Elijah Wheat Showroom presents a group exhibit for a spring unlike any other. Our hearts have been heavy remembering those that have lost their lives too early, too young, too unjustly, too violently, and just too visibly in our media. We want to talk about grief. We hope to acknowledge death and the skewed way our Western culture portrays the perception of death, dying and the act of grieving. Loss manifests itself; it is always personal, as is the sorrow that follows. Many are touched by the intensity of the loss of a loved one earlier in their life, while others may not have gained the empathy that ensues-- due to the lack of experience of an intimate death. However, it’s not just humans that experience loss of other humans. Loss and grieving can extend to loved ones and passions. Such as: animals, an intense personal job, an important cultural movement, an election, etc.
So often, when confronted by another’s anguish of death, one may not know what to say, do, or share when responding to the mourning person. One would more likely have the capacity for empathetic communication if they faced a similar tragedy of untimely death, or intense loss. Also, there would be a better understanding if the grieving (within the presence of those survived) felt the permission to discuss the progression and stages grieving more openly. There are so many outside expectations for the grieving— projections of what historically we see in Hallmark Cards—yet how do we address the inconsolable genocide so far removed from our land yet portrayed in our media? How do we address the heartrending anguish of an unknown soldier, an unknown citizen, an unknown victim from gang related violence, or a known catastrophe of police brutality and murder? Images of death, dying and torture have been resurfacing online (since print regulations from the 70’s) only to reiterate the need to discuss all personal and political ramifications of human’s suffering, violence and war.
Presenting funerary elements in a combined white-cube setting, Jeffrey Grauel crafts a series of ‘hides’ with wool yarn positioned sculpturally on stations meant for wreaths next to a coffin. Nostalgia also beckons hobbyists who once were challenged by such pre-manufactured objects for idle hands. Here lies, an object meant for dexterity and productivity opposed to media scrolling. These delicately stand amongst each other, revealing on the backside images of those we may have revered and lost, such as: A dog, a cat, a horse, a Caucasian representation of ‘God’ and the ideals and presentation of a Native American Chief.
Cheryl Pope presents work close to home as she laments on the youth targeted and caught in the gunfire of some of the violent streets of S. Chicago. “Too Young Too Die” is a performative sculpture of carnations and roses in a ‘spray’ on the gallery wall that assuredly wilts as the exhibit carries on and time passes throughout the month.
Michael Dykehouse’s hyper-real oil paintings present political figures trapped in the presence of contemporary ideals. “Year of the Cock” summons #45’s aggressive, foul-mouthed protruding profile commemorating the ‘fire rooster’ of the Chinese Zodiac, 2017. The “’Always got mad when the class was dismissed’” painting portraying Betsy Devos devours the life of an apple while the figure reaches to strangle the viewer. This action exemplifies an act of belligerence by appointing her to the pinnacle of the USA’s educational governance, memorializing public education.
These works’ installation within the gallery serves as a reminder, honoring the passed, acknowledging bereavement and establishing a protected space to instigate dialogue about rampant death that citizens are experiencing personally and politically this year. We shall let time proceed, remembering the good, remembering the laughter, as our own inner clocks wind down (or speed up!) healing woes, shock, heartache, anguish while we evoke the affirmation: “This too shall pass. So be it.”
MARCH 3RD-APRIL 16TH
Elijah Wheat Showroom continues to instigate, agitate and resist with March's programming entitled “Moll Madnoss.” Opening, Friday March 3rd from 7pm-10pm featuring a premier of Joseph Kraska’s 7th episode of "Peppré Ann and Froends.” The artful video portrays a digitally complex SIMS-like virtual world that is ruled by Peppré’s festive yet demented consumer driven life, inside the ‘Moll.’
The Showroom will become a retail clothing environment with a collection of pre-owned professional garments for sale on racks. Suites, dresses, blazers, button down shirts and more, will be available from homogenized franchises located throughout the USA (and abroad). Contemporary political statements on patches or lapel pins will be affixed with each purchase deriving from the flurry of witty protest signs from the Women’s March on January 21st, 2017. Some of which are: “I’m Not Ovary-Acting”, “Resistance Is Fertile”, “I <3 Naps But I Stay Woke”, “This IS What a Feminist Looks Like” and many more. Patches and lapel pins will be available for sale to iron-on or stich-on to one’s own garments as well. The ‘Moll’ will also proudly present prefabbed handmade caps by Johannah Herr stating: "NASTY", "CUNT" & "FEMINIST" for purchase. Alongside the caps, a few of Johanna’s “Snuggies” printed with a complex pattern of teargas, rubber bullets and other weapons used by U.S.A. SWAT teams during peaceful protests for crowd control will be presented and “for sale”. Teaming up with our neighbors, DRTYSMMR, EWS strives to capture community on the Bushwick streets. Works of artful garments will also be available as “up-cycled” fast fashion from an enhanced ready-to-wear collection at the store, next door.
