Winkleman Curatorial Research Lab

Winkleman Curatorial Research Lab http://crl.winkleman.com/ Winkleman Gallery | A Contemporary Art Gallery in New York City | Project space focused on experiment and research oriented curatorial projects. en Copyright 2012, Winkleman Gallery and individual artists. All rights reserved. Sat, 11 Feb 2012 08:31:03 -0500 Exhibition: Melissa Brown: DOTTO LOTTO <div class="exhibition-subtitle">Organized by Julie Chae</div> <div class="exhibition-dates">September 9 - October 15, 2011</div> <div class="exhibition-opening">Opens Friday, September 9, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2230"><img border="0" src="http://crl.winkleman.com/static/dyn-images/44/44409.jpeg" alt="Melissa Brown's "DOTTO LOTTO" (installation view). Photography by Etienne Frossard." height="333" width="500" /></a> <p><p>Melissa Brown's "DOTTO <span class="caps">LOTTO</span>" (installation view). Photography by Etienne Frossard.</p></p> <br /> <div class="exhibition-description"><p><a href="http://juliechaeprojects.com/artwork/2160823_DOTTO_LOTTO_video_sample.html"><b>Dotto Lotto Video Trailer</b></a> </p> <p><span class="caps">LOTTO DOTTO </span>is an installation of almost 3,000 connect-the-dot puzzles on business reply mail postcards completed and returned by people in New York City and across the globe, along with an animation video that "connects" the postcards. </p> <p>A year ago, Brown initially distributed these postcards by slipping 1/3 of them into magazines at newsstands in mass transit locations such as Grand Central Station, Port Authority Bus Terminal and Union Square; providing 1/3 of them to New York City public school teachers who incorporated them into art classes; and handing out 1/3 of them to colleagues in the art world, including prominent artists, gallerists and curators. </p> <p>These postcards provide simple instructions to connect the dots and use the US postal system to give voice to participating individuals and groups. In addition to tourists to New York from around the world who found the postcards in magazines, the New York City public school students and art-world colleagues of Brown and curator Chae, some of the participants came upon the postcards through Fluxface, a mail art blog/website located in Merignac, France; an art teacher in Hellerup, Denmark; the Federal Corrections Institution Elkton in Lisbon, Ohio; and the Green Gallery in Milwaukee, Wisconsin as well as Winkleman Gallery in New York. </p> <p>Brown has created a stop-motion animation video by scanning in the returned postcards and editing to place similar responses in frames next to each other. The similar images pass the eye at a rate to "animate" the images and "connect" the individuals who created them with each other. The Dotto Lotto project playfully and seriously explores the possibilities for human connection through these elementary puzzle-game postcards. The video is approximately 6 minutes long and appears accompanied by a sound collage created by Brown.</p> <p>A sample of the Dotto Lotto video is available at <b><a href="http://www.dottolotto.com">dottolotto.com.</a></b></p></div> http://crl.winkleman.com/exhibition/view/2230 Exhibition: The Beauty Process <div class="exhibition-subtitle">Featuring work by Nancy Lorenz and Jeffry Mitchell. Organized by Jay Grimm</div> <div class="exhibition-dates">May 6 - June 11, 2011</div> <div class="exhibition-opening">Opens Friday, May 6, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2179"><img border="0" src="http://crl.winkleman.com/static/dyn-images/42/42089.jpeg" alt=""The Beauty Process," installation view. Photography by Etienne Frossard." height="339" width="500" /></a> <p><p>"The Beauty Process," installation view. Photography by Etienne Frossard.</p></p> <br /> <div class="exhibition-description"><p>The curatorial intent of this exhibition is to prove that an intelligent sense of beauty in contemporary art needn't preclude an emotional response to a work's decorative qualities. </p> <p>Consisting of a dialog between two artists who harness the initial attraction of ornament into something more lasting, <i>The Beauty Process</i> is an inquiry into the way in which this stance at once hinders and enhances the production of art that has meaning to contemporary viewers. The works of <b>Nancy Lorenz</b> and <b>Jeffry Mitchell</b> possess an initial seductive impact which gives way, over time, to a sophisticated, almost timeless form of aesthetic appreciation and demonstrates that true, lasting beauty penetrates deeper than the surface.