House in Landscape - 2002
enamel on aluminum
32 x 96 inches (81.28 x 243.84 cm)
Ted Weller I begin with a seemingly inconsequential recording of landscape views on site, a system not unlike the taking of snap shots. I then move indoor with the process, where the drawings are scaled up and painted in enamel on aluminum. This cool and ironic procedural distance, oddly enough, still produces a romantic notion of landscape. The paintings resulting from these drawings are spare but lush. They are deliberately constructed from a quick gestural study which is purposefully turned into a pattern of graphic marks. As the drawings are magnified or scaled up, the abstract relationship of the marks become more evident; the abstraction within the representational becomes more important. Ted Weller, 2002
Newstand No. 81 (The Spirit of NY) - 2001-2002
oil on canvas
60 x 80 inches (152 x 203 cm)
In my more recent Newsstand paintings, I explore an entire range of expressive possibilities by constantly recombining texts and images on the covers of the magazines, illusively exhibited upon newsstand racks. The newsstand motif may thus serve as a metaphor for language, since language is likewise subjected to continuous change. The English language, particularly as it is used in New York City by people of different origins and varying cultural backgrounds, is probably the most fluid and constantly changing of all.
Masaaki Sato, 2002
Y. J. CHO
9802 - 1998
mixed media on linen
30.5 x 40 inches (77.47 x 101.6 cm)
Y. J. Cho This group of small paintings, The Wall Diaries, is the artist’s depiction of different places she has passed
through in her travels to Tibet, Nepal, Bhutan and Taiwan: surface upon surface, wall upon wall of
records, like relics of one individual’s treasure hunt. Among them are hints of greenery climbing up old
walls as if suggesting spring; there are images of fleeting light and reflections that adhere, like giant claws,
to cracks on the wall; there is loneliness in the shadows of fallen city walls, and the hazy vastness of
historical events that seem to rise from their dappled patterns.
Y. J. Cho, 2002
"Texas" - 1987
silver gelatin photograph
16 x 20 inches (40.64 x 50.8 cm)
American Movie Theaters This photographic project concerns the demise of the movie theater in America’s towns and cities. By the 1980’s, the movie theater was closed and abandoned in downtowns across the country. This exhibition is of black and white photography, an archive of images, large in quantity and geographically diffuse, a personal interpretation of a sociological and architectural transition that has altered the American townscape. The theater becomes a fragile and endangered reality, progressively isolated, ultimately abandoned. This is a chronicle of traces and memories.
Michael Putnam, 2002
Residents, 13 - 2000
oil and resin on plaster and concrete
16.125 x 12.5 inches (40.95 x 31.75 cm)
Kohei Aya’s small wall sculptures are amalgamations of plaster, gold leaf, silver leaf and resin on concrete
slabs. The slabs represent and duplicate imagined fragments of an anonymous sidewalk in a decidedly urban setting. Each of these isolated chunks of metropolitan walkway are scattered with an array of standard, urban refuse: cigarette butts, bottle caps, matchbooks all meticulously fashioned out of resin. Floating by themselves, disconnected from any other context the sculptures become microcosms of the discarded. The flotsam represent icons of our casual attitude towards what is useful and what is thrown away, each piece floating in a pristine, oblivious, miniature sea of sidewalk.
Kohei Aya, 2002
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