The privately owned mall, opposed to the public gathering spaces of the town square, is an example of corporate capitalism at the center of a meeting space. Consumers and business owners come together in suburbia or massive structures to acknowledge this cultural phenomenon as central locations for the exchange of goods, albeit driving away from the main streets of villages where its inhabitants thrive between independently owned, neighborly exchanges. Thereby as arts writer, Alicia Eler, explains that its “Creating consumer experiences out of public spaces is indeed how Jerde [inventor/architect of the ‘Mall’] is best remembered; it is an aesthetic experience of the most mundane variety, and indeed his aim was to serve “the common man” rather than “the elite.” ...Somewhere in this shift people started mistaking culture for consumerism and vice versa.”
The American Mall's function in suburban society, (albeit also slowly disappearing) as a gathering space focuses on consumption opposed to political gatherings. Our freedom to assemble is quickly being challenged as peaceful protestors’ and protectors’ rights are currently being questioned and states such as ND, MI, LA and OH are working to make it illegal to (and other crazy notions) congregate without consumption. The act of wearing a political sign on one's clothing, whether professional are everyday, without assembly, makes everyday an individual silent protest.
From the sales, 50 % of the proceeds of the clothing & patches will go to Lambda Legal-- a 501(c)(3) nonprofit, is a national organization committed to achieving full recognition of the civil rights of lesbians, gay men, bisexuals, transgender people and everyone living with HIV through impact litigation, education and public policy work.
NASTY WOMEN EXHIBITION
EWSworked alongside with 9 other Nasty & superbly specialized bad-ass organizers to make 'HERSTORY'. Lina & Liz were the central points for artists' inventory logistics & communication to assist with the success of the show. Nasty Women exhibition opened at Knockdown center January 12th, 2017. The team gave 100% of the proceeds to planned parenthood. In three hours, 2240 people attended, 444 artworks purchased and almost 35k raised for PP for an incredibly basic, yet well organized cash & carry system. See the links on PRESS for the <3.
· 623 Artists delivered works
· 444 Works sold on opening night generating almost $32k for PP
· 680 (?ish) works under $100 'SOLD OUT' generating over $45k
· 700+ submissions
· 150+ volunteers
· 32+ Articles written about NWE
· 40+ shows now worldwide which has started a movement of Solidarity in Blue and Red states across the country and also in locations across the world.
I reach out and touch another
Curated by Dr. Anne Luther
November 12 - December 11 2016
Opening Reception, November 12, 2016 from 7pm-10pm.
Elijah Wheat Showroom is pleased to present I reach out and touch another an exhibition of new work by Ellen Schafer, curated by Anne Luther.
Some spaces move our body in a familiar way. We are accustomed to the architecture of a shop, a show room, or a supermarket and the internalization of the way we move our bodies is not questioned. We walk, touch and communicate in mundane modes; the intimate awareness of the space lays out an architecture that moves our body. Simulated here is a system to place our bodies into the familiar awareness of a showroom.
The resemblance to the showroom differs in a very particular way: the objects displayed are made with hand sanitizer, silicone and urethane, all materials, that through their handling take on a resemblance to organic, body-like physique. Our bodies become ingrained in the objects we usually use and that habitually form our everyday routine. We can recognize ourselves immediately in a familiar architecture. Nevertheless the body-like material reminds us of our own material existence: looking at these objects I realize that I can only see part of my own body, I can’t see my back, the top of my head, my cheeks. I am subject to myself because I cannot see, touch, or move around me fully, like I can around these objects.
The work has traces of an interaction with the material object; we can see a geometric print, a connection and moves on the surfaces. The object shows traces of intimacy and thought or maybe our desire to recognize ourselves without the material body of the ‘Other’. In this system that we encounter in the exhibition intimacy becomes a consumer experience, and a moment of personal agency still defined by consumer behavior - we are learning about our body through the familiarity of objects. The inquiry begins as follows: One day I realized that my left leg was branded 'Just Do It', 'Champion', so I reached down and began carving into my right.