</p> <p><b>Nancy Lorenz</b> uses traditional Asian art-making techniques in her work, such as gilding and inlay. The time-consuming methods result in lustrous, contemplative paintings, where the meditative mood echoes the slowness of their creation. For <i>The Beauty Process,</i> Lorenz has created a small-scale screen, consisting of 12 interlocking panels which are decorated on both sides. On one side, a dragon is depicted in watercolor over gold leaf; on the other abstract shapes which recall a rock garden arrangement float on a field of etched lines referencing the geometry of raked stones. The miniature screen, over 6 feet wide but just over 2 feet tall, brings to mind the form of a `tea screen', used in the late Victorian era. These objects (used to protect table-top burners from being extinguished by a breeze) were often transformed from the merely practical through elegant decoration, becoming a focal point for an aesthetic experience, a very apt metaphor for Lorenz' work.</p> <p><b>Jeffry Mitchell</b> will exhibit two ceramic vessels that echo Lorenz' reference to tea. In the traditional Japanese tea ceremony, participants pass a cup of tea to each other, pausing from time to time to appreciate the beauty of the cup itself. Mitchell's vessels, while much larger (and, because they are pierced in many places, not functional), provoke a similar response in the viewer. Inscribed lines depict floral forms in a loopy, charming manner, while a rich, glossy glaze invites prolonged contemplation. Mitchell will also exhibit a `Pressed Snow Flake Sculpture', done with cut paper pressed between two pieces of glass in a frame. Mimicking the manner in which dried flowers are often displayed, Mitchell here tries to convey the fleeting joy of seeing a snowflake. At once childlike and humorous, the collage/cutting blends ideas of craft, design and beauty without irony. </p> <p>Lorenz and Mitchell, close friends from the Tyler School of Art, have pursued their own vision over the course of their successful careers. Entirely cognizant of contemporary art, the two have advocated for the importance of beauty in a manner that may seem atavistic. <i>The Beauty Process</i> is an experiment to see how an environment where aesthetics is put above all other concerns is perceived in the heart of the Chelsea art world.</p></div> http://crl.winkleman.com/exhibition/view/2179 Exhibition: Signs on the Road <div class="exhibition-subtitle">Organized by: Workroom G<br><br>Curated by: Gogue Projects (Phase 1), Cathouse FUNeral (Phase 2), Camel Collective (Phase 3)</div> <div class="exhibition-dates">March 25 - April 30, 2011</div> <div class="exhibition-opening">Opens Friday, March 25, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/2060"><img border="0" src="http://crl.winkleman.com/static/dyn-images/41/41556.jpeg" alt=""Signs on the Road," installation view of Phase 2, curated by Cathouse FUNeral. Photography by Karen Miller." height="281" width="500" /></a> <p><p>"Signs on the Road," installation view of Phase 2, curated by Cathouse <span class="caps">FUN</span>eral. Photography by Karen Miller.</p></p> <br /> <div class="exhibition-description"><p>Artists often fixate on particular found material (imagery, objects, quotes, fragments of text, etc.) that reveals no direct connection to their practice but that possesses for them an enigmatic, resonant meaning. This material may serve as a beacon for their practice, suggesting an unrealized and indeterminate potential for future work. Perhaps this material is the uncanny of artistic practice. </p> <p>For this exhibition we collect such material from over a hundred and fifty artists, each invited to submit a single-page digital file to be printed on an 8×10-inch sheet. This small archive will be handed over to three curatorial collectives, each of whom will mount a treatment and exhibition in the diminutive (10-foot by 10-foot) Curatorial Research Lab at Winkleman Gallery. Despite the collection's necessarily small scale, we hope for a different order of insight than can be derived from primary artistic production. What if, for a moment, we treat such secondary material as primary? We are curious to see what tentative and comparative understandings can be drawn regarding a collective sensibility of the moment. Could organizations of this archive serve as signs on the road toward something beyond its constituent parts?