Janet Cardiff
Richard Deacon
Kenny Sharf
Jessica Craig
Karen Yasinsky
William Kentridge
Pierre Huyghe
Philippe Parreno
Annlee Haluk Akakce
Francis Alys
Peggy Ahwesh
Oladele Bamgboye
Jeremy Blake
Angus Fairhurst
David Galbraith
Liam Gillick
Claudia Hart
Simon Henwood
Alex Ku
Liane Lang
Kristin Lucas
Christine Mackie
Melissa Marks
Jennifer & Kevin McCoy
Jonathan Monk
Juan Munoz
Damian Ortega
Sven Pahlsson
Jenny Perlin
Liliana Porter
Possible Worlds
Teresa Seeman
Carolyn Christov-Bakargiev
Larissa Harris
Anthony Huberman
Alanna Heiss
Klaus Biesenbach
Animations, Janet Cardiff, Richard Deacon, Kenny Sharf, Jessica Craig Martin.
Animations showcasing the unique ways in which contemporary visual artists address animation as a medium and subject; works by more than thirty artists. Janet Cardiff: A Survey of Works including, collaborations with George Bures Miller. For this occasion, Deacon presents five new works from the (Infinity) series created for P.S.1?s outdoor galleries. Two major paintings and a series of thirty painted "cels" by American artist Kenny Sharf. Jessica Craig-Martin photographs document parties of the rich and famous.
JANET CARDIFF A Survey of Works Including Collaborations with George Bures Miller
October 2001 - January 2002
P.S.1 presents Janet Cardiff: A Survey of Works, Including
Collaborations with George Bures Miller, the first mid-career
survey of the Canadian artist Janet Cardiff?s artwork. The
exhibition includes a selection of the artist?s most significant
installations as well as a survey of her "Walks." Curated by
P.S.1 Senior Curator Carolyn Christov-Bakargiev, the show
brings together all of Cardiff?s major installations, including To
Touch (1993), The Dark Pool (1995), Playhouse (1997), The
Muriel Lake Incident (1999), and Forty-Part Motet (2001), and is
the first and most comprehensive survey of Cardiff?s work to
date.
Cardiff (b. 1957) has gained international recognition for her
audio and video "Walks" in which visitors, while listening to a CD
walkman or watching the screen of a camcorder, follow the
artist?s directions through a site, and become involved in the
stories embedded in Cardiff?s recorded instructions and
suggestions. Voices, footsteps, music, sounds of cars and
gunshots make up a fictional soundtrack to an actual walk
through real indoor and outdoor spaces. Cardiff?s works involve
the conventions of cinema and science fiction and explore the
complexity of subjectivity in today?s highly technological world,
where the distinction between sensation and imagination
continuously collapses. In Cardiff?s "Walks," characters narrate
dreamlike recollections of particular events, and refer to the
participant?s physical surroundings. Shifting between past and
present, memory and reality, Cardiff?s stories become a
manipulation of the "real" and of a participant?s projections,
fantasies and desires. This survey will present documentation of
Cardiff?s most significant "Walks" in a unique and innovative
way.
Janet Cardiff was born in Brussels, Ontario, in 1957 and lives
and works in Lethbridge, Alberta, Canada. She and artist George
Bures Miller currently represent Canada at the 2001 Venice
Biennial, where they were awarded a prize for The Paradise
Institute (2001). Cardiff has created site-specific audio and video
works for a number of group exhibitions, such as NowHere,
Louisiana Museum, Humlebaek, Denmark (1996); Skulptur
Projekte, Münster (1997); São Paolo Biennial (1998); La Ville,
Le Jardin, la Mémoire, Villa Medici, Rome (1998); The Carnegie
International, Carnegie Museum of Art, Pittsburgh (1999); The
Museum as Muse, MoMA, New York, (1999); and 010101,
SFMoMA, San Francisco (2001), among others. In 1999, Cardiff
was also commissioned by Artangel to create a walk in London,
titled The Missing Voice (Case Study B).