Ellen Schafer attended the Roski School of Art and Design at the University of Southern California from 2014-15 and received a BA from the Glasgow School of Art in 2012. She has exhibited in both the United States and abroad, including Various Small Fires (Los Angeles), Shanaynay (Paris, FR), Park View (Los Angeles), CirkulationsCentralen (Malmo, SE), SPF 15 (San Diego), ltd los angeles Hollywood Hills and Actual Size (Los Angeles).
Channeling: Lauren Gregory @ Satellite Show in Miami
Elijah Wheat Showroom is proud to present 'Channeling', an exhibit of Lauren Gregory’s expressive animated oil portraits and stop-frame animations at Satellite fair during the 14th installment of the whirlwind that is Miami Basel.
Humans have been engaging in the act of channeling for millennia, for as long as there has been mark making. Springing from this primordial well, energies intermingle to actuate a spirit onto a wall of a cave, a canvas, or a panel. Often, when watching an artist in the midst of capturing their subject, the arm, body and overall performance becomes channeled. The expressions of Ms. Gregory’s work portray otherworldly, inspired creatures and figures. Her thoughtful portraits epitomize a ‘channeled’ experience inside both her still canvases as well as her videos.
The EWS booth presents four video ‘channels’ on monitors with varying animations ranging from Gifs to two-minute loops that Lauren has created mostly in 2016. These works demonstrate thousands of strokes painted with her fingers and thousands of frames shot and assembled. All are combined to create the motion that breathtakingly brings these scenic paintings to life. The lowered atmospheric light and movement beckons the viewer. As they’re drawn into a trance Lauren’s paintings reveal a dark humor while exposing an unusual portrayal of everyday life, celebrities and pop culture.
The still portraits, some on non-traditional canvases are lit with bright spots hung at an unusually high centerline above the video. Each of the elevated peering eyes follows the viewer as they enter the space. Works of thickly painted oil often have sculpted eyes that follow the viewer as they are in their presence. Further, these still subjects are Lauren and the Showroom’s Bushwick queer artistic community, all painted from seated moments, when the artist channels their looming creative energy. Elijah Wheat is also present, depicted in wolf fur, holding his cat.
These hauntingly realistic and penetrating interactions will induce a space where individual viewers become entranced by the animated paintings’ movement; each participant mesmerized and still, watching, staring and being stared at, channeling into spirited objects.
The place between: The Taint. Our next exhibition coincides with the 2016 presidential election as well as Halloween. Combining these two moments, between October 15 and November 8th the work presented at EWS engages politically. “Taint” plays as the title of the exhibit with work by Jo Boyer and Marcel Alcala with an installation by EWS.
Each artist identifies as queer with a neutrality of gender stereotypes in their physical presentation both to their communities and our greater society. The work they create speaks to facades of formality and any binary gender roles.
Jo Boyer builds with porcelain creating vessels with cavernous hiding spaces hung like reliefs on the wall opposed to freestanding. Their bats are dangling, looming over the gallery, bringing an auspicious capitalism; as the Chinese understand five bats signify prosperity, health and luck. Penetrating air plants burst from the openings of the ‘pods’ and anatomically correct black porcelain hearts. The porcelain becomes a home. The growing Tillandsia thrives in habitats that are not meant to be homes. Sculptures of their sleeping bats hang erratically in corners of the gallery bringing a nocturnal character, hungry for blood, possibly rabid, however quietly watching with a menacing surveillance. As the bat references both fortune and medieval darkness, a viewers’ perception once again becomes skewed based on appearances.
Marcel’s work is gestural, patterned and sometimes crude. Figurative paintings depicting male nudes with penetrating arrowhead or snakelike members expose themselves in a wild, colorful jungle like setting. Many characters don 'female' accessories. The childish glyph-like emoticon faces feign emotion and serve as masks for the beings. With added text and symbols, Marcel visually addresses privacy, attraction, mystery, and classism. The figure’ interactions portray American capitalism acknowledging and destabilizing white privilege. They also regularly perform activist spoken-word made-up as a clown. Marcel is further known for founding “McPoems”, a take-over poetry experience at McDonald franchises in Chicago & LA.
Each artist’s work is displayed with a 6ft gummy candy python almost slithering on the floor, in an unnatural habitat of a white cube. The candy represents a false reality between sweet excessive intake and menacing appearance of a dangerous evil constrictor from biblical parables. The snake is ready for a bite of Halloween consumption—a trick or treat of sorts, condoning excessive consumerism.