</p> <p>________________________</p> <p><b>Workroom G </b> is Michael Ashkin, Leslie Brack, and Joshua Geldzahler <br /> ________________________</p> <p>Gogue Projects is Matt Freedman & Jude Tallichet</p> <p>Camel Collective is www.camelcollective.org</p> <p>Cathouse <span class="caps">FUN</span>eral is David Dixon, Karen Miller, Pete Moran</p> <p><span class="caps">ARTISTS</span>:</p> <p>David Adamo, Alyson Aliano, Greg Allen, Meredith Allen, Robert Andrade, Mirene Arsanios, Michael Ashkin, David Atkin, Nancy Baker, Conrad Bakker, Michael Ballou, Sarah Bedford, David Benforado, Annie Berman, Eric Ross Bernstein, Roberto Bertoia, Mary Walling Blackburn, Lee Boroson, Leslie Brack, David Brody, Monica Burczyk, Pam Butler, Sharon Butler, Holly Cahill, Zachary Cahill, Tiffany Calvert, Francis Cape, Zhiwan Cheung, Piotr Chizinski, Jennifer Coates, Elisabeth Condon, Anne Connell, Diana Cooper, Daniel Cosentino, Amie Cunat, Elizabeth Dadi, Iftikhar Dadi, Jennifer Dalton, Donna Dennis, David Dixon, Ben Draper, eteam, Julie Evans, Anna Faroqhi, Anoka Faruqee, Renate Ferro, Paul Festa, Matt Freedman, Carolyn Funk, Lee Gainer, Joshua Geldzahler, Benj Gerdes, Lindsey Glover, DeWitt Godfrey, Maximilian Goldfarb, Edward M. Gomez, Anthony Graves, Lisa Hamilton, Shadi Harouni, David Hartt, Kirsten Hassenfeld, Jennifer Hayashida, Eric Heist, Amy Helfand, Alika Herreshoff, Clara Hess, Bob Hewitt, Susan Homer, Bettina Hubby, David Humphrey, Gabriela Jimenez, Christopher Lowry Johnson, Ron Jude, Martine Kaczynski, Efrat Kedem, Christine Kelly, Daren Kendall, Baseera Khan, Elke Krasny, Larry Krone, Lasse Lau, Jill Lear, Ronna Lebo, Diana Seo Hyung Lee, Karen Leo, Jason Livingston, David Lukowski, Pauline M'barek, Rose Marcus, Justin Martin, Mark Masyga, Graham McDougal, Todd McGrain, Doug McLean, Vincent Meessen, Danielle Mericle, Elisabeth Meyer, Andrea Minicozzi, John Monti, Pete Moran, Ray Mortenson, Erik Moskowitz & Amanda Trager, Carrie Moyer, Nicholas Muellner, Chris Nau, Yamini Nayar, Gregor Neuerer, Jennifer Nichols, Meredith Nickie, Marty Ohlin, Chris Oliver, Craig Olson, Ruth Oppenheim, Maria Park, Ahndraya Parlato, Ditte Lyngkaer Pedersen, Liza Phillips, Anna Pinkus, Maggie Prendergast, Johannes Paul Raether, Paul Rajakovics and Barbara Holub, Cuba Ray, Dylan Reid, Thomas Rentmeister, Noah Robbins, Christopher Robinson, Kay Rosen, Douglas Ross, Benjamin Rubloff, Kathleen Rugh, Faride Sakhaeifar, Rachel Salamone, David Scher, Mira Schor, Peter Scott, Dennis Sears, Daniel Seiple, Rachel Selekman, James Sheehan, Buzz Spector, Suzy Spence, Liz Sweibel, Stan Taft, Jude Tallichet, Nick Tobier, Nathan Townes-Anderson, Jeanne Tremel, Lauren Valchuis, Chris Werner, Leslie Wilkes, Sammy Jean Wilson, Karen Yasinsky, Bernard Yenelouis</p></div> http://crl.winkleman.com/exhibition/view/2060 Exhibition: What is left <div class="exhibition-subtitle">Featuring work by Nina Lola Bachhuber, Elissa Levy and Nick Herman. Organized by Rachel Gugelberger.</div> <div class="exhibition-dates">November 18 - December 23, 2010</div> <div class="exhibition-opening">Opens Thursday, November 18, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1997"><img border="0" src="http://crl.winkleman.com/static/dyn-images/37/37614.jpeg" alt="What is left" height="364" width="500" /></a> <p><p>What is left</p></p> <br /> <div class="exhibition-description"><p>Taking advantage of <span class="caps">CRL</span>ab's experimental mandate, <i>What is left</i> takes a two-fold approach. While it is a thematic exhibition, it is presented through a metamorphosing curatorial lens that unfolds over time. Works by <b>Nina Lola Bachhuber, Elissa Levy</b> and <b>Nick Herman</b> will be individually introduced, swapped out and/or rearranged, resulting in a variety of improvised juxtapositions. Adding a layer of temporality to the curatorial and viewing process, <i>What is left</i> hopes to challenge some of the preconceptions about the experience of viewing art in a gallery.