ANIMATIONS
October 2001 - January, 2002
P.S.1 is pleased to present Animations, an exhibition
showcasing the unique ways in which contemporary visual
artists address animation as a medium and subject. Animations
focuses on the implications of living in an age where visual
experience is informed by new technologies, and where the
"reality" of live action film and the imagined worlds of animation
have blurred together. With works by more than thirty artists,
this exhibition addresses the utopian beginnings of the medium,
the relationship between analog and digital, between graphic
form and 3-D animation, and between commercial and
experimental animation.
Works include New York-based artist Karen Yasinsky?s premier
of "Fear" (2001). Her work uses stop-motion animation to tell
ambiguous tales of personal interaction, in which her characters
seem to be hobbled by their own construction, moving in an
atmosphere of wistful emotion. South African artist William
Kentridge?s "Memo" (1993-94) will be shown outside of South
Africa for the first time. "Memo" combines live action film with
drawing and recalls the beginnings of animation at the turn of the
last century. On the other hand, French artists Pierre Huyghe
and Phillippe Parreno?s videos "Two Minutes out of Time"
(2000) and "Anywhere out of the World" (2000) address the
contemporary corporate context of much animation today
through the "plight" of Annlee, a ready-to-use anime character
that the artists purchased from a Japanese cartoon agency for
their international project "No Ghost, Just a Shell," through
which the artists have "saved" Annlee from imminent disposal by
the manga comic industry. This exhibition also includes works
by Haluk Akakçe, Francis Alÿs, Peggy Ahwesh, Oladele
Bamgboye, Jeremy Blake, Angus Fairhurst, David
Galbraith, Liam Gillick, Claudia Hart, Simon Henwood,
Alex Ku, Liane Lang, Kristin Lucas, Christine Mackie,
Melissa Marks, Jennifer & Kevin McCoy, Jonathan Monk,
Juan Muñoz, Damian Ortega, Sven Påhlsson, Jenny
Perlin, Liliana Porter, Possible Worlds, and Teresa
Seeman.
Animations also presents an array of artist-designed rooms
that offer unique spaces where visitors can interact with
other works. If "to animate" means to "give a soul," New
York-based artist Gareth James reasons that the
Frankenstein monster is the ultimate symbol of
animation, and transforms a room within the exhibition
into the laboratory of a mad doctor. A "folly/arcade"
designed by New York-based artist John Pilson and
architect Andrea Mason offers visitors the opportunity to
view works selected from hundreds of international
animated films. Web artist Paul Johnson makes his own
working projectors and computers from the most
quotidian of elements. Johnson has designed a web
animation room which features a selection of web-based
animation, from stand-alone applications to interactive
games. Artists include: BASICRAY, Natalie Bookchin,
YOUNG-HAE CHANG HEAVY INDUSTRIES, Mark
Daggett, Joshua Davis, Andy Deck, Xeth Feinberg,
Alex and Munro Galloway, JODI, John Klima, Golan
Levin and Casey Reas, Sebastian Luetgert, Panajotis
Mihalatos, Mouchette, Mark Napier, and Eric
Zimmerman and Word.com. Finally, P.S.1?s vault
features historical programs and film-based hits of
animations in a room reminiscent of the cinema
experience.
This exhibition is curated by P.S.1 Senior Curator Carolyn
Christov-Bakargiev with P.S.1 Associate Curator Larissa Harris.
The web animation section is curated by P.S.1 Director of
Education and Public Programs Anthony Huberman.
Consultants: Giannalberto Bendazzi, John Canemaker, Norman
Klein and Karyn Riegel.
