EXHIBITION: NOVEMBER 2 – DECEMBER 7, 2013
Split Rule, No.65 - 2013
chestnut, bronze, wax, steel bracket
38 x 16 x 4 in.
Peter Kirkiles elevates objects of utility, celebrating the beauty and distinct character inherent in individual tools. He values the marks of wear and tear and pays homage to the unique character that has been eroded into the surface of the tool through years of use. Traces of Kirkiles’ hand are evident on the sculpture’s surface as well, communicating something tangible to the viewer. And while they function as his own personal talismans, these objects also carry a vast cultural history. Kirkiles strives to convey an authentic presentation of these tools: one that reflects his own relationship to them as well as pays homage to their cultural significance.
In Perfect Bloom - 2013
oil, acrylic on canvas
48 x 48 in.
The daily life we live, the quotidian, is the wellspring of Brody-Lederman’s painting vocabulary. Brody-Lederman wants to show the complexity and beauty of life, the poetry inherent in the ordinary and uses simple images, trees, birds, cherries, lanterns while honing the psychological content within.
Tablecloth - 2008-2010
cardboard on plywood
70 x 192 in.
In his new installation entitled Dream Dinner for Twelve, Gregory Perkel has taken supermarket cartons and transformed them into an expressive, creative medium. By disassembling and recombining the design elements in the various cardboard boxes, he has created entirely new patterns, relationships and meaning and morphed them into unique works.
Fox - 2013
archival pigment prints
24 x 36 in. (61 x 91 cm)
Morbidity & Mortality is a response to the current popular fascination with depictions of crime scenes, murder, and forensics. Contemporary films and forensic-themed television programs such as CSI reveal an obsession with corpses, specifically the artfully composed images of dead bodies. In examining this trend, Jeanette May faces the challenge of depicting, yet not reproducing, this fetishized violence. In these staged photographs of recently discovered victims, the body is that of a “dead” pet toy: fake animals that appear deceased or clearly marked for death. Jeanette May critiques contemporary tableaus of aestheticized violence by producing photographs that are simultaneously disturbing and whimsical. A sense of humor helps.
Cross Fly - 2012
2.5 x 2.5 x .75 in.
Traditionally, fishing flies are made of organic materials such as feathers and fur. They are designed to mimic a specific insect at a particular stage of its life. In the effort to target larger fish, they are used to mimic baitfish and even mice. In most cases, the fly does not need to be a copy true in all bodily detail. A simulacrum will typically suffice, and for the class of flies called “attractors”, a combination of sufficiently “buggy” characteristics will do. This series takes the fishing fly as a paradigm object and asks the viewer to imagine its living model.
Untitled (Blue Wave) - 2012
12 x 9 in.
Moses Hoskins’ paintings concern form and shape, line and edge, the tactile properties of the material, spatial relationships and balance or imbalance. Solid mass and negative space emerge to attain individual character. There is occasional consideration for color but in this work the emphasis is on overall composition.
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