Lucas Blalock:An Enormous Oar
February 10–July 21, 2019
Brooklyn-based photographer Lucas Blalock (b. 1978) uses both traditional and digital techniques to create uncanny and surreal images of ordinary things. An Enormous Oar, the artist’s first solo museum exhibition, presents over twenty works produced in the last five years focused on still-lifes, domestic scenes, and portraits.
Photo: Elon Schoenholz/ICA LA
PRECOG MAG, LA ART BOOK FAIR
We are heading out to the LA art Book fair! Come visit us at table R14- April 12–14, 2019
Opening Night: April 11
The Geffen Contemporary at MOCA
152 North Central Ave
Los Angeles, CA 90012
Sara Ludy, Unearth
Opening: Thursday March 28, 6 – 8 PM
Gallery Hours: Wednesday – Saturday, 11 AM – 6 PM & Sunday 12 – 6 PM
Unearth is informed by the mutability of the natural world. For her second solo exhibition with bitforms gallery, Sara Ludy applies attributes distinctive of her digital practice to sculpture. Transparent, enmeshed forms made of Waken Glass, a new medium developed by Upterior that unites glass and copper, transition immaterial elements of the artist’s visual language into three dimensions. The exhibition engages nature’s durational cycles of preservation and decay using real and virtual ornithological elements. A celestial union emerges, transforming the gallery into a hybrid aviary.
Subsurface Hell, Ludy’s inaugural solo exhibition with the gallery, presented a series of the artist’s investigations into organic environments. Clouds (2018) are a series of animated reliefs that render billowing canopies of water vapor into rhythm. The resulting landscape is mediated by generative motion of layered texture and color. New works in Unearth compound this methodology, casting abstract ephemerality into physical structures of Waken Glass. Perches (2018) appear empty, even vulnerable, floating in a tuft of blackened copper mesh. However, their glistening surfaces act as an offering, or site of potentiality that nods to the transience of the natural world.
As the exhibition continues, the spirit of an aviary unfolds. Nests (2018), sculptural habitats for imagined birds, sit opposite a live streamed projection of a nature cam. Frequently used for wildlife habitats or nature preserves, this video feed allows viewers to observe wildlife online. Trough 3 (2018) exists as a live streamed artwork, broadcast from a plinth in a nondescript high-rise. The sculpture remains unaffected as the world around it turns; birds soar to and from a neighboring sanctuary and the sun repeats its daily ritual of rising and setting. Trough 2 (2018) hangs from the ceiling in suspension. The artwork offers a similar experience to that of Perches and Nests—its silence calls for attention. Troughs inspire pause, a characteristic typically required for Ludy’s time-based work. Action is withheld from the artworks in an effort to accentuate the surrounding environment. The adjacent display of both Troughs further obscures the duality of lived experience and simulation. All streamed content is hosted online at www.birdsmadeearth.com.
Astral influences abound in Ludy’s work, encouraging the astronomical connection of the photo Cygnus (2019). The image, one of the artist’s inspirations for Unearth, depicts a swan in flight with wings outstretched, is only visible in isolated environments free of light pollution and cloud coverage. This elusive quality positions Cygnus somewhere between real and imagined. Refract (2018–19) also exists between these temporalities. While created with digital technology, the artwork is brought from the screen to canvas. The digital painting reflects imagery seen by the artist as varying layers of fractal depth. Prisms fold and disperse, unraveling the image plane like the reflective qualities of Waken Glass. Core Samples (2018) also speak to the stars, encapsulating explosive, stellar reactions. Shapes of molten copper imitate figures seen within the Clouds series. The artworks glow like pixels, transmuting the luster of the virtual world into winking stars.
Unearth is created in collaboration with Upterior. Upterior invests into research and development of new materials with applications in design, art, and architecture. All sculptures in the exhibition were created by Sara Ludy using patent-pending technology behind Waken Glass™ from Upterior ®. Through innovation and design, the company aims to strengthen and elevate the relationship between the person and the physical world. For more on Upterior and the invention of Waken Glass, visit www.upterior.com and Instagram @upterior.