</p> <p>Thematically, <i>What is left</i> considers the human figure, but neither the classical figure nor some reaction against it, grotesque, abject or otherwise. Instead it ponders some of the most enduring ideas that swirl around and define the body -- constructions of power, myth and desire; beauty and vanity; even existential states of mind. The exhibition is less a meditation on the corporeal than an attempt to grasp "what is left" by the body's physical absence.</p> <p>Methodologically, <i>What is left</i> investigates the curatorial process as a collection of varying creative and theoretical possibilities. On a given day, a particular discourse may be initiated between two or three works. On another day, an installation of different works altogether might be on view. Such ongoing curatorial decisions and gestures drive this exhibition, which seeks to explore how the shifting organization of works inform the dialogue between the works themselves and viewer's expectations.</p> <p>The residue of the show's varied installations -- nails, holes in the wall, cleats, hooks, spatial gaps -- will remain visible during the course of the exhibition, serving as evidence, clue or perhaps even aura that inform one's understanding and interpretation of the show's underlying theme. If a gallery is a vessel in which one's own body relates in time and space to works of art, <i>What is left</i> explores how this relationship might change within the confines of a single thematic premise, using a specific selection of work. While <i>What is left</i> does not intend to challenge the exhibition's basic premise, the inclusion of works and the arrangement of the installation will be altered, allowing for multiple permutations. </p> <p>The human body itself is present in each of the works in <i>What is left,</i> but it is de-contextualized, amputated, animated, adorned, obscured. With a keen eye for modes of display, <b>Nina Lola Bachhuber</b> combines the formal language of surrealist sculpture with post-minimalist tendencies. Her curious, pseudo-mythological creatures are adorned with an array of decorative elements -- hair, beads, nylons, leather -- arranged in a manner that heightens the tension and confusion between their intended use and their engimatic presentation. Bachhuber reconstructs her materials into seemingly ceremonial or devotional objects that revel in a realm of fetishistic obsession that is both playful and sinister. Here, for example, a viewer may see three bewigged skulls transformed into monopodic homunculi displayed on a modernist coffee table, the surface of which is composed of a meticulously hand-drawn pattern of geometric design. Invoking a menacing version of the <i>Three Graces</i> or even a collection of memento mori, Bachhuber's tableau puts forth a multiplicity of speculative possibilities.</p> <p>The work of <b>Nick Herman</b> explores the psychological desire for myth; in particular, the allegorical power of the American West and the "Promised Land" as informed by popular culture, geo-politics, religion and secular vocabularies. Themes of violence, entropy and excess are, as the artist states, "often coupled with popular and highly marketed popular archetypes of heroism and material apotheosis, striking in rich for example in sexual vigor." In sculpture and works on paper, the figure is possessed by a desire for improved states and prosperity. In <i>Paradise Valley,</i> for example, copulating figures are almost obscured by the earthquake-damaged landscape that envelops them, underscored by an eruption of a repetitive pattern that suggests decorative wallpaper or architectural plans. A combination of traditional materials with fat and milk solids for example, emphasize not only the entropic qualities of the human body and its environs, but the extreme divide separating desire and excess.</p> <p>Working directly on newspapers and magazines, <b>Elissa Levy</b> deconstructs various male icons -- soldiers, athletes, celebrities and politicians -- that populate the printed media. Isolating their forms, she strips them of identifiable cues of power or fame, reducing them to ghost-like apparitions. Reanimated in pen and paint with concentric lines of fluorescent colors, these reimagined and reworked figures look like renderings of auras or infrared photography, as if providing a glimpse into their core. Approached with a punk <span class="caps">DIY </span>ethos and the use of craft materials, Levy transforms contemporary artifacts into raw and makeshift future relics. While aggressively de-contextualizing (limbs are amputated) or eradicating these figures in their current mass-reproduced form, Levy painstakingly alters them into otherworldly silhouettes that distract from their socially constructed masculinity.