196 GUERNSEY is a group exhibition of eleven artists on view in a mid-19th century home in Greenpoint, Brooklyn. The idea for the exhibition began as a discussion about the domestic space, with a focus on ideas revolving around the inner relationships of a home, both public and private, and how these exchanges are negotiated. The works included offer both personal and universal approaches to the fundamental qualities present within most any domestic arena, such as the values surrounding human interactions, architecture, the history of a space, and material objects.

August 5 – September 18, 2011

Opening reception: Friday, August 5, 7-10 PM
Hours: Saturday and Sunday, 12 – 5 PM
Closed August 27, 28 and September 3, 4

Sami Ben Larbi
Robin Cameron
Sophie Beatrice Grant
Langdon Graves
Charles Koegel
Sandra Eula Lee
Theresa Marchetta
Alisa Ochoa
Julie Quon
MiYoung Sohn
Adam Taye

Curated by Ginger Cofield, Lauren Haynes and Sarah Thomson

Image: Theresa Marchetta, Teddy Roosevelt’s Skin – Lion, 2011, acrylic on panel, 42 x 62"

Review of the show in the Greenpoint Gazette.

Sprung

Robin Cameron
Elaine Cameron-Weir
Kayla Guthrie
Laura Hunt
Servane Mary
Naomi Nevitt
Caroline Snow

organized by
Rochelle Goldberg and Bozidar Brazda

The Hotel Chelsea
Sunday, June 12th
6:00 pm - 12:00

Wax Apple

June 11- July 17 
Opening June 11, 6pm - 9pm

Michael Guidetti, Alyse Ronayne, Christopher Samuels, Natalie Rognsøy, Kate Steciw, Sam Falls, Paul Cowan, Robin Cameron, Ben Schumacher, Bailey Salisbury, Myranda Go, Collin Hatton, Jessica Labatte, Andy Meerow, Andrea Longacre-White

In a model of conceptual art that privileges the process and intent of a project over a final object, the act of making and the act of reflection are odds with one another; the physical document cannot be the ‘real’ work. InWax Apple, Bodega presents the work of sixteen artists who confuse this historical model of separation. The collection of objects highlights the temporal and physical located-ness of things at the same time it addresses their methods of production and distribution.

How do we locate a work in the complicated relationship between material object, digital file, printed document, and the network of its reception? What is the ‘real’ work that we are locating? How useful is it to think about a ‘real’ work? In what capacity does it exist?

Wax Apple presents a renewed enthusiasm for the intrinsic and formal parameters of objects: medium, material, color, composition, etc. The knowledge that these themes are the subject of a well-worn art historical dialogue does not lead the artists to a self-defeating cynicism, for these themes are indispensable tools in understanding our complex world, its images and theoretical discourse. These material and formal investigations place the work in a dynamic relationship between production, product, and reception.

 

Shown Above: Monument for Pedagogy, 2011, Wood Boxes, Chalkboard Paint, Silkscreen Ink, Chine-colle, linseed oil, glue, fake orange, Dimensions Variable

Bodega
253 North Third Street
Philadelphia, Pennsylvania 19106

 

 

Unstable Ground

Robin Cameron, Sarah Ciurysek, Kate Davis, Emily Jones and Dan Siney

Curated by Andrea Pinheiro

 

May 7 - 28, 2011, Opening reception May 6, 7 pm

 

UNIT/PITT Projects (formerly the Helen Pitt Gallery)

15 East Pender Street, Vancouver

Open Wednesday to Saturday, noon to 5 pm

 

 

"I recalled the voice I had heard; again I questioned whence it came, as vainly as before: it seemed in me--not in the external world. I asked, was it a mere nervous impression--a delusion? I could not conceive or believe: it was more like an inspiration. The wondrous shock of feeling had come like the earthquake which shook the foundations of Paul and Silas's prison: it had opened the doors of the soul's cell, and loosed its bands--it had wakened it out of its sleep, whence it sprang trembling, listening, aghast; then vibrated thrice a cry on my startled ear, and in my quaking heart, and through my spirit; which neither feared nor shook, but exulted as if in joy over the success of one effort it had been privileged to make, i ndependent of the cumbrous body." Charlotte Bronte, Jane Eyre, chapter 36, pg. 371

 

This exhibition brings together works that evoke or are driven by instability, fragility and processes of creative and destructive forces that are intimately intertwined. Unstabl e Ground addresses various notions of instability through aspects of works by Robin Cameron, Sarah Ciurysek, Kate Davis, Emily Jones and Dan Siney. Using the book as a structure, source or trope that is destabilized through some gesture of their process, each of the works embodies transitional states and relies in some way on the movement across formats, mediums and modalities. In this way the book acts as both bridge and rupture. 

 

The initial impetus for this exhibition developed from trying to conflate tectonic processes with the analog book. These forces and forms – printed matter and seismic activity, moments of extraordinary perceptual access, and the subsequent potentialities of disruption they provide – reveal certain inescapable phenomenological qualities of the physical world and information. Additionally these forces are capable of affecting human responses such as disappointment, belief, expectation, nostalgia, fear and hope.

 

Robin Cameron is currently completing her MFA at Columbia University in New York. She completed her BFA at Emily Carr in 2004. She has shown her work in Vancouver, Toronto, Seattle, Chicago, Philadelphia, Mexico, New York, California, Zurich and Tokyo.

 

Sarah Ciurysek completed her MFA at Concordia University and her BFA at Emily Carr University and Parsons The New School for Design. Sarah has exhibited her photography and video installation work across Canada and is currently preparing for a show in England through Radar. She teaches at Emily Carr and at the University of the Fraser Valley.

 

Kate Davis completed her BA (Hons) Printmaking in 2000 and an MPhil in Art in Organisational Contexts in 2001 at Glasgow School of Art where she now works as a part-time lecturer. Davis has presented solo shows at Museo de la Ciudad and La Galeria de Comercio, Mexico; Kunsthalle, Basel; Galerie Kamm, Berlin and was selected for Art Now, Tate Britain, London in 2007.

 

Emily Jones completed her BA (Hon) Fine Art at Oxford Brookes UK, has exhibited work at 319 Scholes, New York, RIV Gallery, Melbourne Australia, Truman Brewery, London and in Barmedical Projects. Jones’ Internet based work can be viewed at hydrothermalemerald.com

 

Dan Siney completed his BFA in photography at Emily Carr in 2003. He is represented by the LES Gallery and has shown in Presentation House Gallery in Vancouver and in exhibitions in London, Paris, Mexico City, New York, Barcelona, San Francisco and Tokyo.

 

 

Excerpt from The Book that Makes Itself

2011 First Year MFA Exhibition at Columbia University School of the Arts

Exhibition Opening

Friday April 8th 6-8pm 

Open One Week Only!

Saturday April 9th

Wednesday April 13th — Saturday April 16th 

1-5pm Gallery is open to the Public

Closed Sunday through Tuesday

The Miriam and Ira D. Wallach Art Gallery 

The Wallach Art Gallery is located on the 8th floor of Schermerhorn Hall on Columbia University's Morningside Campus.

1190 Amsterdam Ave # 8 NY 10027

(212) 854-7288

To reach the Morningside Campus of Columbia University by public transit, take the No. 1 train to 116th Street.

Enter the campus via the main gates located at 116th Street and Broadway.