This gallery got its start in the 80’s and quickly became the king of capitalist marketing in its SOHO- then its Chelsea- gallery.  Recently, Gagosian opened a new gallery on 976 Madison Avenue which is now the third Gagosian building in NYC.  The opening show?  Balthus, timed neatly with the Metropolitan Museum of Art’s Balthus show entitled “Cats and Girls—Paintings and Provocations” which is open from September 25, 2013–January 12, 2014.  Gagosian’s “Balthus: The Last Studies” takes a completely different look into the work of Balthus, focusing on his preparatory photographic work rather than the controversial content of his paintings.  This show is almost over, however, it has been extended until saturday, January 18th. So, if you’re making the trek to Madison Ave in the next week or two, be sure to check it out!

Balthus is short for the less memorable name Balthasar Klossowski de Rola.  He was born in 1908 in Paris and is considered a classical modern artist who was inspired by pre-Renaissance ideals and painting and who, despite this seeming conservatism, rejected the ideas and conventions of the art world.  He refused to let his work be written about by galleries as he claimed that artwork needed no descriptions and no written legacy; they needed only to be described visually.

Of course, aside from his rebellion and his traditionalism, there is the great debate; was Balthus a mere pederast, fascinated by young, pre-pubescent girls, or was he, was his art, something more than that? It has been suggested that Balthus was a mystic, tragically misunderstood and often rejected.  In the New Republic article reviewing the Met’s Balthus show Jed Perl calls Balthus a mystic; and from this we can say simply that this charged artist is being defended by symbolism.  Many historians and journalists and critics have taken this view; that Balthus was not fascinated with the naked (or almost naked) bodies of young girls but that he was instead fascinated with what they represented to him and the world (for further information on Jed Perl’s views see his article at http://www.newrepublic.com/article/115658/balthus-cats-and-girls-met-review).

What Gagosian presents is a view of Balthus as a working, thinking artist who, in his last decade of life (1990-2001) began using a polaroid camera to capture his preparatory moments, as his aging hands were no longer suited to making his previous elaborate compositional drawings.  The show features stark white walls with tinny little polaroids, framed in a beautifully minimalist way.  This stark atmosphere of the contemporary gallery would contrast sharply with Balthus’s paintings, yet his polaroids feel well suited to this alien white space.  They show that in his old age, Balthus was willing to experiment and change mediums.  This show is facinating if only for the fact that it provides a direct access, via photography, to an otherwise extremely elusive mind.

Over all, yes, you should go see Gagosian’s “Balthus: The Last Studies” but only if you know of, and preferably have seen, the Met’s “Cats and Girls—Paintings and Provocations.”  They are undoubtedly sister shows, and display that the gap between museum and gallery is closing fast.

Image

MEG HITCHCOCK: THE LAND OF BLISS

MEG HITCHCOCK: THE LAND OF BLISS

This work by Hitchcock uses carefully cut sections of religious texts (such as the Koran, Torah, or Bible) and re-orders the words to create new meanings for these culturally weighted treaties on morality and belief systems. The artist recreates the text of religious books using the physical words from another religion.
Here she has recreated a Buddhist text by cutting words out of the Bible and organizing them in a structure resembling a mandala.