The artist and gallery would like to thank LIFEWTR for their generous support.
b.1980, Orange, CA
Sara Ludy is an American artist working in a wide range of media including video, sound, animation, VR, AR, websites, audiovisual performance, sculpture, painting, photography, and installation. Through an interdisciplinary practice, hybrid forms emerge from the confluence of nature, architecture, abstraction, and the unconscious; reflecting an uncanny presence that questions our relationship to immateriality and space.
Previous exhibitions of Ludy’s work include the Museum of Contemporary Art Chicago, Chicago; Berkeley Art Museum, California; Honor Fraser, Los Angeles; bitforms gallery, New York; Postmasters Gallery, New York; Klaus von Nichtssagend, New York; Interstate Projects, Brooklyn; Eyebeam Center for Art and Technology, New York; Vancouver Art Gallery, Vancouver; Western Front, Vancouver; Künstlerhaus Bethanien, Berlin; Carroll Fletcher, London; Espace Verney-Carron, Lyon; and C-Space, Beijing.
Felipe Baeza, Julia Bland, Arghavan Khosravi and Oren Pinhassi
Yossi Milo Gallery
March 16 – April 27, 2019
Tuesday - Saturday, 10am - 6pm
or by appointment
245 Tenth Avenue
(between 24th & 25th St.)
New York, NY 10001
Yossi Milo Gallery is pleased to announce Four, a group exhibition featuring works by Felipe Baeza, Julia Bland, Arghavan Khosravi and Oren Pinhassi. All four artists in the show give form to personal experiences through material and color. Dusty pastels, velvety darks, and scuffed surfaces run through the works, inducing a contemplative atmosphere where subtle references to different histories and narrative can emerge. The exhibition will open on Saturday, March 16 with an artists’ reception from 6:00 - 8:00 pm and will be on view through Saturday, April 27.
Felipe Baeza’s (Mexican, b. 1987) paintings are an oppositional force against historical iconography. He uses his own biography and interests in migration, sexuality, and anthropology to assert an individuality outside of the strictures and disappointments of language. The results are representations of a seemingly mythic figure floating in space to more lyrical depictions of sexual contact that magnify life to heroic proportions. Baeza primarily works on paper through a process converging printmaking and collage techniques and refuses conventional strategies of portrait painting that obliquely describe subjects by use of props, possessions or space. Instead, Baeza inverts the direction, working from the inside out in highly aesthetic, detailed portraits that directly express the inner lives and frustrations of his fantastical hybrid bodies. Compelled by the force of their enigmatic characterizations, Baeza’s portraits and narrative scenes are captioned by descriptive and yet poetic titles that ultimately unveil the semi-autobiographical and historical context inside which his situations between the real and imaginary are intertwined. For example, I have eyes where they can best protect me, 2019, suggests an environment within which his hybrid body lives and is persistently susceptible to hostile conditions.
Baeza received his B.F.A. from The Cooper Union in 2009 and his M.F.A. from the Yale School of Art in 2018. Baeza will be included in the forthcoming exhibition Nobody Promised You Tomorrow: Contemporary Art in the 50th Year of the Stonewall Era, Brooklyn Museum, New York, NY. Recent exhibitions include XL Catlin Art Prize, San Francisco Art Institute, San Francisco, CA, travelling to Linda Warren Projects, Chicago and New York Academy of Art, New York, NY, No Longer Yours, The Mistake Room/Anonymous Gallery, Mexico City, Mexico, Tails, Next to Nothing, New York, NY, Demolition WoManhood, Skibum MacArthur, Los Angeles, CA; Reconstruir, 41 Cooper Gallery, The Cooper Union, New York, NY; New Prints 2017/Summer, selected by Katherine Bradford, International Print Center, New York, NY, and Carving Through Borders, Galería de la Raza, San Francisco, CA. He lives and works between New Haven, CT, and Brooklyn, NY.
Julia Bland’s (American, b. 1986) abstract wall hangings feature archetypal and geometric forms woven into assertively symmetrical compositions. Her works begin with patterns crafted on her loom before dyed, stitched and painted fabrics, and fragments of painted canvas and linen are cut, glued, sewed, burned and tied into the works. The artist’s gridded elements are patterned on mathematical formulas inspired by sacred geometry, and the notion that repetitive structures and rhythms reveal cosmic processes and the vibrations of the universe. Also building on post-minimalist investigations of materiality and context, her surfaces communicate through their physical presence as well as the history of their intersecting processes. The results of Bland’s intricate handiwork and unswerving reverence towards the materials of her practice are artworks that meld painting, weaving, and netting with commanding tactile presence.
