PAST EXHIBITIONS

 

Angela Deane, Coleen Fitzgibbon,

Larry Homolka, Tom McAnulty,

Levan Mindiashvili, Hayley Silverman,

Ethan Tianxing Wang

 

 

A Group Exhibition 

Organized by FIT’s Art Market Program

School of Graduate Studies

 

The graduating class of the Master of Arts degree program in Art Market at the Fashion Institute of Technology’s School of Graduate Studies, presents (extra)ordinary, a group exhibition. The opening reception will take place on April 21, from 6pm - 9pm, and the exhibition will be on view through May 15. 

(extra)ordinary features seven artists who deal with ephemeral aspects of everyday life, such as memory and value. Their works possess a haunting quality, referencing subjects that shift between presence and absence.

The curators of (extra)ordinary are Jillian Bock, Tina Caso, Dana Clark, Yiran Ding, Cathy Fan, Anna Kamensky, Carolina Mandia, Yuka Okanda, and Anne Wong.  

 

For more information, visit fitnyc.edu/extraordinary or contact FITartmarketprogram@gmail.com.

@fitartmarket                       


INAUGURAL EXHIBITION AT THE NEW LOCATION IN WILLIAMSBURG

PERMEATE THE HOUSE

MARCH 30 - APRIL 17, 2016  

CURATED BY PIRIL GÜNDÜZ AND BAPTISTE SEMAL

The Hollows is pleased to present PERMEATE THE HOUSE, its inaugural show at the new premises on Bedford Avenue, between N8th and N9th streets, Williamsburg for which the art pieces will take over the nooks and crannies of the whole building with 5 floors. Expect art pieces in places you wouldn’t otherwise, such as mirrors, stairs, base- ment, ceiling moldings and medallions, as you’re invited for a hunt throughout new The Hollows house.

Located at a brownstone, The Hollows is a unique space for displaying art. With Permeate The House, exhibiting artists are invited to think their practices along with specific display spaces, adjoining works to the townhouse, and considering canonical design decisions.

By utilizing the unique qualities of The Hollows’ lived-in brownstone location, the show contra- dicts the artificial and restrictive idea of the conventional exhibition space, allowing for a richer, more nuanced dialogue between art and architecture. Permeate The House presents a con- versation between the topography, entropy, and framework of the building, and the artwork. Artworks are affixed to the building, intruding, extenuating, revealing, and putting to maxi- mum use characteristics of the particular physical placement integrating different indoors surfaces such as fireplaces or staircases via house specific installations. The wall becomes a question itself , rather than being a support for the canvas.Through this interplay, the art space adds a new dimension to the works of art, fostering heightened attention and creat- ing a different visitor experience where the viewer will pay attention to details and corners searching for the artworks with the help of an exhibition map.

A reconsideration of habitual interior design decisions will lead to new indoors habitation ideas, aesthetics and functionalities as indoors becomes more important in our way of life, due to changing macro factors such as global warming or employment types.

In the first floor main exhibition area, Lee Boroson’s rayon tassel piece Falls creates an interior waterfall, accompanied by Lina Puerta’s Lacelimb, for which the artist covers a branch of tree with interior decoration materials. Liene Bosquê cherishes the house itself as she installs paper molds of bannisters in the stairway nook used for religious figurines in the stairway as they blend in with the wall paint resembling skeletons. Resident artist Margarete Hentze creates a room within a room with her paper relief structure and projection of a performance with a black and white geo- metric object. Other pieces include Dave Rittinger’s brilliant sculpture made of orange extension cords Everything is Connected and Ahmet Civelek’s magnetic spoon piece that surround the side surfaces of a sculpture pedestal.

On the second floor, Alex Hammond’s camouflaged tent piece Story Hut will provide a meditative dreamscape environment with her glow-in-the dark painted camping tent. Ryan Frank’s overhead plywood boxes of skies installed on the second floor ceiling will be accompanied by another work on the third floor by German Resident Artist Jakob Hentze.

On the ground floor Seren Morey’s sculptural paintings made of Ultralight that is pulled and twisted like taffy will be installed in a room within a room, dominating the space with their form reminding Venus fly traps as they surround the visitors, one person at a time. In the basement, the darkened space of the townhouse, Isidro Blasco’s photographic installation suggesting a subway entrance to the house can be viewed, as well as Alona Weiss and Rujuta Rao’s collaborative projection piece though the peep hole of the basement storage space.

Brandt Graves takes over the skylight with his massive installation and Umman Turkoglu’s intricate long drawing piece on paper can be viewed in detail by touring through the stairwell of the town- house.

Aside from the exhibition galleries on 5 floors, expect pieces by Luciana Pinchiero in the laundry and by Robert Hickerson in one of the bathrooms. Jaynie Crimmins’ delicate pieces made of her junk mail will be welcoming you as they surrounding the ceiling light medal- lion in the entrance.

Lastly, Dallas Athent’s piece serves as a mantra in the entrance of the townhouse, talking in different tones to the visitor when they enter and when they leave and Katelyn Liepins’ staircase installation Stay to the Right will be the first permanent piece in the new premises! 

 


STAVES, GUSSETS, LATHS, TENNONS

NOV 4 - DEC 20, 2015

CURATED BY PIRIL GÜNDÜZ AND BAPTISTE SEMAL

The Hollows is pleased to present Staves, Gussets, Laths, Tenons, a formalist exhibition featuring works by artists who integrate the support of their media into the visual, rebalancing relations of object, material, value, craft and function. Executed in a wide array of media, the works bring out an appreciation for métiers and a play among objects of attraction expanding the ambits of support.

