Two exhibitions
dal 22/4/2004 al 17/5/2004
Segnalato da
22/4/2004
Two exhibitions
Priska C. Juschka Fine Art - Old location, New York
Daniel Mirer, Here Could Be Anywhere. Photographs. Daniel Mirer's artwork is a continuous examination and documentation of the postindustrial experience embodied in architectural spaces. His photographs expose the collapse of aestheticism that can be witnessed in the uniform design of office buildings, shopping malls, stadiums, open corridors, parking lots etc. Rachel Selekman in the Project Room: New Works, Drawings and Scuplture.
Daniel Mirer
Here Could Be Anywhere
Photographs
April 16 - May 17, 2004
Rachel Selekman
In The Project Room
New Works
Drawings and Scuplture
April 16 - May 17, 2004
Priska C. Juschka Fine Art is pleased to present Here Could Be Anywhere,
a presentation of recent works by Daniel Mirer.
Daniel Mirer's artwork is a continuous examination and documentation of
the postindustrial experience embodied in architectural spaces. His
photographs expose the collapse of aestheticism that can be witnessed in
the uniform design of office buildings, shopping malls, stadiums, open
corridors, parking lots etc.
The artist's architectural portraits record both the spatial and
temporal dimensions of the postindustrial experience. Spatially, by
photographing these industrial, mass-produced spaces from a frontal and
sufficient distant point of view, which creates a flat, banal and
melancholic aspect in the images which become revealed to the viewer.
Within these spaces, the individual becomes insignificant and lost,
vanishing from the glare of fluorescent light. Temporally, they evoke an
often haunting sense of the ephemeral.
Mirer's interest in these spaces was initiated from a firsthand
experience of working as a construction and demolition worker in order
to earn his way through college. He built and tore down the very type of
spaces that he now photographs.
These spaces are structured as rational grids, designed to eradicate
suspicious and, above all, irrational thought through the police
apparatus of surveillance in a transparency of space. They are spaces in
which the flattening of shadows on surfaces creates an architecture
without depth for the individual, who is buried, disappears, dissolves
into its structure. This sense of an uncanny presence is introduced
through Mirer's choice to photograph these spaces when they are empty.
Even though these structures and spaces evoke a specific style relating
to the history of architecture, they seem to exist outside of history,
in a continuous present. They are spaces in which one office, corridor
or parking lot is virtually indistinguishable from another, in which
redundancy annihilates difference into an architectural singularity.
Daniel Mirer has exhibited in numerous galleries and museums around the
country, including Bronx Museum of the Arts, Florida Atlantic University
& Contemporary Art Museum, Pittsburgh Center for the Arts curated by
William Stover, Assistant Curator of Contemporary Art, Museum of Fine
Arts, Boston and the current exhibition at the Brooklyn Museum of Art,
Open House: Working in Brooklyn.
___________
Rachel Selekman
"New Works"
April 16 - May 17, 2004
Priska C. Juschka Fine Art is pleased to present new drawings and
sculpture by Rachel Selekman. In these works, Selekman continues to
explore the interaction between objects and their observers. She
addresses ideas of nurturing and growth with an array of materials,
giving form and structure to abstract concepts.
Selekman's works are metaphoric in nature, poetic juxtapositions of loss
and re-growth. The interplay between these two themes is inherent in all
of her work, including Turning, where she has cut teardrops from 40
velvet leaves. The tears represent her personal sense of loss, while the
leaf forms embody her understanding of the flourishing sure to come. In
another pair of works, she has created a negative-positive relationship,
where the remnants of one piece, Shed (September 11th, 2001), are used
to form another piece, Blossom (Shed Reborn). In the former, Selekman
has cut hundreds of teardrops out of a single sheet of paper, expressing
the overwhelming sense of loss she felt following September 11th. The
latter, Blossom (Shed Reborn), is a spiraling flower constructed from
the teardrops cut from Shed (September 11th, 2001). This piece
exemplifies her ensuing feelings of hope, optimism, and regeneration.
Selekman's work, whether two or three dimensional, embodies sculptural
concepts, which act as extensions of herself and expressions of her
desire to reach out to and communicate with her viewer. The connection
is achieved using metaphorical forms such as watering can spouts,
flowing water, and shimmering colorful threads, welcoming the viewer
into the nurturing realm she has created. Selekman employs similar
sculptural forms in her charcoal drawings, embellishing them with jewels
and beads, and luring her observer with their sensual appearance.
Rachel Selekman is a graduate of the MFA program at the School of the
Art Institute of Chicago and a recipient of a Pollock-Krasner Foundation
award. She has had several solo exhibitions and participated in numerous
group shows around the country. She lives and works in Brooklyn, NY.
Image: Daniel Mirer, Columbus, Ohio-28. (Architor Space series) C-Print, Ed. of 5 30'' x 40'' 2003
Opening reception: Friday, April 23, 7-10 PM
Gallery hours: Wednesday through Monday 12:00 to 6:00 PM or by
appointment.
Priska Juschka
97 North 9th Street, (Berry Street & Wythe Ave.) Brooklyn, NY 11211