Bland earned her B.F.A. from the Rhode Island School of Design in 2008 and her M.F.A. from Yale University in 2012. She has been an artist in residence at The MacDowell Colony; The Shandaken Project; Sharpe-Walentas Space Program; Lighthouse Works, Yaddo; Woodstock Byrdcliffe Guild; and the Skowhegan School of Painting and Sculpture, and was honored with the Milton and Sally Avery Fellowship; Carol Scholsberg Memorial Prize; Jacques and Natasha Gelman Trust Travel Fellowship; and the Florence Leif Award. The artist currently lives and works in Brooklyn, NY.
Arghavan Khosravi’s (Iranian, b. 1984) mixed media paintings interweave historical Persian motifs with 21st-century imagery borrowed from popular culture and contemporary media. Replete with surreal situations, objects and characters that demand a narrative only the viewer can provide, the paintings evoke a sense of historical and personal affairs being out of balance. State monuments, state actors, archeological relics and traditional Iranian textiles ornament and frame Khosravi’s images both visually and culturally, while painted figures appear unmoored by gravity or masked by unexplained blindfolds. Featuring tromp-l’oeil female bodies that reach beyond national boundaries and traditional historical narratives, Khosravi’s detailed works provide an alternative space for reflection within reality.
Khosravi earned an M.F.A. in painting from the Rhode Island School of Design, a B.F.A. in Graphic Design from Islamic Azad University of Tehran, and an M.F.A. in Illustration from University of Tehran. Her works have been exhibited in New York, Iran, and throughout the U.S., and are in the permanent collections of the Rhode Island of School of Design Museum and Newport Art Museum, both in Providence, RI, as well as many private collections. Khosravi currently lives and works in Provincetown, MA.
Oren Pinhassi’s (b. 1985) art combines the logic of architecture and sculpture in his construction of fluid, eroticized installations designed to thwart one’s traditional associations and encoded behaviors. Pinhassi arranges his sculptures in simulation of queer sites where the boundaries between bodies and objects is blurred and played with, setting the scene for encounters with and among each work. Everyday things such as an umbrella, a cheval mirror frame, or a bath towel are worked over in various media including plaster, burlap, sand, and Vaseline until the original object and its perceived use is masked. The synergy and static choreographed by the artist between his amorphous objects and the viewer form the basis of Pinhassi’s disruptions of habit. Familiar yet strange, archaic yet contemporary, funny yet foreboding, the ultimate “site” of the artist’s works lies outside fixed definition.
Pinhassi received an M.F.A. from Yale University after earning his B.F.A. at Hamidrasha School of Art, Beit Berl, Israel and is the 2011 recipient of the Shlomo Witkin Prize for Excellence in the Art Field. He recently had solo exhibitions at Edel Assanti (London, UK), Skibum MacArthur (Los Angeles, CA), Ribot Gallery (Milan, Italy) and at the Petach Tikva Museum, Israel. His work has been featured in group shows at David Zwirner (New York, NY) Galerie Eva Meyer (Paris, France), Andrew Rafacz Gallery (Chicago, IL), and Magenta Plains (New York, NY). Pinhassi was a recipient of the Shanadanken Project at Storm King Sculpture Park in 2016. Pinhassi currently lives and works in New York.
The exhibition is co-curated by Yossi Milo and Doron Langberg.
FLORENCIA ESCUDERO | MARCELA FLÓRIDO
Kristen Lorello Gallery
Costilla de Adán (Monstera Deliciosa)
February 28 - April 13
Opening reception: Thursday, February 28, 6-8pm
Gallery hours: Tues-Sat, 12-6
The gallery is delighted to present a two-person exhibition of Brooklyn-based artists Florencia Escudero and Marcela Flórido. Paintings and drawings by Flórido are paired with soft sculptures by Escudero. The exhibition developed from the friendship and critical dialogue that Escudero and Flórido have kept since meeting each other at the Yale University School of Art graduate program, which they both attended. Their works relate themes of constructed realities, female representation, and memory.