This tainted red monstrous candy, contained in a terrarium like-space that is between many worlds of gender, between that which is cavernous and that which protrudes, living and dead, fake and real, appearances and reality. Hoping to bring a viewer thoughts of what ‘taint. Artificial pretenses placate moments of reality through Halloween. The election presents candidates in bipartisan roles, which taint altruism, promote sexism, and which are tainted with accusations of corruption. This election champions American excess and superficial statements costuming reality. Here lies the fine line between a male and female candidate that just “Taint.”
Elijah Wheat Showroom is ecstatic to present works on paper by Frances Waite. She is a newly emerged artist with her first solo show, “My Girl”. The body of work is prolific with many playful, sexy illustrations of queer figures in bleak landscapes. Her cunning artistry portrays an intimate scrutiny while she celebrates sentimentality.
The affection in touch, being touched, and touching stretches across the surface based work provoking a viewer to feel big love. Often, the tiny, childlike characters sexually experiment between two worlds: A ghostlike past and a present orgasmic setting. Using some text, and with clear representation of sexual interactions with both highly rendered and gestural elements, she provides blaring commentary on the casual interactions of a stagnant solitary search for sexual comfort. In the midst of climax, often tears are indistinguishable from pussy squirts and cum shots.
With in a current sociological dating conundrum, a ‘love’ seeking generation emerges focused on judgmental superficial left/right swiping of one’s social media connections. Human images are presented as possible ‘dating’ options. With a flurry of false promises and controlled profile information, one objectification reigns: partner’s expectations.
Frances has gained many followers. Her impressive popularity was earned after conducting an open-call experiment to deliver nude pictures (she’d take them any way digitally) and then would draw them. The project brought hundreds of anonymous photos via email, Instagram, WhatsApp, and even text. Proactively, Frances rendered over 50 of these 500+ submissions, focusing on images with limbs, not just the ‘dick-pics’ she received.
The artist communicates depicting representational contemporary queerness, and presents symbols connecting meaningful female relationships between her contemporary peers and ‘ghostmen’. The combination of figurative elements with text provides an explicit and subtle dialogue about the ease of finding willing partners—and the aftermath. Her imagery provides the viewer with most empowered yet vulnerable of sexual experiences. Presenting stories of nudes moving through a barren landscape with smooth rapid transitions, or renditions of human figures sensually bouncing between bodies with non-connected ‘bangs’. Her sexual narratives describe voluminous interactions. This exhibit parades the nude with a captivating body of work. Viewers will lean into stories of contemporary hook-up culture, female sexual desire, anonymous sex and embracing a culture of non-binary gender interplay or non-hetero-normative sexuality. A re-occurring theme of female sexual empowerment inside a tender and perceived vulnerability is keenly expressed. Relating to the amorphous and transmutable dating scene she takes "hook-up" culture, shakes it up, exposes it, and turns it upside down.
WIDE OPEN SOURCES by ZVX
ZVX brings together four artists who build upon, and question source material from the 21st century. Borrowing the concept of Open Source, computer software code that is made available to the public, these artists reinterpret and re-conceptualize the past and present into new forms, ideas and meanings, to create work that is both nostalgic and of the near future. The delicate balance of selected works by the artists intuitively engage Open Sources with broad interpretation. This includes: Found internet imagery, code, fractal memories, quantum mechanics, space, and time. The results remix appropriated ideas, imagery, color, shape, vastness, landscape, and materials leading the viewer to bold new interpretations of surreal worlds colliding and space folding.
This curatorial experiment will present 25 artists’ personal artifacts exposing small natural take-aways from a creative’s beloved landscape.
The suspended installation will showcase small physical remnants of a single journey, or moment in time, which an artist wanted to remember and take away, opposed to the carefully crafted work they usually complete to show the public. Through these remnants, the artists willingly share their inspiration, intention and momentum with participants.
Viewers will be invited to explore and bask, if you will, in the echoing auras that these talismans cast. There is a recreating of sacred space for each object, which ultimately has an intimate value to the artist, alongside their manufactured conception.
Just as chest x-rays of Marilyn Monroe, Buddy Holly’s glasses, Elizabeth Taylor’s jewels or Andy Warhol’s wig were sold at auction for a significant price tag, could these talismans of established artists become a valuable collector’s item? Or are these geographical remnants truly priceless? We invite you to discover the energy transactions.
