nyc – Page 5

Emerald, Ruby, Sapphire and Diamond

February 14, 2013February 14, 2013 dig

Karen L. Davidson speaks on gem stones, as part of Melissa Dubbin and Aaron S. Davidson’s Making a Record (Diamond, Ruby, Sapphire, Emerald) at AVA.

Great listening!

Almanac

January 4, 2013 dig5 Comments

Almanac, opening January 10, 2013 at Newman Popiashvili Gallery.

ALMANAC
Michel Auder, Helen Beckman, Tyler Drosdeck, Adriana Farmiga, Adler Guerrier, Marcia Hafif, Michael Huey, Gerben Mulder, Mark Woods, Italo Zuffi

Exhibition dates: January 10–February 16, 2013
Opening Reception: Thursday, January 10, 2013

Newman Popiashvili Gallery is pleased to present a group show of the gallery artists. The title of the exhibition Almanac references the tradition of documenting of events in the present year, to create a basis for prediction of seasonally recurring weather conditions, appearance of stars and constellations, and other events. This exhibition presents a set of works that have been created recently, as well as a few years ago, reflecting on the idea of data-organization and prognosis for the future through being shown together .

Michel Auder’s photographs Rocket, Eye, Fighter and Guns, Only Louis Waldon’s Gun present an array of consecutively photographed images. The images shot in different locations and on separate occasions, produced on a four–frame strip of film, were later scanned and reassembled into the present groups.

Helen Beckman’s work evolves from a response to an artistic tradition of representing figure within landscape. Beckman’s paintings are populated with a variety of personal archetypes, referencing natural decay and coarse repairs to past grandeur.

Tyler Drosdeck’s sculptures have the illusion of being real life objects. Untitled (Silver) appears as painted plywood, but in reality it is a cast treated with silver-leaf and oil. Gathered by the artist, the overlooked, discarded objects have been altered in a specific way, exposing the intersection of the mundane with an elevated aesthetic sensibility.

Adriana Farmiga’s piece examines change and reconstruction, addressing specifically the visual qualities of construction sites found in the NYC metro area, and the recent surge of hurricanes in the region. The piece functions as both painting and sculpture, where the construction scaffolding is a testament to the layers of time, blue paint reapplied at each new site.

Marcia Hafif’s photographs deal with observing and recording a series of consecutive events; each image in a way predicting the next. The interrupted meal and the arising tension are translated into a photographic storyboard.

Adler Guerrier’s drawings can be easily associated with maps through the geometrical shapes that float and intersect on diffused background of yellows and blues, together with a layer of collage and typographic elements. The text undergoes a transformation, where it becomes nearly unreadable.

Michael Huey’s photographs are based on the artist’s work with the documentation of interiors. The artist examines the readymade nature of extant arrangements of various everyday objects in a manner that tries to reveal their meanings with minimal interventions. The familiar takes on a ghost-like shimmering quality adding another dimension to the relationship between past and present.

The exhibition includes Gerben Mulder’s recent paintings. Each stroke on the canvas appears suspended in space emerging through a vibrant array of colors. The elements of abstracted flowers stand as separate states of mind in steady effort to negotiate structure within the disarray of isolated emotional events.

Mark Woods’ photographs from the After Analysis series concentrate on depicting ordinary objects and locations in peculiar relationships. The photograph Hood shows the front section of a damaged car, duck-taped together. The image extends an allegorical reading of reconstructed physical past to anticipated future, just like a traditional Almanac allows prediction of events.

The ceramic and marble sculptures by Italo Zuffi’s are a direct evidence of the durability of those materials in the face of nature. Each group of objects is an exact reproduction of industrially made bricks. The sculpture functions as a reference to architecture and its basic components, as well as an absurdist task of such manual replication.

©2013 Newman Popiashvili | 212.274.9166 | 504 West 22nd street | New York, NY | 10011

Met + 3d replicator

June 2, 2012 dig

metmuseum.org

…since 1872 when the Met first allowed artists to re-create works of art on display. In that spirit, for the first time ever, on June 1 and 2, approximately twenty-five digital artists and programmers will gather at the Met to experiment with the latest 3-D scanning and replicating technologies. Their aim will be to use the Museum’s vast encyclopedic collections as a departure point for the creation of new work.

hafif

February 21, 2012 dig

… 1975 Ink Drawings and a photo series titled Pomona Houses from 1970.

The Ink Drawings were painted using a practice developed during the making of the Pencil Drawings, 1972, always beginning in the upper left corner and finishing in the lower right. The support and medium change while the technique remains the same. Here the ink mixture is more or less diluted, with darker and lighter results. The technique is based on the idea that repetition will produce changing results; the titles of the drawings are the date of completion – a record of the day’s work.

…

Pomona Houses was shot in California in 1970 and published in 1972 in a book by Mother Lode Editions to accompany an exhibition of projected color slides of houses at the Ivan Karp Gallery in SoHo. The current show includes all forty-five photographs from the book framed and displayed at eye level in their original order.

Marcia Hafif lives between New York City and Laguna Beach, California. This fall her work was part of Pacific Standard Time’s Best Kept Secret, UCI and the Development of Contemporary Art in Southern California, 1964-1971 at the Laguna Art Museum, CA. Hafif’s Italian Paintings, 1961-1969, are on display at MAMCO in Geneva accompanied by a catalogue raisonne of Hafif’s sixties paintings.

For further information and images please contact the gallery at contact@npgallery.com.

Exhibition dates: February 23 – April 14, 2012