Escudero explores the notion of a fictive world through hand-sewn, digitally printed sculptures that parse elements of the female body, sometimes through proxies. Stand-ins include fashion accessories and doll parts. Escudero gathers imagery from digital space that relates to versions of fantasy and desire often circulated in mass media. Within her broader practice, Escudero positions the sculptures inside the rooms of 'love hotels' (which have fantastical and kitschy interiors designed to enhance the experience of lovers) and photographs them. This process helps her to think about how love can be redefined beyond the version of it that consumer culture presents.
Flórido's paintings of plants native to Brazil, and her drawings of the female portrait, convey charged energies and temporal states. The motif of the heart, traditionally a symbol of love and intimacy, accompanies the portraits of Flórido's women, creating an overall mood within each of her works. At times this symbol appears as the leaf of a plant, which in turn exhibits human-like qualities. Within her canvases, Flórido finds freedom to imagine the different ways that the body can inhabit physical space. This action mirrors an aspect of her own personal experience of adapting to various places where she has lived during her life and of rendering elements of her home country's landscape from memory.
The title of the exhibition, Costilla de Adán (Monstera Deliciosa) refers to the tropical plant depicted in Flórido's recent painting. It also points to the notion of Adam's rib, and the concept of woman as an assemblage of parts. For the artists, using parts of the female form within their own works gives them as sense of freedom and agency to develop their own narratives. As the artists write, "In the exhibition, these parts function as stand-ins for whole real women in the same way that memory creates a sense of reality which is distorted and fractured."
Florencia Escudero was born in Singapore in 1987 and grew up in Mendoza, Argentina. She lives and works in Brooklyn, New York. Escudero received an MFA in Sculpture from the Yale University School of Art in 2012 and a BFA in Fine Arts from the School of Visual Arts in 2010. Her works have been exhibited at Instituto Cervantes, New York, NY, The Steuben Gallery, Pratt Institute, New York, NY, Selena Gallery, Brooklyn, NY, and Etta Project Space, Seoul, Korea, among other venues. She was a 2016 year-long Artist in Residence at the Loisaida Center, New York, NY, and has also completed residencies at Art Farm, Marquette, NE, and Pilchuck Glass School, Seattle, WA. Works by Escudero have been discussed in Editorial Magazine, Aether Magazine, The Art Newspaper, Hyperallergic, and The American Reader. She is an editor and founder of Precog Magazine.
Marcela Flórido was born in Rio de Janeiro, Brazil in 1988 and lives and works in Brooklyn, NY. She received an MFA from the Yale University School of Art in Painting in 2015 and a BFA from The Slade School of Fine Art, UCL, London, UK in 2013. Recent exhibitions include "Laços," Anita Schwartz Galeria de Arte, Rio de Janeiro, Brazil, 2018 (solo), "Snow Days," Thierry Goldberg Gallery, New York, NY, 2018 (group), and "SLIP: Sara Faux, Marcela Flórido, Tschabalala Self," Stems Gallery, Brussels, Belgium (2017). She has completed residencies at Tilleard Projects, Lamu Island, Kenya, Mass MoCA, North Adams, MA, and The Vermont Studio Center, Johnson, VT. She is the recipient of a 2015 Viridian Artists' Prize, selected by Lauren Hinkson.
Black Love Fest
• Brought to you by The Black School
• Music direction by Vulgar Colors
• One day free art & music festival for all ages
• Sunday Aug 19, 2018 at 12:00pm - 5:00pm
• Sugar Hill Children's Museum
• Concert, DJ sets, merchandise & food vendors, art installations, and art workshops
Donate, Volunteer, More Info at:
If we had not loved each other none of us would have survived. — James Baldwin
For at least the past 20 years different organizations and individuals have been producing new iterations of Black Love Fest in cities across the U.S to highlight the importance of self-love and self-determination in our communities. In the summer of 2017 we were inspired by these many organizations and individuals to bring Black Love Fest to New York City with the first annual Black Love Fest NY at Brooklyn Museum. Black Love Fest NY is a free one-day celebration that builds upon work initiated in the The Black School by sharing student artwork with the community. BLF NY is a public event, creating a gathering space for all people who share in love for the well-being and self-determination of Black people. BLF NY will also include music performances, art installations by professional artist, hands-on art making workshops for all ages. The purpose of this project is to illustrate the positive impact of collective action.
Best Summer Wishes,