Organized by Elijah Wheat Showroom (Liz Nielsen and Carolina Wheat)
'Long Term Exposure' is the title for a performance at the closing. Pat Noecker will set up 10 amps in a circle and execute his tonal sound work called “Long Term Exposure.” A floor rug and pillow will be positioned in front of each amp in order to provide listeners with an immersive experience where they will be bathed in sustained sine waves over a period of 30 minutes. Long Term Exposure was designed using tone-generating apps with the aim to positively alter the physical body through protracted sound. The piece grew from Noecker’s experiments playing tone-generating apps, most recently for Hopes And Fears Magazine and at Trans-Pecos.
@ Catalyst Gallery
137 Main St
Beacon, NY 12508
Elijah Wheat Showroom is daring to present landscape-like works spanning the course of Liz Nielsen’s 20-year photographic and artistic career. The title is suggestive of the subtle scent of the Earth after a light rain. Oils from plants interact with the dry rocks as an aerosol disperses into the atmosphere. Just as chemical liquid interactions mixed with light are integral to the process of photography, so is the harmony of the gentle eco-system of this terrestrial land. With petrichor, one walks into the landscape, with a keener consciousness, now surrounded by the aroma and the brighter colors of an interactive nature.
Liz Nielsen’s prolific career spans two decades and encompasses varying experiments in photography along with incredibly fluid, yet ever-changing processes. Known for her large-scale camera-less light paintings and photograms, this show departs from the expected and enters a history through the lens. Works shown here will connect the early camera shots and compositions to the more contemporary modern ab-ex photos the artist has created in the darkroom. Intermixed images will prove how the landscape and horizon often inform her imagery and where future and alien landscapes interlude to beckon a playful yet thoughtful view of shapes, forms, and perspectives often unsettling the geographic Earth as humans experience.
An early eye, first focuses on representational relationships between the landscape, shapes and subject within the ‘Cuba Series’. Yet, her shooting still holds the creative fields of life’s vibrations interacting inside the camera. The moment she chooses to allow light to enter the lens, color moves the spatial landscape in the ‘Deep Space Series’. As Nielsen’s vibrant palette slowly becomes an understood language, she shifts the viewers’ point of view; her voice becomes stronger, more uniquely forceful, as abstractions proliferate the imagery.
Please join us for a first-time walk through discovering an introspective collection of work that displays bold Earthly and far-out cosmic landscapes processes from the lens. Then notice a contrasting saturation of expressionistic abstract color after an unflinching, yet subtle rain of creative success mastering the physics of light in the darkroom.
May 20th-June 12th, 2016
Elijah Wheat Showroom presents a group show titled, Alchemy. “The medieval chemical process of generating gold by the magical combination of basic elements” is a longstanding magical idea. Not only does the word promise longevity as an elixir for life, it attracts a mysterious combination of something common into something exceptional. The promise in this exhibition will mix painterly expressions interacting together in order to transmute a special kind of Universal currency. The attraction to this currency is not a sparkling gold embodiment, rather, a currency of time, of pleasure, of a contemporary market exchanging symbols to take away meaning for a renewed purpose in ‘this thing we call life’. The four artists’ works shown in this exhibition understand the mysterious process of turning ordinary materials into something impressive in a formidable way.
Nick Cueva uses natural unprimed upholstery as a canvas, combining oil paint and representing elements outside of a hazy void. As if a viewer has just awoken from a decadent dream with a groggy vision--the eyes struggle to make out their surroundings. Focusing on an unassuming material, a moment of recognition begins and the sculpture or painting’s message becomes a mysterious reveal. The reveal conjures a sultry pleasure and enjoyment of a life delightfully lived; becoming a transition between achieving dreams in a reality. Cueva’s marks prove a simultaneously refined and intuitively discovered canvas all while wrapping an ordinary still-life into an extraordinary entity.
The careful symbols and asymmetry found on the oil canvases of Stacie Johnson reflect a further mastery of manipulating paper, oils and objects into an optical wonder. Each canvas is sensibly combined with off-balanced colors where drop shadows and cutout shapes push the abstractive symbols in-between a here and now. It’s a visual pull advocating further inspection and wonder all while adding to a harmonious yet mystifying alchemy.
A hand-built ceramic wall shields a nude, energetic dancer in Hannah Walsh’s silent video “Hole Wall”. As if the discovery of the figure is the only visual reference to reality, she cautiously assembles a setting further frustrating an illusion of privacy. Therefore subjects her audience to the subtle mystery and a pleasurable voyeurism.