</p> <p>In his 1855 poem "I Sing the Body Electric," Walt Whitman refers to "the charge of the soul." By exploring various elemental, mythical and mythological aspects of the human form, the works in <i>What is left</i> seek out this space between an electrically charged celebration of the corporeal and calls to remember our own mortality. The work of Bachhuber, Herman and Levy employ the figure as cipher, using it as a sociopolitical (and at times anthropological) prism that might offer a glimpse of "what is left" when it's gone.</p> <p><i><b>Nina Lola Bachhuber</b> was born in Munich, Germany. She obtained her <span class="caps">MFA </span>at the Hochschule für Bildende Künste in Hamburg. Bachhuber has exhibited widely at venues including <span class="caps">UCLA</span> Hammer Museum; the Moore Space, Miami; Von der Heydt-Museum, Wuppertal, Germany; Gallery Min Min, Tokyo; the 7th Mercosul Biennial in Porto Alegre, Brazill; and in New York, the Drawing Center, <span class="caps">P.S.1</span>/MoMA, Sculpture Center, Metro Pictures, Mary Boone and Lehmann Maupin Galleries. A solo exhibition of her work is currently on view at Momenta Art in Brooklyn, New York, through December 19, 2010.</p> <p><b>Nick Herman</b> is an artist, writer and publisher of <span class="caps">ANTEPROJECTS.</span> He has exhibited at the Sculpture Center, Socrates Sculpture Park and Peter Blum Gallery in New York and at Cherry and Martin in Los Angeles, California. His work was recently a part of Portugal Arte (Lisbon). In 2011, Herman will be an artist-in-residence at the Chinati Foundation in Marfa, Texas, and will have a solo project at LA><ART in Los Angeles. He has an <span class="caps">MFA </span>in sculpture from Yale University and a BA in religious studies from Macalester College. Herman is based in Los Angeles, California.</p> <p><b>Elissa Levy</b> is a mixed media artist living and working in Brooklyn, New York. She has had solo exhibitions at Stonefox Artspace, New York; The Living Room, San Francisco; and Brooklyn Fireproof, Inc, Brooklyn. Her work has been included in group exhibitions at the New Museum and White Columns in New York; G Fine Art, Washington, <span class="caps">D.C.</span>; and the International Studio and Curatorial Program (ISCP), Brooklyn. In 2006, she was awarded a residency at Glenfiddich, Scotland. She has recently been organizing a series of events entitled "Sewing Socials" where guests are invited to wear clothing that needs repair and a team of darners will mend them.</i></p> <p><i>Rachel Gugelberger was recently co-director of Sara Meltzer Gallery, where she co-curated the exhibitions </i> Landscapes for Frankenstein, Ceci n'est pas... <i>and </i>Prevailing Climate.<i> Upcoming projects include </i>Data Deluge,<i> a presentation of works that utilize data as source material and </i>Library Science,<i> an exhibition that ponders our changing role to the library as it adapts to the digital world. Rachel is currently working independently in New York.</i></p></div> http://crl.winkleman.com/exhibition/view/1997 Exhibition: To John J. O'Connor from Nam June Paik <div class="exhibition-subtitle">Organized by Seymour Barofsky</div> <div class="exhibition-dates">October 15 - November 13, 2010</div> <div class="exhibition-opening">Opens Friday, October 15, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1979"><img border="0" src="http://crl.winkleman.com/static/dyn-images/37/37427.jpeg" alt="Installation view, "To John J. O'Connor from Nam June Paik." Photograph by Etienne Frossard." height="333" width="500" /></a> <p><p>Installation view, "To John J. O'Connor from Nam June Paik." Photograph by Etienne Frossard.