Gallery Archive
Anita Allyn, Leah Bailis, Charles Hobbs, Surveil, Alexandra Newmark
EXHIBITION DATES: October 5 - 28, 2007OPENING RECEPTION: Friday, October 5 from 6-11pm
GALLERY HOURS: Wednesday - Sunday 12-6pm
GALLERY TALK: With Stamatina Gregory, Whitney Lauder Curatorial Fellow, Institute of Contemporary Art, Philadelphia, Sunday October 28 at 5pm
This month Vox Populi presents exhibitions by Vox Populi members Anita Allyn, Leah Bailis, and Charles Hobbs. The Video Lounge features a group show entitled Surveil, and in the 4th Room, work by Alexandra Newmark.
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Anita Allyn
Periphery
Anita Allyn's video projections imagine garden landscapes as cyclical, creepy and fantastical.
Leah Bailis
Stand Still
Leah Bailis constructs inaccessible spaces – a chain-link fence, a window-less façade – the surfaces of which act as protective barriers between public and private spaces. These barriers underlie the tension between that which is judged worthy of protection or containment, and the perceived danger or risk, which the contained is protected from.
Charles Hobbs
Ain’t Lookin’ Back
Ain’t Lookin’ Back presents a collection of ink drawings watercolor/ gouache works produced in rapid succession exploring death, god, relationships, nature, landscapes, and any other personal and embarrassing thoughts that crossed the artist’s mind.
IN THE FOURTH ROOM
Alexandra Newmark
In the Forest
Since 2001, Alexandra’s work has been solely made from Mohair yarn. The work is focused on narratives of interdependence, and a framework of self-containment. Her work reflects the conventional expectations of womanhood—caretaker, mother. The forms themselves conjure thoughts of motherhood gone awry, at the same time the work serves as a remembrance of the extreme vulnerability of childhood while the softness of the mohair yarn evokes the innocence of that time.
Alexandra Newmark received her MFA in Sculpture from Bard College in 2001, and her BFA from Parsons in 1998. In 2005, she was awarded a Pollock-Krasner Foundation Grant.
IN THE VIDEO LOUNGE
Noah Klersfeld, Luciana Lamothe, Bennett Morris, and Raphael Zollinger
Surveil
Surveil features work by a diverse group of artists who analyze how we experience, comply with and relinquish our privacy to the camera. Noah Klerfseld's (USA) I Want to Get You Out of my Head walks us through life with the intimate voice of the Big Brother. Negotiating visibility, Luciana Lamothe (Argentina) broadcasts her trangressive acts of mischief with Testa, a record of an accion against the 70s Brut architecture of famed Buenos Aires architect, Clorindo Testa. Bennett Morris's (USA) Intercept Station Version 2.0 Feed 00.00-09.31 hypothesizes our fate when we relinqush our privacy and information to inanimate technologies. Raphael Zollinger (South Africa) spotlights our continuous coverage of individuals, events and locations and resulting (mis)information with the interactive installation, Ignoratio Elenchi: A News Feed.
SCREENING
Takeshi Murata
Untitled (Pink Dot)
Screening is very proud to present Takeshi Murata's Untitled (Pink Dot) in the artist’s first solo exhibition in Philadelphia. Building on a keen knowledge of avant-garde film history (including a particular affinity for psychedelic auteurs Jordan Belson, the Whitney Brothers and Stan Brakhage) and a staggering command of digital video techniques, Murata creates vivid, lysergic videos that oscillate between damaged representation and pure abstraction.
Untitled (Pink Dot) employs action-hero imagery from Sylvester Stallone's 1982 cult/camp/classic First Blood as fodder for an eye-popping electronic meltdown in which images of our war hero John Rambo collapse under their own weight, transmuted to the point of obliteration, leaving an American icon reduced to a puddle of rainbow pixels.
Takeshi Murata was born in Chicago in 1974 and currently resides in Saugerties, NY. Since earning a B.F.A. in film, video and animation at The Rhode Island School of Design, his work has been shown widely, at venues including the Museum of Modern Art (NY), Museum of Fine Arts (Houston, TX), Yerba Buena Center for the Arts (San Francisco, CA) and Taka Ishii Gallery (Tokyo). Murata’s distinctive approach to the medium most recently earned him a solo exhibition at the Hirshorn Museum and Sculpture Garden (Washington DC), and can be seen currently in the exhibition Mail Order Monsters at Deitch Projects (NY).
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