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4/3/2015

Pulse New York 2015

Metropolitan Pavilion, New York

Join us for PULSE New York from March 5-8, 2015 at the Metropolitan Pavilion, 125 West 18th Street, as we celebrate another year of great contemporary art.

Since 2005, PULSE Contemporary Art Fair has been the premiere satellite fair for the discovery and acquisition of cutting-edge contemporary art. With annual editions in Miami Beach and New York City, the fair cultivates a supportive environment for its international community of galleries and provides a platform for their growth and expansion in the contemporary art market. From its inception, PULSE has presented thoughtfully-curated exhibitions and ever-evolving programming that reflect the fair’s commitment to making the visitor experience a dynamic one.


PULSE Art Fair’s signature PROJECTS program
is committed to the presentation and promotion of audience-engaging large-scale sculptures, installations and performances.

PROJECTS | New York 2015
Jonathan Calm

Scudder Towers Down, 2008
Video with sound on three stacked vintage monitors
57 x 36 x 19 inches
Courtesy of the artist and LMAKprojects, NY

Public housing and its diverse socio-historical manifestations is the subject of my recent work. It was the backdrop of my childhood, living seven stories up in the Linden House projects of East New York. I remember those stairs as a test of courage, a passage to get through as quickly as possible before something bad could happen. It was a daily reminder of a simple truth — architecture matters, the core premise of my work over the last ten years.

I begin with research, sifting through archival footage, contemporary news accounts, and local mythologies to uncover stories of life in similar places. I talk to the people who live there, traveling to meet them in neighborhoods outside the economic and cultural centers of New York, Chicago, London, Paris and Berlin.
Modernist ideology permeates these developments, self-contained capsules set apart from the surrounding communities by design. Untitled (Stage) is a detail from le Corbusier’s Cité Radieuse (Radiant City) in Marseilles, conceived as a utopian housing complex but recognized as the prototype of public housing to come. Residents enjoy access to groceries, recreational facilities, medical and child care without so much as leaving the building.

Subsequent iterations reveal flaws in the principles behind these theoretically efficient human containers. Just because you can accommodate large numbers of people in such fashion doesn’t mean you should. **The Parisian Ville de Nanterre projects echo the same problems as Chicago’s Ida B. Wells housing development: joblessness, poverty, drug addiction, crime.

My latest series uses black and white imagery to reduce visual “clutter” and isolate architecture as a skeleton beneath the dysfunction. The Chambers series depicts quarters in urban zoos, environments contrived to celebrate the lives they constrain. The Reconstruction series dissolves exalted figures into humble places, pairing popular and historical found images to register present day reverberations of African American history from 1865 and after.
I present these subjects to reframe a problem, to move from a discourse of victimization to one of design intent. The accumulation of images offers the promise of insight—a way to make visible underlying patterns of thought that give rise to failed communities—and proposes new possibilities for rising populations transitioning from rural environments into megacities worldwide

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Richard Clarkson
The Cloud, 2013
Hypoallergenic polyester fiber, speakers, microprocessors, LED lights
24 x 14 x 13 inches (dimensions variable)
Courtesy the designer and the SVA Galleries Booth C15

Developed while he was a student in MFA Products of Design at the School of Visual Arts (SVA), Richard Clarkson’s The Cloud is an interactive lamp that challenges conventional notions of what a lighting fixture can be. Using motion detectors and color-changing lights, the Cloud detects a user’s presence to mimic a thundercloud in both appearance and behavior. The Cloud also features a powerful speaker system from which the user can stream music via any Bluetooth compatible device.
Advances in physical computing and interaction design hardware over recent years have given rise to a new breed of smart objects. The Arduino prototyping platform has enabled designers to go inside the ‘black box’ of electronic devices. Meanwhile, inexpensive and easy-to-program microprocessors allow designers to better understand the nature of electronics, and thus aid in the creation of new and meaningful interactions.

The Cloud partakes in new kind of design, sometimes described as maker culture, whereby ideas and process are shared for others to use and expand upon. The Cloud’s code is available to the public to use and improve at no cost, helping to provide the blueprints for the next generation of smart objects.

School of Visual Arts has been a leader in the education of artists, designers and creative professionals for more than six decades. With a faculty of distinguished working professionals, dynamic curriculum and an emphasis on critical thinking, SVA is a catalyst for innovation and social responsibility. Comprised of more than 6,000 students at its Manhattan campus and 35,000 alumni in 100 countries, SVA also represents one of the most influential artistic communities in the world. For information about the College’s 32 undergraduate and graduate degree programs, visit sva.edu.