</p></p> <br /> <div class="exhibition-description"><p>Beginning in the 1970s, in response to the early appreciation expressed in reviews of his artwork appearing in <i>The New York Times,</i> artist <b>Nam June Paik</b> mailed a stream of materials to the <i>Times'</i> television critic John J. O'Connor. In one of his earlier letters, Paik declared O'Connor "the savior of video art itself." For more than two decades Paik kept him abreast of his thoughts, work, and travels. </p> <p>"To John J. O'Connor from Nam June Paik" comprises a selection of the letters, drawings, postcards, holiday greetings, and annotated books and articles sent by Paik and set aside by O'Connor over the years. Serious, yet full of whimsy, they remain as telling and delightful as they were when they were meant to charm a newspaper reviewer. They offer an insight into the long-term interaction of a significant and groundbreaking artist and an important and influential critic of his work. </p> <p>The exhibition, which includes a sampling of O'Connor's writing on Paik as well as an example of Paik's work that was broadcast on television, is a fascinating record of the mutual appreciation of an artist and critic. It is timed to coincide with and commemorate the first anniversary of the death of John J. O'Connor.</p> <p><b>Nam June Paik</b> (1932-2006) was a leading exponent of media-based art. He has had a profound influence on art, video and television.</p> <p><b>John J. O'Connor</b> (1933-2009) was television critic of The New York Times from 1971 to 1997. Before that he had been arts editor of the Wall Street Journal.</p> <p><i>The exhibit was organized by Seymour Barofsky, a former editor (Schocken Books, Random House, etc.) and teacher.</i></p> <p>For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com</p> <p>Winkleman Gallery gratefully acknowledges the generous support of Electronics Art Intermix (EAI) in making this exhibition possible.</p></div> http://crl.winkleman.com/exhibition/view/1979 Exhibition: Used Books <div class="exhibition-subtitle">Featuring work by Brent Birnbaum, Danielle Durchslag, Michael Galvin, Morgan Levy, and R. Justin Stewart. Organized by Ryan Frank.</div> <div class="exhibition-dates">September 9 - October 9, 2010</div> <div class="exhibition-opening">Opens Thursday, September 9, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1944"><img border="0" src="http://crl.winkleman.com/static/dyn-images/36/36747.jpeg" alt="Installation view, "Used Books." Photograph by Etienne Frossard." height="333" width="500" /></a> <p><p>Installation view, "Used Books." Photograph by Etienne Frossard.</p></p> <br /> <div class="exhibition-description"><p><i>Used Books</i> pairs the work of five visual artists with the books that played a role in each artwork's creation. Each artist in the exhibition has one work installed on a wall, under which is a selection of books handpicked by the artist that visitors to the gallery can view and read. The format of the exhibition is intended to give viewers a nuanced perspective of each artist's interests and experiences while serving as a unique alternative to the typical artist's statement. </p> <p>The process for selecting the contents of the exhibition consisted of two parts. The first was a studio visit in which the curator met with each artist to discuss their work and ultimately selected a piece for the exhibition. The second was a meeting in each artist's home, during which the curator and the artist discussed the contents of the artist's library and ultimately the artist selected books to be paired with their artwork. While some books directly affected the accompanying work, others were chosen due to their importance in the artist's overall creative and intellectual development.</p> <p>A section of the gallery space has been established to allow visitors the opportunity to read each artist's books as they would in a typical reading room. </p> <p><b>Please return books to their respective shelf when finished. </b></p> <p><i>Used Books</i> is loosely based on an exhibition concept developed with Ad Nauseam Lyceum and would not have been possible without the collaboration of Deena Selenow and Rory Sheridan. </p> <p><i>Ryan Frank was recently an artist-in-residence at The Wassaic Project, where his work was shown in the exhibition "Bestiary" at Maxon Mills this past summer. He is the co-founder of Ad Nauseam Lyceum, a curatorial collective that organized a series of pop-up exhibitions in galleries and storefronts throughout New York City from 2006 to 