In his series of plywood boxes, Ryan Frank complicates the relationship between the ostensible subject of a work and the means through which it is communicated or displayed. Housed within the sleek plywood boxes are placid photographic scenes, which are made accessible through small and narrow openings that work to de-emphasize the photographs while at the same time drawing attention to the compact spaces for their viewing. The function of structure and support in Frank's plywood boxes is to contain and display while asserting its own material specifici- ty, its own status as the objet d’art, allowing a curatorial choreography. In Seren Morey’s sculptural paintings made of Ultralight that is pulled and twisted like taffy, the support dominates the aesthetic surface, stealing light from more usual sumptuous materials she uses such as glass beads.

Ivan Stojakovic's Urban Wild series, a series of mixed media assemblages that merge aspects of painting, sculp- ture and gardens, attempts to engage with the tenuous distinctions between the natural and fabricated world. The cardboard honeycomb structure that acts as the ground plan for these assemblages is often left bare and uncov- ered in contrast to the areas that have been affixed with live and preserved plants, corrugated plastic and plexi-

glass, among other materials. The base upon which the honeycomb terrain becomes home to many forms of life is also left open and un-used, its potential un-tapped. In Samantha Robinson, the support in the form of stretch- ers assumes the variable, keeping the patterns in repeat and transparency and in Christina Massey, the support falls in perpetuity, as the artist constantly re-purposes her own canvases, cut, torn, sewn or woven back together, only to serve as a new slate for future works.

Aside from the main exhibition galleries on 2 floors, 4 rooms of The Hollows Artspace will be on view during the opening night. In a darkened room, Dave Rittenger’s light sculpture, comprised of dissimilar natural and industrial materials, as they are captured homogeneously, will be blandly accompanied by Tarini Sethi’s fired clay floor stat- ues. Hami Onur Bingöl’s photographic installation of a dome will take over the skylight in which the edges of his photographic prints coalesce with the tiles of the interior of a mosque and Robert Hickerson’s video projection frame will blend in with the fireplace of The Hollows’ brownstone. In another room, sculptural works of Alexandra Kostakis and Alana McDougall will be placed in conversation with each other. Other sculptures include those of Luciana Pinchiero and Sophie Varin in which the artists question the mold as support and those of Dakota Sica and Anne Cecile Surga in which they incorporate contemporary support elements into a material of antiquity that is marble.

Resident artists at the Hollows, Naghmeh Abbasi uses the formalist concerns of the moving image in her piece about the goods smuggling in Iran -the piece will be projected onto a physically manipulated screen in collabora- tion with The Hollows- and Beril Gülcan mimics the object of the large format camera through her photography. Chelsea Ramirez and Susanna Thornton’s works emanate from the adjoining parts of the collage practice, in charcoal and analogue film respectively. Lastly, Dallas Athent’s piece, a gradual mélange across media, situated outdoors as a shrine, creates a sacred place for the self. 

 


MIAMI ART WEEK: X CONTEMPORARY ART FAIR, MIAMI, FLORIDA

Dec 1-6, 2015

 

Brian Batt

Leo Castaneda

Ryan Frank

Kofi Frimpong

Beril Gulcan

Alexandra Kostakis

Woody Poulard

Dave Rittinger

Ivan Stojakovic

Dakota Sica

Talita Zaragoza


THE HOLLOWS BENEFIT NIGHT AT SANTOS ANNE

Wednesday September 2, 2015

benefitSantosAnne.jpg

Brian Batt’s signature technique, one of his pixelated paintings, Leo Castañeda’s canvas on which he depicts video game worlds, two pieces from Céline Decostanzi’s and André Eamiello’s new series in which they combine their previous techniques -feather for Decostanzi and watercolor for Eamiello- with resin will be on view. Photography artists Beril Gulcan, who is participating with a photograph from her 'Black Faces' series, and Azmi Mert Erdem with his 'Transient Exposures' series, both incorporate the performative in their choices of photographic subject. Alexandra Kostakis' massive carrot-shaped sculpture 'Man-Made' plays off the binary light/heavy and Woody Poulard will be premiering a 3D Projection mapping project. Andre Mauro’s drawings of androgynous nudes will be there for you to enjoy along with Talita Zaragoza’s hypnotic topographies, this time, covered/painted by coffee.

In addition to new works by our artists from our first year, The Hollows is proud to present 2 artists who recently joined The Hollows. Gabriela Handal’s charcoal drawings in which she posits herself with multiple points of view, and Robert Hickerson’s photography series 'SlurPEE', of real-life figurines enjoying Slurpees will make you think color theory from a much different perspective! Last but not least, the garden will be crowned by The Hollows’ commissioned piece, a green light installation by artist Julia Sinelnikova and the stage will be taken by performance group 96b.

 


AUTO-CHEMISTRY

June 3- 28, 2015

We are excited to invite you to the opening of Auto-Chemistry on Wednesday June 3rd, from 6pm-10pm with performances and art works by artists from 10 countries. Also on view, the second iteration of ongoing project Curator's Room.


ARTEXPO New York Art fair at Pier 94, Hell's Kitchen, Manhattan NYC

April 23 - April 26, 2015

Works by:

Daniel Sinclair, Beril Gulcan, Perri Salka, Aaron Dunn, Canan Onural, Robert Crooks, Andre Mauro, Jack Walsh, Serkan Altınoz, André Eamiello, Kofi Frimpong, Isadora Willson Gazmuri, Dominique St Cyr, Brian Batt


coddly // demure

December 9, 2014 - February 8, 2015


Launching Exhibition: THE HOLLOWS

October 1 - October 26, 2014