Monthly Archives: January 2010

Talking to Michael DeLucia

Question: Tell me about your exhibit  “Community”

Community was an exhibition sculptures composed of objects that I had seen around my neighborhood through which I recognized some abstraction.  The works in the show were an exploration of how I could make this more explicit by removing the usual context that we know them through and introducing other forms or objects to create a new frame of reference. Community refers both to my own community, the environment where I discovered the objects, and to the idea that we coexist with abstracts in reality, forming a community in the human mind between ideas of reality and abstraction.

Of Primitive Means,09

Community,09

Racecar, 09

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Talking to Semâ Bekirovic

Question: Tell me about  “Props series”

The story behind the series Props is a small drama. Last winter I had an idea for a video. The idea had something to do with a skyline getting lost in a desert.


In a small car stuffed with skyscrapers me and some friends drove to the nearest desert (which was in Spain, around 1500km south of Amsterdam). Now this particular desert was supposed to have sunny weather  every day of the year; it hadn’t rained  for 15 years.
Of course when we arrived there was a huge rainstorm in progress. After days of waiting for better weather and a little bit of filming in the few minutes between the rains we decided to cut our losses and go home.
In the end i was happy with the photographs I took, and though I never got to make that movie, it was worth it and lots of fun.

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Talking to Hunter Cross

Question: Tell me about “Transparency Now”

Transparency Now employs materials common to mid-1990s office environments and elementary school classrooms, stacking prefab bingo chips on overhead projectors to produce images reminiscent of microscopic imagery and vector graphics.

These ‘overheads’ work with the available color palette and are built from a set of devised rules, routines and patterns. This imagery creates a mysterious environment stuck in time, recalling an abandoned office meeting or scientific visualization. By focusing on color and light and its interaction with the site’s glass cases, Hunter Cross scales his work using the compression capabilities of the projected image (e.g. small objects creating larger images) to encourage questions regarding an art object’s materiality and the ease with which its image can enter and exist, perhaps more effectively in a virtual realm. This work is part of Transparency Now, a series of installations demonstrating the potential of this set of rules, routines and patterns when forced to adapt to different site scales.

HUNTER CROSS: TRANSPARENCY NOW
February 11 – March 13, 2010
Opening Reception: Thursday February 11, 2010 6-9pm

Henry Street Settlement 466 Grand Street (on the Lower East Side)

New York, NY 10002

212.598.0400

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Talking to John Casey

Question: Tell me about “He Will Show Us the Way”
I was a Boy Scout when I was a wee lad. At the time, belonging to this organization was very important to me and I took the Boy Scout oath quite seriously. I remember feeling a great sense or responsibility as a member of society. My sculpture “He Will Show Us the Way” depicts a young Scout who lives in my alternate universe where residents suffer the affliction of emotional biomorphology (hence is weird root-like nose).  I, and other viewers, traverse this alternate world in the form of lost, disembodied spirits. We need guidance and direction and this young, serious, good citizen is more than willing to show us the way.

He Will Show Us the Way, 2008

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Talking to Jeremy Geddes

Question: Tell me about “The White Cosmonaut”

A few words about the white cosmonaut…. I’ll have to be honest here. This painting has no inherent meaning or intent. If it can trigger a specific emotional state then I can consider it a success, but my interpretation is no more valid than any other.

The White Cosmonaut, 2009

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Talking about Cheat Codes

Cheat Codes: lessons in love
A video art show curated by Amelia Winger-Bearskin

Opening Friday January 8, 2010 from 6pm – 10pm
January 8 – February 6

A lesson in love [or, a cheat code] is a key sequence, password, or series of steps to be entered within a video art work that will provide the player some object, ability, or access to a level or location within the game that is secret, hidden, or that would have otherwise been unobtainable or unavailable to the viewer [player] [12]

Featuring work by:
Joanna Bovay
Jennie H. Bringaker
Eunjung Hwang
David Horvitz
Basim Magdy
Jason Martin
Jay Schleidt
Robert Spees
Brent Stewart
Amber Hawk Swanson
Joseph Whitt
Grant Worth

Also this month’s Project Wall Space: Darina Mineva

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Talking to Melanie Bonajo

Question: Tell me about “Furniture Bondage”

I am captivated by the notion that the world consists of stuff and that humans think that they can impose their will on to this stuff. The idea that material things needs our external intelligence and energy to bring it to life and to put some sense to it is certainly suspect. Indeed, the object preserves a form of self-expression and a voice to speak for itself.

Katja, 2007

Annamarie, 2008

Hanna, 2007

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