RICHARD DEACON
October 2001 - January, 2002
P.S.1 Contemporary Art Center presents Richard Deacon:
Recent Work, a major exhibition of artwork by British sculptor
Richard Deacon. For this occasion, Deacon (b. 1949) presents
five new works from the (Infinity) series created for P.S.1?s
outdoor galleries. Made of interlocking stainless steel modules,
the works are installed throughout the main outdoor gallery and
appear to "float" above the surface of the ground. Deacon
addresses the relationship between public and private space,
sensuality and the body, as well as memory, poetry and
language. This exhibition also includes Where is Man and
Where is Death? (2001), and two photographic works, Los
Angeles #1 (2001) and Whitesands Bay #1 (2001). Richard
Deacon: Recent Work is curated by P.S.1 Director Alanna
Heiss.
With the (Infinity) series, Deacon pushes the limits of the notion
of "skin," working with the concept of "non-shape" to explore the
relationship between boundary and fluidity. The artist begins with
a modular shape that is defined by nodes and recesses,
suggesting an organic, molecular structure. The final form of
each work is not predetermined, and the modular shape an
individual panel allows for the possibility of infinite recombination.
With their puckered and highly polished surfaces, the
appearance of the interrelated works seems to shift, being at
once fixed and fluid, being both formed and formless.
Deacon was artistic advisor for the renovations and redesign of
P.S.1?s 25,000-square-foot "outdoor galleries," which opened in
1997. The outdoor galleries are unique in providing Deacon a
space for formal presentation of artwork while remaining open to
the fluctuations of the real world. A second outdoor sculpture,
Where is Man and Where is Death? (2001) is a curving asphalt
and gravel form that appears to emerge from the ground. Three
aluminum planks are set into the asphalt loop, which interrupt its
continuous flow. In contrast to his previous monumental
sculptures, Where is Man and Where is Death?, along with the ¥
sculptures, exists on a more human scale, with viewers allowed
to walk on and over it.
Richard Deacon was born in Bangor, Wales, in 1949, and lives
and works in London. He is one of a generation of British
sculptors who came to international recognition during the
1980s, and he was awarded Britain?s Turner Prize in 1987.
Deacon?s works have been presented in solo exhibitions at the
Serpentine Gallery, Whitechapel Art Gallery, and the Tate
Gallery in London, the Museum of Contemporary Art, Chicago,
Musée d?art moderne de la ville de Paris, Paris, and a major
retrospective at the Tate Gallery Liverpool in 1999. His works
has been exhibited at numerous group exhibitions, including
Skulptur Projekte, Münster (1987, 1997); and Documenta IX,
Kassel (1992).
KENNY SHARF
October 2001 - January, 2002
P.S.1 Contemporary Art Center presents two major paintings
and a series of thirty painted "cels" by American artist Kenny
Scharf. Installed in P.S.1?s duplex gallery, Scharf?s "cels"
(frames that comprise an animated cartoon) are part of a series
of designs for "The Universals," an animated television special
that will debut on the Cartoon Network in Spring 2002. This
exhibition also features The Last Painting of the Century (1999)
and Ultrazoomazipzamapopdeluxa (1998), two large paintings
depicting retro-futuristic worlds of animated plants, monsters,
abstract forms, and graffiti. This exhibition is curated by P.S.1
Director Alanna Heiss.
"The Universals" (1998-2000) quote Scharf?s own Pop Surrealist
style and adds narrative to his characteristic combination of
earth and space, and of the natural and the artificial. In 1999,
Scharf initiated a series of notebook-sized paintings that
became his "pitch book" for an animated television show that he
brought to the Cartoon Network. These paintings present a
boldly colored world of alien lounge singers, flying saucers en
route to modified ziggurats, and one-eyed nymphs bounding
naked through nuclear landscapes. "The Universals" were
initially presented to the public in the form of mannequins,
modeling clothes in the windows of the Saks Fifth Avenue
department store. With this television show, Scharf continues
his effort to incorporate his fantastical art into everyday life.
The Last Painting of the Century (1999) and
Ultrazoomazipzamapopdeluxa (1998), two large acrylic,
oil and spray paint works, use figurative and abstract
elements to represent energy, motion, and the relationship
between reality and imagination, freedom and control.