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Jasmin Charles
Tea Party Dress, 2015
Acrylic on canvas
24 x 24 inches

Courtesy of the artist and Catinca Tabacaru gallery, New York, NY
Jasmin Charles recognizes each of her works as emotion expressed by color, rhythm, and simple geometry. Using synaesthesia, each work is uniquely defined with human qualities that communicate sound through silence. The layers are complex like any human is, and the technique is as patient as the creation of life

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Lauren Fensterstock
Stalagmite, 2015
Resin, found objects, paint
4 1/2 x 5 x 4 1/2 feet
Courtesy of the artist and Sienna Patti Gallery, Lenox, MA

Lauren Fensterstock’s newest body of work centers on her interest in caves, spanning a sweeping array of human history from the Prehistoric to the metaphoric. Fensterstock has been widely recognized for merging incongrouous historical influences as the trademark of her cut paper pieces. This newest body of work brings together the intricate shellwork of ornamental 18th century garden grottos with the organic geological accretion of natural caves. Wrought in her signature dark hue, these new mixed media assemblages take the form of ornamental stalactites and stalagmites enveloped in a thick surface of grey rubber. In turns, they evoke an aristocratic past, a primordial mystery, and an uncertain prediction for the future.

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Robert Montgomery
Wooden Houses, 2013
Oak, polymer, 12 Volt LED lights
79.125 x 78.875 x 4.125 inches
Ed 1/5
Courtesy of the artist and C24 Gallery, New York, NY, Booth A13

THERE ARE WOODEN HOUSES ON LAND IN FARAWAY PLACES
THAT DON’T COST MUCH MONEY AND STRINGS OF LIGHT
THAT MAKE PATHS TO THEM GENTLY
AND DO NOT TURN OFF THE STARS

Robert Montgomery’s signature light piece follows a tradition of conceptual text art, to which artists such as Jenny Holzer and Lawrence Weiner also subscribe. Although often linked with his London predecessors of the YBA generation, Montgomery stands out by drawing from examples of public interventionist strategies and brings a poetic voice to the lineage of text art. The often pacifying nature of his poetry suggests a steady faith that humanity can heal the ecological and emotional trauma of our times through collective awareness and effort, with a lyricism that recalls poets like Philip Larkin and Sylvia Plath.
Essential to Montgomery’s Wooden Houses On Land, which is made of environmentally friendly LED solar powered lights and materials, is the manner in which light and form converge with language. His direct yet tender approach engages the viewer in an experience that is enhanced by the communal quality of work.

“I have a fantasy about a really big, simple wooden house on the land. I think about that the whole time kind of his really simple, humble yet sublime, silent, hilltop retreat….I think I’m the kind of person who likes to be in cities and think about country sides.” –Robert Montgomery

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PLAY is a dedicated showcase for video and new media, serving as a platform to encourage discovery within the digital realm.
Curatorial Statement

This selection of artists and works approaches collective progress through speculative criticism, testing desired and undesired consequences. Bridging together raw aesthetics and theatricality, the works reveal interpretations of the future through a reflection of their contemporary setting. They present systems for advancement, employing harsh truths and optimistic motives, attempting to realize the impossible.

Christina Benz’s Pool (2005) sets unfulfilled expectations through wit and absurdity, as bare female figures sit on diving blocks, gazing into a frozen pool that sits upon a fluid lake. Shifting perspective in an invented situation, William Powhida’s Exit Interview (2011) presents a self-critique as a cynical allegory of high culture, challenging establishment. Lilly McElroy’s video is the closest reference to internet works, translated to reality. It is humorous with the same sense as a vine or gif. It was literally a breakout from the digital tripping into back reality. Tom Pnini’s work I see as creating a fantasy. An important aspect was shifting perspective, perhaps even the most active video. The setting also a little reference to Futurists admiration for industrial development.

The Future is a provocative unknown. It is what people anticipate, yet are most terrified of.

-Billy Zhao, Curator

This year’s selections were curated by Billy Zhao, the Special Projects Associate at the Marina Abramovic Institute. Based in New York, he is passionate about finding the intersections of disciplines to promote youth empowerment. He is a founding member of Museum Teen Summit, an advisory group aiming to bridge the gap between teens and cultural spaces. Billy has spoken at American Alliance of Museums, National Art Education Association and NYC Museum Educators Roundtable. He has worked with No Longer Empty and is an alumnus of MoMA Teens, Whitney Youth Insights and American Museum of Natural History programs. He currently works at Marina Abramovic Institute and studies at Macaulay Honors College at Hunter College.

Press Contact:
Tiana Webb Evans Founder & Managing Director, ESP E info@espprinc.com

Opening: Thursday, March 5 10am–1pm
Private Preview Brunch by invitation only

The Metropolitan Pavilion
125 West 18th Street New York, NY 10011
Public Hours:
Thursday, March 5: 1pm–6pm
Friday, March 6: 11am–8pm
Saturday, March 7: 11am–8pm
Sunday, March 8:11am–5pm
Admission:
MultiPass (4-day entry):$40
General Admission:$25
Students/Seniors with valid ID: $15
Group Discount: $10

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