Over the years we've been given one or two works of art that have hung on our office walls. It's time for us to give these little works some bigger and better exposure. So we have submitted these works on the artists' behalf to the exhibition.
Just announced yesterday (and ALREADY SPOTTED!) is the return of Poetry In Motion on the NYC subways. And the background image is a detail of Joan Linder's Green Weed (71st Street D Line MTA) left and right, 2011! Yay Joan! You'll be seeing it everywhere soon.
From the MTA's website: "Since 1992, when it first displayed an excerpt from Whitman's "Crossing Brooklyn Ferry," MTA's Poetry in Motion program has brought more than 200 poems or excerpts before the eyes of millions of subway riders and rail commuters, offering each a moment of timelessness in the busy day."
PARIS—SCOPE JAMES REEDER: THE MOUNTAIN
March 29 – June 2, 2012 Opening: Thursday, March 29, 6-8pm
Mixed Greens is thrilled to announce the start of Paris-Scope, a series of peculiar, collaborative exhibitions that give visitors to Mixed Greens a glimpse into Paris-based Projective City’s newest gallery space. Operating as a kind of alchemical experiment into the possibilities of “action at a distance,” viewers are able to peer into (but obviously not enter) the space both thousands of miles away and inches from their grasp—to mystically be both HERE and THERE simultaneously. The Paris-Scope series allows artists unprecedented control over the gallery space, and focuses on ambitious solo installations. The inaugural exhibition is The Mountain, a solo installation by James Reeder.
“I heard myself close my eyes, then open them.”
(Loys Masson, Icare ou le Voyage)
James Reeder’s subtle investigation of looming, portentous things lurking in our peripheral vision is a complex portrayal of both literal and psychological space. Behind us, as dark forms gather on various horizons, we feel a sense of ominous power and smell the scent of an approaching storm. Yet when we turn to confront these clouds, they have disappeared or shifted to somewhere we cannot quite see. Against these nameless, void anxieties, our defenses appear unsuitable, yet built with conviction and urgency.
Reeder’s ambitious work results from a complex process that includes drawing, sculpture, photography, and installation. Drawings lead to small constructions. Those constructions are often photographed and the photos recombined and incorporated into more complex constructions that once again include drawing. Spatial assumptions are routinely ignored, as miniature elements (a shard of glass, a scrap of wool, a crack in the pavement) take on momentous proportions, while glowering sources of massive potential energy simmer quietly in the corners.
We struggle to occupy Reeder’s spaces, yet they remain intimately familiar. In his words, “My photographs and installations attempt to merge perception and reality and fix the bits of evidence in mind as proof and confirmation.” This urgent desire for “proof” in the face of generally overwhelming natural phenomena, and the hubris of expecting an explanation of the world, is the mystery at the core of Reeder’s practice.
James Reeder currently lives in Bushwick, NY. He was born in Grand Ledge, MI, and graduated from Pacific Union College in CA. He has been included in dozens of exhibitions in New York and beyond. In the last two years, exhibition venues include Brooklyn Fire Proof Gallery, Brooklyn, NY; Storefront Gallery, Brooklyn, NY; NURTUREArt, Brooklyn, NY; and Laundromat Gallery in Toyko and Brooklyn. Solo exhibition venues include Lesley Heller Workspace, New York, NY; A.M. Richard Fine Art in Brooklyn, NY; and ATA Window Gallery in San Francisco, CA. His work has been reviewed on artcat.com and his pieces have been reproduced in Photography Quarterly.
Projective City, under the direction of Benjamin Evans, aims to advance, promote, and make visible the work of emerging artists through an ongoing, flexible, and interconnected series of projects. Working on the assumption that bigger is generally worse, projects are for the most part designed to be smaller-scale and more intimate, aiming for personal encounters between artists, artworks, and audiences. Projective City’s gallery space is located at 34 Rue Hélene Brion, Paris 13eme, and, for the time being, through a peephole at Mixed Greens.
It's time for a quick VOLTA recap. What an excellent fair--such a manageable size and comfortable venue. We were pretty happy with the number of interested collectors and international visitors, not to mention the upbeat atmosphere. SHOUT OUT to VOLTA, and a big SHOUT OUT to Jean Dykstra at Photograph Magazine for this thoughtful mention of Julianne Swartz's work in our booth.
Steven and Monica hard at work in the busy booth (above).
I smell something faintly aromatic…cedar..sandalwood. Mixed with burning. And once I turn the corner into Dawn Kasper's "environment" installation at The Whitney, I'm hit smack in the face with wafting fumes of incense. A crowd of visitors is shuffling through small objects in a case like it's a garage sale. But the museum guard is only feet away and seems unconcerned.
The wall label informs me that this installation, THIS COULD BE SOMETHING IF I LET IT, is the entire contents of the artist's bedroom and nomadic studio, moved into the Whitney for the duration of the Biennial. The artist will be making work, conducting studio visits, and playing music during this time. Again, according to the wall label. This stands in as a living sculpture and blurs the distinction between performance and preparation.
Suddenly the artist smelled what I smelled. "What is that? Wait, what is that?" And the proud visitors happily showed off the incense they'd taken the liberty of lighting. I watched as Ms. Kasper lept to the front of her nomadic studio space to put out the smoking stick because surely FIRE was not an intended outcome of this experiment.
Later I crossed paths with Ms. Kasper in the stairwell. She was joined by an exuberant and inquisitive visitor on a little walk around the museum. I overhead her lament the obvious: "It's not my stuff anymore in this context."
THIS COULD BE SOMETHING IF I LET IT, 2012
from the series The Nomadic Studio Practice Experiment 2009-
Three month durational performance and multimedia installation
Collection of the artist.
b. 1977 in Fairfax, Virginia; lives and works in Los Angeles
Ed Winkleman points to yet another fair I was unaware of this past week--the female artist onlySalon Zürcher! Frankly, I love any article that quotes (my Wellesley sister) Hillary Clinton and any art fair that promotes women artists.
It sure would be nice to be in Masstricht today...TEFAF opens today. The Art Newspaper has prepared a handy guide for those of you visiting the fair.