2009. For the past year he has worked as the Collection Manager and Director of Education at The Granary, a private exhibition space located in Litchfield County, <span class="caps">CT. </span></i></p></div> http://crl.winkleman.com/exhibition/view/1944 Exhibition: Reflective Reflexion <div class="exhibition-subtitle">Corban Walker and Carrie Yamaoka, organized by Joy Garnett</div> <div class="exhibition-dates">June 18 - July 30, 2010</div> <div class="exhibition-opening">Opens Friday, June 18, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1920"><img border="0" src="http://crl.winkleman.com/static/dyn-images/35/35204.jpeg" alt="Reflective Reflexion, Corban Walker and Carrie Yamaoka, organized by Joy Garnett, installation view. Photograph by Etienne Frossard." height="333" width="500" /></a> <p><p>Reflective Reflexion, Corban Walker and Carrie Yamaoka, organized by Joy Garnett, installation view. Photograph by Etienne Frossard.</p></p> <br /> <div class="exhibition-description"><p><b>re·flec·tive</b> - 1. deeply or seriously thoughtful; 2. capable of physically reflecting light or sound; 3. "a reflective surface"; 4. devoted to matters of the mind.</p> <p><b>re·flex·ion</b> - 1. the act of reflecting or the state of being reflected; 2. something reflected or the image so produced, as by a mirror; 3. careful or long consideration or thought; expression without words..."tears are an expression of grief"; "the pulse is a reflection of the heart's condition".</p> <p>The works of Corban Walker and Carrie Yamaoka embody a rejuvenation and continued dialogue with Minimalism that is propelled by an engagement with new materials and technologies. Yamaoka and Walker each beautifully extend the post-Minimalist moment broached and developed by their predecessor Felix Gonzalez-Torres. The works of all three artists, subtly infused as they are with social and political ideas and desires, nevertheless express something very personal that is beyond ideology, tempered by a profoundly rigorous formal continuity. The challenges presented by the sexuality of Gonzalez-Torres and Yamaoka, the Asian American identity of Yamaoka, and by Walker's physical stature, each comprise an emotional complexity that lends a very real gravity to their works. And yet, the more difficult, chaotic and thorny issues are encrypted in clean, clear materials that are reflective, reflexive, formally exquisite and ultimately seductive.</p> <p><b>Artist Bios:</b></p> <p><b>Corban Walker</b> (b. Dublin, Ireland) graduated with honors from the National College of Art and Design, Dublin, with a degree in Fine Art Sculpture, in 1992, and has lived and worked in New York since 2004. Walker first exhibited at PaceWildenstein's Greene Street gallery in the fall of 2000 and his work was included in the gallery's "Logical Conclusions" exhibition alongside works by key artists from the 20th century who use objective systems to explore the complex and chaotic realms of the subjective. In 2008, Walker worked with master glass fabricators specializing in Borosilicate glass in a glass factory near Prague in the Czech Republic. Walker required that the glass be blown into a rectilinear mold, creating hollow glass rectangles that he then stacked. Glass always wants to be spherical, and when enormous stress is applied to create rectilinear objects, the glass becomes awkward, defying the norm. Walker questions the assumption of the rules of scale and measure that we hold on to as the basis of our relationship between body and structure. He is represented by The Pace Gallery, New York.</p> <p><b>Carrie Yamaoka</b> lives and works in New York City. Her work has been exhibited widely in the US and internationally, including Galerie Lange&Pult, Zurich, Galerie Une, Auvernier, Switzerland; Aeroplastics Contemporary, Brussels; Kunstverein Medienturm, Graz, Austria; Museum of Modern Art Arnhem, Netherlands; Artists Space, New York; Bard College; The San Jose Institute of Contemporary Art; in "Vanishing Point" at the Wexner Center; "Mirror, Mirror" at Mass <span class="caps">MOCA</span>; and in "Extreme Abstraction" at the Albright-Knox Art Gallery in Buffalo, <span class="caps">NY.