As Brendan Loper’s satirical works on paper cycle through a digital screen, it becomes obvious that the prolific wit, current irritations and social commentaries are a charmed intelligence. The enchanted characters, spanning a historical breadth, wallow in a structure that is rendered both absurd yet accurately representative of simple contemporary American culture. These carefully penned illustrations melt into a thrilling and often hilarious mockery. He proves that civilization emerging from a primordial well overflows with a banal social order, and transmutes into laughter, that which keeps us living longer, fuller lives.
These artists presented in the exhibit Alchemy wield an uncanny energy to connect messages based in the mathematical structure of visual language. Their combined chemistry provides magic to a viewer, so as to find pleasure, laughter, wonder and the currency of a golden time.
The Elijah Wheat Showroom presents ABRACADABRA, a painting show with three hard-working female painters that ‘create as they speak’. This term describes a powerful Aramaic/Hebrew incantation that brings to life that which may be an inanimate object, breathing words into form in order to construct a magical world where anything is possible.
Showcasing work that has been newly made in 2016, each artist displays examples of a breathtaking illustrative voice, found in a surreal world of light, time and space that speaks to a primal otherworldliness. The objects in the ether have been fabricated to a likeness that is both simultaneously familiar yet often unrecognizable. The viewer is placed into an atmosphere of a black hole, a loop, an unfamiliar place. Creeping out onto a shifting plane with vibrations of luminosity, beings of the night cast figures, and beckon an underworld.
With “The Minor Fall” and “Secret Chord” Aliza Morell displays oil paintings of glowing neon roses along with an image of a summoning palm. The “Secret Chord” portrays a conjuring salon hand, echoing with light and luring a viewer into the darkness. “The Minor Fall” projects the voyeur to the ceiling where they can see the bird’s eye display of fallen roses, strewn upon the ground. The works push the viewer towards the wall or up to the ceiling in a playful structure operating outside of two-dimensionality.
In Monica Bernal’s body of drawings and paintings, she brings us to a topsy-turvy world meandering through active life forms inside a black hole. Energy is vibrant, plants are growing, aliens exist among nothingness and new life is born in a dark, seemingly hopeless setting. She is creating as her pen speaks; she is visualizing an existence beyond Earth, beyond known geography, beyond a space that is recognizable.
Lauren Gregory’s stop-frame painted animations contain loops of physicality and sexuality exhibiting an ultimate force of creation. Her frolicking images with female wrestlers entitled “Tussle” roll with time like a well-traveled hitchhiker. A force of symbiotic meeting, of frustrated approaches, of nearing an ultimate destination, it’s here that a passenger creates as they whisper their final landing to the driver. The simple animated loop "Dickmatized" depicting a perfect male member, dangling, bobbing and enjoying freedom also gives form to a moment of Abracadabra: For enjoyment, for life, for a magic wand granting your wishes.
At Zolla/Lieberman Gallery
July 15th-August 26th, 2015
Curated by Liz Nielsen and Carolina Wheat of Elijah Wheat Showroom
What does one need to operate, make and maintain a studio in NYC? What is sacrificed? The materials for making, in a community of makers, vary. The density of talent is unequal. When the price for a slice of cheese pizza is the same cost as a single subway ride in the city we recognize that there’s affordability, yet finding space to work and live is compromised by the density of the population. The ante is up. Living in NYC takes an unrivaled work-ethic to thrive.
Living in NYC is money. Culture is worthy of our time. Any cultural lifestyle is a luxury. NYC epitomizes culture. Is working and making art in NYC worth the time and money? What is the return on investment? Are there specific locations that foster specializations or subcultures, inside a larger demographic? We present, a slice of New York City’s actively engaged artists practicing in: Bushwick, BedStuy, CrownHeights, ChinaTown, Williamsburg & LES.
This assemblage of artists’ studio locations highlights a minor architecture of a larger community. We bring to Chicago a group of visual examples containing hott and sexy collective-thoughts trending in NYC, 2015, fresh from the summer studio.
Using ingenious atypical making materials, these artists create unconventional ways to share their vision of contemporary metropolitan society. Just like grabbing a slice, greasy and hot: taste is secondary.
featuring works by:
Aaron Johnson Alyse Ronayne Angelina Gualdoni Annie Ewaskio April Childers Brian Andrew Whiteley Christian Sampson Clive Murphy Jeremy Couillard Justin Davis Anderson Livia Corona Benjamin Liz Nielsen Mike Schreiber Monica Lorraine Bernal Stacie Johnson Yevgenia S. Baras