The Last Painting of the Century is, in the artist?s words,
"One last big hurrah for the last century" that evokes
themes in 20th-century art: the grid, speed and
surrealism. Ultrazoomazipzamapopdeluxa, painted in
public in the lobby of the Museum of Contemporary Art,
San Diego in La Jolla, is a twenty-two foot long scene of
curling vines, suspended spheres and animated shapes
moving across a multicolored background pierced by
windows looking out to the cosmos.
Kenny Scharf was born in 1958 in Los Angeles, California, where
he lives and works. He moved to New York in 1978 to attend the
School of Visual Arts, where he befriended Keith Haring and
Jean Michel Basquiat, whose art was also shaped by TV
imagery, Pop Art and street culture. He was a P.S.1
Artist-in-Residence in 1981-1982, and his work was shown at
P.S.1 in New York, New Wave (1981) and Space Invaders
(1982). Blurring the line between high and low art, Scharf
exhibited work in storefronts and tagged Manhattan sidewalks
with popular cartoon characters, and his art became
internationally known during the 1980s. He has had solo
exhibitions at The Fort Lauderdale Museum of Art, the Center for
the Fine Arts, Miami, University Galleries at Illinois State Univ. in
Normal,Illinois, and the Monterrey Museum of Art, Mexico. In
May 1997, Scharf was the first artist, other than Salvador DalÃ, to
have a solo exhibition at the Salvador Dalà Museum, St
Petersburg, Florida.
JESSICA CRAIG MARTIN
October 2001 - January, 2002
P.S.1 presents works by British artist Jessica Craig-Martin,
whose photographs document parties of the rich and famous.
From a benefit in Cannes to society parties in the Hamptons,
Craig-Martin?s crisp, oversize images capture the follies of the
glamorous life, focusing on unedited details and awkward
exchanges. Cropped to protect the subject?s identity, each
photograph becomes a garish still life that permits a close study
of glossy, bleached hair, bulbous breasts, and heavy jewels-all
the raw materials for society?s jet set. This exhibition is curated
by P.S.1 Director Alanna Heiss and Chief Curator Klaus
Biesenbach.
Craig-Martin's work reveals the gap between the set-up shots
printed in "society pages" and the reality behind the camera. As
a photographer for American Vogue and Vanity Fair, she has
access to a rarefied world that, as seen through her lens, is
perhaps as full of folly and bad manners as a high school
cafeteria.
While closely observing the lives of VIPs has become a favorite
national pastime and voyeurism almost an obsession, these
images juxtapose familiarity with suspicious ambiguity. Unlike
traditional event photographers, Craig-Martin uses her camera
surreptitiously, breaking down myths of wealth and beauty that
propel fashion photography and sustain the beauty industry.
Jessica Craig-Martin?s work has been published in The New
York Times Magazine, Vogue, Vanity Fair, Index, and I-D. Her
solo exhibitions include: Galleria Maze, Turin (2001); Dorothée
de Pauw Gallery, Brussels (2001); Colette, Paris (2000); and
Maureen Paley Interim Art, London (1999). Group exhibitions
include I am a Camera, The Saatchi Collection, London (2001);
Greater New York, P.S.1 (2000); Party Pictures: From Studio 54
to Cannes 2000, Lawrence Rubin Greenberg Van Doren Fine
Art, New York (2000); superpredators, CRP, New York (2000);
Innuendo, Dee Glasoe, New York (2000); and Sentimental
Education, Deitch Projects, New York (2000).
P.S.1 Contemporary Art Center is located at 22-25 Jackson Ave at the intersection of 46th Ave in Long Island City, 11101.
Hours and Admission
P.S.1 is open from Noon to 6:00 p.m. Wednesday through Sunday.
Admission is a $4.00 suggested donation $2.00 for students and seniors members free.
For additional information, please contact P.S.1 by phone 718.784.2084 or e-mail