</span> Yamaoka has been making paintings of reflective mylar encapsulated in resin for over a decade. She works with a reflective ground that is empty of content but full of incident. The site in which the work is situated, the passing viewer, the ambient light in the room, serve alternately - and simultaneously - as subject and reflected object. Air bubbles, liquid sluices and other artifacts of production reveal a layered archaeology of process while forming loci for an otherwise shifting and fluid gaze.</p> <p> </p> <p><i>Joy Garnett is a painter who lives and works in New York. Her past curatorial projects include "Night Vision" at White Columns, <span class="caps">NY, </span>"Things Fall Apart" at Winkleman Gallery, and "Out of the Blue", a traveling exhibition co-organized with Joy Episalla and Amy Lipton. She is represented by Winkleman Gallery, New York.</i></p></div> http://crl.winkleman.com/exhibition/view/1920 Exhibition: MASKS <div class="exhibition-subtitle">New work by Mamiko Otsubo. Organized by Courtney J. Martin</div> <div class="exhibition-dates">May 7 - June 12, 2010</div> <div class="exhibition-opening">Opens Friday, May 7, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1903"><img border="0" src="http://crl.winkleman.com/static/dyn-images/34/34182.jpeg" alt="Installation view, "MASKS," new work by Mamiko Otsubo. Photo by Etienne Frossard." height="333" width="500" /></a> <p><p>Installation view, "MASKS," new work by Mamiko Otsubo. Photo by Etienne Frossard.</p></p> <br /> <div class="exhibition-description"><p><span class="caps">MASKS </span></p> <p>"I was interested in giving these dead things a new face (it turned out, literally) but also doing something that was heretical..."</p> <p>Over the past decade, <b>Mamiko Otsubo</b>'s sculpture has taken on material challenges that play with the conventions of built form and design. For example, in one body of work she structurally rearranged and disassembled known design objects to create her own installations. Recently, Otsubo started working with old books. Calling them "raw material," she took images from them to create masks that she then mounted onto the book's cover. As an attempt to work with photographic material, these objects also pose visual questions about sculpture. As books now rearranged, they also push Otsubo's authority as an artist to author, brand, historicize or mutilate in the act of creation. </p> <p><i>Curator Courtney J. Martin is an art historian, having completed her doctorate at Yale University in 20th century British art. Currently, she is a Chancellor's Postdoctoral Fellow in the History of Art department at the University of California at Berkeley. Prior to this appointment, she was a fellow at the Getty Research Institute in Los Angeles (2008-2009) and, in 2007, a Henry Moore Institute Research Fellow. Before entering Yale, she was the Interim Head Curator at the Cold Spring Harbor Whaling Museum and worked in the media, arts, and culture unit of the Ford Foundation in New York.</i></p></div> http://crl.winkleman.com/exhibition/view/1903 Exhibition: Read-Only-Memory <div class="exhibition-subtitle">Organized by Stamatina Gregory</div> <div class="exhibition-dates">January 8 - February 13, 2010</div> <div class="exhibition-opening">Opens Friday, January 8, 6:00 PM - 8:00 PM</div> <br/> <a href="/exhibition/view/1842"><img border="0" src="http://crl.winkleman.com/static/dyn-images/31/31323.jpeg" alt=""Read-Only-Memory," Installation view." height="326" width="500" /></a> <p><p>"Read-Only-Memory," Installation view.</p></p> <br /> <div class="exhibition-description"><p><i>Read-Only-Memory</i> brings together works by <b>Anthony Campuzano, Graham Dolphin,</b> and <b>Molly Larkey,</b> all of which incorporate acts of analogue transcription. Characterized by the meticulous, almost devotional labor of recreating found, journalistic, pop, or literary texts, these works stand as extreme acts of obsolete protocol, investigating the lapses of time and information between reading, writing, and reception.</p> <p><i>Independent curator Stamatina Gregory recently completed the Whitney Lauder Curatorial Fellowship at the <span class="caps">ICA </span>in Philadelphia and curated a large group exhibition of contemporary photography at the <span class="caps">FLAG</span> Art Foundation. She is also a doctoral candidate at The Graduate Center at the City University of New York.</i></p></div> http://crl.winkleman.com/exhibition/view/1842